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TTArtisan releases $235 50mm F1.4 ASPH lens for full-frame mirrorless cameras

08 Aug

TTArtisan has revealed its new $ 235 50mm F1.4 lens for full-frame mirrorless camera systems.

The new TTArtisan 50mm F1.4 ASPH lens is entirely manual and, according to TTArtisan, able to be used with sensors up to 60MP. The optical construction consists of ten elements in eight groups, including a low-dispersion element and aspherical element.

It uses a 12-blade aperture diaphragm, has an aperture range of F1.4 through F16, offers a minimum focusing distance of 50cm (19.7”) and uses a 49mm front filter thread.

As with TTArtisan’s recent lenses, this one follows a clearly Leica-inspired design, complete with white and yellow markings in a Leica-like typeface. The lens features a clicked aperture ring and is rather compact. The lens measures 68mm (2.68”) long, 57mm (2.24”) in diameter and weighs around 430g (15.2oz), with slight variations between the different mounts.

Below is a gallery of sample images captured with the lens:

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The TTArtisan 50mm F1.4 ASPH lens is available for Canon RF, Leica L, Nikon Z and Sony E mount camera systems. It is available to purchase through TTArtisan’s online store for $ 235.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Chris and Jordan pick their dream camera kits

07 Aug

What if you were swimming in gold and could buy any camera that you wanted? Chris and Jordan sat down to talk about what cameras they would buy if money was no object. Some special guests chime-in to share what they’d pick, as well.

What’s your dream camera? Tell us in the comments below.

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  • Introduction
  • Ted Forbes' Dream Camera
  • Leica Options
  • Medium Format Options
  • Full-Frame Mirrorless Options
  • Sally Watson's Dream Camera
  • Arri Options
  • Professional Cinema Camera Options
  • Full Frame Mirrorless Video Options
  • Kai W's Dream Camera
  • Chris' Choice
  • Jordan's Choice
  • Bickering

Articles: Digital Photography Review (dpreview.com)

 
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7Artisans will ‘soon’ announce a ~$200 50mm F0.95 lens for APS-C mirrorless camera systems

06 Aug

Chinese optics manufacturer 7Artisans is set to release a new 50mm F0.95 APS-C lens for EOS-M, Fujifilm X, Micro Four Thirds (MFT), Nikon Z and Sony E mount camera systems.

The fully-manual lens is expected to retail for around $ 200. It will feature a metal build and its optical design consists of seven elements in five groups, including two ultra-low dispersion elements. It’ll have a minimum focusing distance of 45cm (17.7”), offer a de-clicked aperture, use a 13-blade aperture diaphragm, and have a 62mm front filter thread.

The lens will measure 67.5mm (2.7″) long and weigh 416g (14.7 oz). Below is a video review from YouTube channel InfoFotografi (with English subtitles):

Photo Rumors, an authorized 7Artisans reseller, says the lens will be be released ‘soon.’

Articles: Digital Photography Review (dpreview.com)

 
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Hubble captures stunning gravitational interaction between a trio of galaxies

05 Aug

NASA has published a stunning image captured by the Hubble Space Telescope that shows a ‘three-way gravitational tug-of-war between interacting galaxies.’ The galaxies in the show are in system Arp 195, a system featured in the Atlas of Peculiar Galaxies, a list of the ‘weirder and more wonderful galaxies in the universe.’

Arp 195, otherwise known as UGC 4653, is a galaxy with material ejected from nuclei. It’s one of 15 Arp-numbered galaxies with this characteristic. All but one of these galaxies are interacting or have recently interacted with other celestial objects. The trademark tidal features of the galaxies, including Arp 195, appear to be the result of gravitational interactions.

Credit: ESA/Hubble & NASA, J. Dalcanton. Click to enlarge.

Hubble’s new sighting is in the Lynx constellation, about 747 million light-years from Earth. It’s fantastic to see new images from Hubble, as the venerable space telescope suffered significant downtime following a computer glitch earlier this summer. Hubble recently returned to service and celebrated by publishing a pair of stunning monochromatic images last month.

‘These images, from a program led by Julianne Dalcanton of the University of Washington in Seattle, demonstrate Hubble’s return to full science operations. [Left] ARP-MADORE2115-273 is a rarely observed example of a pair of interacting galaxies in the southern hemisphere. [Right] ARP-MADORE0002-503 is a large spiral galaxy with unusual, extended spiral arms. While most disk galaxies have an even number of spiral arms, this one has three.’ Text and image credit: Science: NASA, ESA, STScI, Julianne Dalcanton (UW) Image processing: Alyssa Pagan (STScI). Click to enlarge.

