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  • Zhong Yi Optics launches Mitakon Speedmaster 65mm F1.4 lens for Fujifilm GFX

    Zhong Yi Optics has launched the Mitakon Speedmaster 65mm F1.4 for Fujifilm GFX cameras. This announcement makes Zhong Yi Optics the first third-party manufacturer to develop a lens for Fujifilm’s G mount and gives them the claim — for the time being — of having the fastest standard lens designed specifically for GFX medium format mirrorless camera systems.

    The lens provides a 46-degree angle of view, roughly equivalent to a 50mm lens on a 35mm full-frame camera. It’s constructed of eleven elements in seven groups and has a minimum focusing distance of 70cm.

    The Mitakon Speedmaster 65mm F1.4 features an aperture range of F1.4 through F16 via its nine-blade aperture diaphragm. The front filter thread measures in at 72mm and the whole lens weighs 1,050g.

    Below is a collection of sample images provided by Zhong Yi Optics:

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    The Mitakon Speedmaster 65mm F1.4 is currently available to purchase online for $ 799.

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: Nikon Z6 and Z7 review for video

    Following up on their review of the Nikon Z7’s still photo capabilities, Chris and Jordan take a look at the Z7 and Z6 for video shooting. Both cameras – particularly the Z6 – represent a huge step forward for Nikon in terms of video, but Jordan doesn’t think they’re quite ready to be your primary video camera. Take a look and see what they have to say about it.

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

    • Introduction
    • Design and Handling
    • Stabilization
    • Autofocus
    • Manual Focus
    • Image Quality
    • Slow Motion
    • External Recording
    • Audio Quality
    • Timelapses
    • Conclusion

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2018: Tamron interview – “We have standard three-business-day turnaround for repairs”

    Stacie Errera is VP of Marketing and Communications for Tamron USA.

    We met with Tamron’s Stacie Errera at Photokina 2018 in Cologne, Germany where we discussed the brand’s unique identity, product development prioritization, future lens plans and the importance of user feedback.

    How is Tamron different from other lens manufacturers?

    Our focus on customer service at all aspects of the users’ experience makes us different. We’re very focused on education – we like keeping our customers up on the latest techniques to create great photography. So whether it’s in-person workshops, working with our local authorized dealer base to bring workshops to stores, our magazine or our newsletter, we’re very focused on education. We’re also focused on support – all of our products have a six-year warranty. We have standard three-business-day turnaround for repairs with no extra charge for every customer – it doesn’t matter who you are. If you have a lens and you need a repair, you send it in and you get it back within three days. That’s the best in the industry.

    We have standard three-business-day turnaround for repairs with no extra charge for every customer

    Is Tamron’s three-day repair turnaround for US customers only?

    It’s worldwide. Almost all markets now have that. Any place we have a subsidiary, it’s three days and anywhere we have a distributor, it’s mostly three days. This policy actually came as a mandate from our president to increase confidence in Tamron lenses and Tamron customer service.

    And our overall philosophy or feeling we want customers to have – which extends into the lens design itself – is a ‘human touch quality’. We want that to extend beyond the product. We strive really hard to work closely with our customers. We hear what they have to say and work with them on social media and in person to give them good service. So I think it sets us apart a little bit, how closely we try to listen to and help motivate and mentor our customers.

    The Tamron 28-75mm F2.8 Di III RXD is the most compact F2.8 zoom available for Sony E-mount. Also important: It’s very sharp.

    How do customer needs and feedback play into the design and development of new lenses?

    We do a few customer surveys a year where we find out what people are looking for. Also any feedback that my tech team or sales team might get is fed to me and then it goes up through the chain. With our subsidiaries, we sit down several times a year and put together our thoughts and make recommendations – these are based off of what people are asking for, what they feel they need and what they feel might be missing from a current lens line. Sometimes people bring up technologies and maybe you’ll think the idea is crazy, but we still pass it on. So we definitely try to pass all that information up to our headquarters.

    Who do you see as Tamron’s user base? Is it pros, enthusiast, or a combo of both?

