360Photography

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  • Irix Edge Light Pollution filter targets the yellow glow from sodium lamps

    Irix has released a new filter in its Edge product line and the first in its Super Endurance (SE) series, the new Irix Edge Light Pollution filter. The offering, which appears to be a glorified UV/Haze filter, is available in 67mm, 72mm, 77mm, 82mm, and 95mm sizes and features durable optical glass strengthened with “a special thermal treatment” and multiple coatings.

    Irix says its new Light Pollution filter is designed to be used in urban environments and for nighttime photography where light pollution may obscure stars and natural colors. The filter is designed to remove the yellow glow resulting from sodium lights commonly used in urban environments.

    In addition to multiple anti-reflective coatings to minimum reflections, the new Irix filter has a nano coating that repels oil and water. The surrounding aluminum frame sports a black finish resistant to damage and flares. For additional protection, Irix is selling the filter with a protective case for transportation and storage.

    The new Irix Edge Light Pollution filter is available in the following sizes and prices:

    • 67mm: 95 EUR / $ 108 USD
    • 72mm: 107 EUR / $ 122 USD
    • 77mm: 125 EUR / $ 143 USD
    • 82mm: 135 EUR / $ 154 USD
    • 95mm: 149 EUR / $ 170 USD

    Articles: Digital Photography Review (dpreview.com)

  • Panasonic Lumix LX100 II added to enthusiast compact buying guide: Joint-winner with Sony RX100 VA

    Following testing of the Panasonic Lumix DC-LX100 II, we’ve added it to our Pocketable Enthusiast Compact Cameras buying guide as joint-winner, alongside Sony’s Cyber-shot RX100 VA.

    Articles: Digital Photography Review (dpreview.com)

  • Samsung to acquire smartphone camera tech company CorePhotonics

    According to sources familiar with the matter, Korean smartphone maker Samsung is close to acquiring Israel-based technology company CorePhotonics. The deal could be worth $ 150 million.

    CorePhotonics isn’t a company end consumers are too familiar with, but it has been one of the pioneers of the multi-camera trend in smartphones. Most notably it was the company behind OPPO’s 5x zoom module and was likely also involved in the creation of OPPO’s latest 10x zoom camera. It’s unknown at this point what the acquisition would mean for the relationship with OPPO.

    The CorePhotonics name also appeared in the news when the company filed several law suits against Apple for patent infringement. The legal dispute is still ongoing.

    Zoom reach is one of the very few areas where smartphone cameras still can’t keep up with stand-alone compact cameras and is likely going to be an important differentiator for brands when launching the next generations of smartphones. In this context the acquisition makes a lot of sense for a manufacturer like Samsung.

    Articles: Digital Photography Review (dpreview.com)

  • Motorcycle photographer Mark ‘Kato’ Kariya talks gear

    California native Mark ‘Kato’ Kariya has been shooting motorsports for more than 30 years, during which time he’s used countless cameras, lenses and bags. Recently he’s been working with Lowepro’s new range of ‘ProTactic AW II’ camera backpacks, designed for use in tough conditions. We spoke to him about his career, his gear, and his tips for successful motorsports photography.

    What’s your background?

    I grew up in rural Southern California, where my family grows oranges and avocados. I’ve been riding motorcycles since I was nine because that’s how we checked the sprinklers every morning and afternoon – a Honda 90 trail bike fits between the trees easily and it’s a lot faster than walking! I worked on the high school yearbook as a photographer in my junior and senior years, and I joined the Daily Trojan newspaper when I was at USC, where I got my BA in journalism.

    After graduating, I figured I’d end up on a daily paper somewhere but instead I started covering local motocross races for Cycle News – a weekly publication centered heavily on race coverage. A year after graduating, Cycle News offered me a job as a staff editor, which was a dream melding of being in the motorcycle industry and using my degree.

    After two years at CN, my former editor offered me a staff position at a new magazine he was starting called Dirt Rider. I accepted and stayed there for almost 15 years before going freelance in the late 90s, specializing in event coverage as well as photo shoots for various race teams and, on occasion, manufacturers.

