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Film Fridays: Dreams come true – discovering a stash of untouched Soviet-era cameras

10 Oct

To any collector/enjoyer of old cameras, the idea of stumbling upon on enormous stash of mint-condition gear, from a long-gone era, is the ultimate dream. And that dream recently became a reality for one lucky gentlemen in Kazakhstan, who discovered hundreds of “brand-new” Soviet-era cameras – including the Smena 8M (shown above) – packed inside wooden crates and stored in a warehouse, untouched likely since the early 1990’s. Read on…

Read: A secret stash of hundreds of Soviet cameras found in a Kazakh warehouse

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at KosmoFoto and 35mmc.

Articles: Digital Photography Review (dpreview.com)

 
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Video: The history of cameras in space and how iconic space photos were captured

10 Oct

Astronauts have been taking cameras into space Soviet cosmonaut Gherman Titov orbited the Earth aboard the Vostok 2 in 1961. Since then, astronauts have used cameras to capture some of the most iconic photos of space exploration and created important memories for countless people back on terra firma.

As Scott Manley points out in his new video, How Astronauts Captured Iconic Space Photos – A History of Cameras in Space, although cameras are often modified for space flight, not every camera has been special. In fact, John Glenn bought a standard Ansco Autoset camera on his own, likely to avoid delays if he had gone through the standard government acquisitions process. NASA engineers modified the camera to make it easier to use while in space, including the addition of a pistol grip and an additional viewfinder that could be used with the suit helmet closed. You can learn more about Glenn’s Ansco Autoset in this article from the Smithsonian National Air and Space Museum. A second camera on board Glenn’s first orbital flight was a special Leica camera which had been modified to capture wide-spectrum images of stars.

Walter Schirra, pictured above second from the left, took a Hasselblad 500C camera aboard the Mercury Sigma-7 spacecraft. Schirra was a photography enthusiast himself and had asked professional photographers who had been following the space program for advice. On their advice, Schirra purchased the medium format Hasselblad and after it was modified for improved usability and performance, he used it to capture images during six orbits of Earth. The resulting images were very detailed and as Manley says in the video below, established a new standard for images captured in space.

Schirra’s Hasselblad camera was later used in the final Mercury mission by Gordon Cooper and was eventually sold at auction for $ 275,000 USD. If you would like to own a working replica of this same Hasselblad, Cole Rise makes replicas of space cameras, including the Hasselblad 500C. You can learn more about Rise’s cameras at Space Camera Co.

Thanks in large part to Schirra’s photography in space, Hasselblad cameras became important cargo aboard subsequent space exploration missions as part of the Gemini and Apollo missions. Hasselblad cameras were used outside of spacecraft as well, capturing many iconic images. One of these iconic images was of Edward White during his spacewalk in 1965. By this point, Hasselblad had begun working directly with NASA to develop cameras for space and had outfitted NASA with a custom-built Hasselblad 500EL data camera, complete with a silver finish for thermal control, special low-distortion lens and Reseau plate.

This custom-build Hasselblad data camera was used on Apollo 8, 9, 10 and 11 missions. Image credit: Hasselblad

Hasselblad has an informative website dedicated to its history in space, it is well worth checking out.

Near the end of the Apollo program, Nikon began working work NASA to outfit astronauts with customized 35mm SLR cameras. Nikon cameras are still used in space to this day. Some of the modifications made to make Nikon cameras suitable for space include different soldering standards, vacuum-safe lubricants and a more robust metal construction. You can learn more about Nikon’s history, including the use of its cameras in space, by clicking here. Manley also references Timm Chapman, a photographer who owns many Nikon space cameras. Chapman has written extensively about Nikon’s space cameras, including fascinating details on how they were modified.

Screenshot from Nikon’s dedicated history website. Click to enlarge.

To learn more about a history of cameras in space, including the beginning of the digital age in space, watch Scott Manley’s full video above. To see additional videos from Manley, head to his YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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Negative Lab Pro 2.2 update brings rebuilt engine, new tools, LUT-based emulations and more to Lightroom

10 Oct

Negative conversion tool Negative Lab Pro has released a version 2.2 update it calls ‘the most rigorously developed update’ to date, bringing with it a ‘new engine, easier editing tools, and breathtaking color and tone reproduction’

For those unfamiliar with Negative Lab Pro, it’s a plug-in for Lightroom 6 and Lightroom Classic that adds a specific toolset and workflow for converting negative film scans. It rids the need for hand-editing curves and manually accounting for scan densities, making it easy to go from scan to final image in a matter of minutes through its own graphic interface within Lightroom. Below is a year-old introduction to how Negative Lab Pro works:

With that out of the way, let’s get on to the new features Negative Lab Pro 2.2 brings to the table.

First up, Negative Lab Pro 2.2 features an entirely rebuilt engine that ensures the entire workflow can be done with Raw file formats and is non-destructive. Now, rather than there being multiple layers of adjustments atop the image, all conversions and adjustments are made directly to the Raw negative scan (if you convert the scanned negative into a Raw file format upon import). In theory, this should mean there isn’t any loss of quality when multiple adjustments are made on top of one another.

A screen recording showing how the curves will intelligently adjust based on the adjustments made to scans.