    It’s a combo of both. We do several professional tradeshows a year and have very busy booths and a lot of customers there. As we put together our VIP program we’re seeing all the customers who own multiple lenses, so we do have a lot of pros out there. I’d say we’re maybe 60% enthusiast, 40% pro.

    We want to make it affordable so [photographers] can have four, five, or six lenses in their bag without going broke

    Our enthusiasts, they run the gamut from first entry-level DSLR / ILC users up to serious enthusiast that have been using cameras for 20+ years, many of whom came out of the film days. We really have a wide range of users. And again, just looking at our database with the VIP program – how many people own multiple lenses – we know our users really are gear-intensive customers. They’re into getting new lenses; many update their cameras, then get new lenses to match.

    Tell me more about Tamron’s VIP program.

    Any customer that registers their Tamron USA lenses purchased after 2011 are eligible for Tamron USA’s VIP program. If they have four lenses, five lenses or six+ lenses there’s silver, gold and platinum VIP.

    We just had all our platinum members out at a VIP summit in Santa Fe for four days of seminars and field workshops. They brought their lenses and it’s amazing to see these customers that have lots of gear but continue to get new lenses to make sure they have the right tool for the job. We want to make it affordable for them so they can have four, five, or six lenses in their bag without going broke.

    The new Tamron SP 15-30mm F2.8 Di VC USD G2 is the only stabilized F2.8 wide zoom for full-frame DSLRs. It’s also, you guessed it, very sharp.

    How important is affordability to your long-term growth and vision for Tamron?

    It’s definitely high up there. Our goal is to number one, make sure the lens is high quality. The second goal for us, depending on the category of the lens, is definitely size and weight. So looking at the Sony FE and E-mount, for example, we’re definitely looking at compactness and lightweight designs as key features of those products.

    But we also do look to keep the price in an affordable range for the customer. One of the philosophies of the company is we want to make photography accessible for everyone. By having tools that can be more affordable for the photographer, we can expand their bag and make sure they have the right tool for the types of photography they like to do.

    One of the philosophies of the company is we want to make photography accessible for everyone

    What about for DSLRs, is size and weight still a high consideration?

    For both mirrorless and DSLR size and weight are a consideration. For example, the 17-35mm F2.8-4 for DSLRs, it is the lightest and most compact in its class of lenses that are F4 or faster. If you look at the 15-30 F2.8 for DSLR, while it’s definitely a large lens with it’s constant 2.8 aperture, it is still the only lens in the category with stabilization. So it’s not compact, but within the category it still has advantages.

    How important a consideration is video when Tamron develops lenses?

    It’s a high consideration. We are trying to make sure the motors in our lenses are as silent as they can be. However, depending on who the videographer is and what they’re filming, they may be using manual focus anyway. The new 28-75 F2.8 for Sony FE has a rapid extra-silent drive (RXD) and it is definitely geared toward video because we know people are using Sony full-frame to shoot video more so than on some other systems.

    A sample photo shot with the Tamron SP 15-30mm F2.8 Di VC USD G2.

    The 28-75 F2.8 for Sony FE is one of our favorite lens available for full-frame E-mount. How this lens been received by customers and will we see other full-frame Sony E-mount lenses soon?

    That lens has definitely been very well-accepted by Sony shooters worldwide. Right now we’re still in a very heavy demand situation. Supply is catching up, though. I think it’s really the first lens that seems to fit the form factor of the camera itself. That balance and that lightweight design without compromising performance, everything about it fits the form factor and goal for what that system is all about. So definitely, with the acceptance of this, we’ll see more from Tamron for Sony mirrorless cameras.

    We’ll see more from Tamron for Sony mirrorless cameras

    Tamron now makes lenses for Sony FE, E, A, Nikon F, Canon EF, M, Micro Four Thirds, Pentax K-mounts. With all these mounts, how does Tamron prioritize what lenses they are going to make?

    We look at the market and see where there are gaps – what’s moving, what’s not moving.