    How did you get your start in photography?

    Upon graduating eighth grade we were asked what we wanted to do when we grew up. I had no idea! The first thing that popped into mind was photographer so I went with that. I took a basic photo class at a junior college one summer, but other than that, I learned by seeing what others were doing and figuring things out for myself.

    Mark Kariya portfolio gallery

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    What’s your ideal way of working?

    It depends on the job. Even for race coverage, it varies. At some races, I can get by with hiking around to various shoot locations and get different types of shots. At other races, it really helps being able to ride to locations, usually on the course before the race starts, though this limits the equipment I can take. Then there are races like the Baja 1000 where there’s so much distance between locations that I drive my truck to various access points off the highway.

    It just depends on what the client wants. If I’m shooting at a track or somewhere I don’t have to go too far, I can bring more equipment and hike around while sometimes the client wants a more remote location so I ride with a backpack to carry what I can.

    What’s your perfect camera bag?

    There’s no perfect bag. Each type of job seems to require a different bag depending on what equipment’s needed. I usually use one bag as a travel bag because it’ll carry most of the stuff I’ll need and fits underneath the seat in front of me or in the overhead of most larger commercial airliners (Boeing 737 Airbus A321 and larger, for the most part). For the smaller regional jets, it can get a little tricky; most of the time my travel bag will fit underneath the seat in front. The hard case/trunk for a 400mm F2.8 or 200-400mm F4 will fit in either spot on big and small jets.

    What’s the most important factor for you, when it comes to gear?

    As I cover a lot of desert races, dust is a huge issue so I try to stay upwind whenever possible. If it’s not dusty, then it’ll likely be muddy and rainy. Due to the harsh environments off-road motorcycle races are held in, I need my gear to be rugged as well as easily portable. I always use two of the same camera bodies and am currently running Nikon D5s as my primaries with a D4 as a third when required.

    You don’t want to expose the sensor or other internals so I’ll typically leave lenses on the cameras all day, with the 17-35mm F2.8 on one body (always with a a Speedlight SB-900 or 910 on it for fill) and 70-200mm F2.8 on the other. If I think there’s going to be a situation where multiple lights might be called for, I’ll also carry two extra lights; the last of my SB-800s just died so I’m trying to get SB-5000s dialed in.

    Mark’s top tips for motorsports photography:

    1. Know your equipment and what all the different buttons and settings are, something that only comes from reading the manual.

    2. Study the work of photographers you admire and figure out what makes their shots stand out for you.

    3. You’re not always going to be in a place with the best action so at least make sure the shots are technically excellent (in focus, properly exposed, composed well).

    4. Experiment with different settings, locations and equipment (one thing I’ve learned is my bodies produce the best color when I’m underexposing by anywhere from 0 to 1.7 EV depending on ambient light and where the sun is).

    5. Since everyone wears helmets you won’t be able to photograph the emotion associated with racing unless you shoot people shots (spectators, mechanics or racers after the event like on the podium or in their pit area).

    How are you finding the LowePro ProTactic II bags?

    I’m using the prototype BP 450 AW II that we used for the intro video and it is far superior to the kind of generic backpack I’d been using for 20 years. It’ll accept the two bodies with lenses attached that are my go-to’s with little more required than turning the lens hoods around. When I find a shoot location, I hop off the bike, take the ProTactic off, put it on the ground and unzip the rear panel. Easy! I haven’t needed to access gear through the side doors yet, though I appreciate their availability.

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    I like how the ProTactic is a dedicated camera bag so the internal dividers are movable, allowing me to arrange things as I need to, and its padding provides a bit more protection from the elements (dust and mud, usually) and crashes, which happen occasionally when I run out of talent.

    What advice would you give someone who wants to get into motorsports photography?

    it’s very difficult to get trackside access for auto races, at least in the US. Dirt bike races are easier, except for the professional Supercross or motocross Nationals, flat track and road races – those are treated like car races as far as credentialing is concerned. But accessing the course for off-road motorcycle races is much easier. Contact the promoter/organizer a week or two before the race to see what’s needed. Even if you can’t get trackside, you can usually still get some nice shots from the fence.