The new engine also features what its developer calls ‘Multilayer Auto-Generating Integrated Curves,’ which is a fancy way of saying the plug-in is able to intelligently adjust the curves to preserve the tonality and scans as adjustments are made. Negative Lab Pro developer Nate Johnson provides an explanation for how this new technology works:

‘The new engine has its own processing pipeline with 9 internal processing layers working together seamlessly under the hood. Internally, I can define, order and combine each layer in the way that makes the most sense for film processing. For instance, color balancing happens earliest in the pipeline, so your color balance remains stable even if you drastically adjust your tones. Negative Lab Pro then auto-generates up to 42 curve points in real time (14 integrated points for each color channel), which are then fed directly into Lightroom’s curve control.’

Put simply, this new development should result in ‘purer tones and colors’ in your negatives, even as adjustments are applied.

Another benefit of the redesigned engine is improved color stability. Now, adjustments made to the image — such as contrast, brightness and more — won’t affect the color balance of an image. Nate demonstrates in the comparison images below the difference between Negative Lab Pro version 2.1 and version 2.2 when making changes to contrast:

A collection of new tools have also been added to Negative Lab Pro 2.2, including film-specific color temperature and tint sliders, a new color picker, range control for highlights and shadows, and new tone profile families, which provide different baselines for getting started with editing your scans.

The integrated temp/tint sliders that use the new 2.2 engine.

If you’re using Negative Lab Pro 2.2 with Lightroom Classic, the update also adds new LUT-based emulations. Unlike Adobe Lightroom 6, Lightroom Classic has integrated 3D Lookup Tables. This capabilities allows the new LUT-based emulations to make ‘incredibly nuanced adjustments to color and tone reproduction,’ which should result in more accurate film stock emulations.

The best part is, in the case of most scans edited with previous versions of Negative Lab Pro should automatically be converted to the rebuilt engine in version 2.2. So, unless you want to make more precise edits with the new engine, you shouldn’t have to go back and manually re-edit all of your scans.

Negative Lab Pro version 2.2 is free for anyone who currently has a license. If you’re trying out Negative Lab Pro for the first time, you will be able to convert 12 images for free before you’re required to purchase a license.

Negative Lab Pro 2.2 is available to purchase for $ 99. The plug-in receives consistent updates and to date, all past updates have been free so long as you own a license. Nate does note, however, that at some point there may be paid updates or extras available for purchase.

You can find out more information about Negative Labs 2.2 in Nate’s incredibly comprehensive update post. on the Negative Lab Pro forums.

Articles: Digital Photography Review (dpreview.com)

 
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Interview: Keiji Oishi of Nikon – “It’s time to get excited”

09 Oct
Keiji Oishi – Department Manager of Nikon’s Imaging Business Unit, UX Planning Department. Picture courtesy of Nikon.

What a year it has been. We last spoke to Nikon executives at CES in January, before most people had even heard of COVID-19, but a lot has happened since then. Factories have been closed, planned releases delayed, and virtually every aspect of our lives disrupted. As 2020 (finally…) draws to a close and Nikon gears up for its final product releases of the year, we caught up with Keiji Oishi, Satoshi Yamazaki and Takeshi Suzuki to talk about the upcoming Z 6/7 II, and where the Z system goes from here.

Contributors:

  • Keiji Oishi [K.O.]- Department manager: Imaging Business Unit, UX Planning Department.
  • Satoshi Yamazaki [S.Y.]- Department manager: Optical Engineering Division/ 2nd Development Department.
  • Takeshi Suzuki [T.S.]- Department manager: Optical Engineering Division /3rd Designing Department.

The following interview was conducted over email and has been edited for clarity and flow.

What challenges has your business faced since we last spoke in January?

[K.O.] Little did we know when we spoke in Las Vegas earlier this year what we would go through in the months that were to follow.

Drops in consumer demand began in China and progressed rapidly throughout the rest of the world. The initial reaction [to COVID-19] from consumers was to halt purchasing. Since that time, there has been a surprisingly healthy return. We’re not yet back to normal levels, but much better than we anticipated in the beginning of the pandemic. Any manufacturer that sees demand wildly fluctuate like that will have a challenging time adapting due to the supply chain.

Fortunately, global demand is resuming, and it’s coming back strongly, since people have discovered their desire to create. We want to respond to such new-found creative needs.

In the very near future we will be coming out with Z 6II and Z 7II, and with the introduction of the two new bodies, the Z-mount system will consist of 6 cameras and 18 lenses [including two teleconverters].

Which products / product lines were most affected by the COVID-19 pandemic?

[K.O.] Higher price point cameras were the most impacted, probably due to an almost complete cessation of work for professional photographers, and a difficult economic climate where people were spending less, as well as restrictions on travel.

Some unexpected things happened as a result of the pandemic, though. We have found that customers at home want to create, and we also saw a demand for livestream capabilities, a spotlight topic this year for the entire industry. We have recently added the free Nikon Webcam Utility livestream beta software as a result.

Despite the challenges created by this year’s pandemic, Nikon brought the Z5 to market – an entry-level full-frame mirrorless model that has become a favorite in the DPReview office.

