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Archive for the ‘Uncategorized’ Category

Google Pixel 3 camera defect causes loud clicking, OIS issue while shooting

07 Aug

A number of Google’s $ 499 Pixel 3 smartphone units are experiencing an issue that causes the camera to ‘shake’ while recording video even when the device is placed on a stable surface. A large number Pixel 3 owners have published complaints about this problem on Reddit, Twitter, the Google Support forums, and other online destinations.

The issue appears to primarily impact the Pixel 3 model, though there are some reports of it related to the larger Pixel 3 XL. Sample videos from users show the camera’s focus constantly adjusting itself or, in other examples, producing a prominent wobble effect similar to what one would get by shaking the phone.

Though Google hasn’t provided an official statement about the matter at this time, a loud clicking sound produced from the camera while recording indicates the problem may stem from the Pixel 3’s optical image stabilization system. Pixel 3 owner ‘anaymakan’ shared a video demonstrating this problem on the Pixel 3 subreddit in late May.

Because this appears to be a hardware defect, Pixel 3 owners have been unsuccessful in finding a workaround solution. Owners of the faulty devices report having it solved by getting a replacement phone that doesn’t suffer from the same problem.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung announces first 100+ layer V-NAND memory module

07 Aug

Fast storage solutions are essential for efficient digital photo and video workflows and Samsung Technology has announced the start of production of new V-NAND modules with more than 100 layers, which is an industry first and should give a boost to any editing workstation. According to the South Korean company, the 256GB 3-bit V-NAND will be used to make SSD drives for PCs and has already been delivered to a number global OEMs.

The new generation adds around 40 percent more cells to the previous 9-layer single-stack structure. Samsung achieves this by building an electrically conductive mold stack with 136 layers. The company claims this results in the industry’s fastest data transfer rate, citing writing speed of 450 microseconds (?) and a reading response time of 45?. Compared to the previous design performance has been increased by 10 percent and power consumption decreased by 15%.

The company claims this results in the industry’s fastest data transfer rate, citing writing speed of 450 microseconds (?) and a reading response time of 45?.

Samsung says that thanks to the new and faster design, it will be able to offer V-NAND solutions with more than 300 layers by combining three of the new stacks, without any negative impact on performance or reliability.

In addition to the performance increases, the engineers have been able to reduce production steps and reduce chip sizes, increasing production rates by 20 percent.

With the 250GB SATA PC SSD already released, the company is planning to increase production in second half of the year to meet growing global demand and produce SSDs and eUFSs using 512Gb 3-bit V-NAND in a variety of specifications. Samsung is also hoping to deploy the new chips for mobile and automobile applications in the future.

Articles: Digital Photography Review (dpreview.com)

 
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Entaniya announces 220-degree PL-mount fisheye for Super 35, full frame cameras

06 Aug

Japanese fisheye specialist Entaniya has introduced a new fisheye lens in a PL mount that’s aimed at large format video camera users, and which can offer a range of effective focal lengths using different sized spacers. The Entaniya Fisheye HAL 220 is designed to cover Super 35mm and full frame sensors and can provide focal lengths between 6.14mm and 8.03mm through 15 increments via the included set of zoom spacers.

The lens has a maximum aperture of T2.9 and uses 17 elements in 12 groups to provide a maximum angle of view of 220°. The depth of the spacer used has an impact on the size of the covering circle of the lens, so when the thinner spacers are used—or no spacer—the lens has a smaller covering circle. This is useful for those who want a circular image, but doesn’t leave out those needing the whole recording area covered.

No pricing or availability details have been released so far. For more information and to see how the lens covers different formats go to the Entaniya website.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram will soon receive ‘from Facebook’ branding

06 Aug

Despite ongoing antitrust concerns across the globe, an internal note sent to Facebook employees has announced the social media giant will be rebranding its Instagram and WhatsApp platforms.

First reported by The Information [partial paywall], the two social media platforms will soon be known as ‘Instagram from Facebook’ and ‘WhatsApp from Facebook.’ The news was further confirmed by a Facebook spokesperson in a statement shared with Engadget:

‘We want to be clearer about the products and services that are part of Facebook.’

The addition of ‘from Facebook’ in Instagram’s branding doesn’t come as much of a surprise though, as known finder of unreleased features, Jane Manchun Wong, shared back in April that the ‘Instagram from Facebook’ branding was around the corner.