    Really the past few years have been dedicated to analyzing the mirrorless portion of the market. With all the recent introductions to mirrorless I think it’s very evident that the market is swiftly moving toward mirrorless dominance. But that’s not to say full-frame DSLRs are not still strong. My opinion is that people will continue, for at least the next few years, using multiple formats. I have my DSLR I use for some situations and I have my mirrorless I use for other situations – I have my smartphone that I use still for others. So I think we’re in a place where each consumer is a multi-format user. Obviously there are people that are mirrorless-only, DSLR-only. And obviously there are pros not ready to make the jump to mirrorless yet. But overall, it’s a fun time to be making lenses.

    Really the past few years have been dedicated to analyzing the mirrorless portion of the market

    Do you have any prediction for how much of your business will be represented by mirrorless lenses rather than SLR lenses?

    Right now we have a couple of mirrorless lenses plus the recent introduction of the full-frame Sony mirrorless. I think we’ll move along with the market. The US market is swiftly catching up to some other markets in the world. And I think we’ll see some changes worldwide for Tamron over the next few years. But it’s hard for me to attach a number or percentage to that at this point. But we’re definitely moving with the market.

    All-in-one zooms for DSLRs are still a crucial part of Tamron’s portfolio. The Tamron 100-400mm F4.5-6.3 Di VC USD for APS-C – which this photo was shot with – offers a good balance of quality and affordability.

    We now have two new full frame mounts, Canon R and Nikon Z, as well as the announcement of the Panasonic/Leica/Sigma L-mount alliance. Is there talk about making lenses for these mounts?

    I think we need to get those cameras into our engineers’ hands and analyze them and see what they’re all about and make determinations from there. I think that we’re keenly looking at all these different mounts and I think it’s an important part of the market today. I’m not involved in the talks over in Japan, but I would assume there is definitely a strong interest in these.

    I think we’ll see some changes worldwide for Tamron over the next few years

    Sigma, Panasonic and Leica announced their L-mount partnership at Photokina. Has Tamron considered making partnerships with other brands in similar fashion?

    At this point in time, there’s none I’m aware of. That doesn’t mean there won’t be partnerships in the future.

    What’s the immediate future hold for Tamron?

    I think we’ll continue expanding our lineup. We’ll be continuing our G2-series, the 15-30 F2.8 G2 now completes the SP (Superior Performance) trio of fast, image-stabilized zooms. It was very important for us to complete that trio. We’ll also be filling in the full-frame arena and raising the bar for all-in-ones, an area of the market where we are the leader. It’s just a progression of filling and finding areas of need as the market changes.

    Editors’ note: Dan Bracaglia

    Tamron is a brand increasingly putting out lenses I want to get my hands on, from their outstanding, stabilized SP 15-30mm F2.8 Di G2 to their perfectly sized 28-75mm F2.8 Di III RXD – my favorite lens for Sony FE without question. Both of these lenses represent unique designs within their chosen mounts.

    2018 is an exciting time for third-party lens brands

    2018 is an exciting time for third-party lens brands, but with the number of mirrorless mounts growing, it’s as important as ever for these companies to carefully consider what they prioritize. Tamron seems to understand this though – lens development boils down to a careful mix of user feedback and market analysis.

    Though all-in-one zooms for DSLRs have long been the brand’s bread-and-butter, here’s hoping we’ll even see other well-sized, constant-aperture mirrorless zooms in the near future given the market success of the 28-75mm F2.8 Di III RXD and Stacie’s mention of ‘changes worldwide for Tamron over the next few years.’

    …with Tamron’s new commitment to three-day repair turnarounds, their lenses are looking more desirable than ever

    Speaking of mirrorless, Stacie wouldn’t give me any indication what plans the company has for the new Nikon Z and Canon RF-mounts. This isn’t terribly surprising given how new they are, but it will be interesting to see whether existing mirrorless models eventually become available for these new mirrorless mounts.

    At the end of the day, I’m thankful that brands like Tamron and Sigma exist. Though they take very different approaches to lens development, both are going to great lengths to ensure that there are a lot of cool lens choices on the market. And with Tamron’s new commitment to three-day repair turnarounds, their lenses are looking more desirable than ever.

    Articles: Digital Photography Review (dpreview.com)

  • Instagram launches Close Friends list for story sharing

    Many Instagram users aim for a large number of followers. However, sometimes you’d like to share an Instagram moment with just your closest friends and not hundreds or thousands of followers, most of whom you probably don’t know.