Read our in-depth review of the Nikon Z5

Nikon is recovering, and at a fast pace. We were recently able to bring the Z 5 to market as well as two extremely important lenses, the 14-24mm F2.8 and the 50mm F1.2, while the 70-200mm has also come to market. Furthermore, the Z 7II and Z 6II will be joining the lineup soon. These, as well as other items, will be shipping to our customers and retailers, and we are confident that their performance will drive additional customers to Nikon.

We have also added three major firmware updates to dramatically enhance performance of our existing models, including AF improvements, adding eye detection for humans and animals, functionality enhancements, ProRes RAW, CFExpress compatibility and more. We will continue to listen to customer feedback and continue to improve our current models via firmware.

Can you explain exactly why the 70-200mm F2.8 has been so severely delayed?

[K.O.] We sincerely apologize to our customers for the delay. The delay was due to a combination of factors, including COVID-19. The 70-200 is a top-class lens, requiring top-class performance. In the midst of the pandemic, our challenge was ensuring quality in the final adjustments of the product while our teams were restricted in travel, as was the supply chain of necessary components.

Nikon always takes the time to make sure our end-products exceed customer expectations and meet the standards of those users who depend on Nikon reliability and usability.

The Z 6 and Z 7 are more than two years old – what are your customers asking for as you prepared their replacements?

[K.O.] First and foremost, we have been concentrating on the expansion of the system as a whole. We have made a lot of promises with the Z-mount, because the format has so much potential due to its superior capabilities like the largest mount diameter for more light gathering ability.

We have a variety of requests from the market. On one hand, we have received positive feedback regarding the improvement of our products via continual firmware updates. On October 14th, you’ll see that these new cameras have addressed several points with hardware updates, that cannot be resolved with firmware alone. While it’s true that the Z-mount system is built to evolve, firmware updates are only capable of so much. At some point, you need to create new hardware upgrades and the latest innovations.

The next chapter is very exciting for us, because of the breadth of the lenses now available

These bodies will exhibit Nikon quality – outstanding reliability and usability as a tool, enhanced with feedback from professionals from the first generation. The next chapter is very exciting for us, because of the breadth of the lenses now available, and we have listened to the market and customers extensively.

The single card slot of the Z 6 and Z 7 attracted a lot of criticism when they were released in 2018. It is a very safe bet that the forthcoming Z 6/7 II will feature dual card slots.

Read our predictions for the upcoming Nikon Z 6/7 II

How many years will it be before your top-end ILC is a mirrorless model?

[K.O.] We cannot provide details about future product planning. For a camera company like Nikon, which is renowned for its commitment to imaging, a flagship camera is an extremely important statement, as well as being a model for which the newest and most innovative technology is developed.

Has the cancelation of the 2020 Olympics affected your business at all?

[K.O.] While business itself has not been significantly affected, we were deeply saddened that the Tokyo Olympics were postponed this year. However, safety needs to be the primary concern.

Earlier in 2020 we released imaging equipment that was designed to meet the demanding needs of professionals capturing the games, including the D6 and the 120-300mm lens. We hope they will be used when the games resumes.

What are you hoping for in 2021?

[K.O.] We are excited for 2021 and what it will bring. Already we have committed so much energy and passion to making the Z-mount system a powerful platform, and we are looking forward to continuing that and bringing out the additions for the NIKKOR Z lens lineup, as well as other exciting products to make the system more complete.

We came to market later than our competitors did, and from a business perspective, one of the biggest challenges we have had to overcome is that when we launched the Z-mount system, it was hard to communicate the advantages of optical performance and design with a system at launch that was not yet complete.

We now have the most important lenses, and a system that covers both full-frame (Nikon FX format) and Nikon DX formats, and with the arrival of the next chapter of Z, we have cameras that will satisfy users need for photography and video.

The Z 6 is Nikon’s most convincing ‘multimedia’ ILC yet, and with a paid update it can record ProRes Raw video footage to an external Atomos recorder.

Now that we have released the key lenses, and momentum is building for the Z-mount system, it’s time to get excited. We plan to have more than 24 lenses by the end of 2021 to meet the needs of all types of creators.

The Z 6 has been well received among video enthusiasts and filmmakers, and its successor promises even more. We hope that more video professionals will discover Nikon due to our innovative features for creators.

Can you tell us how many people have opted for the paid firmware for the Z 6?

[K.O.] While I can’t give a specific number, the number does vary per region. I can tell you that it did exceed expectations, and we are excited to see so many people wanting to use the Z 6 as a professional tool.

There has been enough interest in the Z 6 ProRes Raw firmware to tell us that we should continue to develop cameras with a focus on the multimedia creator.

Will you commit to producing more enthusiast-friendly DX-format lenses?

[K.O.] We always evaluate the needs of the market and respond accordingly, and we recognize that there is demand for more DX-format lenses. Our lens lineup strategy is constantly evolving, and we do have more DX format lenses planned, with more possibly in the future, as well.

Forthcoming FX lenses like the 40mm and 28mm were designed with DX users in mind as well

But also, one of the benefits to Nikon cameras has always been lens interchangeability. All Z-mount lenses work perfectly on the Z 50. Forthcoming FX lenses like the 40mm and 28mm were actually designed with DX users in mind as well. This is a distinctive advantage of the Z-mount: the same lenses can be used even if the customer opts to change their camera.

