360Photography

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  • Kodak Ektachrome film products now shipping globally to distributors and dealers

    Following the limited shipments it initiated in August, Kodak Alaris is now shipping its new Ektachrome film products to global stock house dealers and distributors, the company announced on Tuesday. It’s currently shipping the Ektachrome Film E100 product, which will initially be available in the 135/36x camera format.

    Starting on October 1, Eastman Kodak Company will also offer the Ektachrome 7294 Color Reversal Film in Super 8 format. Additional Ektachrome film products in 16mm format will be available later this year. According to Kodak, both the Ektachrome 7294 Color Reversal Film and E100 feature “extremely fine grain,” as well as a neutral tone scale and “clean, vibrant colors.” Prices weren’t provided.

    Ektachrome was officially discontinued in 2012, but a resurgence in analog photography has prompted the company to bring back some of its film products. Kodak Alaris had announced plans to resurrect Ektachrome during CES 2017. Soon after, the company also revealed plans to bring back the Kodak T-Max P3200 high-speed black and white film, that having also been discontinued in 2012.

    Via: Kodak

    Articles: Digital Photography Review (dpreview.com)

  • iPhone XS Max teardown reveals new sensor with more focus pixels

    When Apple announced the new iPhone models XS and XS Max the company told us that the camera’s wide-angle module featured a larger sensor with 1.4 µm pixels compared to 1.22 µm on last year’s iPhone X.

    Now a teardown performed by TechInsights has confirmed the new sensor, but has also revealed some additional detail about the wide-angle camera. The sensor is a stacked model provided by Sony and measures 7.01 mm x 5.79 mm (40.6 mm2). This is 7.8 mm2 more than the wide-angle camera sensor on the iPhones X and 8 Plus.

    TechInsights engineers noticed an increased density of Focus Pixels

    In addition, the TechInsights engineers noticed an increased density of Focus Pixels. This means more regions of the sensor are available as autofocus points and should, at least in theory, improve autofocus performance in most light conditions and shooting situations. Focus Pixels is an Apple term for masked PDAF pixels which were first introduced in 2014 with the iPhone 6.

    TechInsight’s teardown is still in progress, so we hope the team can provide some more information and also have a closer look at the camera’s 2x tele-module, which on paper looks unchanged from last year, over the coming days.

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2018: Hands-on with Panasonic Lumix S1R

    First look at Panasonic Lumix S1R

    One of the most interesting announcements at this year’s Photokina show in Germany was the Panasonic / Leica / Sigma L-mount partnership, the first fruits of which are two upcoming professional-oriented mirrorless ILCs from Panasonic.

    We’ve seen non-functional mockups of the S1R already, but earlier today we were lucky enough to get access to a working prototype camera in the VIP area at Panasonic’s booth. Click through for a closer look.

    First look at Panasonic Lumix S1R

    We couldn’t power the camera up, so for now our impressions are limited to general handling and ergonomics but the S1R certainly feels good in the hand. It’s a large camera, especially for a mirrorless ILC but it doesn’t feel too heavy, and the camera+24-105mm combination shown here is nicely balanced.

    Panasonic tells us that every aspect of the camera was decided upon on the basis of detailed customer feedback, including the demand from professional users for large, well-placed controls and a deep grip.

    First look at Panasonic Lumix S1R

    These blocks of plastic show the evolution of the S1R’s grip shape, over several prototype iterations.

    First look at Panasonic Lumix S1R

    Apparently what you get when you ask professional photographers what they want is something that looks an awful lot like a traditional DSLR. Resembling an upsized G9, Panasonic claims that ‘no compromise’ has been made in the S1R’s performance, which is intended to satisfy the needs of the most demanding professional photographers.

    First look at Panasonic Lumix S1R

    While final specs are still to be confirmed, Panasonic tells us that the viewfinder in the S1R will ‘rival human vision’, i.e, a hypothetically perfect optical finder. We’re curious to see for ourselves what this means in practice but judging by the excellent finder in the G9, Panasonic has what it takes to create very high quality, immersive EVFs.

    This view shows the S1R’s conventional, button-laden rear control layout which includes an AF positioning joystick and twin rear dials. The grip texture is provisional – final shipping cameras will feature a textured faux leather finish.