Instagram was acquired by Facebook in April 2012 for approximately one billion dollars in both cash and stock. Since then, Facebook has been fairly hands-off with the branding, despite bringing countless Facebook-inspired elements to the photo sharing platform, including the highly controversial algorithmic feed. This name change might be small on the surface, but could be the beginning of changes to come.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Is the Fujifilm GFX 100 good for video?

06 Aug

Would you use a medium format camera for video? In this week’s episode Jordan does, and he explains why he’s pleasantly surprised – even impressed – with the video capabilities of Fujifilm’s 100MP medium format camera.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Image stabilization and autofocus
  • Color profiles
  • Sensor
  • Rolling shutter
  • Low light and dynamic range
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Elinchrom launches ELM8 portable continuous LED light from Light & Motion

06 Aug

Elinchrom has launched its new ELM8, a continuous LED light that it claims is the ‘most portable, powerful and progressive modular system’ of its kind. The ELM8 was made in partnership with LED light manufacturer Light & Motion and is fully integrated with Elinchrom’s existing lighting system.

The ELM8 is battery-powered and compact, measuring 20.5 x 9.6 x 9.6cm (8 x 3.7 x 3.7in) and weighing only 1.2 kg (2.6 lbs). When fully charged, Elinchrom says the light can run for between 50 and 245 minutes (around 4 hours) before needing recharged, a process that takes two hours.

The ELM8’s specifications include:

  • CRI: 93
  • TLCI: 94
  • Color Temp: 5600 K
  • LUX: 16320 (at 1m w/Fresnel)
  • Light Output: 8000 Lumens
  • Native Beam Angle: 120°
  • Water Resistance: IP54
  • Impact Resistance: 1m (3.2ft)
  • Charge Time: 2hrs
  • Radio Control: Skyport Protocol
  • Distance Range: up to 100m
  • Skyport: 20 Frequencies / 4 Groups
  • Phottix: Phottix Odin II Transmitter

Elinchrom has a number of accessories that work with the ELM8, including multiple reflectors, diffusers, the company’s micro USB charger kit and a remote control. The ELM8 continuous LED light is available now for €1379 ($ 1699 USD).

Articles: Digital Photography Review (dpreview.com)

 
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10 years ago today, Nikon launched the S1000pj, a compact camera with a built-in projector

06 Aug

Ten years ago today Nikon unveiled a handful of cameras including the CoolPix S1000pj, a compact camera with a built-in projector capable of projecting a 40-inch screen.

Who didn’t relive family camping trips on the glorious 40-inch screen the S1000pj was able to project on your family room’s wall (which just happens to be devoid of a television despite having a couch face the wall)?

Aside from the built-in projector, the S1000pj featured a 12.1-megapixel sensor, a 5x wide-angle Zoom-Nikkor lens (28-140mm full-frame equivalent), an ISO range of 64-6400, 5-way VR Image Stabilization System, Subject Tracking and a 2.7-inch wide-angle LCD display on the rear. Nikon’s MSRP was $ 429.95 when it was eventually released a month after its announcement in September 2009. Below is a video presentation from Nikon France showing the S1000pj in action:

The CoolPix S1000pj still has its own product page on B&H, but as you might suspect, it’s listed as ‘No Longer Available.’ It’s also one of the cameras we previously featured in our 2013 article titled ‘Ten one-of-a-kind cameras from the 21st century.’

Here’s the original press release, which can still be found on Nikon’s website:

Nikon announces the COOLPIX S1000pj

The world’s first compact camera to feature a built-in projector enhances the fun of sharing special moments anywhere

TOKYO — Nikon Corporation is pleased to announce the introduction of the COOLPIX S1000pj. Packing the pleasure of a personal go-anywhere theater into a stylish compact enclosure, the COOLPIX S1000pj delivers a fun new way to share pictures with friends and family in most any location.

The COOLPIX S1000pj is the first compact digital camera* in the world to feature a built-in projector. With a simple touch of a button, the camera projects favorite photos or movies clips on any flat surface at up to 40 inches in size. Pictures can be projected individually, or as slide shows complete with music and added effects that enhance the experience. It’s the fun new way to share pictures with family and friends in most any location.

