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What you need to know about Canon’s EOS Rebel SL3 (250D)

10 Apr

Introduction

The Canon EOS SL2 (also known as the 200D and Kiss X9) is one of the company’s most best-selling DSLRs. And it’s not surprising, as the SL2 was a low-priced, competent camera that you could slip into a purse or small bag.

The new SL3 (250D, Kiss X10) isn’t a dramatic departure from the SL2: it’s still small. inexpensive and mostly up-to-date in terms of features. It borrows many features from Canon’s EOS M50 mirrorless camera, including the DIGIC 8 processor and rather disappointing 4K video capabilities. But more on that later.

The Rebel SL3 will be available at the end of April for $ 599 body-only or $ 749 bundled with the EF-S 18-55mm F4-5.6mm IS STM lens. We’re featuring the white version in this article, because we think it looks snazzy.

Just a bit lighter

The SL3 is the same size and nearly the same weight as the SL2 (above right). Canon managed to shave 4 grams off of the weight (though only 2g off of the black one), so you won’t have to buy a new camera bag.

As you can see, changes to the design are very subtle. There’s a bit of an indent under the Canon logo on the SL3, and the often-irritating redeye reduction lamp (which also serves as a visual countdown for the self-timer) has been removed. Unlike its predecessor, the SL3 can’t use its flash as an AF-assist lamp, though it can use the infrared target if you buy an external flash.

The SL3 uses the same 24MP APS-C CMOS sensor and elderly 9-point autofocus system as the SL2 (when shooting through the viewfinder). In live view, the SL3 also has Dual Pixel AF, covering 88% of the frame horizontally and 100% vertically. The SL3 is Canon’s first DSLR to feature Eye AF in live view, as well.

Up top

There are a couple of cosmetic and feature differences between the SL3 and its predecessor on its top plate. The main differences are the removal of the Wi-Fi button and a reduction in the number of items on the mode dial.

Like the EOS M50, the SL3 has a Scene Intelligent Auto mode that will pick a scene mode for you, and provide easy-to-understand visual guides to adjusting things like aperture (‘background blur’), exposure compensation (‘brightness’) and white balance (‘color tone’). A feature guide offers brief description of each and every menu item when it’s selected.

Rear view

No need to show the SL3 and SL2 side-by-side here, as they look exactly the same.

The SL3 has a fully articulating touchscreen display with 1.04 million dots and a well-designed UI. The optical viewfinder is, as you’d expect, quite small, with an unremarkable magnification of 0.54x (in 35mm terms). You can see about 95% of the scene when looking through it, which isn’t ideal for precise composition.

For those wondering, that’s not a dial around the Q/Set button – it’s just a 4-way directional pad. The SL3 has one control dial and it’s on the top.

Selfies, of course

Sure, the SL3’s fully articulating LCD is great for video and waist-level/overhead shooting, but let’s face it: on the SL3, it’s mostly for selfies. If you need further evidence, look no further than the new ‘Smooth Skin’ setting, which gives you five levels of skin smoothness to choose from.

On the port side…

First, isn’t that silver kit lens a nice match for the white SL3? It’s worth pointing out that this is the F4-5.6 version of the 18-55mm lens, not the F3.5-5.6, so you’re losing about 1/3-stop of light compared to Canon’s older, larger kit zoom.

Under the gray plastic cover are sockets for a 3.5mm external mic – a nice touch on a cheaper camera – and the RC-6 wired remote. The SL3 is also compatible with the BR-E1 wireless Bluetooth remote.

And on your right…

On the opposite side of the SL3 are the other two ports, for HDMI and USB 2.0. As far as we know, the camera cannot be charged over USB, but we’ll double-check that as soon as we can.

The gray patch at the bottom is a rubber cover. It conceals a channel through which you feed the cable for the optional DR-E18 DC coupler which, when attached to the required AC adapter, will set you back $ 150. (Much cheaper third-party options exist if you want to operate the camera using wall power.)