    First look at Panasonic Lumix S1R

    The touch-sensitive rear LCD (specs are again TBD) is articulated, which means you can fold it out….

    First look at Panasonic Lumix S1R

    …and down, allowing for waist-level shooting in both landscape and portrait orientations.

    First look at Panasonic Lumix S1R

    Now there’s a thing – twin card slots. The S1R is aimed squarely at professional photographers, and the option of XQD and / or SD should fulfill demands for backup, redundancy, or ‘stills to this card, video to that one’ shooting. Like every point on the S1R’s body, the card door is gasketed to protect against dirt and moisture incursion. Panasonic claims that the S1R should rival the GH5/S for durability in unusually cold, hot or wet environments.

    First look at Panasonic Lumix S1R

    The S1R we handled was missing a battery, but Panasonic tells us that battery life was a priority in the new models and as such, both will take a new, larger-capacity battery than those found in the company’s M43 cameras.

    First look at Panasonic Lumix S1R

    This image shows the S1R without a lens attached. The S1R will accept existing Leica L-mount lenses marketed alongside the SL, as well as forthcoming Panasonic-branded lenses and future Sigma alternatives. This view shows off the S1R’s two customizable front-mounted buttons, to the left (as seen from this direction) of the lens mount. In a thoughtful touch the upper button is convex, while the lower is concave for ease of identification by touch.

    First look at Panasonic Lumix S1R

    The S1 and S1R will be sold alongside four lenses: a 50mm F1.4, 24-105mm, 28-70mm and a 70-200mm F2.8. Final specifications are still to be confirmed, and the lenses shown here are non-functional mockups, displayed under glass.

    Learn more about the Panasonic S1/R

    Articles: Digital Photography Review (dpreview.com)

  • Venus Optics shows eight new Laowa models, including the widest Fujifilm GFX lens

    A dramatic flurry of lenses has emerged from independent manufacturer Laowa at Photokina as the company shows a total of eight new models in a wide range of mounts. The company is showing a 17mm F4 for the Fujifilm GFX medium format system that will offer the angle of view we’d expect from a 13mm focal length on a 135 format camera. The lens will be the widest available lens for Fujifilm’s system and, as part of the Zero D series, it should have only the slightest amount of distortion.

    Other lenses of note in the collection include a designed-for-cinema 25-100mm T2.9 zoom marking Laowa’s entry into the professional movie market. The lens is claimed to be parfocal, so focus doesn’t shift during zooming, and to display minimal breathing as focus is altered.

    Drone and MFT users will both get versions of a 9mm F2.9 super wide, while macro lovers will be able to enjoy a 100mm macro that can reproduce a subject at double size on the sensor.

    All the details are below and on the Venus Optics website. Pricing and availability are yet to be confirmed.

    Press Release

    Venus Optics unveil 8 new & unique Laowa lenses in Photokina, including the 25-100 T/2.9 Professional Cine Lens

    Together with the 4 new lenses showed earlier in Beijing P&E, a total of 12 new Laowa lenses will make their Europe debut in Venus Optics’ booth in Photokina (Hall 2.1, D-040)

    Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to unveil 8 new and unique lenses in Photokina.

    Laowa OOOM 25-100mm t/2.9 Cine Lightweight Zoom
    Laowa 17mm f/1.8 MFT
    Laowa 12mm f/1.8 MFT
    Laowa 9mm f/2.8 Zero-D (DJI DL)
    Laowa 9mm f/2.8 Zero-D MFT
    Laowa 7.5mm t/2.1 Cine
    Laowa 9mm t/2.9 Zero-D Cine
    Laowa 12mm t/2.9 Zero-D Cine
    Laowa 10-18mm f/4.5-5.6 FE Zoom
    Laowa 100mm f/2.8 2X Ultra Macro APO
    Laowa 17mm f/4 GFX Zero-D
    Laowa 4mm f/2.8 Fisheye MFT

    Laowa OOOM 25-100 t/2.9 Cine Lightweight Zoom

    Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics. The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions.

    Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine lens is designed for digital cinematography in the first place. It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out. It is designed to have nearly zero focus breathing throughout the whole zoom range. The aperture remains fixed at t/2.9 at all focal lengths.