    This is now possible, thanks to a new feature announced by Instagram today: Close Friends lets you share stories with a select group of people instead of all your followers.

    Instagram says Close Friends gives you the “flexibility to share more personal moments with a smaller group that you choose.”

    To do so, you create a close friends-list and at the time of posting your story select the option to only share with the people on that list. You’ll find the option to add people to the close friends-list in the side-menu.

    Your list can only be seen by yourself. When someone has added you to their list, you will see a green badge when you viewing their stories and a green ring around their profile photo in the Stories tray.

    Close Friends is now rolling out globally on the latest versions of the Instagram iPhone and Android apps.

    Articles: Digital Photography Review (dpreview.com)

  • Sony a7/R III firmware 2.0 unlocks all AF modes with adapted lenses

    Sony has released a significant firmware update for its a7 III (Mac | Windows) and a7R III (Mac | Windows) cameras that brings new features, updated support and improved performance to the full-frame mirrorless cameras.

    The big deal here is that firmware 2.0 unlocks all autofocus modes for adapted lenses adapted with the Sony LA-EA3 mount adapter. This includes the subject-tracking Lock-on AF modes on the a7 III and a7R III, as well as Zone and Expand Flexible Spot. Sony specifically mentions its Sony Alpha A-mount lenses in its press release, but we’ve tested it with adapted Canon mount lenses as well and can confirm it works with EF lenses via a Sigma or Metabones adapter. Since Eye AF also works with adapted lenses, we’re really starting to see less and less of a downside to using third-party lenses on Sony cameras, save for a drop in performance at longer telephoto focal lengths.

    Another stand-out feature added in the updated firmware is ‘Aperture Drive in AF’. This offers two options for aperture behavior during focusing in AF-S: ‘Standard’ opens the aperture up (up to F2) for focus acquisition, while ‘Silent Priority’ always forces the camera to focus at your shooting aperture to minimize the sound of the aperture opening during focus acquisition.

    Sony warns though that ‘Auto Focus may become slower when Silent Priority is selected’ – precisely the reason why we’ve been asking Sony to add a mode where the camera always focuses wide open in AF-C, at the very least until shutter actuation. This new setting adds the option to do the exact opposite in AF-S, and doesn’t change behavior in AF-C (where newer Sony cameras always focus at the shooting aperture). We urge Sony to add a ‘Focus Priority’ mode that always forces the camera to focus wide open in AF-C, as DSLRs do.

    Firmware version 2.0 for the Sony a7 III and a7R III also improves the overall performance and stability of the cameras, fixes exposure issues when using flash alongside flickering light sources, and better handles continuously shot photos as groups when browsing in playback.

    Articles: Digital Photography Review (dpreview.com)

  • Clever “Sketches” video shows objects being edited in the real world

    A newly published video called “Sketches” from Russian motion graphics designer Vladimir Tomin shows the world around him being edited using video editing tools. The experimental work presents a variety of scenes in which cursors appear to cut and paste birds, type text created from twisted crane pieces, and scrape the painted line off a road.

    Clips from the video, which was published on Vimeo, can also be found on Tomin’s Instagram account alongside other videos of clever reality edits. Tomin also offers content on YouTube and through his personal website.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma 40mm F1.4 Art sample gallery

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    Sigma holds its Art series lenses to a high standard, so our interest was piqued when the company’s CEO Kazuto Yamaki described the 40mm F1.4 as a ‘reference’ lens for the entire Global Vision range. While we had a chance to shoot with a pre-production model at Photokina, we were eager to really put the 40mm to work when a full production lens rolled into the office. Take a look at how it performed.

    See our Sigma 40mm F1.4 Art
    sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Instagram announces new features for visually impaired users

    Instagram has announced it’s making changes to its platform in order to make it more accessible to the more than 285 million people in the world who have visual impairments.

    The first new feature is automatic alternative text. This will allow visually impaired users to hear image descriptions through their readers while using Instagram’s Feed, Explore and Profile sections.