The hiatus aside, Hubble’s observational time is valuable. NASA writes, ‘Observing time with Hubble is extremely valuable, so astronomers don’t want to waste a second. The schedule for Hubble observations is calculated using a computer algorithm which allows the spacecraft to occasionally gather bonus snapshots of data between longer observations. This image of the clashing triplet of galaxies in Arp 195 is one such snapshot. Extra observations such as these do more than provide spectacular images – they also help to identify promising targets to follow up with using telescopes such as the upcoming NASA/ESA/CSA James Webb Space Telescope.’

Hubble offers a unique look into distant space, and it’s great to see that the telescope is working well following its concerning issue. If you’d like to see more of what Hubble is up to, you can check out an image gallery here.

Articles: Digital Photography Review (dpreview.com)

 
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June 2021 CIPA data: Steady shipments despite chip shortages and COVID-19 resurgences

04 Aug

The Camera & Imaging Products Association (CIPA) has released the production and shipment data of digital cameras and lenses for June 2021.

So far, in 2021, global camera shipments peaked in March, with 830,006 units. Since then, it’s been a steady decline, with June continuing that trend. That said, global camera shipments are still higher than last year for both volume and value. In June 2021 676,803 units valued at 39 billion yen shipped compared to 511,517 units worth 24.5 billion yen in June 2020, increases of 32.3 percent and 60.1 percent, respectively.

If we ignore compact camera sales and look only at interchangeable lens cameras, the numbers are fairly similar. June 2021 saw 442,679 units worth 33 billion yen shipped in June 2021 compared to 326,094 units worth 19.3 billion yen in June 2020, increases of 35.8 percent and 71.2 percent, respectively.

This chart from CIPA shows total digital stills camera shipments in 2019 (purple, circles), 2020 (black, triangles) and 2021 (orange, squares). These numbers include compact cameras with built-in lenses, DSLR cameras and mirrorless cameras. Click to enlarge.

This data continues the trend we’ve seen over the past year or two wherein fewer units are being shipped (and eventually sold) than previous years, but the value of those units is higher, meaning the loss in volume for camera manufacturers is at least somewhat being made up for with an increase in revenue per unit. This trend is even more noticeable in the interchangeable lens camera market, where mirrorless cameras showed a 104 percent YoY increase in the value of units shipped in June 2021, despite volume only increasing 58 percent.

This chart from CIPA shows total shipments for cameras with interchangeable lenses in 2019 (purple, circles), 2020 (black, triangles) and 2021 (orange, squares). Click to enlarge.

For comparison, June 2021 saw 191,560 DSLR units worth 7.1 billion yen shipped. Those are YoY increases of 14.6 percent and 7.8 percent respectively. What this shows is that despite more DSLR camera units being shipped globally, the value of those units is steadily decreasing. There could be a few reasons for this discrepancy, but the two most obvious ones are that camera companies are discounting their more expensive DSLR cameras to get rid of inventory ahead of the ongoing transition to mirrorless; the second is that those still buying DSLR cameras are more consumer-oriented customers who are getting entry-level DSLR cameras that retail for much less than prosumer and pro-grade DSLR cameras.

Another facet to take into account is the ongoing chip shortage. Camera and lens manufacturers have come out time and time again to announce delays due to the inability to source the required components, but it’s difficult to judge just how much this is affecting the production and shipment data at this time.

CIPA’s complete June 2021 breakdown, which shows production and shipment data from January, February, March, April, May and June 2021 by camera type and region. Click to enlarge.

As for regional data, it’s a little more difficult to judge how shipment and production data is affecting the industry as a whole. There are geographical areas where COVID-19 and its variants are causing increases in cases and travel restrictions, while other areas have seen life more or less return to ‘normal,’ as obscure as that definition may be.

Whatever the case is, June 2021 continues the trends we’ve seen as of late and once again backs up the statements we’ve seen from various camera and lens manufacturers who’ve state that 2021 will be a year of equilibrium that will very much shape the state of the industry going forward.

You can find a full list of companies participating in CIPA’s data and view all historical data on CIPA’s website. You can find the full June 2021 dataset here.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Tamron 11-20mm F2.8 Di III-A RXD

31 Jul

With smoke from nearby wildfires preventing them from taking the Tamron 11-20mm F2.8 into nature, Chris and Jordan stay in Calgary to test the lens. See how this ultra-wide optic performs for both stills and video on Sony APS-C E-mount bodies.