    Watch the way the light changes throughout the day and don’t ignore what’s in the background. Use everything you can environmentally to enhance your shot. If you’re just getting into race shots, fast shutter speeds like 1/1000 and higher are ‘safer’ and will let you get a higher percentage of good shots. I’m old school so I still try to keep my ISO as low as possible.

    Once you get fairly comfortable capturing good action, experiment with different settings, from shutter speeds to white balance (again, keeping an eye on environmental factors).

    Learn more about the Lowepro ProTactic range of bags and accessories

    This is sponsored content, created by Vitec. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Canon CEO expects ILC market to shrink 50% by 2020 to just 5-6M units

    Since 2010, the interchangeable lens camera (ILC) market has been decreasing at an alarming and steady rate. Now, it seems Canon is projecting this trend will not only continue on, but expects it to increase exponentially with claims the ILC market will be cut in half within the next two years.

    In an interview with Nikkei [translated, paywall], Canon CEO Fujio Mitarai shared a few insights into where Canon sees both its future and the market going.

    As summarized by CanonRumors, Mr. Fujio says its camera sales have decreased approximately 10% year over year since ILC sales hit their peak in 2010.

    A not-quite-accurate Canon analogy for decreasing ILC sales.

    Currently, the global market for interchangeable lens cameras is estimated at 10 million units per year, according to both Mr. Fujio and CIPA data [PDF, page 2], but Canon expects that number to drop down to and plateau at roughly 5-6 million prosumer and professional cameras by the end of 2020.

    Mr. Fujio also noted mirrorless camera sales aren’t adding to its bottom line, but are instead eating into the sales of DSLRs. This may very well have played into the reason Canon opted to release only one mirrorless camera in 2018 and doesn’t appear to be in a rush to get many more out by the end of 2019. It may have also been a factor in both Canon and Nikon taking so long to get into the full-frame mirrorless market; if all the capital put towards research and development (R&D) is only going to cannibalize your money makers, there’s not much need to rush the new technology.

    To combat the declining revenue from ILC sales, Mr. Fujio says Canon plans to shift its focus to corporate sales rather than consumer sales over the coming years. As a result, Canon will be putting more emphasis — read: R&D — on industrial, surveillance, and medical imaging going forward.

    Articles: Digital Photography Review (dpreview.com)

  • Kodak Alaris to release Ektachrome 120 and sheet film this summer

    Kodak Alaris has revealed plans to ship its revived Ektachrome product in 120 format and sheet film variants later this year. The revelation was made by Kodak Alaris UK Quality Manager Andy Church on the Sunny 16 podcast last week (approx. 16 minute mark), during which he stated that the new products may launch in around three months, depending on production.

    Kodak began shipping its new Ektachrome E100 film product globally in September 2018, followed by the Ektachrome 7294 Reversal Film in Super 8 format in October. The company previously indicated it would likely launch the E100 product in 120 format and sheet sizes, something it is now actively working on due to the 35mm product’s success.

    The company must deal with some ‘technical hurdles,’ according to Thomas J. Mooney, Kodak Alaris’s film capture business manager who spoke with Kosmo Foto. According to Mooney, ‘Based on the very favourable response to our 135 format launch of Ektachrome E100, we recognise there is definitely a market need/demand for these additional formats, and activity is now underway.’

    Church breaks down the technical issue during the podcast, stating the 120 format and sheet film require ‘slight adjustments’ to the formula. The company has ‘started having some pilot coatings and as things progress we’re going towards a more production-scale coating,’ Church explained.

    Assuming everything proceeds smoothly, Church estimated the products may arrive in around three months, while Mooney provided ‘mid-summer’ as the company’s estimation.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon’s ‘Trade up to Z’ program offering additional discount for traded-in cameras

    Nikon has announced a new incentive for its trade-in program that offers additional discounts on its Z6 and Z7 full frame mirrorless cameras if consumers hand over their operating interchangeable lens cameras (ILC).