    Automatic alternative text uses object recognition to automatically generate photo descriptions for screen readers, so users can hear a list of items that photos may contain while navigating the app.

    Given Instagram’s parent company Facebook has already developed an AI-powered object recognition system (trained using Instagram images) this new feature is likely using the same technology, although this hasn’t been confirmed.

    Custom alternative text is the second new feature designed to make things easier for visually impaired users. Uploaders can now provide a more detailed description of images while posting. This description will be read out to users of screen readers.

    Instagram says these are only first steps, so we’ll likely see more accessibility features in the near future.

    Articles: Digital Photography Review (dpreview.com)

  • Phase One releases Capture One 12 with new interface, third-party plug-in support

    Phase One has released Capture One 12, the latest edition of its image editing software. The updated product features a redesigned interface, revamped menu aligned between the Mac and Windows versions, linear and gradient masks via the new Parametric Masking Engine, luminosity masking and a new plug-in ecosystem.

    Capture One 12’s new plug-in ecosystem supports third-party extensions and will soon have access to plug-ins for sharing and editing, as well as connecting the software to “specialized editing tools,” according to the company. Phase One’s Capture One Plugin SDK enables developers to create their own plug-ins for the software.

    The updated product also adds new Fujifilm Film Simulation, lens, and camera support, expands AppleScript support for macOS users, and features a redesigned keyboard shortcut manager. Capture One 12 supports more than 500 camera models across all major brands.

    Phase One is offering Capture One 12 with a perpetual license to new customers for $ 299 USD, but existing customers can purchase the update starting at $ 149 USD. Alternatively, the company offers Capture One Pro Sony 12 and Capture One Pro Fujifilm 12 for $ 219 USD. Buyers also have a subscription option starting at $ 15/month for Capture One Pro 12 and $ 14/month for the Fuji and Sony editions.

    Redesigned and reimagined for the needs of today’s creatives, expanding for tomorrow’s solutions

    COPENHAGEN, November 29, 2018: Phase One, the world’s leading manufacturer of high-end digital camera systems, today released Capture One 12, the next major milestone in the evolution of the industry’s premier RAW conversion, image editing, and asset management software. This release takes a top-down approach to streamline, modernizing, and improving the user interface to continue the program’s tradition of providing powerful features in a customizable, uniquely-configurable interface.

    New masking tools and improved workflow features continue Capture One’s tradition of providing the most powerful image editing tools available, while a new plug-in ecosystem will allow third-party developers to connect their services and applications to Capture One.

    Capture One 12 furthers Phase One’s commitment to providing unparalleled RAW editing, with unmatched tethering, color handling and precise editing on images captured with any of more than 500 different camera models.

    Capture One 11.3 introduced support for all Fujifilm cameras and their unique sensors. Capture One 12 now enhances that support with the ability to correctly read and interpret Fujifilm’s legendary Film Simulations.

    “Capture One has long been recognized as the industry standard for RAW image editing and image management,” says Jan Hyldebrandt-Larsen, VP Software Business at Phase One. “With this update, we focused on creative control — updating and improving the user interface, adding powerful new masking tools, and extending the Capture One ecosystem through plug-in support. These updates further our commitment to ensuring that Capture One continues to be the industry’s recognized leader in accuracy, performance, and customizability.”

    Download Capture One 12, as well as find resources and tutorials at: www.captureone.com/12

    New features and tools in Capture One 12

    Powerful, refined interface

    Capture One 12 introduces a newly re-designed, contemporary interface, designed to make Capture One easier to use during long editing sessions and to make discovery, experimentation, and customizability easier than ever. New iconography better conveys tool functionality, and the new slider design, the spacing of the tools, and font size increase improves both the look and the usability of the program.

    The result is a new environment that feels more welcoming for new users while being more customizable for power-users.

    Revamped menu system

    Every menu item in Capture One 12 has been evaluated, categorized, and organized according to its logical function and grouped along with associated tasks, which makes it easier to find the desired controls and settings, and brings the Mac and Windows menu options into alignment.

    Luminosity masking

    One of a trio of new masking tools, Luma Range allows users to quickly create masks based on the brightness of pixels in an image and is the most powerful luminance masking tool of its kind.