    It is built with the true cinema level mechanics. It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears. The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.

    Laowa 17mm f/1.8 MFT

    Laowa 17mm f/1.8 is a new compact, standard prime designed for Micro Four Thirds cameras and it gives a 35mm-equivalent field of view. The lens houses 9 elements in 7 groups and have a 5-blade aperture for the best sunstar rendering. The lens is extremely compact and lightweight, weighs only 160g (0.36lbs) and is 5cm (2”) long. A 46cm filter thread is included and the 15cm minimal focus distance make it a perfect lens for videography.

    Laowa 12mm f/1.8 MFT

    Laowa 12mm f/1.8 is a new compact, wide-angle prime for Micro Four Thirds cameras and it gives a 24mm-equivalent field of view. The ultra-fast f/1.8 aperture allows photographers to take astro photos with ease. The lens houses 13 elements in 10 groups and a 5-blade aperture. The lens can focus as close as 14cm (5.5”) and takes 46mm screw-in filters which gives extra convenience to videographers. It weighs only 165g (0.4 lbs) and its 5cm long (2”).

    Laowa 9mm f/2.8 Zero-D (DJI DL)

    Following the successful launch of the super compact and lightweight 7.5mm f/2 MFT lens for DJI Inspire drones (X5 gimbals) during 2017, Venus Optics is proud to introduce another ultra-wide option, Laowa 9mm f/2.8 Zero-D DL, to use on DJI Inspire 2 (X7 gimbals).

    Featuring an effective 118° angle of view, the Laowa 9mm f/2.8 Zero-D DJI DL is currently the widest available option for DJI Inspire 2 drones with Zenmuse X7 gimbals. The bigger image circle can cover the size of Super35 sensors and the native DL mount allows an easy lens switching. The lens weighs only 215g and it is super tiny and compact. It comes with a 49mm filter thread and features a close-to-zero optical distortion.

    Laowa 9mm f/2.8 Zero-D MFT

    Laowa 9mm f/2.8 Zero-D (Micro Four Thirds mount) is the 4th variant added to the existing Fuji X, Sony E and EOS-M mounts. The 9mm lens provides a 18mm equivalent angle of view on the Micro Four Thirds sensor. It also has a better vignetting control over the other variants of the same lens. The close-to-zero distortion will remain unchanged.

    Laowa 7.5mm t/2.1 Cine / Laowa 9mm t/2.9 Zero-D Cine

    The new Laowa 7.5mm and 9mm Cine lenses are the cine-mod version of the existing photo version of Venus Optics best-selling models. Both lenses were re-housed with a step-less aperture rings and focus rings with standard 0.8 mod gears which give videographers extra convenience to use with follow-focus systems. Both of the lenses are the widest available in the market in its class and only weigh 180g (0.4lbs) & 250g (0.55lbs) respectively. Closest focusing distance is both 12cm (0.4 feet). The wide perspective and lightweight makes them the perfect companion for gimbal shooting. MFT mount is available for 7.5mm t/2.1 Cine and Sony E mount is available for 9mm t/2.9 Cine.

    Laowa 12mm t/2.9 Zero-D Cine (PL)

    The new Laowa 12mm t/2.9 Zero-D Cine in PL mount is the cine-mod version of the existing 12mm f/2.8 Zero-D lens. The lens was rehoused with a step-less, t-stop aperture rings and focus rings with standard 0.8 mod gears for iris and focus pulls. It successfully covers the 35mm Vista Vision sensor size and offers an ultra-wide 122° angle of view, making it one of the world’s widest and fastest available option for shooting with large sensors. Despite the ultra-wide field of view, it is perfectly rectilinear and features a close-to-zero distortion rate. The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance. The super lightweight (650g, 1.4lbs) is also an added benefit for cinematographers.

    Laowa 10-18mm f/4.5-5.6 FE Zoom

    This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 4 inch (<10cm) and only 1.1 pounds (<500g). The 102? (18mm) to 130? (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. A dedicated filter holder is being developed to fit 100mm-wide filters. Click/clickless aperture can be toggled by the switch on the lens barrel. A 5-blade aperture design ensures a pleasing and clean sunstar rendering.

    Multiple samples will be available for free rental during Photokina period.