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  • Introduction
  • Sample images
  • Build and design
  • Autofocus and focus breathing
  • Chromatic aberrations
  • Close-up performance
  • Flare and sunstars
  • Bokeh
  • Sharpness
  • Versus the Sony 10-18mm F4 OSS

Tamron 11-20mm F2.8 sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Update: Images appear to confirm Nikon’s Z9 is being tested at the Olympics, gives us the first look at its back side

30 Jul

Update (July 30th, 2021 at 1:30pm EDT): We have added a new tweet from the Photolari Twitter account that shows new images of what appears to be the same Nikon camera shown off in the two images from yesterday.


Today, Twitter account Photolari shared a tweet with a pair of photos showing what appears to be Nikon Z9 mirrorless cameras in the wild at the Olympics.

The original tweet has been deleted, but digicame-info managed to save the above images before their removal. Nikon has confirmed some details of its forthcoming flagship mirrorless camera, but only shown renderings of the front of the camera. These new images reveal the back side of the pro-style camera body, which appears to feature Nikon’s signature circular eyepiece, dual joysticks, a directional pad and a generous array of buttons. Below is a breakdown of the buttons (many of which are surely going to be customizable):

There appears to be black gaffer tape around the screen of the camera, obscuring what may or may not be an articulating display.

DPReview confirmed with Nikon earlier this week that it had its Z6 II and Z7 II mirrorless cameras and Z mount lenses on-hand at the 2020 Tokyo Olympics, but there was no mention of its unreleased Z9 mirrorless camera. It’s been confirmed Canon has photographers testing out its forthcoming EOS R3 mirrorless camera at the Olympics as well, so it’s no surprise Nikon is using the Olympic Games as a testing ground as well for its professional camera system.

Below is a new tweet from the Photolari Twitter account showing off two new images of what appears to be the same camera shown off in the above images:


Articles: Digital Photography Review (dpreview.com)

 
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Sony to announce a new camera in the next 24 hours

26 Jul

Earlier this month, Sony was set to release a new camera. However, the July 7th announcement was postponed for unspecified reasons. At the time, no information was provided as to when we could expect the new camera, but Sony has updated its website to announce the product will be released via a YouTube Premiere at 23:00 JST on July 27, 2021 (10am EDT, 7am PDT July 27).

The initial announcement graphic, which shows the original expected announcement date of July 7, 2021. The updated announcement graphic, which shows the new announcement date of July 27, 2021.

The updated graphic shows the same ‘Capture more of your world’ tagline seen in the original announcement as well as a microphone windscreen atop a rainbow-gradient background. No further information is provided, but the graphic does confirm we will see a new camera within the next 24 hours (barring a last-minute postponement).

You can set a reminder to be notified and watch the announcement on Sony Japan’s YouTube channel (or just keep this page open in your browser and watch using the above embedded YouTube video).

Articles: Digital Photography Review (dpreview.com)

 
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In-depth tripod review: Gitzo Systematic Series 3 (GT3543LS)

25 Jul
The Gitzo GT3543LS at the beach, with the Gitzo GFHG1 Fluid Gimbal Head on top, holding a 500mm lens and full-frame camera.

Gitzo Systematic Series 3 (GT3543LS)
Gitzo.com | $ 1000

Gitzo was founded in France as a tripod and camera company by Arsène Gitzhoven in 1917 and has been producing advanced tripods with interchangeable platforms, columns and leveling devices for more than 40 years. Their naming convention of designating sizes by numbered ‘series,’ and modular platforms as ‘systematic’ tripods, has been around so long that many other manufacturers use these as a reference point when describing their own wares.

Long ago, Gitzo merged with the Italian tripod maker Manfrotto, and both are now a part of the Vitec Imaging Group of companies. Today, the combined Manfrotto/Gitzo factory in Bassano del Grappa, Italy, produces more tripods than almost every other manufacturer in the world, using a combination of automation and streamlined assembly honed over many decades. The sheer scale of output makes their continued quality all the more impressive.



Key specs and what’s included

  • Max. height 146 cm (57.5″), or 148 cm (58.2″) with 50mm ‘big feet’
  • Minimum height of 9 cm (3.5″)
  • Folds to 55 cm (21.6″) with 14 cm (5.5″) diameter
  • Weighs 1.94 kg (4.27 lbs) with flat platform
  • 25kg (55.1 lbs) load limit
  • Three leg angles (23° / 53° / 86° )
  • Four leg sections (33mm top leg diameter / 29 / 25.3 / 21.8mm)
  • 70mm platform side-clamped with release button
  • Large weight hook under platform
  • Bubble level included on apex
  • Removable 33mm feet on standard 3/8″ thread
  • Includes dust bag, tools, instructions and 50mm big feet

Gitzo updated their ‘Systematic’ tripod line in 2016, with new materials and designs, and still offers many systematic options for their tripods; from video bowls and leveling balls, to sliding carbon-fiber center columns and geared columns. Beyond these, there are a bevy of various feet, ranging from snowshoes to various lengths of spike and mushroom-style rubber feet, all using a common 3/8”-16 threading, so even rock claws or feet from other manufacturers can be used. Given the prevalence and longevity of Gitzo Systematics in the marketplace, original Gitzo accessories are easy to find new at various retailers, as well as on the used market.