How has the reception been for the Z 50?

[K.O.] So far, the reception from consumers has been very good. They appreciate the small form factor and the advanced functions that respond to casual to advanced shooting needs. They also enjoy the extremely compact kit lens, the NIKKOR Z DX 16-50mm F3.5-6.3 VR, and the resulting colors and image quality.

The Z 50 has proved to be many users’ first mirrorless camera, and we are happy they have chosen to be a part of the Nikon ecosystem. We were also happy to find that the Z 50 was chosen by many Nikon full-frame camera users as their second camera.

What is your APS-C strategy for Z-mount?

[K.O.] We will continue to watch the market and deliver products that meet consumer’s needs.

The Z50 is Nikon’s first attempt at an APS-C format mirrorless camera, and it’s aimed at first-time camera buyers and casual photographers. All Z-mount lenses are compatible with all Z-series cameras (although the DX zoom lenses for the Z50 will impose an APS-C crop when used on the Z 6/7).

Read our review of the Nikon Z50

What do you shoot with personally?

[K.O.] Currently, my two main cameras are the Z 6 and D850. The D850 is in my opinion a nearly perfect DSLR and is highly reliable. I mostly shoot it with a AF 85mm f1.4 D which I bought when I was a student. At the time, it seemed out of my league. I recall that when I looked at this lens at the store, I was mesmerized by the size of the front of the lens – it felt as though it was drawing me in. I truly loved the bokeh it produced (back then, with a film camera). Since then, though newer lenses with better rendering capabilities have been released, I still use the 85mm even after switching to the D850.

When we launched the Z system I was torn between the Z 6 and the Z 7, but since I already had the D850 for high resolution use, I purchased the Z 6, because it’s convenient for multiple purposes. At the same time I purchase a Z 50mm F1.8 S. It pairs perfectly with the Z 6, which is ideal also for video, and it is often that I use them as a set. Also, I still actively use the D5500, which I oversaw the planning of when I was a Product Manager in the past.

Each of us at Nikon does our best to improve our cameras and lenses so that they feel just right in your hands

[T.S] Since I enjoy travel, I enjoy the compact, portable, and high-power zoom lens, AF-S DX NIKKOR 18-200mm F3.5-5.6G ED VR II. This is also a lens that I was in charge of designing, alongside my colleague Satoshi Yamazaki. We oversaw its optical and mechanical design. Additionally, I have to say that I will be buying the new NIKKOR Z 14-24mm F2.8 S, to replace my AF-S NIKKOR 14-24mm F2.8G ED.

[S.Y.] As a person who has been involved in lens design, it’s hard for me to choose. I love all lenses, as they each have unique features. At the moment, I might choose the AI AF-S Zoom-Nikkor 17-35mm F2.8D IF-ED. For its time, it was a remarkable lens in the level of compactness and performance it achieved. It’s a lens I oversaw at the time, as well. It was an inspiration for me when developing the NIKKOR Z 14-24mm F2.8 S, in balancing high-performance and lightweight portability.

For non-Nikon lenses, while not an interchangeable lens, I personally enjoy the Rollei 35. Film cameras have their distinctive appeal, and I love the feeling of shooting film.

What is your greatest priority over the next year in terms of new products?

[K.O.] Our priority is to continue to make products that inspire creativity, and push the limits of what’s technically possible, especially from an optical standpoint. While we cannot provide details regarding future product planning, we aim to increase the joy of shooting with enhanced ease of use and reliability, all while improving on the hardware’s sophistication, without compromise. Specifically, we are looking to focus on improvements across the board by adding more powerful multimedia features, enhanced performance, and extended capabilities.

Each of us at Nikon does our best to improve our cameras and lenses so that they feel just right in your hands, thereby enhancing the joy of shooting.

A lot of our readers are hoping for a ‘Z8’ or ‘Z9’ model above the Z6/7-series. Is there anything you can tell them?

[K.O.] We are continuing to expand the Z mount system, which is still in the process of growing. While we are working hard to consider future products that will exceed the expectations of users, including professionals, I cannot comment further on the development of particular future products.

Takeshi Suzuki (Department manager: Optical Engineering Division / 3rd Designing Department) Satoshi Yamazaki (Department manager: Optical Engineering Division / 2nd Development Department).

What is your biggest priority over the next year in terms of lenses?

[T.S] We just released the Z 50mm F1.2 S as the beginning of our lineup of fast lenses, while the addition of the Z 14-24mm F2.8 S completes the ‘Holy Trinity’ of F2.8 lenses (alongside the Z 24-70mm F2.8 S and Z 70-200mm F2.8 VR S). Our next priority is to provide lenses that appeal to wide audiences, such as lenses with a focus on thinness and entry point lenses like the standard zoom lens Z 24-50mm F4-6.3, as well as some unique lenses.

Our goal is to further expand the market by appealing to a wide variety of creators, with lenses such as the planned 40mm. This is, of course, without compromising our commitment to excellence. With the Z-mount system, we have the advantage of the largest mount, and the greatest potential. The large-diameter Z-mount really is our greatest advantage, and we want people to experience first-hand the ultimate imaging experience it allows.

