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Sigma announces pricing and availability of its 70-200mm F2.8 DG OS HSM Sport lens

11 Dec

More than two months after first showing it off at Photokina 2018, Sigma has announced its 70-200mm F2.8 DG OS HSM Sport lens will be available by the end of December 2018.

The lens, which rounds out the signature F2.8 trio alongside Sigma’s 14-24mm F2.8 and 24-70mm F2.8, will be available in Canon EF, Nikon F and Sigma SA mounts. It’s constructed of 22 elements including one Special Low Dispersion (SLD) element and nine F Low Dispersion (FLD) elements alongside an 11-blade aperture diaphragm and 1.2m (1.31yds) minimum focusing distance.

Following suit with most of Sigma’s other lenses in its Global Vision lineup, the 70-200mm F2.8 DG OS HSM Sport lens comes in at a discount compared to its Canon and Nikon counterparts. Sigma has set the retail price at $ 1,499 USD, a full $ 600 cheaper than Canon’s 70-200mm F2.8L IS III USM lens and exactly a thousand dollars cheaper than Nikon’s 70-200mm f/2.8E FL ED VR lens.

The 70-200mm F2.8 DG OS HSM Sport lens is available for pre-order on B&H (Canon EF, Nikon F, Sigma SA).

Articles: Digital Photography Review (dpreview.com)

 
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Video: What is DX encoding and how did it become an industry standard in the analog age?

10 Dec

Have you ever wondered what those silver rectangles on the side of film cassettes are? They’re called Camera Auto Sensing (CAS) codes and they’re part of DX encoding, an industry standard first announced by Kodak in March 1983.

While DX encoding might be common knowledge for some DPReview readers, others — particularly the younger crowd — might not know what DX encoding is, how it works and what it took to become an industry standard.

These exact questions and more are answered and explained by Azriel Knight of the YouTube channel This Old Camera. In the six minute video, the first in a new series he’s calling This Old Camera Xtra, he explains how Kodak introduced DX encoding, the purpose of the individual rectangles and how it became an ANSI and I3A standard that nearly all of the photography industry adopted, even though certain companies were a little hesitant to adopt.

You can find more of Azriel’s videos by subscribing to his YouTube channel or following him on Twitter and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GF 250mm F4 R LM OIS WR sample gallery

09 Dec

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The 250mm F4 is Fujifilm’s longest lens for its medium-format system. It’s equivalent to about 200mm on a GFX camera, and we put it to work on some portraits as well as some scenes around Seattle’s waterfront – take a look.

See our Fujifilm 250mm F4 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sony removes a7/R III firmware version 2.0 from its website, says it’s ‘working on the issue’

09 Dec

Two months after releasing firmware version 2.0 for its a7 III (Windows, MacOS) and a7R III (Windows, MacOS) mirrorless cameras, Sony has removed the firmware update from its website.

At the top of the download pages for Sony’s a7 III and a7R III firmware, an update read:

IMPORTANT: We apologize for the inconvenience, but the release of this software update has been delayed. We are working on the issue and will release the update as soon as possible. (Added on 12-07-2018)

DPReview contacted Sony Friday, December 7th, 2018 asking for more detail on why the update was removed. As of publishing this article on Saturday, December 8th, 2018 DPReview has not received a response. This article will updated accordingly if and when DPReview gets a response from Sony.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: the 2018 DPReview Awards

08 Dec

With the launch of full-frame mirrorless systems from two of the industry’s biggest players, it’s safe to say that this was an especially busy year for the camera world. It’s not an easy job picking out the strongest products and innovations in such a year, but we endeavored to do just that for our yearly DPReview Awards. This year, Chris and Jordan joined us to help celebrate what we think is the best gear of the past 365 days.

See all of our award winners and runners-up, and get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Compact/Fixed Lens of the Year
  • Zoom Lens of the Year
  • Prime Lens of the Year
  • Video Accessory of the Year
  • Accessory of the Year
  • Innovation of the Year
  • Consumer Stills/Video Hybrid Camera of the Year
  • Entry Level Camera of the Year
  • Midrange Camera of the Year
  • High End Camera of the Year
  • Smartphone of the Year
  • Prosumer Drone of the Year
  • Product of the Year
  • Outro

Articles: Digital Photography Review (dpreview.com)

 
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Colorado Tripod Company introduces ‘world’s first titanium tripod system’

08 Dec

The Colorado Tripod Company has introduced what it claims is the world’s first titanium tripod system, with a crowdfunding campaign on Kickstarter. Not only does the use of titanium make the ball heads lightweight and strong, but the design of the heads also allows the camera to drop to the side below the usual 90 degrees seen in other heads.

The Highline ballhead will be available in either titanium or aluminum. The titanium model will feature a hollow ball to reduce weight. Both versions will have a locking force of 54lb and will offer left-handed controls that allow users to hold the camera and shoot with the right hand. The titanium model will weigh less than 340g (12oz), while in aluminium the same unit weighs 510g (18oz).

To accompany these heads a new line of titanium and carbon fibre legs have also been introduced. The company says that by CNC machining from a solid block of titanium it can make its metal parts stronger than manufacturers that use metal casting. Milling also means the company can make its parts more precisely, and it says it can cut the amount of material used to help reduce weight. The carbon fibre used in the Centennial legs is ten-layered, and comes from Japan.

An additional ball head called the Aspen comes only in aluminium but offers a much wider range of camera positions, as it has no housing around the ball. This allows the camera to drop well below 90 degrees, while making the head quite lightweight at only 454g (16oz).

The Highline ball head in aluminium starts at $ 79 on Kickstarter, while the titanium version can be had for $ 399. The Aspen head costs $ 179 and the Centennial tripod is $ 249 in aluminium and $ 399 in titanium. Various kits combing these products are also available. Shipping is planned to start in March.