Compared to others

This tripod was tested and compared with its modular apex peers. Left to right; ProMediaGear TR344, Really Right Stuff TVC-34, Sirui SR-3204, FLM CP34-L4 II, Leofoto LM-364C, Gitzo GT3543LS.

The Gitzo GT3543LS was tested and compared alongside tripods in the same class of ‘Series 3’ (33-36mm top leg tube diameter) ‘Systematic’ (modular apex with removable platform) type, in terms of size and utility, including products from Sirui, Really Right Stuff, ProMediaGear, Leofoto and FLM. We’ll be publishing full reviews of those models in the coming days and weeks.

All of these tripods were used in four seasons of sand, snow, mud, rain and saltwater; set up in the bog-like Atlantic salt marshes and the wind-swept Appalachian mountains. They have been loaded with gimbal heads, ball heads, geared and pano-heads, and up to 4kg (8.8lb) lenses attached to cameras ranging from APS-C to medium-format, shooting anything from long-exposure landscapes to extreme telephoto birds-in-flight. The only test they did not go through was being rough-handled at the airport, thanks to pandemic travel restrictions.

Height comparison

Below is a relative height comparison between the Gitzo GT3543LS and a 6 foot (1.83m) photographer.

High Mid Low

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First impressions

The wide, but shallow apex with the Gitzo/Manfrotto 3/8″ threaded ‘Easy Link’ accessory port.

At the top of the GT3543LS is the large, cast magnesium systematic apex, finished in the durable ‘noir décor’ speckle finish common to all Gitzos. Each leg clevis is similarly built and finished, with a spring-loaded, ratcheting leg angle stop. The standard Gitzo ‘Safe-Lock’ platform is secured in the side-clamping apex with a re-positionable locking lever and a safety release tucked underneath. A generous weight hook is below the platform.

The four-section legs are labeled as using ‘Carbon eXact,’ which, according to Gitzo, ‘optimizes the fiber composition for each tube size, using HM (High Modulus) carbon fiber in the narrower tubes to make them stiffer.’ This is a good thing, as the GT3543LS has the thinnest relative leg tubes in this class of 3-series tripods. In addition to this, the leg locks are the ‘G-Lock Ultra’ type, which means they get tighter as more pressure is applied, and are well sealed against dirt and moisture. Many other manufacturers use similar leg locks, but may not have catchy names for them.

The 50mm ‘big feet’ that come pre-installed are robust and great for studio work, but require careful positioning for extreme angles and tend to collect debris when used in the field. The included standard 33mm bullet-shaped feet are small compared to the mushroom-head feet on other tripods in this group. Their narrow width means the leg locks can hit the ground before the feet do when the legs are fully splayed out.

The 3/8″ threaded ‘Easy Link’ attachment port for accessories is rather large and atypical, compared to the 1/4” threading seen on most accessories and other tripods. This just requires a reducer bushing (included with most heads these days) to attach that ‘magic arm’ or clamp to hold a phone, battery pack or other small device. Honestly, the number of ‘Easy Link’ accessories even offered by Gitzo or Manfrotto seems very slim, so the choice to use this is somewhat baffling.

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Use in the field

The Gitzo GT3543LS is a large item to pack into the field, both in apex diameter and the various parts that stick out, and we noticed this a bit more than with the other tripods in this class, despite the Gitzo having the smallest leg thickness. In the studio, the top-heavy size is not a problem, and those ‘big feet’ can stay installed for impressive stability, but the carbon fiber and robust build ask to be taken out to the wider world. The very wide apex creates a thick-on-one-end package that is not easy to pack away, so it begs for the (optional) strap or padded bag to carry it. For short walks, extending one leg and using the whole thing as a big hiking pole worked pretty well, but again, it was a noticeable difference to the competition.

The leg angle locks are easy to pull out from the front, but hard to push from behind due to their slim internals. The ratcheting action is positive when pulling the leg down, and it is easy to set the angles of each leg. Unfortunately, the legs can be pushed under the apex and just keep going since there is no center column to stop them, resulting in a strange angle that sometimes makes packing up all three legs of the tripod a bit harder than it needs to be. Many other columnless tripods in this class have a hard stop at the stowed position.