    Laowa 100mm f/2.8 2X Ultra Macro APO

    Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found. The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Automatic aperture control feature is available for Canon EF version and Aperture coupling is available for Nikon F mount version.

    Laowa 17mm f/4 GFX Zero-D

    This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113?). Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.

    Laowa 4mm f/2.8 Fisheye MFT

    Featuring a 210? angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360? panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).

    Free Rental Programme
    Venus Optics have prepared some copies of the Laowa 10-18mm f/4.5-5.6 FE Zoom and Laowa 24mm f/14 Probe lens (Canon) for free rental during Photokina period. For reservations, please contact Venus Optics via contact@venuslens.net.

    Availability
    All 12 new lenses will make its Europe debut in Venus Optics’ booth (Hall 2.1, D-040) in Photokina, Cologne during 26th-29th Sept. Pricing and ship date are to be confirmed.

    About Us
    Anhui ChangGeng Optical Technology Company Limited (Venus Optics) is a new Chinese camera lens manufacturer based in Hefei, Anhui. We currently manufacture and distribute camera lenses under the brand name of ‘Laowa’.

    For more information about Anhui ChangGeng Optical Technology Company Limited and our products information, visit http://www.venuslens.net/

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm developing 100MP medium format with phase detection and IBIS

    Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $ 10,000.

    The development was announced at the company’s press conference at the Photokina trade show in Cologne, Germany, alongside the unveiling of the 50MP GFX 50R model.

    A mockup on display at the event shows it to resemble a dual-grip variant of the existing GFX 50S model but without the protruding hump at the back of the body.

    No details beyond these headline specs were made available but the company said the camera would be available in 2019.

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2018: First look at new Ricoh GR III

    Our new favorite compact? Meet the Ricoh GR III

    Ricoh has announced the development of a third model in its popular GR lineup: The forthcoming GR III will feature an updated sensor and redesigned lens. We’re at Photokina, where we took a quick look earlier at an early sample under glass.

    The biggest upgrade to the GR III is invisible. The new camera features a 24MP APS-C sensor, which should substantially improve upon the rather old 16MP sensor used in the GR/II. The new sensor brings with it phase-detection autofocus, and in-camera stabilization. Both these changes are potentially of huge value to prospective buyers, and serve as a major differentiator against arguably the GR III’s main competitor, Fujfilm’s X100-series.

    Our new favorite compact? Meet the Ricoh GR III

    Externally, the magnesium alloy-bodied GR III is virtually indistinguishable from its predecessors, the GR and (extremely closely-related) GR II. The 28mm effective focal length of it 18.3mm F2.8 lens is unchanged, but it has been redesigned.

    The new lens features six elements in four groups, including two aspheres. The GR/II’s lens was made up of seven elements in five groups, also including two aspherical elements. Beyond an improvement to minimum focusing distance from to 6cm (2.4″) from 10cm (3.9″) we don’t know what the practical effects of this redesign are (the GR/II’s original lens was stunningly sharp) but we’re keen to put it to the test as soon as we can.

    Our new favorite compact? Meet the Ricoh GR III

    Movie shooting has been moved from its old position on the main exposure mode dial, to a button on the left-hand side of the camera. This button can also be configured to activate the GR III’s wireless feature. Notice also the omission of the mechanical flash release switch, which was featured on the GR/II. The GR III does not include a built-in flash.

    Our new favorite compact? Meet the Ricoh GR III

    Sorry for the poor quality of this image, which was (obviously) shot through perspex, and against powerful spotlights. Hopefully it shows you what you need to know. From behind, the biggest difference to the GR III compared to its predecessors appears to be a larger LCD, but in fact this is partially an illusion. The GR III’s screen is now 3:2 aspect ratio (as opposed to 4:3) but the diagonal length is the same and resolution (1.03 million dots) is unchanged compared to its predecessor.

    The biggest difference is that the GR III’s screen is touch-sensitive.

    Our new favorite compact? Meet the Ricoh GR III

    You might also notice that the GR/II’s AE/AFL / AF-C switch has been deleted in the new model – likewise the +/- toggle that used to live on the upper-right corner of the thumb grip. This is a shame, but the GR III does gain a rear control dial around the 4-way pad, and from the labeling it looks like the rear ‘ADJ’ jog switch can be used for quick exposure compensation.