What advantages does the new Z 50mm F1.2 have, optically?

[T.S] This kind of lens is what the Z-mount was made for: It’s super-fast and super-sharp. We are very proud of this lens, as it is the perfect balance of gorgeous, smooth bokeh and amazing sharpness.

It contains a symmetrical lens formula that minimizes the bending of light that occurs as it goes through. This creates the purest, cleanest image. The biggest impact of the largest-diameter mount upon this lens is that we were able to position the focus unit towards the rear, guaranteeing AF performance.

It’s the first lens of its kind to include twin STM motors driving the AF. The adoption of two STM motors has enabled superior AF speed.

What Nikon calls a ‘symmetrical’ construction, in the new Z 50mm F1.2 S. The large rear element helps keep light rays perpendicular to the sensor, which should greatly improve corner resolution and rendition of point light sources at the edges of the frame (as well as vignetting).

Learn more about the Nikon Z 50mm F1.2 S

Can you explain the difference in optical design between a fast 50mm for F-mount, and a comparable lens for mirrorless Z-mount?

[S.Y.] This lens design would be impossible with the F-mount. The wider lens mount of Z allows for innovative optical formulas that our engineers can use to push the limits. With the F-mount, conventionally, we would have needed to add lens VR. With the Z-mount system, Z-series camera bodies include in-camera VR, which in combination with the largest-diameter Z-mount and short flange back distance, has freed up space in the lens.

Some users will want the ultimate, no-compromise image quality, while others will need portability. The Z-mount allows for both kinds of lenses

This enabled us to incorporate two focus units, thus enabling the multi-focusing system, resulting in superior optical performance at short distances, for sharp and clear images as well as AF speed.

How do you decide the cost / weight tradeoff when designing high-performance lenses for Z-mount?

[S.Y.] That is the challenge in lens design. To truly understand the customer needs while also delivering on the potential of superior image quality. Some users will want the ultimate, no-compromise image quality, while others will need portability. The advantage that we have is that the Z-mount allows for both kinds of lenses: small and portable when you need that, and superlative Image quality for those that demand it.

When it comes to our decision-making, the biggest factor in determining this balance is feedback from our users.

As a lens designer, does designing lenses for Z-mount give you more freedom? (and if so, can you explain how?)

[T.S.] Yes, designing lenses for the Z-mount does give us more freedom. This is an exciting time for optics. Because the lens mount is wider, we can be more creative with designs and make faster lenses. With in-camera VR, the limitations surrounding VR for wide-angle lenses have been minimized, enabling higher-performance AF. Additionally, a crucial mission of ours with the Z-mount system is consideration for video. By driving a large focus unit with STM, we are able to drive the focus unit more quietly, accurately, and fast, in pursuit of lenses that are also ideal for video. Additionally, minimal focus breathing has been achieved.

All of these are things that have been enabled by the increased freedom provided by the Z-mount. The Z-mount was created from scratch to deliver the ultimate image quality on a full frame sensor. When we determined what the mount should be, we were careful to design it in a way that would give us the most freedom from an optical design standpoint, so today we feel much more able to create new types of designs and lenses because of the flexibility of the Z platform.

Any excuse to re-use this image, to be honest. Here’s a Z7 (on the left, in case you couldn’t tell) alongside the very first F-mount camera, the Nikon F, on the right. The Z-mount is the largest of the current mirrorless mounts (albeit only just), whereas the F-mount is very narrow, and was even back in its day. This image illustrates the mount diameter difference, and helps visualize the additional flexibility allowed to a lens designer when developing lenses for the Z-mount.

Optically, what are the main differences between the AF-S 14-24mm F2.8 for F-mount and the new Z 14-24mm F2.8 S?

[S.Y.] When designing the Z 14-24mm F2.8 S, our priority was to achieve a lens that balances high-performance and lightweight portability. This is the biggest point of difference compared to the iconic AF-S 14-24mm F2.8G ED. When evaluating how to improve at this proven formula, we considered customer feedback and recognized that we could make it even sharper, and at the same time lighter and with faster AF because of the benefit of the Z-mount.

Additionally, in comparison to the AF-S 14-24mm F2.8G ED, point-image reproduction of point-light sources, as well as backlight resistance which effectively suppresses ghost and flare even under harsh lighting conditions, have both improved drastically. This new design also had an added benefit, which was the ability to use conventional filters, something that our customers have requested for many years.

What is the benefit of the new optical construction with a larger rear element?

[T.S.] There is no need to forcibly bend light to get it onto the sensor. Other companies, on the other hand, with smaller mounts, do need to forcibly bend light, which can reduce image quality. Additionally, with the short flange back distance, we are able to reduce lens size, while further contributing to performance.

Does the new Z 14-24mm F2.8 use any in-camera digital correction for distortion?

[S.Y.] There are proprietary algorithms that are implemented for almost every lens. As technology evolves, we are able to harness both optical, technological and computational innovations with the end result being the best image quality. Compared to NIKKOR F lenses, we have been able to achieve higher resolution.

To further benefit image quality, we have advanced coating technologies that minimize ghosting, such as the ARNEO Coat and Nano-Crystal Coat. The contrast is incredible, achieving better color reproduction beyond what is possible with MTF. The Z-mount system ensures that ghosting both on the mechanical side and lens side are minimized.