    This masking technique is particularly powerful in landscapes and high-key portraits, as it allows for nearly-instantaneous masks in complex scenes based on brightness—eliminating the need to tediously paint complex masks. Once a luminance range is created and adjusted using the precision mask-adjustment tools, nearly any editing tool can be applied to the mask.

    The masks created with the Luma Range tool are dynamic and can easily be tweaked and modified at any point in the workflow. Unlike a hand-drawn mask, Luma Range adjustments can be applied from one image to another, and the effect will be based on the luminance of each image. This functionality is a huge time-saver as it eliminates the need to create precision masks for each frame in a shoot.

    The new Luma Range selection masks open up an incredible range of editing possibilities, from selective noise reduction to precise color grading.

    Linear Gradient Mask

    Capture One 12 takes gradient masks to the next level, allowing for editable, moveable, rotatable—and best of all—asymmetric gradient masks. Using a brand-new Parametric Masking Engine, Capture One allows for adjustments in the size, shape, and symmetry of the masks with simple mouse clicks and key presses, truly redefining the possibilities of linear gradients in Capture One. Rotate, feather and adjust a mask with a precision never before possible.

    Radial Gradient Mask

    The new Radial Gradient mask tool enables quick, flexible radial masks, useful for vignette and other adjustments with a desired falloff effect. Using the same Parametric Masking Engine as the Linear Gradient mask tool, radial masks can be adjusted, rotated and moved after creation for extreme control over desired effects.

    Redesigned Keyboard Shortcut manager

    Capture One is known for its ability to custom-assign and custom-configure virtually every task to a keyboard shortcut. With more than 500 individually-assignable and customizable commands, it’s essential to be able to find the exact shortcut, without having to hunt through hundreds of choices.

    Users can now search by the specific menu command, or by the assigned keyboard shortcut, making it easy to find and manage shortcuts. To unify the interface between the Mac and Windows versions the new menu system has been moved to the same location on both platforms, making it easier for workgroups to stay in sync.

    New plug-in ecosystem

    To address the needs of photographers and creatives looking to share, edit and collaborate on their images, the new Capture One plug-in ecosystem will allow for powerful third-party extensions. The new Capture One SDK will allow any developer to create custom solutions to expand Capture One, and to transform Capture One into an open ecosystem.

    Users of Capture One will be able to extend the platform with the upcoming addition of plug-ins that allow for sharing, editing, and that can connect Capture One to a variety of specialized editing tools.

    For developers, the Capture One Plugin SDK—available as a free download—will provide access to the broad base of passionate professional and enthusiast photographers that use Capture One. Developers are now able to create solutions that leverage the image-editing and organizational prowess of Capture One, and the added capabilities of third-party resources.

    The initial Capture One Plugin SDK allows for plugin development, and can be leveraged for common tasks like sharing, sending files to external editors, and allowing images to be opened in other applications, and more.

    Fujifilm Film Simulation support

    Fujifilm X-Series and GFX-series cameras feature Film Simulations, which are in-camera tonal adjustments that faithfully reproduce the color and tonality of classic Fujifilm photographic films. Sixteen Film Simulations are available, ranging from color stocks like Provia and Velvia to black and white film like Acros. These simulations give Fujifilm users the ability to digitally capture images with the feel of beloved photographic films.

    Thanks to the collaboration between Capture One and Fujifilm, photographer’s using Fujifilm’s renowned X-Series and GFX-series cameras will be able to edit photos complete with Fujifilm Film Simulations. These in-camera settings have been faithfully reproduced in Capture One, to provide an identical experience when working with files, resulting in images that appear the same as if the Film Simulation picture profiles were applied in-camera.

    Extended AppleScript support

    Users of Capture One on Mac OS can take advantage of extended AppleScript support for automation and workflow streamlining. More than a dozen of Capture One 12’s areas and properties can now be directly modified with AppleScript, adding to the existing, robust AppleScript support in previous versions of Capture One.

    New camera and lens support

    Capture One provides users with the most accurate and powerful image editing available, and the wide-ranging support of cameras and lenses is a hallmark of the software. For enthusiasts and professionals alike, Capture One continually evolves to handle the newest cameras and lenses.

