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Kamlan 50mm F1.1 II sample gallery

06 Jun

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Kamlan has just launched the second version of its 50mm F1.1 lens for cameras with APS-C sensors, and we’ve been able to shoot with a sample copy to get an idea of how it performs.

Designed with Fujifilm, Sony, Micro Four Thirds and EOS M mounts in mind, this all-metal lens is all-manual and offers plenty of background blur when you want it, at an equivalent focal length of 75mm on the Sony a6500 we tested it on.

To get more info on the Kamlan 50mm F1.1 II lens, including availability and pricing, check out their Kickstarter.

Articles: Digital Photography Review (dpreview.com)

 
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California will debate a bill amendment changing how photo shoot employees are paid

06 Jun

Last month, the California Senate unanimously passed Senate Bill 671, which proposes an amendment to the state’s labor law related to ‘print shoot employees.’ Under the change, California would fix a ‘discrepancy in payment timelines’ between crew hired for short-term photo shoot work and employees working on a TV or movie production.

The bill was sponsored by California State Senator Robert Hertzberg, whose office was alerted to the payment timeline discrepancy, according to his press secretary Katie Hanzlik speaking to PDN.

The proposed amendment revolves around existing California labor law, which requires the majority of short-term workers be classified as employees and receive their full wages on the last day of the job. There’s an exception for employees working on a movie or TV production, however, who receive the wages for their work on the next regularly scheduled payday.

Under the proposal, the definition of ‘print shoot employee’ is changed from a short-term worker involved with a print shoot to a short-term worker involved with a ‘still image shoot, including film or digital photography, for use in print, digital, or Internet media.’

The proposed amendment would allow photographers, directors, and other to pay ‘print shoot employees’ their wages on that same timeline, meaning photo shoot crew members will receive their checks on the next regularly scheduled payday like everyone else.

Under the proposal, the definition of ‘print shoot employee’ is changed from a short-term worker involved with a print shoot to a short-term worker involved with a ‘still image shoot, including film or digital photography, for use in print, digital, or Internet media.’ Photo assistants, stylists, and other crew members involved in a photo shoot would be covered by the change.

Now that it has passed the California Senate, the bill will be debated by the State Assembly’s Committee on Labor and Employment on June 12. The bill may then be passed on to the Assembly for a vote, potentially being passed into law.

Articles: Digital Photography Review (dpreview.com)

 
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Microsoft releases Raw Image Extension to get raw image previews on Windows 10

06 Jun

Windows 10 does not ship with native support for previewing raw image files, meaning users can’t view thumbnails or metadata in the Photos app or Windows File Explorer. Microsoft has a solution for photographers in need of this capability, however, and it’s called the Raw Image Extension.

A screenshot of the download page for Raw Image Extension.

The Raw Image Extension gives Windows 10 native support for previewing raw file formats from ‘many mid- to high-end digital cameras,’ according to Microsoft. Once installed, both Windows File Explorer and the Photos app in Windows 10 will support displaying thumbnails and metadata for these raw image files.

The extension is only supported on systems that have installed the Windows 10 May 2019 Update version 1903. Microsoft utilized the libraw open source project for this extension; a full list of supported formats is available here.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos’ new Neon monitors/recorders will have 8K/60p ProRes RAW module option

06 Jun

Atomos has announced Neon, a new lineup of on-set and in-studio 4K HDR monitors/recorders designed for commercial high-resolution HDR capture. At launch, the four monitors in the lineup will be capable of recording 4K video, but a subsequent 8K master control unit will eventually give each of the monitors the ability to record 8K/60p video.

The Neon lineup consists of four different unit sizes: 17″, 24″, 31″ and 55″ with the following resolutions and pixel densities:

• 17″ — Full HD (2048px x 1080px, 142ppi)
• 24″ — 4K DCI (4096px x 2160px, 193ppi)
• 31″ — 4K DCI (4096px x 2160px, 147ppi)
• 55″ — 4K UHD (3840px x 2160px, 84ppi)

According to Atomos’ press release, each of the units were designed to serve a specific role in the monitoring and recording of footage:

‘[The] 17in is for focus pullers and as an on-set buddy reference monitor for laptops. The 24in and 31in is perfect for the video village, DIT, cinematographer, editor, director and a reference monitor for an iMac or Mac Pro. The 55in is a must have for clients, showrooms and color graders.’

An illustration from Atomos’ website showing how the different units could be used in a production environment to monitor and record video.

Unlike previous Atomos units, the Neon lineup drops the touchscreen in favor of remote control via Atomos iOS app. The app will be able to control up to 1,000+ units at once via Bluetooth (each of the Neon units will communicate using sub-gigahertz RF with a range of 200m/656ft) and will provide real-time tools like focus peaking, exposure, calibration, zoom, waveform monitor, LUT selection and more from a single device. It will also enable the Neon units to be perfectly synced up with the recorded footage for matching timecode.