    From now through Sunday, March 31, 2019, consumers who hand over a working ILC to Nikon will receive an additional $ 200 off the Nikon Z6 and $ 400 off the Nikon Z7 on top of the trade-in value of their camera. The deal is honored regardless of the age or brand being turned in, so long as it’s functioning, and the discounts also apply to Nikon’s various kits that include the Z6 and Z7 cameras.

    Nikon also mentions its FTZ Mount Adapter is also $ 100 off when purchasing it in tandem with a Z6 or Z7 camera.

    For more information on the program and to get started on the trade-in process, head over to Nikon’s ‘Trade up to Z’ page.

    NIKON INC. ANNOUNCES “TRADE UP TO Z” CAMERA TRADE-IN PROGRAM

    Add an Additional $ 400 (for Nikon Z 7) or $ 200 (for Nikon Z 6) to Your Interchangeable Lens Camera’s Trade-In Value Towards the Purchase of a New Nikon Z Series Camera at Participating Nikon Authorized Dealers

    MELVILLE, NY (January 25, 2019) – Today, Nikon Inc. announced a new trade-in program that makes it easier than ever to upgrade to the revolutionary new Nikon Z Series full-frame mirrorless camera system.

    Starting on Sunday, January 27, 2019, consumers can trade in their operating interchangeable lens camera for a new, cutting-edge Nikon Z Series camera and get $ 400 towards a Nikon Z 7 or $ 200 towards a Nikon Z 6 in addition to their camera’s trade-in value, regardless of camera brand. What’s more, consumers can save an additional $ 100 on the Mount Adapter FTZ when purchased together with a new Nikon Z 6 or Z 7.* This limited-time trade-in program ends March 31, 2019. For more information about the Trade Up to Z Program, including full terms and conditions, please visit nikonusa.com/ztradeup.

    Built around the next-generation Z Mount, the acclaimed Nikon Z 6 and Z 7 cameras achieve a new era in optical performance for Nikon. These full-frame mirrorless cameras are equipped with FX-format BSI CMOS image sensors for outstanding image quality, fast hybrid AF, 5-axis in-body stabilization, an exceptionally clear Quad VGA Electronic Viewfinder and amazing video features. Combined with the growing line of high-performance Z NIKKOR lenses, the Nikon Z Series empowers users to pursue their creative vision without limits.

    For more information about the latest Nikon products, including the new Nikon Z Series full-frame mirrorless camera system, please visit www.nikonusa.com.

    Articles: Digital Photography Review (dpreview.com)

  • Kenko launches new premium Teleplus HD Pro converters

    Optics and accessories manufacturer Kenko has announced a new pair of teleconverters. The new models, which are a part of Kenko’s Teleplus HD Pro series, are a 1.4x and 2x converter designed for Nikon F and Canon EF full frame cameras and lenses.

    Kenko says the optical construction of the converters has been redesigned and the converters now contain more elements and improved coatings to reduce internal reflections.

    Contacts on the converters support communication between the camera and the mounted lens so EXIF data can take into account the effect of the converters when the focal length and aperture values are recorded.

    Available now, the Kenko Teleplus HD Pro converters will cost $ 249/£219 (1.4x) and $ 299/£269 (2x). For more information see the Kenko website.

    Press release

    NEW – Kenko TELEPLUS HD Pro Teleconverters

    Intro 2020 announces details and availability of the new Kenko TELEPLUS HD pro series of teleconverters.

    The TELEPLUS HD pro series replaces the previous TELEPLUS PRO300 series, with redesigned optics and multi-layer coatings, to match contemporary high-resolution DSLR cameras and lenses. The HD pro series joins the existing, new-generation TELEPLUS HD line up (1.4x and 2x types) as a superior series in terms of optical design and coating quality.

    TELEPLUS HD pro 1.4x DGX
    (available in Nikon F and Canon EF mounts)

    TELEPLUS HD pro 2x DGX
    (available in Nikon F and Canon EF mounts)

    Optical Improvements
    Optical construction has been redesigned by implementing additional optical elements and improved multi- layer, anti-reflection coatings to maintain the original performance of new-generation DSLR cameras and lenses.

