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Funleader LensCap 18mm F8.0 is an ultra-light, ultra-wide body cap lens

29 Oct

Artboard, a photography gear company located in Hong Kong, has launched a new Kickstarter campaign for the Funleader CapLens 18mm F8.0 lens, a small, slim, and lightweight ultra-wide model with a fixed aperture. The lens can double as a camera body cap, according to Artboard, offering protection while retaining the option of quickly snapping ‘playful’ images.

The Funleader CapLens 18mm F8.0 isn’t intended to offer a high level of quality, Artboard explains; rather, the company launched this model to give photographers ‘a lens for playful usage.’ The lens offers greater color accuracy and detail when compared to a Lomo camera while retaining a similar vignetting effect.

The lens features 6 elements in 4 groups, multi-coated glass, a 0.8m minimum focusing distance, and 100-degree FOV. The model is constructed from brass with a chrome plating finish and it is ultra-light at 80g (2.8oz). Below is a gallery of a few low-resolution sample photos:

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Artboard is offering the Funleader in Sony E-mount and Leica L-mount as a reward for Kickstarter pledges starting at HK$ 833 (approx. $ 107). Assuming the campaign is successfully funded and the lens is produced as anticipated, the company expects shipping to backers will start in December 2019. You can find out more information and secure your pledge by heading to the Kickstarter campaign.


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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Ricoh adds new ‘Handheld HDR’ still capture mode to its Theta V, Z1 360-degree cameras

28 Oct

Ricoh has released updated versions of its Ricoh Theta app that adds new ‘Handheld HDR’ functionality for its Theta V and Theta Z1 360-degree cameras.

The Ricoh Theta app update (version 1.26.0 on Android and version 2.8.0 on iOS) adds Ricoh’s new ‘Handheld HDR’ capture setting for still images and addresses a number of unspecified bug fixes. For the new HDR setting to work, the Theta V and Theta Z1 cameras need to be updated to the latest firmware, version 3.10.1 and version 1.20.1, respectively.

App Store screenshots from the iOS version of the Ricoh Theta app.

All of the apps and firmware updates are free to download. You can find instructions on how to update the Theta V and Theta Z1 firmware on Ricoh’s support pages.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-Pro3 pre-production sample gallery (DPReview TV)

28 Oct

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This gallery includes sample images from a pre-production Fujifilm X-Pro3, captured in Calgary, Alberta, while shooting our hands-on preview for DPReview TV.

Check out our Fujifilm X-Pro3 sample gallery from DPReview TV

Articles: Digital Photography Review (dpreview.com)

 
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Landscape photography with a drone: disadvantages and limitations part 2

27 Oct

In the previous article I wrote about the basic disadvantages and limitation of the drone: it depends on batteries, has limited range, flight altitude and speed, all of which put it at a disadvantage compared to shooting from a manned aircraft. Granted, the drone is a very different tool to a manned aircraft, but I compare the two to emphasize that the photographer should be aware of the advantages and limitations of each option when planning a shoot.

This time, I would like to discuss another disadvantage of the drone: it’s VERY easy to lose.

To a drone user, crashes are a part of life. Drones keep getting better and safer, they are fit with sensors to avoid collisions, programmed to fly back to the home point when connection has been lost with the remote, but they are still not completely safe from tumbling down from the sky, and they still get lost quite often. Iceland’s Glacier Lagoon and Greenland’s Disko Bay must be a few meters shallower with all the Phantoms and Mavics that have been drowned there over the last decade. A colleague of mine’s clients lost 2-3 Mavics in one photo workshop in Disko Bay! Wow, just wow.

But why is that? How come drones just keep falling from the sky or become lost, never to be found again? If you disregard animal attack and hostile interception (both very rare events), there could only be two main reasons: human error and technical malfunction. Sometimes it can be both factors working together.

Human error

Earlier in this series I referred to drones as being ‘idiot proof.’ That was probably overstating it. Drones are by no means idiot proof, or even not-so-idiot proof. A better term would be ‘idiot resistant,’ as a drone can only correct its user’s mistakes so much – it is, after all, just a machine.