    Our new favorite compact? Meet the Ricoh GR III

    From the top, the simplified exposure mode dial looks noticeably less cluttered than the older GR/II. Movie mode has gone, but so has the auto-everything ‘green’ camera mode, and TAv. Instead, we have the traditional PASM plus three user-configurable settings. The front control dial and trademark Ricoh pill-shaped shutter button are unchanged.

    That’s it! At least for now. This camera was firmly behind glass but as soon as we can get our holds on a working sample, we’ll be posting a lot more about the GR III, which is already looking like it might become our new favorite compact.

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2018: Hands-on with Tamron’s 2nd-gen 15-30mm F2.8 lens

    Open wide: Tamron’s 15-30mm F2.8 G2

    Tamron has updated their SP 15-30mm F2.8 Di VC USD full-frame lens and we got a chance to check out version 2 as this year’s Photokina. It handles essentially the same as its predecessor but there are some cosmetic changes. The design now matches that of the SP 24-70mm F2.8 and SP 70-200 F2.8 – specifically the grey bit by the base is new and the switches on the side have been redesigned.

    Aside from cosmetic changes, a list of improvements under the hood make the 15-30mm F2.8 version 2 all the more appealing, including: dual processors for faster AF and better stabilization, fresh coatings to reduce flare and a new aspherical element.

    It is available in both Canon EF and Nikon F mounts – the Nikon mount just began shipping, Canon mount ships October 12th. The list price is $ 1299.

    Open wide: Tamron’s 15-30mm F2.8 G2

    Like version 1, the front element is large and bulbous and the front of the glass moves forward in the housing as you zoom in – it is shown here zoomed to 30mm. There’s no way to put a threaded filter on it but the Canon version has a rear filter holder that can accept gels. The Nikon does not due to the F mount’s flange distance.

    Version 2 also features a new Anti-reflection eXpand coating that Tamron developed in house to ensure flaring is as well-controlled toward the edges as it is in the center. The lens has two additional coatings to combat flare and ghosting. It also features an updated fluorine coating on the front element that is ‘abrasion resistant.’ This should make it easy to wipe away dust, water or grime and provide some level of scratch resistance. Speaking of water, the whole thing is weather resistant.

    Open wide: Tamron’s 15-30mm F2.8 G2

    Vibration control has been improved thanks to the inclusion of a second processor – now one processor is dedicated to AF and one to VC. Tamron says the new VC-dedicated processor should result in up to 4.5 stops of stabilization.

    In addition to a dedicated AF processor, the lens has an updated AF algorithm. All of this should result in faster AF speeds. And because focus is driven by an ultrasonic silent drive motor, AF noise shouldn’t be an issue for video shooters. Then again, if you are old-fashioned, a manual override switch has you covered.

    Open wide: Tamron’s 15-30mm F2.8 G2

    A rubber gasket along the mount ensures no water gets inside your DSLR. And as mentioned, the lens design is moisture-resistant with internal seals located in critical areas where water or dust might get in.

    Also the 15-30mm can make use Tamron’s TAP-in console for AF fine-tuning, VC control adjustments and firmware updates. The console will set you back about $ 60.

    Open wide: Tamron’s 15-30mm F2.8 G2

    In terms of handling, version 2 is nearly identical in size and weight to version 1. At 1100 g, it is not light-weight. Nor is it small, but that’s the price of ice when it comes to a stabilized constant-aperture wide-angle full-frame zoom.

    Overall we’re excited to get the Tamron 15-30mm F2.8 version 2 on a body and start shooting. We were big fans of version 1 and it will be nice to see how all these improvements affect overall image quality and the shooting experience. Stay tuned for a sample gallery!

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2018: Zenit and Leica collaborate on new ‘M’

    Designed in Russia, made in… Germany? It’s the Zenit M

    Leica is clearly in the mood for partnerships: A day after the company announced it was teaming up with Panasonic and Sigma on the L mount, Zenit took the wraps off the ‘M’, a Zenit-designed, Leica manufactured rangefinder camera which has (cough cough) rather a lot in common with Leica’s last-generation M Typ 240.