Speaking of batteries, Canon pulled off some tricks to increase the CIPA-rated battery life from 650 shots on the SL2 to 1070 on the SL3. Live view battery life is in the middling 300 shot-per-charge range.

4K, with a catch

The good news is that the EOS Rebel SL3 can capture 4K video at 23.98p (or 25p in PAL regions) with a maximum bit rate of 120Mbps.

The bad news is that, like the EOS M50 with which it shares so much, the SL3 has an enormous 2.64x crop, relative to full frame, so the wide end of your 18-55mm is equivalent to 47mm in full-frame terms. So much for wide-angle shooting! In addition, Dual Pixel AF is not available in movie mode, leaving you with regular contrast detection.

Both of these limitations are a shame, given that the small body and fully articulating LCD on the SL3 should make a nice camera for vlogging.

That’s all for our brief tour of the EOS Rebel SL3 / 250D / Kiss X10. We should be getting our hands on one soon, so look for sample photos and impressions in the not-too-distant future.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic announces a new battery grip for its Pocket Cinema Camera 4K

10 Apr

Blackmagic Design has announced the impending arrival of the Pocket Camera Battery Grip, a new battery adapter for its Pocket Cinema Camera 4K (BMPCC4K) that dramatically increases the battery life and adds a bit of extra grip for when handholding the 4K camera.

The Pocket Camera Battery Grip features a carbon fiber design with non-slip hand grips and a slide out tray that trades the BMPCC4K’s usual LP-e6 battery for two L-series batteries, increasing the battery life to up to two hours of continuous shooting on a single charge. When a charge is needed, users can charge the batteries inside the grip using the camera’s 12V DC connection.

As with other battery grips, the Pocket Camera Battery Grip attaches to the bottom of the BMPCC4K and screws into the integrated tripod mount using a tightening dial. The LP-E6 battery door on the BMPCC4K even gets a cozy place to hide in the grip so it doesn’t get misplaced for when you need to switch back.

The Blackmagic Pocket Camera Battery Grip will be available in August 2019 and is currently available to pre-order at B&H for $ 245 USD.

Blackmagic Design Announces New Blackmagic Pocket Camera Battery Grip

New camera grip attaches to any Blackmagic Pocket Cinema Camera 4K and holds 2 L-Series batteries for over 2 hours of non-stop shooting

NAB 2019, Las Vegas, USA – Monday, April 8, 2019 – Blackmagic Design today announced Blackmagic Pocket Battery Grip, a new battery adapter that features a slide out tray designed to hold two L-series batteries. This allows customers to power external flash disks or run the camera for over 2 hours of record time before charging. Blackmagic Pocket Camera Battery Grip will be available in August from Blackmagic Design resellers worldwide for US$ 245.

The Blackmagic Pocket Camera Battery Grip will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.

Designed for the Blackmagic Pocket Cinema Camera 4K, the new Pocket Camera Battery Grip lets customers replace the camera’s standard LP-E6 battery with two L-series batteries so they can shoot for over 2 hours on a single charge. It’s perfect for anyone that needs to shoot for extended periods of time. Featuring a unique carbon fiber design, non-slip hand grips, and a slide out tray that holds 2 L-series batteries, the Pocket Camera Battery Grip also makes it easier to hold the camera on longer shoots. L-Series batteries are standard batteries used for a variety of professional lighting equipment, so they’re readily available. Customers can even charge the batteries in the grip via the camera’s 12V DC connection in between takes.

Unlike traditional external battery packs that hang off the side of the camera, the Pocket Camera Battery Grip has a unique design that makes it part of the Blackmagic Pocket Cinema Camera 4K. Simply remove the detachable LP-E6 battery door cover from the camera, slide the pocket grip in and lock it into place. There’s even a storage slot built into the grip for the battery door cover. Because the Pocket Camera Battery Grip becomes part of the camera, customers get larger non-slip hand grips that make holding the camera even easier. Best of all, there’s no extra gear hanging off the camera so customers still have a compact camera that can go anywhere.