One of my workshop clients once lost a drone when we were shooting next to a lake. The problem was that the lake was a natural wind-tunnel, and a temporary stillness encouraged us to take the drones up. Upon feeling the wind getting stronger I brought my drone down and alerted my client to do the same. He chose to keep on flying, and once the wind grew even fiercer, he quickly lost orientation. A few minutes later the drone crashed down, while still keeping in contact with the remote.

DJI’s remotes have a distance indicator, showing how far the drone is from the home point, and we could see that the drone wasn’t too far away. My client started walking in the direction that kept reducing the distance, but eventually understood that the drone was resting on a mountain on the other side of the lake. It’s probably still there.

There is a lesson to be learned here. First of all, once you feel the winds getting dangerously strong, there’s no shame in bringing a drone back down. Secondly, if you lose orientation, don’t let the drone just drift with the wind. Instead, try your best to fly it back toward the home point. A lower flight altitude usually means gentler winds, so in case the drone isn’t progressing home, try flying lower.

The winds above this beautiful lake in the Argentinean high-altitude desert were blowing so strongly, the drone was being swept farther and farther even though I was flying it at full speed back home. It’s important to keep cool when something like this happens. The best thing you can do is bring it down and fly a few meters above ground – the winds will be much calmer and you’ll be able to get the drone back.
DJI Mavic II Pro, 1/240 sec, f/9, ISO 100. Puna de Argentina

Another very common avoidable mistake is stretching the battery for too long. A drone’s remote will start protesting when battery level is below some (adjustable) figure. The default for DJI drones is 30%, but this depends on the drone’s distance to the home point. When the battery drops further, the drone will usually alert the user that it will automatically go home in a few seconds. This too can be overridden by the user, in case he or she wants to keep controlling the drone and shoot some more.

Lastly, when the drone is at 10% battery or less, it will automatically and autonomically start landing. But even this can be avoided if the user actively uses the joysticks to keep the drone airborne.

An experienced drone user can sense when they need to bring the drone back. In perfect conditions, without wind, when flying low and close to the operator, there is no real reason to bring the drone back home at 30%, 20% or even 15% battery. If you can bring the drone back in a matter of seconds, by all means, keep flying until you reach 10% and then land it. But when conditions get harder, that’s when experience is critical and you have to keep a close eye on the battery status.

Depending on distance, altitude and (mainly) wind conditions, the amount of battery power needed to bring the drone back may increase significantly. Yours truly has almost lost a drone when wind picked up significantly during an afternoon shoot in a pumice-stone field in the high altitude desert of Argentina. I struggled to fly the drone, which was facing harsh head-winds, and by the time I managed to land, I was on 1% battery (!).

It’s easy to be caught up shooting this beautiful Pumice-stone field, but the place is huge and the photographer must account for the drone’s distance and sudden increases in wind forces, or they’re risking the battery emptying before being able to bring the drone back to the launch point.
DJI Mavic II Pro, 1/25 sec, f/5.6, ISO 100. Puna de Argentina

I will conclude the discussion of human error-related crashes with a story from my recent Greenland photo workshop. My group was slowly sailing in an iceberg-packed part of Disko Bay. Since we were going to stay in that area for a while, I took out my drone and started shooting aerials of the icebergs.

When the battery was about to run out, I decided it was time to bring the drone back home. But then I realized that the captain had moved the boat several hundred meters, so the home point indicator was useless.

The remote started screaming when battery level reached 10%, and when it hit 5% I knew I had to do something

Moreover, the fact that the boat was sailing between thousands of iceberg – and it was a white boat – made finding it close to impossible. I had no indication of where the boat was or how to get to it. Using the larger icebergs as reference points was also futile, as the distances are huge and I couldn’t judge their location relative to the boat when looking at the remote’s screen.

I was getting nervous. Minutes passed and battery power was continuing to dwindle. For the life of me, I simply could not find the boat. The remote started screaming when battery level reached 10%, and when it hit 5% I knew I had to do something, or lose the drone.

This iceberg, and many next to it, were constantly collapsing, which filled this part of the bay with icebergs. That was great for foreground, but less beneficial in other ways.
DJI Mavic II Pro, 1/25 sec, f/6.3, ISO 100. Disko Bay, Greenland

I started to drop the drone’s altitude, desperately looking for any possible landing site. At this point I was about 80% sure I would lose the drone. But then, I saw a large, relatively flat iceberg. I decided to land on the iceberg, without knowing if I was going to be able to retrieve the drone from it, even if the landing went well. After landing, the situation was looking grim. I was in a huge bay, with literally thousands of icebergs, one of which had my tiny drone on it. There was no way in hell I would find the drone without help.