For more information see the Colorado Tripod Company’s Kickstarter campaign page.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Jackson Hole Travel and Tourism Board is asking visitors to stop geotagging photos

08 Dec

In Wyoming, United States, the Jackson Hole Travel and Tourism Board has launched a campaign imploring visitors to stop the use of geolocation tags when sharing photos of their outdoor adventures online.

As Vox recently pointed out in a video titled What happens when nature goes viral, geotagged photos have become a major issue for landmarks around the world. When photos posted to Instagram, Facebook, and other social networks are geotagged, knowingly or otherwise, it makes it easier than ever for new people to seek out the exact same location and have their own turn at taking a photo, only adding to the problem.

While it might not seem like a problem, the influx of visitors to many of these locations has caused a dramatic change in the environment, physically and otherwise. In Vox‘s example, Horseshoe Bend outside of Page, Arizona, United States, has seen an increase in visitors it isn’t capable of sustaining — at least not without dramatic physical changes to improve the safety of the growing number of spectators.

It’s this same issue the Jackson Hole Travel and Tourism Board is trying to address with its new campaign. ‘Every time someone captures stunning scenery and tags the exact location, crowds follow,’ says the narrator in the above video. ‘The traffic causes unintended harm to pristine environments, plants, and animal habitats.’

To protect and preserve the two National Parks near Jackson Hole, the video implores visitors to use the new, vague location titled ‘Tag Responsibly, Keep Jackson Hole Wild.’ In addition to tagging the more general location, the Jackson Hole Travel and Tourism Board has also created a series of posters advising against using specific location tags.

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Sometimes users are completely unaware that their images are being tagged. Most phones nowadays feature automatic geotagging and although a number of image hosting sites and social networks strip the metadata, there are others that use it by default. If you feel called to be a part of the campaign, be sure to check whether or not the information is being automatically uploaded — and if it is, remember to use more general location tags when traveling around.

Articles: Digital Photography Review (dpreview.com)

 
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Canon patent shows off EOS M speedbooster-style adapter for EF lenses

08 Dec
This diagram from the patent shows the optical construction of the Converter Adapter (labelled CL) with a Master Lens (labelled ML) in front of it.

A new patent application filed by Canon, and first detailed on Canon News, lays out the schematics for its own version of a speedbooster adapter that would enable Canon EOS M users to adapt EF lenses onto the EF-M mount.

Japanese patent application 2018-189864 details an adapter that includes both a 0.8x focal length reducer, as well as a ‘variable flare cutter.’

As with the speedbooster adapters, Canon’s adapter would use a series of lenses to reduce much of the full-frame field of view onto an APS-C sensor, such as those used inside Canon’s EOS M cameras.

Where things get interesting is that Canon isn’t stopping there. Similar to how Canon has introduced a line of EF to RF adapters with added features, including an integrated control dial and drop-in ND/CPL filters, the adapter detailed in this patent adds yet another component: an adjustable aperture or set of apertures that effectively mask off sections of the adapter to reduce the potentially negative impact of stray, non-image forming, light rays.

This diagram from the patent highlights two separate locations where the variable aperture could be located within the converter (the front of the converter being the left side and the rear of the converter being the right side).

The patent explains this is done by calculating, on the fly via communication through integrated contacts, the ideal pupil sizes and locations of the in-adapter apertures, based on the attached lens’ current aperture and focus distance. With this information, the the adapter could ideally adjust its multiple variable flare cutters.

Within the patent, an example scenario is detailed showing how a full frame 50mm F1.4 lens would effectively become a 40mm F1.2 lens with an image height of 13.66mm and 18mm back focus — precisely the size needed for EOS M cameras.

The resulting combination would act as a 64mm F1.9 equivalent. Not quite as wide or with such a bright equivalent aperture as the full frame lens used on full frame, but still better than using a pass-through adapter.

Articles: Digital Photography Review (dpreview.com)

 
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Filmborn film camera app updated with new presets, iOS 12 support and bug fixes

08 Dec

Seattle-based Mastin Labs has released a large update for Filmborn, its camera app for iOS, adding additional film looks, free access to all current editing tools, support for iOS 12 and the three newest iPhone models and updates to the original film preset appearances.

Filmborn provides iPhone users with true-to-film presets that give images captured by the phone a realistic film appearance. Users are able to create up to three in-app camera kits containing customized specifications, as well as adjust exposure and white balance using gestures and curves using Filmborn’s Custom Curves tool. Other features includes last photo review, live film previews, and highlight clipping.

Version 1.4 update makes all of those tools free for users who purchase Filmborn. The app’s size and user interface have both been optimized, performance and responsiveness have been improved, and Mastin Labs has added haptic feedback for tool buttons when pressed in Camera view.

A number of bug fixes are included with this update, most notable being a fix for the iPhone X telephoto lens issue users previously experienced. Filmborn now offers a lens toggle under Camera view for dual-camera iPhone models, as well. The iPhone XS, XS Max, and XR are all now supported by the app.

The new preset packs available in Filmborn version 1.4.

In addition to the app update, Mastin Labs has also added three new film preset packs to Filmborn’s store: Kodak Everyday Original, Fujicolor Pushed, and Portra Pushed. Filmborn is available to purchase from the iOS App Store for $ 2.99. Additional preset packs are available as in-app purchases for $ 1.99.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic LX100 II: solid image quality in studio and real-world shooting

07 Dec

We’ve been shooting with the LX100 II both in and out of the studio, as part of our ongoing review. We’ve written about the camera’s operation and handling, analysed the studio scene and the camera’s dynamic range, and expanded the sample gallery.

Click here to read our expanded First Impressions Review

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Articles: Digital Photography Review (dpreview.com)

 
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