“The Blackmagic Pocket Cinema Camera 4K has been received incredibly well by our customers because it’s not a dumbed down consumer product, but it is a true digital film camera with incredibly advanced features generally only found on the most expensive cameras available,” said Grant Petty, Blackmagic Design CEO. “The new Pocket Battery Grip is exciting because it lets you power external flash disks allowing customers to record to the disk used for editing. It will even power the camera for over 2 hours on a single charge. As it’s designed to integrate into the cameras design, it’s more comfortable to hold the camera on longer shoots. Unlike regular external battery packs that hang off the camera, the Pocket Camera Battery Grip is integrated into the cameras design itself, so it doesn’t add a lot of weight and it fits perfectly!”

Availability and Price

Blackmagic Pocket Camera Battery Grip will be available in August for US$ 245 excluding duties from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Pixelmator’s nondestructive AI-powered image editor for iPad is now available

10 Apr

In late 2018, Pixelmator announced it would release a new image editor for iPad called Pixelmator Photo. As promised, the app is now available for iPad owners to download from the App Store for $ 4.99 USD.

Pixelmator Photo version 1.0 offers nondestructive image editing on iPad, including what Pixelmator calls ‘desktop-class photo editing tools’ and AI-powered film emulation presets. Features include a Repair tool for removing objects from photos, advanced color adjustments, machine learning-based adjustments and presets, nine preset film emulation groups, and support for raw images.

Pixelmator built its new app specifically for the iPad and its various technologies, including Core Image, Core ML 2, and Metal. The app supports the 3rd-gen iPad Air, 5th-gen iPad mini, 5th- and 6th-gen iPad, and the iPad Pro 9.7 and later.

Articles: Digital Photography Review (dpreview.com)

 
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Yashica reveals its own 35mm film product following bizarre, confusing teasers

10 Apr

Yashica, the iconic brand purchased by Hong Kong-based MF Jebsen Group in 2008, is preparing to launch its own 35mm film product. The company began dropping teasers related to the product late last month, including an image with broken English shared on Facebook and a trio of dark Instagram images that left followers confused.

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Yashica first teased the product on April 1 with an image of a film negative featuring ‘NEGATIVE C-41,’ ’24,’ and ‘COLOUR ISO400.’ The image also featured the confusing, grammatically incorrect statement, ‘We will have many Negative’s News start from Today.’

Some followers suspected the image was an April Fools’ prank, but the company followed it up with an image featuring Yashica film rolls on April 4. As noted in the comments on the post, the image appears to be a render based on the obvious gap located at the top of the exposed film strip.

Note the visible gap between the film strip and the 35mm canister.

On April 5, Yashica shared a gallery of photos taken by Kerry Jeffrey using the new Yashica 400 Negative film. The company also shared a statement from Jeffrey, who said, ‘It’s a fun film to use. Not too grainy. There were small small color shifts in strong light, but I like it overall.’

Many photographers have responded to Yashica’s announcement with a lack of enthusiasm or outright criticism, with some of them pointing toward the company’s lackluster Y35 camera it launched after raising more than $ 1m on Kickstarter. It remains unclear when Yashica plans to release its film, but all signs point toward photographers being generally uninterested.

Articles: Digital Photography Review (dpreview.com)

 
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Flickr partners with Pixsy to create end-to-end platform for protecting image copyrights

09 Apr

Flickr has announced a new strategic partnership with Pixsy, an online legal-tech service that helps photographers protect and enforce their copyrights. The new partnership allows Flickr Pro users an end-to-end solution to track their images and take legal action in the event a photograph is stolen and used illegally.

Starting today, Flickr Pro members can integrate their Flickr images with Pixsy’s advanced monitoring and protection platform which allows access to 1,000 monitored images, 10 DMCA takedown notices and unlimited case submissions.