What do you know – my drone was peacefully resting on the iceberg

But then our captain’s assistant, who had been though a similar situation, suggested that I use the “find my drone” feature on the DJI app. I had never used this feature, since I always knew how to get to the home point. But in this case, the home point was no longer where the boat was. I used the feature to see the drone’s last GPS location, asked the captain to sail there, and what do you know – my drone was peacefully resting on the iceberg. Luckily, the iceberg was big enough for me to hop onto it from the boat, get the drone and return safely. It was quite a surreal experience.

In retrospect, I could’ve done things differently and avoided the iceberg landing. I subsequently learned that it’s possible to change the home point on the fly in the DJI app, so the return to home feature directs the drone to the current location of the remote. Live and learn! At least I have a good story, and by sheer luck, no harm was done and my drone lived to fly another day.

Technical malfunction

Drones, as mentioned, are machines. And as machines, they can sometimes fail or operate in unexpected ways. The difference between a drone malfunction and a DSLR malfunction, however, is that when the former happens, the drone might not be seen or heard from ever again.

There can be different reasons for a drone malfunctioning. In the past, DJI drones crashes numbered in the thousands due to people flying them when batteries were too cold. This has happened to me too, in Iceland – an event on which I’ll elaborate at a later stage. Due to public outcry, DJI has had to include a better temperature warning system in its newer products.

Greenland’s famous Disko Bay is particularly notorious for drowning drones aplenty. This is mainly due to the large amount of iron in the bedrock, leading the drone’s navigational systems to go haywire. Personally, I’ve never lost a drone in Greenland, but I’ve had my fair share of GPS malfunctions. When GPS fails, the drone starts drifting away with the slightest breeze, which, in extreme cases, can lead to a crash into the water.

It’s hard to resist the allure of flying a drone between the ice giants of Disko Bay. Be be wary of GPS malfunctions – they can cost you your drone.
DJI Mavic II Pro, 1/30 sec, f/8, ISO 100. Disko Bay, Greenland

Again, the important thing is keeping cool, regaining orientation and preventing the drone from being swept too far away. The GPS system usually comes back up in a short while.

Drones are constantly getting better and more fail-proof. They don’t crash nearly as much as the used to, which is a very good thing. If the worst happens and you do crash a drone just remember: you’re not the first and definitely not the last.


Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you’d like to experience and shoot some of the world’s most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Argentinean Puna, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

More in This Series:

  • Landscape photography with a drone: Gear basics
  • Landscape photography with a drone: the advantages – part 1
  • Landscape photography with a drone: the advantages – part 2
  • Landscape photography with a drone: the advantages – part 3
  • Landscape photography with a drone: disadvantages and limitations – part 1

Selected Articles by Erez Marom:

  • Parallelism in Landscape Photography
  • Winds of Change: Shooting changing landscapes
  • Behind the Shot: Dark Matter
  • On the Importance of Naming Images
  • On Causality in Landscape Photography
  • Shooting K?lauea Volcano, Part 1: How to melt a drone
  • The Art of the Unforeground
  • Whatever it Doesn’t Take
  • Almost human: photographing critically endangered mountain gorillas

Articles: Digital Photography Review (dpreview.com)

 
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Rode’s redesigned NTG5 microphone features ‘circular acoustic ports’ and lightweight design

26 Oct

Australian-based audio company Rode has announced the latest addition to its lineup of professional broadcasting microphone with the release of the NTG5.

The new microphone features a new ‘groundbreaking’ acoustic port design that replaces the linear slots found on other shotgun microphones with circular acoustic ports. This change, according to Rode, is a ‘revolutionary design’ yields ‘unmatched acoustic transparency, and a natural, uncoloured sound that will sound superb in a wide variety of applications.’

Rode says the frequency response of the NTG5 has been ‘tailored’ for low self-noise of 10dbA and features a ‘highly directional’ supercardioid polar pattern. The redesigned microphone features RF-bias technology and conformal coating to keep it protected against adverse weather conditions. It’s also incredible light and compact thanks to its aluminum construction, weighing just 76g and measuring in at 203mm long.