    Communication with the Camera
    HD pro teleconverters are equipped with all electrical contacts to support communication between the camera and the lens. The focal length and aperture values are recorded in EXIF data and converted to the actual shooting values with the teleconverter attached.

    High-end External Finish
    The external design has been re-finished in a black leather tone to perfectly match with the latest lenses and DSLR cameras.

    Compact Size
    With approx. 2 cm in height for the 1.4x type and 4cm for the 2x type these small, compact and convenient to carry tele converters will extend the focal length of the lens providing the photographer a great chance to shoot even more impressive images.

    Suggested Retail Pricing from £219 to £269. Available Now

    Imported and distributed in the UK & Ireland by Intro 2020 Ltd. For full details please visit www.intro2020.co.uk

    Articles: Digital Photography Review (dpreview.com)

  • Comparative review: The best pocket printer in 2019

    From left to right: Fujifilm Instax Share SP-2, Canon Ivy, Polaroid ZIP

    With the resurgence of the instant camera, photographers and non-photographers alike have found a new love for printed photos. Enter pocket printers, a recent addition to the accessories market that offer portable, fast and simple photo printing. These pocket printers all work in basically the same way: They’re powered by rechargeable batteries, and once you connect your smartphone or camera via Wi-Fi/Bluetooth you pick your image, make an edit via the app (if you want to) and then click print.

    Our selections were the Polaroid ZIP, Canon Ivy and Fujifilm Instax Share SP2

    For a lot of photographers, these printers will feel a little gimmicky, but that doesn’t mean they aren’t useful and fun. So, we took three of the most popular models and played around with them to see which one we like best. Our selections were the Polaroid ZIP, Canon Ivy and Fujifilm Instax Share SP2, though it should be noted that many other brands have comparable offerings including HP and Kodak.

    Specifications compared

    Polaroid ZIP Canon IVY Fujifilm Instax Share SP-2
    Dimensions 2.9 x 4.7 x 0.9 in 3.2 x 4.7 x 0.7 in 3.5 x 5.2 x 1.5 in
    Weight 6.6 oz. (186g) 5.6 oz. (159g) 8.8 oz. (250g)
    Powered by Micro USB Micro USB Micro USB
    Battery Rechargeable 500mAh Lithium Polymer battery Rechargeable 500mAh Lithium Polymer battery Rechargeable 500mAh Lithium Polymer battery
    Charge Time 1.5 hours 1.5 hours 1.5 hours
    Prints per charge 25 20 20
    Print time ~45 sec ~51 sec ~20 second + ~5 minutes to develop
    Print paper / ~cost per shot Zink photo paper / ~$ 0.50 per shot Zink photo paper / ~$ 0.50 per shot Instax Mini /
    ~$ 0.50 per shot
    Print format 2 x 3 in 2 x 3 in 1.8 x 2.4 in
    Connectivity Bluetooth Bluetooth Wi-Fi
    Price $ 99.95 $ 129.99 $ 139.95

    Spec-wise, the Canon and Polaroid are virtually the same (this will come up again). With that out of the way, lets start with the obvious. The Fujifilm is a bit thicker and heavier than the other two. While the Canon and Polaroid are pretty comparable to a portable hard drive, the Fujifilm feels closer to single-serving cereal boxes in size. While the size is definitely noticeable, the weight difference is pretty negligible given that none of these printers are heavy by any stretch of the word.

    To get an idea of their size, here’s all three printers next to a standard pack of playing cards.

    The other major difference comes down to the printing format. The Polaroid and Canon both use ZINK paper (meaning, Zero Ink). This process works through cyan, yellow and magenta layers within the paper that respond to heat provided by the printer, making your photo possible. Meanwhile, the Fujifilm uses the same instant film as the Fujifilm Instax Mini line of cameras. (Note: Fujifilm also offers a square format printer that we assume works identically) ZINK paper prints as a 2″ x 3″ image with no border (by default, more on that later) on a sticky backed paper (read: sticker) while the Fujifilm instant film prints a 1.8″ x 2.4″ image with the instant film border that we all know and love (or maybe just know… I love it, but that’s just me).