When a copyright infringement is detected by Pixsy, an alert will be sent to the user with the option to decide what should be done next. The press release says ‘Photographers have access to a comprehensive case resolution service to recover lost licensing revenue and damages, along with the tools to register images with the US Copyright office and send automated DMCA takedown notice.’

Pixsy works alongside law firms around the globe on a ‘no win, no fee’ basis. Pixsy says it’s handled more than 70,000 copyright infringement cases to date, resulting in millions of dollars in lost revenue.

To get started, head to your account settings page on Flickr, locate Pixsy under the ‘Pro Perks’ section and select ‘Redeem.’ From there you’ll be directed to Pixsy, where you will link your Flickr and Pixsy accounts.

For more information, head on over to Flickr’s announcement post.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: We tour Panasonic’s Yamagata lens factory

09 Apr

Yamagata: a long way from Osaka

Left to Right; Kiyokazu Ishiyama, Kuniko Katagiri, Kimihiro Wakamizu, Toshiaki Takano and Takemi Oketa

The city of Tend? sits on a wide plain in the Yamagata prefecture of North Eastern Japan. It’s a city of just 61,000 people and, with snow-topped peaks visible in nearly every direction, feels even more distant from Panasonic’s headquarters in industrial Osaka than the 600km (370 miles) that actually separate them.

But this quiet spot, hemmed-in by the Iide, ?u and Asahi mountain ranges, plays an essential role in the company’s camera business, as it’s home to Panasonic’s Yamagata lens factory.

It makes other things, too, but we visited because it’s responsible for lens units for compact cameras, interchangeable lenses, and lens elements for both Panasonic and other (un-named) customers. The factory was founded in 1982 and has been making lenses since 1987, giving it 35 years of experience in the field. But, the company maintains, it’s still constantly looking for ways to improve.

All of the images in this article were supplied by Panasonic and are used with permission.

All the usual processes

Lens elements about to be coated by vapor deposition

The factory can take rough glass blanks or the raw materials for plastic elements in at one end and do all the processing and assembly needed to make a complete lens.

This sees glass elements ground and polished to shape. These elements then have their edges ground off, with careful attention given to ensuring the optical center of the lens is perfectly central within the element. The lenses are then coated, by vapor deposition, to give them the anti-reflective and water/oil resistant coating they might need, before having their edges blacked, to prevent internal reflections.

These lenses are then either installed into lens barrels (also made at the factory) or sent elsewhere. Although the factory can build a lens from start to finish, it also creates individual lens elements that are sent off to other manufacturers, both for Panasonic and other companies’ products.

Precision construction and checking

Some lenses have alignment adjusted by machine, others are fine-tuned manually

For the lenses that are made in Yamagata, the assembly process is pretty involved. The word that came up most often during my visit was the word ‘precision,’ and Panasonic is clearly proud of its ability both to assemble lenses with high precision and to measure and confirm that precision.

The example I was shown was the Panasonic Leica DG Vario-Elmar 100-400mm F4.0-6.3 ASPH Power OIS. It’s a fairly complex lens with 20 elements in five groups. The different groups are assembled and then introduced into the lens barrel.

Every group has to be made and positioned with high precision, but it’s impossible to make the entire lens with perfect precision. As a result, the lens is designed so that the groups that are most sensitive to tilt and centering (the ones that have the biggest effect on image quality) are adjustable.

Adjusting the 100-400mm F4.0-6.3

Three of the five groups that make up the 100-400mm F4.0-6.3 ASPH are adjusted during the manufacturing process

In the case of the 100-400mm, there are three groups that are designed to be adjusted.

The third group is adjusted for tilt and for centering within the barrel. With this done, the rest of the lens is assembled and spacing between groups one and two is adjusted. Finally, the first group is adjusted for tilt and centering.