The NTG5 comes with a complete recording kit, including the new WS10 windshield, a redesigned pistol grip and cables for connecting to cameras and recorders. Rode says the NTG5 is ‘shipping now’ for $ 499, but we’re yet to see it available on any major retailers.

Articles: Digital Photography Review (dpreview.com)

 
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Ilford Photo updates its Multigrade darkroom paper, introduces Ortho Plus film in smaller formats

26 Oct

Black and white film specialist Ilford Photo has announced the development of a new version of its resin-coated Multigrade black and white darkroom printing paper, and said that its existing orthochromatic emulsion will be available in 135 and 120 formats. The company plans to introduce Ilford Multigrade V RC Deluxe as stocks of the current version sell out, and Ilford Ortho Plus should go on sale at the end of November.

The new paper is said to offer deeper blacks and ‘improved’ spacing between the mid-tones, along with a slightly warmer base tint in the paper. Ilford says too that contrast is more consistent across the tonal range which will make printing more predictable.

A sample photo on Ilford Ortho Plus

Ilford has made an orthochromatic emulsion for some time, but it has only been available on sheet formats in the recent past. Cut sheets of 5x4in have been the smallest widely available size, so introducing it for 35mm and 120 medium format cameras will make the film accessible to a much wider audience. Ilford Ortho Plus is designed for copy work, but its color sensitivity also makes it suited to creative uses. Rated at ISO 80 in natural light and ISO 40 in tungsten conditions, the film is only sensitive to green and blue light, and thus darkens anything red in the scene.

It emphases blood stains in forensic work, but can also create interesting effects in portraiture as it darkens freckles and brings out skin texture. The film is very fine-grained and can produce punchy contrast and high resolution in flat copy work. Sensitivity drops off at around 570nm, so it can be processed ‘by eye’ under red safe-light conditions without the risk of fogging. It is suitable for processing with all of Ilford’s main-stream chemicals.

The company has also created a new film processor’s starter kit that includes a Paterson dev tank, two spirals, film clips, measuring cylinders, thermometer and pre-measured chemicals to fit the tank.

For more information see the Ilford Photo website.

Press release

NEW PRODUCTS ANNOUNCED PRODUCTS INCLUDING 5TH GENERATION ILFORD MULTIGRADE RC PAPER & ILFORD ORTHO FILM IN 135 AND 120 FORMATS

We are delighted to announce a number of exciting new products added to our range.

ILFORD MULTIGRADE RC DELUXE

ILFORD announced the world’s first variable contrast MULTIGRADE paper in 1940 and in 2019, as we celebrate our 140th anniversary, we are pleased to announce the 5th generation of our best-selling MULTIGRADE RC Papers.

MULTIGRADE IV RC papers (4th generation) were launched 25 years ago and have been hugely successful becoming the ‘go to’ black & white RC papers for discerning students, amateurs and professional darkroom users all over the world.

“Improving them was not going to be easy but we wanted to bring the manufacturing in line with the latest emulsion making technology used in our other RC and fibre papers and so we have redesigned the emulsion from the ground up. This project has been in development for 8 years and we are extremely pleased and excited with the final product.” Giles Branthwaite, Sales & Marketing Director.

These new papers have a slightly warmer base tint than their predecessor as well as better, deeper blacks, improved mid-grade spacing for easier printing and more consistent contrast throughout the tonal range.

Check your preferred stockist for availability and pricing of the new papers. MULTIGRADE IV RC papers will continue to be available while stocks last.

ILFORD ORTHO PLUS

We are expanding the world’s biggest selection of black & white films with the addition of ILFORD ORTHO PLUS in 135 and 120 formats. As the name suggests this is an orthochromatic black and white film (all other ILFORD and Kentmere films are panchromatic) rated at ISO 80 in natural light and ISO 40 in Tungsten.

“Our Ortho film was designed as a technical, high-resolution copy film for negatives and has been available in sheet format for some time. We know photographers want choice and love to try new films and so we have now coated our Ortho emulsion onto an acetate base for 35mm cassettes and 120 rolls. We believe ORTHO PLUS offers superb photographic potential thanks to its fine grain and sharpness and some of the results we have seen are stunning.” Giles Branthwaite, Sales & Marketing Director.