    Designed in Russia, made in… Germany? It’s the Zenit M

    Leica and Zenit aren’t necessarily names that you’d immediately associate, but hey, in the words of one Leica executive I talked to, “that’s globalization for you!” In the latest sign that this ain’t your Großvater’s Leica, it is currently assembling the 24MP full-frame Zenit M rangefinder alongside the M10 at its Wetzlar plant in Germany.

    As far as division of labor is concerned, I’m told that Zenit was responsible for the external design, and everything else is done at Wetzlar.

    Designed in Russia, made in… Germany? It’s the Zenit M

    I must say, I rather like Zenit’s design touches. Somewhat more slab-sided than the Typ. 240, the Zenit M actually looks pretty cool to my eyes, and the asymmetrical curve of the top-plate acts as an optical illusion, making the M look slightly slimmer than the ‘original’ Leica.

    Rather wonderfully, just like a Leica, the Zenit M has the model name and serial number engraved into the hotshoe assembly.

    Designed in Russia, made in… Germany? It’s the Zenit M

    So far, so Leica. From the rear, the Zenit M is almost indistinguishable from the Typ 240. Only the ‘DESIGNED IN KRASNOGORSK’ gives it away. With my eye to the viewfinder, there’s no discernible difference in use, either.

    Designed in Russia, made in… Germany? It’s the Zenit M

    At the heart of the Zenit M is the same full-frame 24MP CMOS sensor as – you guessed it – the Leica Typ 240. It also offers live view and HD movie recording.

    Designed in Russia, made in… Germany? It’s the Zenit M

    The battery and memory card are accessed in the same way, too, via the removable baseplate.

    Designed in Russia, made in… Germany? It’s the Zenit M

    The Zenit M will be available in a black or chrome finish, and will be shipping later this year or early 2019 for ‘between 4-5,000 Euros’ kitted with the Zenitar 35mm F1.0.

    Articles: Digital Photography Review (dpreview.com)

  • Blackrapid develops strap designed for women photographers

    Accessories manufacturer Blackrapid has introduced a new version of its shoulder sling camera strap that is designed to be especially comfortable for female photographers. The Nicole Elliot by Blackrapid uses wide pad to hug the shoulder and take the pressure away from the neck and distribute weight more evenly. The company says the design is based on the way ‘women have been carrying their babies for centuries’, and promises the camera will feel virtually weightless.

    The black shoulder pad is reversible to display a black and white pattern, and it contains pockets for memory cards and for accessories needed close at hand. The strap measures 63in and costs $ 69.95. For more information see the Blackrapid website.

    Manufacturer’s description

    Nicole Elliott by BLACKRAPID

    Introducing a brand-new camera strap designed by women for women – Nicole Elliott by BLACKRAPID. With its innovative functionality, maximum comfort and unique style this strap will change the way you photograph life.

    Your camera should be an extension of you, not an annoyance to carry. Your camera gear should add to your creative energy – not inhibit it. Taking its cue from the way women have been carrying their babies for centuries, Nicole Elliott by BLACKRAPID takes the pressure points away from your neck and shoulders by “hugging” your shoulder to evenly distribute the weight. Allowing you to have full mobility and making your camera feel virtually weightless. Shoot for hours without feeling fatigue, discomfort or pain!

    The strap is reversible – black on one side, black and white pattern on the other – business and party in one unique design. The shoulder strap has two pockets for lens caps and two zippered pockets for memory cards, batteries and whatever other small accessories you want to keep close. The strap has a release trigger snap hook that locks in place when hooked to the 1/4″ screw that attaches securely to the bottom of your camera. And the strap adjusts to up to 63” in total length, ensuring a perfect fit for any body type.

    Nicole Elliott by BLACKRAPID – #LiveTheMoment in Comfort and Style!

    Features:

    • Ergonomically Correct. Even weight distribution takes the pressure off your neck and shoulders, making your camera feel weightless.
    • Durable, water resistant fabric.
    • Reversible – Pattern on one side, black on the other.
    • Reversible front or back adjustment for left or right handed users.
    • 2 zippered pockets, 2 lens cap pockets.
    • Extendable up to 63” in circumference.
    • Swivel ConnectR (CR-3) and FastenR (FR-5) connection system. LockStar Breathe cover to secure carabiner. Camera Safety Tether included for extra security.
    • Front and back spring-loaded cam locks.