The company says the lenses are designed to be centered to within 5?m, but the factory actually achieves less than 3?m. Tilt is supposed to be corrected to within 3/60th of a degree but the accuracy actually achieved is less than 1/60th of a degree.

Individual checks

Each lens is checked for any unexpected mechanical noise

Every lens is then adjusted for back-focus and tracking, then subjected to MTF measurements. Each unit is also checked to ensure its gyro sensors are correctly calibrated and that there’s nothing generating any unexpected mechanical noise.

Every single lens is checked, they say, and lenses are then picked at random for more extensive testing as part of the quality control process.

Aspherical expertise

Aspherical elements are used to offer different optical corrections at different points across its surface

But the site’s main area of expertise, and the reason other brands come to it for lenses and elements, relates to aspherical lens elements. Aspherical lenses are those whose surfaces vary in shape across their surface, such that they can’t be described by a sections of a sphere.

They’re are used to correct a phenomenon known as ‘spherical aberration,’ where rays of light passing through the edge of a lens are effectively focused at a different distance to those passing through the center of the lens. Adding aspherical lenses to a design can replace the need for multiple elements, which can help make the lens as a whole smaller, lighter, cheaper or simply better optically corrected.

The role of the die: too important to be left to chance

Aspheric lenses, whether plastic or glass, need to be re-shaped using precision dies or molds

The key to creating an aspherical lens element, whether its glass or plastic, is the ability to precisely form the complex shape of the element. And a key part of this is creating a die: the shaped tool that presses the plastic or glass into the correct shape. The precision of the shape of these dies is essential to ensure the resulting lens element has the correct optical properties.

The factory has capacity to make around 400 dies per month, working 24 hours in two shifts. These are made from very hard metal and require high pressures for shaping them.

The molds for glass elements can be used to shape between 500 and 1500 units before they need replacing. The molds for injection-molded plastics lenses will last for around 10,000 elements before it needs replacing. The company says it takes around five weeks to go from a design to having a working mold, while the molds for glass take around 8 weeks.

Expertise + experience

Even the relatively modest 14-45mm F3.5-5.6mm Micro Four Thirds kit zoom uses an aspherical element in its design (one of a pair of elements cemented together near the very right of this image)

This expertise has been developed over the company’s many years experience of making aspherics. For instance, its work making both glass and plastic lenses means this knowledge can be worked-in at the design stage.

Panasonic says having these expertise within the company is central to the development of new products: the factory communicates with the design team on a regular basis. During the product development process, the factory will recommend materials and manufacturing processes that the design team then takes into account when coming up with a final design. This sharing of knowledge ensures the products can take full advantage of what it’s possible to repeatably produce, using its molding technology, assembly and high-precision evaluation.

The factory once received a request for a very small compact camera, which required a very thin lens. The factory worked with designers and engineers to achieve a lens element with 0.3mm thickness: the thinnest aspherical lens element in the market at that time.

Process improvement

Panasonic’s expert polishers can refine the surface of a molding die from a roughness of 50nm down to 20nm

But, in addition to building up experience, Panasonic also takes the Kaizen approach to continuous process improvement: constantly looking, and looking to its staff, for ways to improve the way it works.

This focus on improvement has helped it refine the production quality of its aspherical lenses.

Press releases regularly talk about the number of aperture blades and their shape as the way of ensuring better bokeh, but all they do is define how circular the bokeh is. The smoothness of the lens elements also has a vital role to play: any imperfections in the lens surface can result in an onion-ring pattern appearing in the bokeh.

Panasonic found surface smoothness of the final lenses could be improved if the dies used to shape them are coated by vapor deposition (the same process used to coat lenses).

Meanwhile, the dies used for glass molding (which are subjected to much greater temperatures and forces), can be improved by hand-polishing. The factory’s ten trained polishers can take a die with 50nm roughness and take it to 20nm, again, improving the bokeh performance.