This capability to project still images or movie clips gives birth to an entirely new form of communication as all participants visually share the passion of special moments together. For example, the COOLPIX S1000pj can be used to capture photos on a family vacation, and then serve double-duty as a personal theater in the evening as everyone enjoys viewing the highlights of the day projected on a wall or a ceiling. Whenever and just about wherever friends gather, the COOLPIX S1000pj’s projector can add whole new life to the party by displaying nostalgic pictures or freshly shot images for all to enjoy. Parents can even use the COOLPIX S1000pj to display photos of their own artworks or other images on the ceiling to complement bedtime stories they tell their children.

A handy projector stand is included, as is a remote control that can be used to operate the projector, release the shutter, and more.

Also featured are the precision optics of a 5x zoom NIKKOR lens that provides the compositional freedom of 28mm wide-angle coverage and macro shooting ability from as close as 3 cm (1.2 in.). This combines with the image quality and performance benefits of Nikon’s innovative EXPEED digital image-processing concept to help ensure consistently beautiful results produced at the high resolution of 12.1 effective megapixels.

The COOLPIX S1000pj will be available in Black or Warm Silver. (Color name and color availability may vary according to region.)

  • *Among digital cameras as of August 4, 2009 (according to research conducted by Nikon Corporation).
  • Note: Specifications, design, product name, standard accessories, and release schedule may differ by country or area.

Nikon COOLPIX S1000pj Feature Highlights

Sharper results with five advanced Nikon image stabilizing features*1

Nikon’s Optical lens shift and Electronic VR image stabilization systems combine to help produce blur-free images. High ISO 6400*2 capability allows faster shutter speeds when shooting in low light or capturing fast-moving subjects. Motion Detection automatically controls shutter speed and the ISO setting to compensate for subject movement and camera shake. And, Nikon’s original BSS (Best Shot Selector) function automatically shoots a series of sequential frames and saves the one with the sharpest focus.

  • *1The camera selects and uses only the features required to optimize each image.
  • *2ISO 3200 and 6400 are available only for image sizes of 3M (2048 x 1536) or smaller.

Nikon’s Smart Portrait System with Skin Softening

Face-priority AF helps produce more satisfying portraits by adjusting focus and exposure for as many as 12 faces in the framed shot. Skin Softening function detects and analyzes a framed subject’s skin, and then adjusts smoothness to produce enhanced results. Smile Timer automatically releases the shutter when the subject smiles, while its Blink Proof function shoots two sequential frames, then saves the one in which the subject’s eyes are widest open. Blink Warning presents an alert when it suspects that someone in the shot has blinked. In-Camera Red-Eye Fix automatically corrects any perceived red-eye effect before saving the image to memory.

Intelligent automated shooting modes that promote carefree shooting

Nikon’s Scene Auto Selector makes it faster and easier to capture the moment by eliminating the need to manually select a scene mode to match the intended shot. This intelligent function determines the subject, analyzes the surrounding settings, and then automatically selects the appropriate scene mode for optimal results. Subject Tracking enhances the shooting experience by following the subject’s movement to ensure clear focus and quick response when that special shutter opportunity presents itself. Subject Tracking even functions if the subject moves out of the frame for a second or two.

Quick Retouch

Quick Retouch automatically adjusts the contrast and saturation of selected photos to create an enhanced copy with the right finishing touch.

Nikon COOLPIX S1000pj Other Features

  • 2.7-in. high-resolution LCD monitor with anti-reflection coated cover
  • 16 handy scene modes for optimized shooting in various settings
  • D-Lighting
  • Active Zoom
  • Auto Sort and Favorite Pictures functions
  • Four movie modes with sound
  • Time zone function for easy setting of multiple locations
  • Approx. 36 MB of internal memory
  • Hi-Speed USB connectivity

Articles: Digital Photography Review (dpreview.com)

 
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Metabones introduces Speed Booster series for Blackmagic Pocket Cinema Camera

06 Aug

Lens mount adapter specialist Metabones has launched a new series of Speed Booster lens adapters especially designed for the Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). The new adapters allow users to mount Nikon G, Canon EF, Canon EF Cine and Arri PL lenses onto the Micro Four Thirds camera.

The company says it has redesigned the adapters to take account of the filter stack construction that Blackmagic uses on the sensor of this camera to ensure users get the same performance as other MFT users. Blackmagic uses a thinner layer of filters over the sensor of the BMPCC4K, compared to other MFT cameras, that can alter the effectiveness of the standard MFT adapter at wide apertures, the company claims. This means the new models aren’t compatible with other Micro Four Thirds cameras.