    Polaroid ZIP Canon Ivy

    Design wise, the Polaroid and Canon basically just look like cute little hard drives and the Fujifilm has kind of an odd sleek sci-fi aesthetic to it. The Polaroid and Canon are available in a couple of colors (mostly pastels,) while the Fujifilm is available in silver or gold. The corners on the Polaroid and Canon are very round while they are a little more angular on the Fujifilm but still not sharp in any sort of way. The Canon also features a small loop for a strap.

    In use

    Ultimately, these three printers work in very similar ways. Of the three apps the design on the Canon app is definitely the most attractive though the Polaroid app is in a close second with just little bit less attention paid to how things flow. The Fujifilm app is ugly with colored tiles that feel like they were picked with very little design intent. That being said, I actually found that the interface of the Fujifilm app was the best when it came to usability. The differences here are minimal and in the end each app worked just fine.

    One nice touch on the Fujifilm is that it will display the number of prints left

    The apps feature a slew of options and customizability including: frames you can add to your photos, filters, basic color and exposure adjustments, cropping, and “stickers” you can add on top of photos. Outside of the frames, I didn’t find much appeal in most of these features. The color and exposure adjustments I tried seemed to only degrade the image quality and didn’t improve things much. I would say you’re better off using whatever editing software your smartphone comes with and just printing the edited photo through the printer’s app.

    An example of one of the many lovely border options on the Polaroid ZIP app. Note: the sticker peeling after ~2 weeks.

    Physically, they’re all fairly portable (though again, the Fujifilm less so), charge with a simple Micro USB cable, and use a variety of green, red and white lights to indicate their charging status or if there’s an error. One nice touch on the Fujifilm is that it will display the number of prints left in the pack when you turn it on. Loading film into all three of these is as easy as can be though the Fujifilm requires some reading/fiddling to figure out the first time.

    The Fujifilm also allows you to remove and replace the NP-45S battery

    Another nice feature on the Fujifilm is that it stands up on it’s own, taking up less desk space. The other two can only lay flat. The Fujifilm also allows you to remove and replace the NP-45S battery while the other two don’t have removable batteries.

    All three of these printers were fun and easy to use.

    In terms of the print time, there’s a clear winner: Fujifilm. If you’re looking to hand out prints fast, the SP-2 can churn them out in 20 seconds. That said, the 45-60 second range of the Polaroid and Canon didn’t feel excessive at all.

    Lastly, the Fujifilm has one very big feature that only applies to those that own other modern Fujifilm cameras. Unlike the Polaroid and Canon (and most other pocket printers on the market) the Fujifilm can print directly from a handful of Fujifilm cameras. The compatible models are as follows: GFX 50S, GFX 50R, X-H1, X-Pro2, X-T3, X-T2, X-T20, X-T100, X-E3, X-A5, X100F.

    Print Quality

    The prints are just a bit smaller than an average playing card (left to right: Fujifilm, Canon, Polaroid).

    Well let’s just get this right out of the way – compared to a dedicated inkjet photo printer, they all suck. These 3 pocket printers are exactly that, pocket printers. If you’re expecting true high quality prints out of these things then you’ll be disappointed.

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    Let’s talk about the Polaroid and Canon prints first. I noticed a lot of over-sharpening in these both. Interestingly, despite the near-identical design, they show a really obvious difference in their prints; the Polaroid leans warmer and the Canon leans cooler. The Canon prints also seem to have a bit less of that over-sharpening which definitely helps in making people’s skin look more natural. Definitely keep in mind that these are small prints. Not your standard 4×6 but rather, half of that.

    Keep in mind that these are small prints. Not your standard 4×6 but rather, half of that

    As for the Fujifilm, because it uses instant film as opposed to photo paper, there’s a much different look to these prints. They’re soft and almost blurry, especially in comparison to the look of the Canon and Polaroid. The color seems to lean a bit cooler as well but I found that the color reproduction on the Fujifilm prints was without a doubt the best of the three. The Fujifilm prints also have a glossier finish than the others.