    Product Specs

    • Reversible for Right- or Left-handed wear
    • Shoulder Piece – Removable, Reversible and Washable*
    • Strap length with shoulder piece – 63” (160cm) fully extended total circumference
    • Shoulder piece – approximately 7.5”x 23.5”
    • 2 zippered pockets 4”x4.5”
    • 2 lens cap pockets 4”x4.5”
    • 2 front and back cam locks
    • Quick adjustment
    • Webbing 100% nylon
    • Webbing width 1”
    • Product weight 6.35oz
    • LockStar Breathe
    • 2 Gate Keeper attachments for reversibility

    *Laundering: Detach Shoulder Strap from nylon strap and rings. Wash by hand with mild soap. Lay flat to dry.”

    The heart behind Nicole Elliott by BLACKRAPID:
    “We are mothers, we are daughters, we are wives and friends…
    We love deeply and live passionately.
    We are surrounded by a world of wonder and amazement, from little laughs and giggles, to the beautiful people that surround us and the everyday moments that steal our hearts.
    Life is a journey…. A bunch of little moments that together make up one big beautiful life.
    My hope is that the Elliott strap helps you capture the life around you Confidently, Creatively, Passionately…without borders.
    Here’s to a beautiful life captured one shot at a time – one moment at a time.
    Every moment, #LiveTheMoment. In comfort and style.”
    ~ Nicole Elliott

    Articles: Digital Photography Review (dpreview.com)

  • Manfrotto launches ‘50% more rigid’ carbon fiber twin-leg tripods for video

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    Accessories manufacturer Manfrotto has launched a pair of carbon fiber tripods for videographers that it claims are 50% more rigid than their aluminum counterparts and which come in a choice of configurations. The CF Twin Leg models feature dual risers and offer users a choice of leg spreading braces. The first model has a removable middle spreader half way up the legs and the other has the spreader attached to the feet. Both can have rubber or spiked feet, and are essentially the same in all other respects.

    A 100mm bowl comes as standard along with a 75mm adapter to make the set-up compatible with a wider range of heads, and the legs are available as an optional kit with the Nitrotech N8 and N12 video heads as well as the 504. The legs in either configuration will cost £659.95/$ 699.95 with no head, and are available for pre-order on the Manfrotto website.

    Press release

    {pressrelease}

    MANFROTTO EXPANDS ITS VIDEO SUPPORTS RANGE WITH TWO NEW TWIN-LEG TRIPODS IN CARBON FIBRE

    • Carbon fibre with new internal lock mechanism
    • 100mm bowl with 75mm aluminium adapter
    • 50% increased rigidity*

    Manfrotto, world leader in the photography, videography, imaging equipment and accessories industry, has expanded its video tripod range with two new twin-leg video tripods made of carbon fibre.

    The two brand-new, twin-leg video tripod models are the perfect solution for professional videographers looking for robust, rigid and lightweight support.

    A 50% increase in rigidity* is achieved thanks to the combination of carbon-fibre tubes and a new patent-pending internal leg lock mechanism.

    Manfrotto’s two new twin-leg carbon-fibre video tripods feature a 100mm bowl and include a 75mm aluminium adapter, for compatibility with a wider range of video heads.
    Moreover, the tripod feet with spiked option give great versatility when it comes to different shooting locations.

    The twin-leg carbon fibre tripods are available in two models: the first with an easily removable middle spreader and telescopic arms, and the second with a ground spreader, telescopic arms and incorporated rubber shoes.

    Both twin-leg carbon-fibre tripods are also available in combination with Manfrotto Nitrotech N12, N8 and 504 video heads.

    All Manfrotto video tripods are engineered with a focus on quality and dedication to continuous innovation. These products are the perfect solution for all videographers looking for a great support for their video shooting. Manfrotto’s new twin-leg carbon-fibre tripods will take support for their video gear to the next level.

    *Compared with the Manfrotto aluminium versions 546B, 546GB, 545B, 545GB.

    RRP £659.95. For more information, please visit www.manfrotto.co.uk

    {/pressrelease}

    Articles: Digital Photography Review (dpreview.com)