The adapters come in Ultra 0.71x and XL 0.64x versions, which reduce the crop factor in 4096 x 2160 4K video to 1.35x and 1.22x respectively. The Arri PL version will only be available as an Ultra 0.71x, but the other mounts can accept either adapter, with the company claiming that many EF-S and DX lenses from Canon and Nikon can also be used.
The Metabones Ultra 0.71x and XL 0.64x adapters are available now. For more information see the Metabones website.

Ultra 0.71x

  • Canon EF – $ 649
  • Canon EF Cine – $ 699
  • Nikon G – $ 489
  • Arri PL – $ 719

XL 0.64x

  • Canon EF – $ 649
  • Canon EF Cine – $ 699
  • Nikon G – $ 489

Press release:

Metabones Introduces a New Series of Speed Booster® for BMPCC 4K Camera

Caldwell Photographic Inc. and Metabones are pleased to announce a new series of Speed Booster for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K).

The BMPCC4K Speed Booster ULTRA 0.71x and XL 0.64x are similar to the standard m43 Speed Booster adapters, but the optics have been re-designed to optimize for the filter stack thickness of the Blackmagic cameras, which is substantially thinner than that of standard m43 cameras.

The thickness of the camera’s filter stack is an important component of the overall optical design, and the re-designed optics ensure that both versions can achieve the same high performance as the Speed Booster versions for standard m43. This is especially critical at the extremely large apertures made possible by Speed Booster technology.

In addition to the new optical designs, the new series of Speed Boosters also features a longer tripod mount to perfectly match the height of the BMPCC4K camera body. This way the camera and the Speed Booster can be mounted firmly on the same quick release plate.

Both versions – the Speed Booster ULTRA 0.71x and XL 0.64x – are available with Nikon G lens mount, with Canon EF lens mount and with Canon EF CINE lens mount. The ARRI PL lens mount is available in ULTRA 0.71x version only. The Canon EF CINE lens mount creates a positive lock for a secure electronic connection, and together with the matching length of new the tripod mount, allows for a rock-solid mechanical setup, which is important when using follow focus attachments.

This new series of Metabones Speed Booster adapters is designed exclusively for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). They cannot be attached to any other m43 cameras such as JVC, Olympus or Panasonic cameras.

Metabones Speed Booster ULTRA 0.71x for BMPCC4K:
The new Speed Booster ULTRA 0.71x for BMPCC4K uses an advanced 6-element 4-group optical design incorporating ultra-high index tantalum-based optical glass. The new design is specifically optimized to bring the same level of astonishing performance as the ULTRA Speed Boosters for Micro Four Thirds to users of the Blackmagic Pocket Cinema Camera 4K.

In particular, the Speed Booster ULTRA 0.71x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies.

The Speed Booster ULTRA 0.71x reduces the crop factor of the BMPCC4K camera as shown in the above table. The new design for BMPCC4K makes very effective use of exotic materials at the furthest limit of glassmaking technology, and as a result is almost perfectly corrected for use with all full-frame SLR lenses regardless of aperture or exit pupil distance. The Speed Booster ULTRA 0.71x will also work extremely well with many DX and APS-C format lenses, provided the image circle provided by the lens is large enough.

Optical performance of the new Speed Boosters is so good that the MTF of any lens attached to it will be improved. Even the latest generation of ultra-high performance SLR lenses such as the Zeiss Otus series can be improved by adding a Speed Booster ULTRA 0.71x.

MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.9, f/1.0, and f/2.0, respectively1. At the maximum aperture of f/0.90 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary across the entire image circle. At just one-third stop down to f/1.0 the performance is equal to or better than the best photographic lenses used at their optimum apertures. An additional stop down to f/2.0 yields performance that is rarely encountered in photographic optics. In practice, what all of this means is that the new Speed Boosters will always enhance and never degrade the performance of the attached master lens.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. There is less than 1 stop of corner illumination falloff even wide-open at f/0.9. There is no vignetting at all after the output aperture reaches f/2.82. Rectilinear distortion added by the Speed Booster ULTRA is negligible at less than 0.7%.