    And the winner is… Fujifilm

    Film (or paper) will cost money.

    The Polaroid and Canon are extremely portable and if nothing else make for a really easy way to print custom stickers that reference specific memories you’ve captured on your phone. But the Fujifilm Instax Share SP-2 produced the most-pleasing images, prints the fastest, can connect to Fujifilm cameras and indicates the number of prints left. For that reason, it’s our choice.

    Our pick: Fujifilm Instax Share SP-2

    What we like:

    • Most pleasing print-quality
    • Prints in 20 secs
    • Indicator for number of prints left
    • Stands up-right
    • Print directly from Fujifilm digital cameras

    What we don’t:

    • Larger and heavier than the competition
    • App design is ugly
    • Prints are pricey

    Note: All of the images printed were taken with and printed from the apps on a Samsung Galaxy S9.

    Articles: Digital Photography Review (dpreview.com)

  • Olympus adds wireless flash commander FC-WR and receiver FR-WR to OM-D system

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    In addition to a new weather-resistant flashgun, Olympus has announced a new wireless flash receiver FR-WR and wireless commander FC-WR, bringing additional wireless flash functionality to its OM-D system. The commander and receiver claim the same splashproof, freezeproof (to -10°C/+14°F) and dustproof durability as the new FL-700WR flashgun.

    The FC-WR commander can connect with up to three different groups, and offers quick access to individual group settings via three dedicated buttons. The FR-WR unit includes a sync terminal for connection with commercial flash equipment.

    The FC-WR commander will cost $ 350; the FR-WR receiver will cost $ 230. Both will be available in February.

    OLYMPUS ADDS TO OM-D® SYSTEM WITH WEATHER RESISTANT WIRELESS FLASH FL-700WR, WIRELESS COMMANDER FC-WR, AND WIRELESS RECEIVER FR-WR

    Flash System Designed for Wireless Radiowave Shooting

    CENTER VALLEY, PA., January 24, 2019 – Olympus has today announced a new Electronic Flash, the FL-700WR, Wireless Commander FC-WR, and Wireless Receiver FR-WR, all coming in late February 2019 and designed to meet the growing demands of professional photographers. The electronic flash features dustproof, splashproof, and freezeproof (14°F / -10°C)1 performance, as well as wireless radiowave shooting compatibility with a maximum guide number of 422.

    Designed for compatibility with the OM-D system, the FL-700WR wireless high-performance electronic flash offers radiowave-shooting capabilities. During wireless shooting, it functions as a commander or a flash with built-in receiver. The FL-700WR electronic flash, as well as the Wireless Commander FC-WR and the Wireless Receiver FR-WR, all feature dustproof, splashproof, and freezeproof (14°F / -10°C)1 performance. This durable construction makes it possible to control multiple flash units from the camera in various shooting conditions.

    High-Intensity, Weather-Resistant Performance with a Maximum Guide Number of 42
    This flash features a maximum guide number of 422 (ISO 100/m). The compact, lightweight design delivers excellent portability with high flash output. The weather sealed performance offers reliability when shooting in a variety of environments, including rain, when paired with the Olympus® OM-D E-M1X and other weather sealed body and lens combinations. The user can enjoy full flash power after charging for approximately 1.5 seconds3 for quick, comfortable and easy shooting. Because of the short charging time, sequential flash photography4 at 10 fps is possible.

    Wireless Radiowave Communication
    This product is equipped with a wireless radiowave communication function, which operates even in bright conditions, or when there are obstructions in the area. It can communicate up to a distance of 30 meters, making accurate communication possible even when the flash is set behind the subject.

    The FL-700WR can function as a commander or a flash with built-in receiver. When used as a commander, it has the ability to connect to three groups and an unlimited number of flash units. The user can select which group they want to fire and not to fire, and configure the flash intensity compensation. It can also function in the conventional RC mode (optical communication) as a slave flash.