Editor’s note: Barnaby Britton

Reading back over my interview with Mr Oishi at CES earlier this year (which feels like several lifetimes ago at this point) I was struck by the total absence of any mention of COVID-19. We spoke in early January, when news of what became the pandemic was just starting to trickle out. We might not have been talking about it, but unbeknownst to either of us, COVID-19 had already gone global – in fact, it may even have been circulating among attendees at the tradeshow itself.

With so much of Nikon’s manufacturing now based in China (the new Z 70-200mm F2.8 S is made there, and the country’s factories are a major source of components across the photo industry) the company got hit pretty hard by the Jan/Feb 2020 shutdown and subsequent supply chain disruption. The Z 70-200mm F2.8 S was meant to be available in February, but even now, in early October, it’s hard to find stock. The reason for such a lengthy delay, according to Mr Oishi, was primarily the difficulty of ensuring quality control during a period when travel (for engineers moving between China and Japan, presumably) was impossible.

Nothing has gone quite to plan in 2020, but Mr Oishi is proud that his company has been able to launch two new Z-mount mirrorless cameras this year, with two more on the way, and a number of Z-mount lenses, including the new flagship Z 50mm F1.2 S and Z 14-24mm F2.8 S. The message from Japan is clear – in Mr Oishi’s words: ‘Nikon is recovering, and at a fast pace’.

When we spoke in January, I asked Mr Oishi what his customers had requested in models to replace the then 18 month-old Z 6 and Z 7. This is what he told me:

“The number of card slots was one of the [most common] pieces of feedback. Also, we have received requests for a vertical control grip.”

At the time of writing (Oct 6th), all I know about the Z 6 II and Z 7 II is their names, and when they’ll be released. But Mr Oishi’s comments earlier this year (and a raft of more or less credible rumors in the months since) point to sensible, fairly incremental upgrades, aimed at maintaining Nikon’s competitive edge in the prosumer mirrorless market before some kind of true ‘flagship’ professional mirrorless camera comes along.

Whatever the Z 6 II and Z 7 II bring to the table, Nikon regards them as essential tools in the ongoing challenge of communicating the Z-mount’s benefits

It’s safe to assume that both cameras will offer dual card slots (probably CFExpress/XQD and SD) and they’ll be sold alongside a real vertical grip. I’ve been using a Z 7 as my main personal camera for two years, and while I’m not sure that I would upgrade just for the sake of these two improvements, I’d definitely be interested in a refined AF system (hopefully getting a bit closer to the experience of using the D850) and a refreshed UI: Specifically, a less obtrusive electronic level, and the option to toggle features like silent shooting via Fn buttons. Improved VR and faster continuous shooting would be nice too.

Whatever the Z 6 II and Z 7 II will ultimately bring to the table, there’s no doubt that Nikon regards them as essential tools in the ongoing challenge (as the company sees it) of communicating the Z-mount’s benefits. Mr Oishi is hoping that with new, more competitive cameras, and a much more complete lens lineup now becoming available, that the Z system can ‘build momentum’ and win over first-time buyers and experienced photographers alike. Back in January, Mr Oishi told us that Nikon was in ‘a transitional stage’ but now, he insists, ‘it’s time to get excited’.

The wide mount of the Z system certainly seems to be a boon for lens designers, at least according to Mr Yamazaki and Mr Suzuki. More space for larger rear elements, ‘symmetrical’ lens designs and no need to pack optical VR systems into lenses like the new Z 50mm F1.2 S. Compared to designing optics for the comparatively tight F-mount, it must be quite liberating.

We’ll bring you more news about the Z 6 II and Z 7 II when we have it, and sample images from Nikon’s new lenses as soon as we can.

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NASA translates Milky Way images into sound using sonification

09 Oct

NASA has used sonification, the process of turning data into audio in order to perceive it in a new way, to reveal the ‘sounds’ of our universe. A video containing the generated audio was recently published by NASA’s Marshall Space Flight Center in Alabama. The data, in this case, comes from NASA’s Chandra X-Ray Observatory and other telescopes that imaged the Milky Way in optical and infrared light in addition to observing X-rays.

NASA creates composite images of space using the data gathered by its observatories, providing the public with a visual look at things that are otherwise beyond the means of human perception. Sight represents only one way that humans can perceive data, however, with NASA pointing out that sonification makes it possible to experience the same data through hearing.

The space agency explains:

The center of our Milky Way galaxy is too distant for us to visit in person, but we can still explore it. Telescopes gives us a chance to see what the Galactic Center looks like in different types of light. By translating the inherently digital data (in the form ones and zeroes) captured by telescopes in space into images, astronomers create visual representations that would otherwise be invisible to us.

But what about experiencing these data in other senses like hearing? Sonification is the process that translates data into sound, and a new project brings the center of the Milky Way to listeners for the first time.

This project represents the first time data from the center of the Milky Way has been processed as audio, something that involves playing the ‘sounds’ of space from left to right for each image. In this case, NASA set the intensity of the light in the images as the volume control, while stars and other ‘compact sources’ are translated as individual notes. The space dust and gases are played as a fluctuating drone, and the vertical position of light controls the pitch.