Metabones Speed Booster XL 0.64x for BMPCC4K:
Also this Speed Booster XL 0.64x adapter has been designed exclusively for the Blackmagic Pocket Cinema Camera 4K, with a magnification of 0.64x. The Speed Booster XL 0.64x uses an advanced 7-element optical design to achieve extraordinary optical performance at apertures up to an incredible f/0.80.

The new Speed Booster XL 0.64x reduces the full-frame crop factor of the BMPCC4K as shown in the table further above. In addition, the speed of any attached lens is increased by 11/3 stops, with a maximum output aperture of f/0.80 when an f/1.2 lens is used. For example, a 50mm f/1.2 becomes a 32mm f/0.80, which is the fastest aperture available for Blackmagic cameras.

Perhaps most exciting of all, in addition to increasing lens speed and field of view, the Speed Booster XL 0.64x offers amazingly high image quality even at extremely large apertures. Figures 1 through 3 below show MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.8, f/1.1, and f/1.81. At f/0.80 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary out to an image height of 5.1 mm, which is the limiting image height of the BMPCC4K camera’s FHD video mode. Beyond 5.1 mm the performance drops gracefully, but remains very good even in the extreme corner of the full Blackmagic sensor. Note that as the master lens aperture is reduced to f/1.8 and then f/2.8 (corresponding to output apertures of f/1.1 and f/1.8, respectively) the performance improves everywhere, especially in the extreme corners.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. There is only about 1 stop of corner illumination falloff even at f/0.8. There is no vignetting at all after the output aperture reaches f/3.42. Rectilinear distortion added by the Speed Booster XL 0.64x is negligible at less than 0.8%.

Just like the Metabones Speed Booster ULTRA 0.71x for BMPCC4K, the Speed Booster XL 0.64x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies. In fact, most lenses will have significantly improved MTF when used with the Speed Booster, compared to using them with a plain (i.e. “glassless”) adapter on Blackmagic cameras.

Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad re-issues 1969 press release on moon landing cameras

03 Jul

As part of the celebrations of the 50th anniversary of the Moon landings Hasselblad has re-issued the press release it sent out about the cameras used to take the first pictures from the moon’s surface. The release shows original black and white images from the trip of astronaut Buzz Aldrin taken by Neil Armstrong using the mission’s Hasselblad 500EL Data Camera with a Zeiss Biogon 60mm F5.6 lens.

A second 500EL was kept onboard to photograph events from the Eagle, and was mounted with a Zeiss Planar 80mm F2.8 lens. This camera was used by Michael Collins, who Hasselblad points out lost a SWC body in space in 1966 – he obviously was still not forgiven three years later!

NASA

All the cameras used were also fitted with a Reseau Plate close to the film plane that left reference marks on each frame to help scientists determine the distance between objects in the frame. Custom film backs were used to hold 70mm film that could handle 150-200 exposures per roll, and the camera that was used to shoot from the Moon’s surface was attached to Armstrong’s space suit.

The press release says that Hasselblad had been working with NASA on cameras for space missions since 1962 and the collaboration had seen many pictures from above the Earth before the 1969 landing. Victor Hasselblad, the company’s founder, flew to the USA to see the Apollo 11 launch in July that year and remained there until the mission returned – when he collected four rolls of color film and took them back to the Swedish factory. The release says ‘The pictures were so good that even we who had previously seen 9,000 Hasselblad images from space gasped for breath.’

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Sadly, to lighten the Eagle so it could take off again two of the mission’s Hasselblad bodies and lenses were left on the Moon along with about $ 1 million worth of other equipment. In all twelve Hasselblad cameras have been left on the Moon since 1969. It might be worth starting another mission to go and collect them all!

For more information see the Hasselblad In Space pages of the company’s website, or read the original press release online.

Press release:

HASSELBLAD CELEBRATES 50 YEARS ON THE MOON AS THE CAMERA THAT DOCUMENTED THE HISTORIC MOON LANDING

Shortly after the Lunar Module Eagle touched down at Tranquility Base, astronauts Aldrin and Armstrong aboard the Apollo 11 mission would don their bulky space suits and step carefully down onto the dusty ground, becoming the first visit by humankind to the lunar surface. Naturally, the tools chosen to record and document this momentous occasion represented the best technologies of the time – including the still camera of choice, a Hasselblad. That selection was the result of years of close collaboration between the Swedish camera manufacturer and the American space agency to ensure that its professional medium format cameras could stand the rigors of intense temperatures, vibration, and decreased gravity in space. Not only have these photographs provided scientific insight but have proven to be legendary marvels recognized the world over representing the human existence. Fifty years later, on 20 July 2019, Hasselblad proudly celebrates its role in being the cameras that were chosen by NASA for space photography, and even more so, the cameras that documented the historical moment of the first men on the Moon.