The blue and green sensitivity of this emulsion enables the film to be handled in deep red safelight conditions making processing and inspection easier. Its lack of red sensitivity also means that reds and oranges are rendered darker than panchromatic films.

ILFORD ORTHO PLUS will be available from early November. Check your preferred stockist for pricing.

ILFORD & Paterson FILM PROCESSING STARTER KIT

Building on the launch of the ILFORD Simplicity range of film processing chemicals in 2018, we have worked in collaboration with Paterson, a specialist manufacturer of some of the world’s most popular darkroom products, to create a starter kit containing all you need to process your first two rolls of film. You just need a light tight space and some film!

“ILFORD Simplicity chemicals are pre-measured for simple, convenient use and while they can easily be used in most tanks their volumes work perfectly with the Paterson 2-reel Universal Film Development Tank as they hold 600ml of diluted chemicals. Working closely with Paterson we have now created a kit that offers film photographers a convenient and affordable way to start processing their own films.” Giles Branthwaite, Sales & Marketing Director.

The kit contains: 1 x ILFORD 35mm Film Cassette Opener, 1 x ILFORD Simplicity Film Starter Pack (containing developer, stop bath, fixer and wetting agent), 1 x Paterson Universal Film Tank, 2 x Paterson Super System 4 Reels, 3 x Paterson 600ml Graduates, 1 x Paterson Thermometer, 1 x Paterson Stirrer, 2 x Paterson set of 2 film clips.

ILFORD & Paterson FILM PROCESSING STARTER KIT will be available from early November. Check your preferred stockist for pricing.

Articles: Digital Photography Review (dpreview.com)

 
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Prime lens update: The Canon EOS M6 Mark II photographs dogs, beer and the big city

26 Oct

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When we first got our hands on the EOS M6 Mark II at Canon’s launch event in Atlanta, we used the 18-150mm F3.5-6.3 kit lens quite a bit – after all, conditions were bright, so we didn’t need super fast apertures, and the zoom reach came in really handy for motorsports photography.

Now that we’re pushing through our full review of the M6 II back in Seattle, we’ve put our two favorite Canon EF-M lenses onto the camera to see how they stack up in front of the all-new 32.5MP sensor. Check out our sample gallery to see for yourself.

See our updated Canon EOS M6 Mark II sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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RED founder Jim Jannard announces retirement, shuts down Hydrogen phone project

26 Oct

RED founder Jim Jannard, who just celebrated his 70th birthday, has announced that he is retiring, citing health issues simply saying that “it is now time.” He also announced that with his departure from the company the Hydrogen phone project will be shut down:

I have spent the past 45 years building “inventions wrapped in art”.

Just now turning 70 and having a few health issues, it is now time for me to retire.

I will be shutting down the HYDROGEN project, ending a career that has included Oakley, RED Digital Cinema and HYDROGEN. I am very proud to have worked with many great people over the years who have signed on to the vision.

RED Digital Cinema will continue stronger than ever with Jarred, Tommy and Jamin at the controls. Komodo is about to be launched… and the HYDROGEN One will continue to be supported in the future.

I want to thank everyone for the support I have felt over the years…

Jim Jannard, RED Founder

So the Hydrogen One remains the first and only model ever launched in RED’s Hydrogen smartphone line. When it arrived last year, after several delays, it came with innovative technologies including a ‘4V’ holographic display, but received lukewarm reviews and ultimate could not convince customers to pay a $ 1,295 premium price.

Film makers and photographers had also been looking forward to the launch of an attachable camera module for the device but, like several other planned modules, it never got to see the light of day.

The good news is that existing Hydrogen One users will continue to receive support, at least for the time being, and RED Digital Cinema is still operating with Jarred Land as its president and will hopefully soon release the Komodo camera system which was teased earlier this year.

Articles: Digital Photography Review (dpreview.com)

 
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Here are our first samples from the Nikon Z 58mm 0.95 ‘Noct’

26 Oct

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We’re on the ground at the Photoplus trade show in New York City, where we’ve had the chance to shoot a few samples with a working version of Nikon’s $ 8000 58mm F0.95 ‘Noct’ lens, while on the show floor. Check them out above – we’ll add more the first chance we get. And don’t forget to read our hands-on here.

See our initial Nikon Z 58mm 0.95 ‘Noct’ samples

Articles: Digital Photography Review (dpreview.com)

 
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