The well-tested Gitzo G-locks, which lock and unlock with a reassuring tactile feel, make extending and securing each leg of the tripod a pleasure. Grasping all three locks at once is easy with the rubber grips, even with gloves on, but they do require more rotation than the other leg locks in this group.

The tubes themselves are very precisely mated and need a bit of a pull to fully extend, which means the Gitzo legs will not ‘cascade out’ on their own when unlocked. However, adjusting each leg length once extended is still fairly easy and controlled, despite this precise fit.

The well-proven Gitzo Safe-Lock platform is the best in its class, with a durable, textured plastic disk over a machined aluminum platform. This provides a better grip and some vibration isolation when compared to an all-metal platform, and the inclusion of a tiny set-screw can insure that any head will stay attached. Removing and replacing it with a video bowl or center column accessory with a 70mm diameter is both easy and secure, thanks to the Safe-Lock recessed safety catch under the apex.

With a gimbal and large lens on top, or a panoramic head and leveling gear, the Gitzo GT3543LS never feels overburdened or unstable. The slightly steeper leg angles, at 23°, provide the required height to be competitive with similar tripods of this size, but theoretically could reduce stability. However, that theory is never validated, and in the field and studio, this tripod handles weight and movement with aplomb. Truly, Gitzo’s refinement across generations of this type and size of tripod seems evident in how it all just quietly gets out of the way and lets the camera and scene be the focus.

Maintenance

Cleaning the GT3543LS is fairly straightforward, and leg disassembly is briefly described in the included instructions booklet. The leg locks have obvious gaskets sealing them from the elements, and the one-piece shim makes the whole process easy. However, as with all Gitzo products, spare parts are easy to find if needed (even long into the future).

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Test results

Vibrations can make even the sharpest lens turn out mushy, blurred photos, and can ruin long exposures. In the typical use cases for this class of tripod, reducing the effects of vibration becomes extremely important, since longer focal lengths and higher resolutions magnify the effects of any movement, and environmental vibrations like wind and water will have an increasing effect on larger legs and gear. Camera vibration can be mechanically minimized with mirror lockup, electronic shutters, and a remote shutter release, while adding weight to the bottom of the tripod (with the weight hook or a tripod stone bag) can help stabilize the whole setup. However, not all sources of vibration can be eliminated, so we tested whether the tripod will dampen them or transmit and reflect them to the camera.

The tripod legs were fully extended, and our vibration analyzer for heavy-duty tripods (an iPad on a 3.2 kg (7 lb) cantilevered weight) was mounted directly to the flat platform’s 3/8″ threaded bolt with a long lens plate. An industrial solenoid valve with a plastic hammer was used as a source of vibration (a knock to the bottom of one leg). The resulting graph of all three accelerometers shows both the resistance of the tripod to the initial shock, as well as the rate of decay for residual vibration within the tripod.

Gitzo GT3543LS vibration resistance test results – click for a larger graph

*Note that this graph is relative only to this class of tripods. The weight and test equipment was adjusted to provide a conclusive result for this size of tripod.

The Gitzo GT3543LS performed extremely well in the vibration test. The initial shock was somewhat transmitted to the camera position, but the carbon fiber legs and magnesium components dampened the vibration quickly and admirably. This performance is among the best of this class of tripods, particularly when factoring in the relatively thinner legs of this Series 3 tripod.

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Conclusion

Gitzo has been the first (and sometimes last) word in high-end and heavy-duty tripods for many decades, and their innovations and influence are clearly seen in every other tripod of this type on the market. The folks in Italy have refined their offerings to such a degree that the whole system this ‘systematic’ tripod falls under has become a standard in terms of big tripod expectations, and even nomenclature.

It may not be the tallest, lightest, or most compact, but it has very few flaws and
performs admirably

The GT3543LS, or ‘Gitzo tripod Systematic, series 3 long, 4 sections’, remains competitive within this type of tripod thanks to its performance over many tests and rugged locations. Among similar tripods from ProMediaGear, RRS, FLM, and others, it may not be the tallest, lightest, or most compact, but it has very few flaws and performs admirably in every situation and test. Plus, any Gitzo is usually the most accessible and widely supported tripod of this type worldwide, which makes it a safe bet as a stalwart companion for many years.

What we like

  • Dependable build quality
  • Exceptional vibration resistance
  • Sets the standard for apex insert and foot sizes
  • Worldwide sales and support network
  • Spare parts and repairs easy to obtain

What we don’t like

  • Not compact or easily packable
  • Systematic accessories are expensive
  • Fiddly leg angle locks
  • Premium list price

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Articles: Digital Photography Review (dpreview.com)

 
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