In perfect shape

Panasonic has developed its own machine to assess the shape of the lens to within 100nm

A machine developed in-house, known as the UA3P (Ultra accurate 3D profilometer) checks the shape: the shape of the lens can be created to within 100nm of the intended shape.

The company says that making the small, high-resolving-power lens elements for compact cameras was very valuable for developing the facilities, technologies and skills needed to build lenses for larger cameras (Micro Four Thirds and full frame). However, some of the specific challenges are different: temperature control becomes even more critical when building lenses at larger scales.

The lens has to be cooled very evenly, to ensure both its shape and the optical properties of its glass remain consistent across the element. This requires the development of a new machine with more precise temperature control.

Looking beyond lenses, and beyond Panasonic

The factory has invested in new machines to deal with the challenges of making elements for its S-series lenses

The factor I found most interesting was how it’s responding to a changing market. The factory was first established to make magnetic tape heads for video recorders: something that’s much less in demand than it was in 1982.

Now, as the camera market declines, Yamagata is looking for ways to adapt to market demand again, and has started making lens modules for automotive sensors and the complex mirrors needed to project a head-up display (HUD) image onto a car’s windscreen.

Even on the lens side, the demands of supporting Panasonic’s interchangeable lens business is very different to creating vast numbers of the complex lenses needed for its travel zoom compacts.

Not all Panasonic lenses are made at Yamagata and not all lenses made at Yamagata are for Panasonic

The move to making fewer, but more challenging lenses has prompted a lot of investment in new machinery. Where previously the factory had a few machines performing the same process thousands of times, it now has large numbers of machines designed to create fewer elements but with even higher precision. Interestingly, although the factory can manufacture most of the components for a complete lens, not all of the company’s lenses are built in Yamagata.

Having been rushed through the factory, there was one area we weren’t allowed to visit. This is essentially a mirror-image of the areas I was shown, but all working for another, unspecified client. Something to consider, next time you see the phrase ‘Made in Japan’ on a lens you weren’t expecting to see it on.

Articles: Digital Photography Review (dpreview.com)

 
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Pentax 11-18mm F2.8 DA* sample gallery

09 Apr

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We just got our hands on the new Pentax 11-18mm F2.8 DA* – a premium wide-angle zoom lens for Ricoh’s APS-C format Pentax DSLRs. Tough and weather-sealed, the 11-18mm is intended to satisfy the needs of Pentax users who want to go wide without going full-frame.

Take a look at our full gallery of sample images to judge for yourself how it performs.

View our Pentax 11-18mm F2.8 DA* sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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CIPA’s February 2019 report shows huge drop in global digital camera shipments

09 Apr

The Japanese Camera & Imaging Products Association (CIPA) has published a new graph showing the number of cameras shipped in February 2019 and the figures aren’t reassuring. According to the association, sales were down from January 2019 and had substantially decreased compared with February 2018.

Global digital camera shipments in February 2019 came in at only 935,148 units compared to the 1,001,398 shipped in January 2019. This is a more than 30% decrease year-over-year, with January 2018 having seen 1,340,492 shipments and February 2018 having maintained a consistent rate at 1,340,995.

A decrease was experienced in the interchangeable lens camera market as well, dropping from 798,014 in February 2018 to 521,217 in February 2019. Both the February 2018 and 2019 shipment periods were lower than February 2017, which had 843,217 in global interchangeable lens camera shipments.

A similar, though not quite as dramatic, decrease in global built-in lens digital camera shipments was experienced in February 2019 compared to February 2018 at 413,931 units versus 542,981.

According to the CIPA data, global digital camera shipments remained very similar from January to February 2017 and increased slightly for those same months in 2018. The trend changed in 2019, with overall February shipments dipping a little more than 6% below January’s global shipment numbers.

The numbers are concerning due to the general decrease year-over-year, but also because the shipment numbers decreased during a time in the year when they previously remained relatively steady or began increasing. It’s yet to be seen whether March’s figures represent yet another decrease or if February’s shipment numbers end up being an unfortunate, concerning fluke.