NASA has provided multiple different versions of its sonification project, including solo tracks that provide audio for observations made by each source individually (Hubble, Spitzer, Chandra, etc.), plus there’s a version where all of the data is combined together to form an ensemble with each telescope source serving as a different instrument. Listeners can ultimately hear audio that translates data observed across a massive 400 light-years, according to the space agency.

‘Sound plays a valuable role in our understanding of the world and cosmos around us,’ NASA says, pointing out that the observations from each telescope represent different aspects of the galaxy around us. The image sourced from Hubble represents the energy in parts of the Milky Way where stars are forming, whereas the image from Spitzer provides data on the ‘complex structures’ within the galaxy’s dust clouds.

NASA has a website dedicated to sound produced from Chandra observation data called ‘A Universe of Sound.’ Additional audio tracks can be found on this website, including ones of various pulsars, star systems and notable celestial features like the ‘Pillars of Creation.’

Via: Laughing Squid

Articles: Digital Photography Review (dpreview.com)

 
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Camera Bits releases Photo Mechanic Plus, a new DAM with an emphasis on speed, efficiency

08 Oct

Camera Bits, the company behind the popular photo ingestion program Photo Mechanic, has released its newest product, Photo Mechanic Plus. This new program features all of the ingestion, code replacement and other features within the standard Photo Mechanic program, but takes it a step further by adding a full-fledged digital asset manager (DAM) for organizing and sorting through your photographs with ease, not unlike Adobe Photoshop Bridge or the ‘Catalog’ module in Lightroom.

The new program includes all of the features of Photo Mechanic 6, but also adds a powerful database option for managing all of your photos on macOS and Windows computers. This includes the ability to create individual catalogs that can be accessed independently or together based on the filters and parameters you’ve applied.

Camera Bits claims you can scroll through a million photos ‘without a pause’ in its new DAM. While this might seem implausible, anyone who’s used Photo Mechanic knows how quickly the program is capable of displaying and sorting through thousands of images without bringing your computer to a halt.

Other features include a powerful search box for finding exactly the images you need as well as saved searches for keywords and parameters you frequently need to access. Filters and Collections can further be used to sub-categorize your images. Below is a fantastic video rundown from Camera Bits showing off the new features inside Photo Mechanic Plus:

Photo Mechanic Plus includes all functionality of Photo Mechanic 6, but is a separate purchase. A perpetual single-user license will set you back $ 229 (as an introductory price, with $ 399 being the eventual retail price), while an upgrade from Photo Mechanic 5 and Photo Mechanic 6 will set you back $ 179 and $ 90, respectively. A 30-day free trial is available as well if you want to take Photo Mechanic Plus for a spin before purchasing a license.

You can find out more information on Camera Bits’ website and view the pricing details on the Photo Mechanic product page.

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Adobe announces Photoshop and Premiere Elements 2021

08 Oct

Adobe has announced Photoshop Elements 2021 and Premiere Elements 2021. The applications are designed to provide powerful tools in a simple, easy-to-use interface. Adobe’s Sensei AI technology is also prevalent throughout both apps, delivering features such as adding motion to static images, fine-tuning the position of a person’s face, improving low-light video quality and more.

Looking first at Photoshop Elements 2021, there are quite a few new features. In addition to being able to transform a static image into moving photos with 2D and 3D motion using only a single click, users will be able to fine-tune face tilt and add quotes or personalized messages to images with templates.

In Adobe Photoshop Elements 2021, you can leverage the power of Adobe Sensei to fine-tune the tilt of a person’s face. Image credit: Adobe

Further, the existing Guided Edits feature has been updated with new edits, bringing the available total up to 58. When using a Guided Edit, the Photoshop Elements guides you step-by-step through different common editing situations and allows you to learn how to get the desired results. New Guided Edits include customized duotone effects; AI-powered landscape photo enhancement (including sky replacement, haze removal and object removal); and step-by-step help for moving, scaling and duplicating objects.

One of three new Guided Edits, Duotone allows you to apply custom two-color presets to your photos. Image credit: Adobe

In Adobe Premiere Elements 2021, users will be treated to GPU accelerated performance, resulting in faster high-quality playback of effects and improved performance when cropping video.

In addition to improved performance, there is a new Select Object feature. This allows you to select a specific object or area in your video and apply an effect that tracks across the entire video. If you want to add music to your videos, Adobe has added an additional 21 new music tracks you can select.

Adobe Premiere Elements 2021 includes GPU accelerated performance, promising faster editing and effect previews. Image credit: Adobe

In addition to the new Guided Edits for Photoshop Elements 2021, Premiere Elements 2021 includes a pair of new Guided Edits: Double Exposure and Animated Matte Overlays.

In both Photoshop Elements and Premiere Elements, users will be able to set up automatic back-up for their entire catalog structure, including albums, keyword tags, people, places, events and more. For a full breakdown of what’s new in Photoshop Elements 2021 and Premiere Elements 2021, click here.

In Premiere Elements 2021, you will be able to add a double exposure effect to your videos. Image credit: Adobe

Adobe Photoshop Elements and Premiere Elements 2021 will each be available in the fourth quarter of this year for $ 99 USD, or you can purchase a bundle of the two applications for $ 149. Existing owners can upgrade individual apps for $ 79.99 or the two-app bundle for $ 119.99.