Hasselblad and NASA’s journey together began seven years previous to the Apollo 11 mission – in 1962 during the Mercury program. As a photography enthusiast, Naval Captain and Mission Pilot Walter “Wally” Schirra owned a Hasselblad 500C already. Knowing the high quality of the Hasselblad camera, Schirra suggested to NASA that they use a Hasselblad to document space since the previous camera model utilised delivered disappointing results. After buying a few 500Cs, a weight-loss program followed including removal of its leather covering, auxiliary shutter, reflex mirror, and viewfinder. A new film magazine was constructed in order to allow for 70 exposures instead of the usual 12. Finally, a matte black outer paint job minimized reflections in the window of the orbiter.

The streamlined Hasselblad would find itself in the payload for Mercury 8 (MA-8) in October 1962. The successful, high quality images that Schirra captured across his six orbits of the Earth would spark a new chapter in the history of Hasselblad and a long, close and mutually beneficial cooperation between the American space agency and the Swedish camera manufacturer.

Considered one of the most iconic moments is that of Apollo 11’s descent and exploration of the lunar sur- face. Taken down to the surface was a Hasselblad Data Camera (HDC) fitted with a Zeiss Biogon 60mm ƒ/5,6 lens and 70mm film magazine containing specially formulated thin-base Kodak film, allowing for 200 images per magazine. A second Hasselblad Electric Camera (HEC) with a Zeiss Planar 80mm ƒ/2,8 lens was used to shoot from inside the Eagle lunar module. Installed in the HDC was a Réseau plate, which optically imprinted fixed cross-marks allowing for photogrammetric measurements to be made from the resulting negative. The HDC was specifically designed to cope with the rigors of the lunar surface; it was painted silver as a way to stabilize the camera when moving between temperatures ranging from -65° C (-85° F) to over 120° C (248° F).

Armstrong carried out all the photography himself on the lunar surface with this HDC attached to his chest, which had never been tested in space before, adding to the pressure of this once in a lifetime moment. Would the one Hasselblad camera capture the results everyone was hoping for?

Working perfectly under the extreme conditions of the lunar surface, the HDC produced some of history’s most iconic photographs. After the successful shooting on 21 July 1969, the Hasselblad was hoisted up to the lunar lander with a line. After securely removing the film magazines, both cameras with lenses and ancillary support accessories, along with other collection tools, components, and waste were jettisoned in order to meet narrow weight margins for successful return. The succeeding five Apollo missions to land would repeat this practice, resulting in a total of 12 Hasselblad camera bodies with lenses still left on the Moon.

The collaboration would continue well into the 21st century with continually updated Hasselblad cameras being a vital part of manned spaceflight well into the Shuttle program. With each development handled jointly between NASA engineers and Hasselblad’s precision manufacturing team, the shared results would benefit the manufacturer too.

Features such as enlarged control surfaces designed for bulky space suit gloves would result in changes made in the design of Hasselblad’s professional camera systems, while later missions would be afforded the accurate internal metering system on later camera models.

Celebrating 50 years on the Moon, Hasselblad is proud to have been part of a significant chapter in both photographic and human history.

Stay tuned in July to see how we commemorate this momentous occasion.

Articles: Digital Photography Review (dpreview.com)

 
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Clara Vannucci takes the Fujifilm GFX 100 to Florence

03 Jul

The Fujifilm GFX 100 is a 100MP medium-format mirrorless digital camera with a lot of tricks up its sleeve. In addition to its unusually high pixel count for still images, it also offers powerful 4K video capabilities, and a DSLR-like interface which encourages shooting on location, away from the constraints of a studio.

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We took the GFX 100 to Florence, Italy, to meet editorial photographer Clara Vannucci. Over the course of three days we joined Clara on several assignments, during which she got to grips with the full feature set of the GFX 100. Watch our video to see how the camera performed, and check out a gallery of Clara’s images from the shoot, above.

Thanks to Clara Vannucci, Daria Bonera and Benedetta Porcaroli.

This is sponsored content, created with the support of Amazon and Fujifilm. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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