    Equipped with Multi Flash mode5
    Multi Flash mode5 makes it possible to express subject motion by firing multiple times during long exposures or bulb shooting. The intensity, interval (frequency), and number of shots can be configured to match the ideal settings for the subject.

    Compatible with High Res Shot6, Focus Stacking, and Focus Bracketing
    Features such as High Res Shot6, Focus Stacking, and Focus Bracketing, included on camera models such as the OM-D E-M1X and OM-D E-M1 Mark II, can function with this flash.

    Other Available Features

    1. The super FP flash enables high-speed synchronization that exceeds the camera’s maximum sync speed.
    2. First-curtain and second-curtain sync fires when the shutter curtain opens or closes .
    3. TTL modes enable the pre-flash to measure the required intensity so the output automatically adjusts to the optimal level.
    4. An LED light for movies features a 77° angle of illumination and 100-lux brightness emittance from one meter away.
    5. The bounce angle can be adjusted within 180° horizontally and 90° vertically. It is equipped with a catchlight panel and wide panel. The firing angle covers the focal length of 7mm (14mm ) when using the wide panel.
    6. Equipped with auto zoom , the firing angle is supported by lenses with a focal length of 12-75mm (24-150mm10).
    7. The FL-700WR flash emits an electronic sound when charging is complete.

    Wireless Commander FC-WR and Wireless Receiver FR-WR
    The new wireless commander FC-WR and wireless receiver FR-WR offer the same dustproof, splashproof and freezeproof (14°F / -10°C)1 performance as the FL-700WR electronic flash. When combined with a weather sealed body and lens such as the OM-D E-M1X, users can enjoy shooting in even the harshest environments.

    The FC-WR and FR-WR are compatible with a variety of items, such as the FL-900R, for wireless radiowave communication. The commander can connect to three different groups and an unlimited number of flash units. The user can also select which group they want to fire and not to fire, and adjust the flash intensity.

    The FC-WR is equipped with independent buttons for groups A, B, and C, making it possible to quickly configure settings for each group as well as adjust the shooting mode and flash intensity while viewing the monitor. Groups and channels can easily be set and checked using the dials on the FR-WR. This design makes the unit intuitive, comfortable and easy-to-use during multi-unit shooting.

    The FR-WR is equipped with a sync terminal that can connect to commercial flash units, such as a monoblock flash, and can be remotely fired using wireless radiowave communication. When flash11 charging is complete, the flash emits an electronic sound.

    U.S. Pricing and Availability
    The FL-700WR Electronic Flash, FC-WR Wireless Commander and FR-WR Wireless Receiver will be available in February 2019 with pricing as follows:

    FL-700WR Electronic Flash $ 399.99 (U.S.), $ 449.99 (CAD)
    FC-WR Wireless Radiowave Flash Commander $ 349.99 (U.S.), $ 399.99 (CAD)
    FR-WR Wireless Radiowave Flash Receiver $ 229.99 (U.S.), $ 279.99 (CAD)

    1 When using in a low temperature, please warm the battery by keeping it in a pocket etc.
    2 Firing angle of 75mm / standard light distribution mode, ISO 100/m.
    3 When using Ni-MH batteries. Approx. 2.5 seconds when using alkaline batteries.
    4 Only when using OM-D E-M1X and OM-D E-M1 Mark II mechanical shutter. At a firing ratio of 1/16.
    5 OM-D E-M1X, OM-D E-M1 Mark II, OM-D E-M10 Mark III, Olympus PEN E-PL9 only (As of January 2019). Continuous firing of the flash may adversely affect human subjects. Caution is required.
    6 Only when using manual settings. The flash is not available while using Handheld High Res Shot on the OM-D E-M1X.
    7 When the shutter curtain opens. (First curtain sync)
    8 When the shutter curtain closes. (Second curtain sync)
    9 35mm equivalent.
    10 When using a Micro Four Thirds lens.
    11 When connecting Olympus flash only.

    Articles: Digital Photography Review (dpreview.com)