With the default 4K master control unit, the monitors support up to DCI 4K input and display the image with 10-bit DCI-P3 color, 1000 cd/m² brightness and a 1,000,000:1 contrast ratio. When recording the units can capture ProRes, ProRes RAW, Avid DNx and Cinema DNG formats up to 4K/60p using 2.5″ HDD or SSD media with Master Caddy II or AtomX SSDmini adapters, neither of which are included.

The Neon units feature HDMI 2.0b in/out connections, two mic/line input, one 3.5mm headphone output and come with Atomos’ SDI Expansion Module that offers 12G-SDI in/out.

The displays are constructed of an aluminum alloy frame with a polycarbonate back plate, while the 17″, 24″ and 31″ Neons will come with their own crush-proof and water-tight travel case. Mounting points on the unit include VESA mounts, feet for placing on the ground or desk and ARRI-standard edge mounting points.

To ensure the units are future-proof, Atomos has also announced an 8K Master Control Unit that will allow for recording and monitoring of 8K/60p video with support for both ProRes and ProRes RAW straight out of camera, a world first by our records. Additional details are scarce, but Atomos says the 8K Master Control Units are ‘due to hit the market in 2019.’

The Neon17 and Neon24 units are expected to be available in August 2019 for $ 3,999 and $ 6,499, respectively. The Neon31 and Neon55 units are set to ship September 2018 for $ 7,999 and $ 16,999, respectively.

It’s safe to say these units aren’t for your run-and-gun shooters or even mid-level commercial work. These are full-fledged units designed for the most high-level operations and the most discerning eyes—and that doesn’t come cheap.

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi provides more information about under-screen front camera technology

05 Jun

Earlier this week smartphone manufacturers OPPO and Xiaomi both teased under-screen front-cameras that would allow for the design of ‘notch-less’ devices with uninterrupted edge-to-edge displays.

Xiaomi Senior VP followed up with several tweeted slides that provided some additional information about the technology. According to the slides the display area covering the front camera is capable of turning transparent when the camera is activated, allowing for light to pass and hit the lens and sensor, but looks and works normally when the front shooter is not in use.

To achieve this, Xiaomi is using a using ‘special-low-reflective glass with high transmittance’. The company claims the technology can capture better images than the pinhole solutions we have seen previously although OPPO VP Brian Shen stated that the technology was still new and ‘there’s bound to be some loss in optical quality.’

The slides also hint at a 20MP camera hidden under the display but at this point we don’t know which new model the technology could be implemented in. Given the current buzz around the subject it likely won’t be too long before we find out, however.

Articles: Digital Photography Review (dpreview.com)

 
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Qualcomm shows off 4K HDR video captured on a smartphone with its Snapdragon 855 processor

05 Jun

To show off the incredible image capabilities of its latest smartphone chipset, Qualcomm has shared a 4K HDR video filmed on a prototype smartphone powered by its Snapdragon 855 Mobile Platform.

The video, which was filmed in Maui, Hawaii during Qualcomm’s Snapdragon Tech Summit in December 2019, was captured on a development platform—effectively a prototype smartphone—equipped with Sony’s 22.5-megapixel IMX318 image sensor at the heart of it. The footage was shot in the HDR 10 format with 10-bit color depth and in the Rec. 2020 color gamut. It’s worth noting the Snapdragon 855 is actually capable of both recording and playing back HDR 10+, which uses dynamic metadata instead of static metadata to provide more accurate rendering, so newer smartphones with even better image sensors could technically pull more impressive footage than what’s shown in the above video.

A screenshot from Qualcomm’s spec sheet that shows the photo and video capabilities of its 855 processor.

Qualcomm notes in its explainer blog post that the footage captured with compatible smartphones works with YouTube HDR, so it’s ready to share in its full dynamic range glory straight from compatible devices. Below are a few behind-the-scenes photos of the video shoot on Maui:

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According to Qualcomm’s website there are 11 smartphones currently confirmed to be using the Snapdragon 855 chipset: the OnePlus 7 Pro 5G, OPPO Reno 5G, ZTE Axon 10 Pro 5G, Motorola Moto z3 with 5G Moto Mod, LG V50 ThinQ 5G, Xiaomi Mi MIX 3 5G, Samsung Galaxy S10 5G, Sony Xperia 1, LG G8 ThinQ, Xiaomi Mi 9 and Samsung Galaxy S10. However, not all of those are confirmed to support the 4K HDR video capabilities, as it’s up to the device manufacturer to make use of the Snapdragon 855’s video capabilities.

Articles: Digital Photography Review (dpreview.com)

 
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US visa applicants must soon submit social media accounts including Flickr, Instagram

05 Jun

The majority of U.S. visa applicants are now required to submit social media handles/usernames as part of their applications. This requirement, which was billed as a necessity for national security by the State Department, includes Instagram and Flickr among the 20 social platforms listed on its online application form.

The new requirement applies to both tourism and immigration visas, according to the Associated Press, which reports that in addition to select social media accounts from the past five years, applicants are also required to submit previous email addresses and phone numbers. The requirement was proposed in early 2018.

The State Department includes a number of popular social media services on its application form, including Instagram, Facebook, Twitter, Reddit, YouTube, Flickr and even the mostly defunct Google Plus and Myspace. A few social networks popular outside of the U.S. are also included, such as China’s Sina Weibo and Russia’s Vkontakte.