    Phase One carefully evaluates and interprets each camera’s RAW formats, allowing Capture One to present images with the utmost fidelity, often bringing out nuances that other programs can’t even perceive.

    In addition to the RAW support for more than 500 cameras, Capture One also provides profiling and image correction support for more than 500 lenses. Like with the RAW file interpretation, Phase One carefully measures the optical characteristics of each supported lens and builds correction algorithms that compensate for the various optical imperfections of various designs. As a result, Capture One can correct for numerous common optical issues such as vignette, and chromatic aberration as needed for each of the supported lenses.

    New camera support:

    • Nikon Z7
    • Nikon Z6
    • Fujifilm GFX 50R
    • Canon EOS R
    • Canon EOS M50

    For a complete list of supported cameras, please go to: www.phaseone.com/supported-cameras

    Availability and pricing

    Capture One is available in several versions. Capture One Pro 12 supports more than 500 cameras from all major camera brands, while Capture One Pro Sony 12 and Capture One Pro Fujifilm 12 supports cameras from those brands, respectively.

    Phase One is committed to providing customers a choice when it comes to how they acquire their software, so Capture One Pro 12 is available for purchase, or via subscription. The perpetual license for Capture One Pro 12 is available for $ 299, with upgrade pricing from previous versions starting at $ 149. Capture One Pro Sony and Capture One Pro Fujifilm are available for $ 219

    For those that prefer subscription models, Capture One Pro 12 is available for plans as low as $ 15 per month, and Capture One Pro Sony and Capture One Pro Fujifilm subscription plans start at $ 14 a month.

    For a complete list of all products and licensing options, please visit: www.phaseone.com/store to learn more.

    A 30-day fully-featured free trial of Capture One 12 is available. Download the trial here: www.captureone.com/download

    Via: PDN

    Articles: Digital Photography Review (dpreview.com)

  • World’s largest wet collodion plate created in abandoned house converted into a camera

    While the rest of the world has been concentrating on making cameras smaller and lighter photographer Ian Ruhter was making one literally the size of a house in order to make the world’s largest wet collodion plate. Ian and his team sealed up an abandoned house in California and mounted a lens in the wall to create a massive camera. The camera was used to produce a portrait of a 100-year-old local resident on a sheet of glass measuring 66×90 inches.

    The scale of the camera is one thing, and the size of the finished image is another, but what is most remarkable is that the team used a process that requires the glass plate to be coated with a solution of collodion poured from a jug right before the picture was taken.

    The house selected was an abandoned ruin in an area called Bombay Beach, and the living room was used to form the camera. A giant hole for the lens was cut into the side of the house projected the image of the outside world into the room, and onto the massive sheet of glass for a ten second exposure.

    The team made a fascinating documentary about the process that shows the project from start to finish and the thinking behind it. More of the team’s old-process adventures can be seen on the Silver and Light Vimeo channel.

    Video description:

    “While working with wet plate collodion Ruhter came up with an idea to show the world the beauty of these objects in a size that was deemed impossible. This led him and the Silver & Light Team to a forgotten town on the edge of the Salton Sea called Bombay Beach, located in California’s Imperial Valley. The idea was to create a camera out of an abandoned house. The structure would serve as the framework for the camera. Instead of focusing on the decay from the outside, this house camera allowed a view from the inside into someone’s dream.

    Once the giant lens was placed on the front of the house, images of Ted, a 100 year old resident who recently found himself homeless, were projected in, breathing new life into this abandoned structure and once again making it a home. During this brief moment in time when Ted’s photograph was captured, he was present in both places. In reality, he was homeless in the outside world. However, the projected image simultaneously allowed him to be sitting in the living room where he was once again home. because the surface of the plate is highly reflective the life sized plate serves as a mirror, allowing one to reflect upon where they will be in the twilight of their life.

    Ten seconds of this dream were recorded on a 200 pound sheet of glass coated with collodion. The result was a 66”x 90” Ambrotype, which is recognized as the world’s largest wet plate collodion image.”

    Articles: Digital Photography Review (dpreview.com)