Articles: Digital Photography Review (dpreview.com)

 
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VSCO sues PicsArt for allegedly reverse engineering its filters

09 Apr
An exhibit provided in the complaint that shows PicsArt’s Gold subscription platform, which is where VSCO alleges its reverse engineered filters ended up.

Visual Supply Company, more commonly referred to as VSCO, has filed a lawsuit against the creators of PicsArt, a photo editing application, claiming the company reverse engineered a number of its photo filters found in its mobile application.

According to the complaint, filed in the Northern District of California, 17 PicsArt employees created VSCO accounts and used them to reverse engineer at least 19 presets VSCO offers, a violation of the terms of the VSCO app which state users ‘agree not to sell, license, rent, modify, distribute, copy, reproduce, transmit, publicly display, publicly perform, publish, adapt, edit or create derivative works from any VSCO Content.’

VSCO says it attempted to remedy the situation out of court with a letter, sent to PicsArt in February 2019, demanding the company remove the reverse engineered presets from its app, provide accounting records for all profits and revenue made from the presets and identify all of the PicsArt employees who had opened an account with VSCO. PicsArt subsequently said it would remove all of the filters by March 22, 2019, but as of the complaint’s filing date, only 17 had been removed and two new filters PicsArt is publicizing appear to be reverse engineered as well.

An exhibit in the complaint that details a social media post that shows a pair of filters that VSCO claims PicsArt reverse engineered to sell as part of its own subscription service.

Now, PicsArt employees creating VSCO accounts alone isn’t too suspicious, but VSCO appears to have more than suspicion alone to back up its claims. According to the lawsuit:

VSCO’s color scientists have determined that at least nineteen presets published by PicsArt are effectively identical to VSCO presets that are only available through a VSCO account. Specifically, VSCO determined that those PicsArt filters have a Mean Color Difference (“MCD”) of less than two CIEDE2000 units (in some cases, far less than two units) compared to their VSCO counterparts. An MCD of less than two CIEDE2000 units between filters is imperceptible to the human eye and cannot have been achieved by coincidence or visual or manual approximation. On information and belief, PicsArt could have only achieved this degree of similarity between its filters and those of VSCO by using its employees’ VSCO user accounts to access the VSCO app and reverse engineer VSCO’s presets.

PicsArt has denied these allegations, with a spokesperson sharing the following statement with TechCrunch:

VSCO is not a direct competitor, but they clearly feel threatened by PicsArt. VSCO’s claims are meritless. It’s disappointing that they have made these false claims against us. PicsArt will vigorously defend itself against these baseless claims and all options are under consideration.

VSCO doesn’t mention a specific dollar value in the complaint, but asks for ‘compensatory damages, disgorgement of profits, corrective advertising, and costs and attorneys’ fees.’

Articles: Digital Photography Review (dpreview.com)

 
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Lexar launches trio of ultra-compact SSD drives

08 Apr

Lexar has announced the SL100 Pro Portable SSD lineup, a trio of compact solid state drives that offer USB 3.1 speeds in a tiny, durable form factor.

The SSD, which weighs just 70.5g / 0.155lbs and measures in at a 73.4mm x 55mm / 2.89in x 2.17in, features a USB-C connection that offers read speeds up to 950MBps and write speeds up to 900MBps. Although the SSD isn’t ruggedized, it is protected against rough vibrations and has temperatures, with an operating temperature range of 0°C to 70°C and a storage temperature range of -40°C to 85°C.

Lexar includes its DataVault Lite software to keep files onboard the SSD safe throws in a three-year limited warranty for good measure.

The Lexar SL100 Pro Portable SSD comes in 250GB, 500GB and 1TB capacities and is available for purchase at B&H for $ 87.99, $ 134.99 and $ 239.99, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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