According to a report from The Hill, ‘Applicants will have the option to say that they do not use social media if that is the case. The official noted that if a visa applicant lies about social media use that they could face “serious immigration consequences” as a result.’

Articles: Digital Photography Review (dpreview.com)

 
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The North Face flooded Wikipedia with product images to manipulate Google ranking

05 Jun

Last week, The North Face and ad agency Leo Burnett Tailor Made published a video detailing the company’s exploitation of Wikipedia as part of an ad campaign. The exploitation, according to the company’s video, involved swapping Wikipedia images of various destinations with new images that prominently featured The North Face gear.

The oddly boastful video puts forth the following question: How can a brand be the first on Google without paying anything for it? The rest of the video details how The North Face pulled off its stunt, including sending photographers to capture original images of people using the company’s gear in ‘adventurous’ locations.

The Wikipedia pages for these high-tourism destinations, the video notes, often appear at the top of the first Google search results page; the first images found on these pages are often at or near the top position on Google Image Search, as well.

As part of its manipulation, The North Face swapped the first images in these Wikipedia pages with its own original photos of the destinations — ones that prominently featured apparel, backpacks, and other products.

In pulling this stunt, the video brags that The North Face was able to manipulate Google Image Search into ranking its promotional content near the top of its results for these destinations.

A screenshot of the Guarita State Park Wikipedia page before North Face added its own photos.

The companies seemingly acknowledged the unacceptable nature of the activity to AdAge, reportedly stating the ‘biggest obstacle’ for the ad campaign was replacing the images ‘without attracting the attention of Wikipedia moderators.’ As well, the video at one point states that The North Face was ‘collaborating’ with Wikipedia in this effort, something Wikimedia Foundation addressed in a blog post.

A screenshot of the Guarita State Park Wikipedia page after North Face added its own photos.

The non-profit organization called the ad campaign an unethical manipulation of Wikipedia, saying, ‘They have risked your [the public’s] trust in our mission for a short-lived marketing stunt.’

‘Wikipedia and the Wikimedia Foundation did not collaborate on this stunt, as The North Face falsely claims,’ the non-profit states in its blog, comparing the ad campaign’s image manipulation to ‘defacing public property.’ As expected, Wikipedia proceeded to remove some of The North Face’s images from articles and to crop its logo out of other images.

Wikimedia Foundation said:

When The North Face exploits the trust you have in Wikipedia to sell you more clothes, you should be angry. Adding content that is solely for commercial promotion goes directly against the policies, purpose and mission of Wikipedia to provide neutral, fact-based knowledge to the world.

For its part, The North Face published a lackluster apology on Twitter, stating:


Articles: Digital Photography Review (dpreview.com)

 
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Unreleased Sony 200-600mm F5.6-6.3 G OSS FE lens prototype appears on auction website

05 Jun

Last month, a rumor surfaced that Sony has a new ‘wildlife/sports’ lens announcement scheduled for the first week of June. Following that leak, a new Sony 200-600mm F5.6-6.3 G OSS FE lens prototype appeared for sale on Yahoo! Japan’s auction website for 20,000 JPY ($ 185 USD). A number of images were included with the auction, which detailed the lens as ‘junk / for parts.’

The auction went live on June 1 and ended at a price of 31,500 JPY ($ 291 USD) on June 2. The prototype’s origins remain a mystery; the product was listed as slightly disassembled with ‘unconfirmed’ functionality. No box or accessories were included with the product, fueling speculation that the prototype was either stolen or found discarded.

The lens visibly contains Sony branding, as well as the model info stamped into the housing. The company hasn’t commented on the auction, which is still visible on Yahoo! Japan, but no longer open to bidding. It’s unclear whether the prototype was sold or the auction was cancelled. At this time, the lens doesn’t officially exist.

Articles: Digital Photography Review (dpreview.com)

 
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Apple used an unreleased 8K Canon cinema camera to show off its Mac Pro, Pro Display XDR

04 Jun

During the launch of Apple’s new hardware and software yesterday at the World Wide Developers Conference (WWDC) 2019 an unreleased 8K Canon video camera was used to capture high resolution footage to demonstrate the quality of the new Pro Display XDR. The video camera was mounted on a robotic arm and was feeding the Apple display with 4:4:4 ProRes 8K raw video via an Atomos Shogun, according to tech YouTuber Jonathan Morrison who live streamed from the event.

During his video the Apple rep refers to the camera on the robotic arm as an ‘unreleased 8K Canon camera’ and from the clips it is easy to see it is designed in the style of the company’s C series. Interestingly, it appears to be mounted with a Sigma 18-35mm T2 in the EF mount. The relevant portion of the video is at roughly the 10:55 mark in the video below:

Canon has featured 8K demonstration cameras and displays in the past at its Canon Expo events, but this is the first time it has allowed the technology to be shown outside of the ‘showcase’ environment, and in a body form that we would recognize.

Articles: Digital Photography Review (dpreview.com)

 
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