In order to run the apps on Windows, you must use Microsoft Windows 10 version 1903 or later. On Mac, macOS 10.14, 10.15 and macOS 11 are supported. For both Windows and macOS, Adobe recommends 8GB of RAM for editing photos, 16GB for editing Full HD video and 32GB or more for editing 4K video.

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Samsung details new 65/14nm stacked sensor design for improving power efficiency, density of mobile image sensors

08 Oct
Stacked Architecture of the chipset Samsung details in its new paper.

Samsung has published a paper detailing a new stacked CMOS mobile image sensor that uses a 14nm processing layer to deliver high-resolution images while reducing power consumption.

The stacked sensor consists of two chips: a 12MP backside-illuminated (BSI) pixel chip on the top that uses 65nm process and a bottom chip for analog and logic circuits that uses 14nm process. By using the super-fine 14nm process on the processing layer, Samsung says it could achieve a 29% drop in power consumption compared to current conventional sensors that use a 65nm/28nm process.

Microphotograph of Implemented Sensor (Left: Top Chip & Right: Bottom Chip)

Samsung says the chip is capable of outputting at 120 frames per second while consuming just 612mW of power. The analog and digital power supply requirements also drop to 2.2V and 0.8V, respectively, compared to conventional 65nm/28nm process chipsets.

What this all translates to is a more energy-efficient stacked sensor for future smartphones that also manages to improve data throughput and reduce noise. It also paves the way for creating sensors with smaller pixel pitches, maximizing the potential for even higher-resolution sensors without increasing the size of mobile sensors. As illustrated in the below graphic, a 16MP sensor with a 1.0um pixel pitch is the same size as a 13MP sensor with a 1.12um pixel pitch.

Of course, smaller pixels means each pixel will be less sensitive, but Samsung emphasizes this shortcoming can be overcome through its pixel-merging technologies such as its Tetracell (2×2) and Nonacell (3×3) technologies, which will merge data from neighboring pixels together to achieve better image quality when light is scarce.

Specifications of the 12MP sensor Samsung details in its paper.

Samsung specifically notes the power-saving nature of stacked sensors using the 65nm/14nm process will be ‘critical’ for 8K video capture and even higher-resolution sensors, as power consumption is one of the biggest factors limiting 8K capture on current smartphones.

As tends to be the case with developments of this kind, there’s no knowing when we might see this 65nm/14nm stacked sensor design inside a consumer smartphone.

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Photo software Exposure X6 brings 3x faster processing and a host of new auto adjustments

08 Oct

The Exposure photo editing software application, that was formerly Alien Skin, has been updated with enhanced GPU optimization that allows some oft-used functions to run at three times the speed. Exposure X6 also introduces a collection of new automated adjustments that aim to make image processing simpler and to save photographers time.

Available as a standalone application or a plug-in for Adobe’s Photoshop and Lightroom, Exposure X6 introduces Auto White Balance, Auto Exposure, Auto Haze Level, Auto Dynamic Contrast and Auto Tone for creating one-click fixes for common problems. Tonal and contrast adjustments are said to avoid shifts in color saturation and hue, and the Auto White Balance adjustment is based on camera metadata. The sensor used is also taken into account in the new noise reduction feature, along with information about the ISO setting and an estimate of likely electronic noise.

Before and after examples of the new Color Editor tool that allows colors to be selected and replaced. Changes can be saved as a preset to apply to further images

A new Color Editor allows users to select and replace specific selected colors, and to make multiple color changes within the same image. These changes can be mapped and saved as presets to be used in further images so sets of pictures can have consistent adjustments made.

Exposure X6 is available for download now, and costs $ 119. If you bought Exposure X5 on or after July 15th 2020 your upgrade will be free, and those who bought it before that, and users of previous versions, can upgrade for $ 89. For more information, and a free 30-day trial, visit the Exposure website.

Press release

Exposure Software Announces Exposure X6, Image Editing Software for Creative Photographers

Exposure X6 features dramatic speed improvement, one-click automatic adjustments, advanced color replacement, innovative shadow/highlight and noise reduction processing, and more

Exposure Software, formerly known as Alien Skin Software, today announced the release of Exposure X6, the newest version of their award-winning RAW photo editor for creative photographers. Exposure is a standalone image editor that handles a full photography workflow. It includes plug-in support that enables Exposure’s advanced editing and creative effects in Adobe Photoshop or Lightroom.

New in Exposure X6 is advanced GPU optimization, which dramatically speeds up image processing. GPU support works in concert with Exposure’s existing multi-core optimization to enable Exposure to leverage the full power of modern computer hardware. Many frequently used editing operations have been sped up by a factor of three on typical GPU hardware. This improved performance enables editing at greatly improved speeds, reducing distraction so photographers can focus on creativity.

“The introduction of GPU support in Exposure X6 enabled us to achieve amazing speed and image processing quality improvements,” said Finley Lee, CEO of Exposure Software. “This further advances our goal of making Exposure the best available image editor for creative photography.”

New automatic adjustments select optimized values for the most frequently used controls in a single click, freeing time for creative editing. They can even be applied in batch to significantly ease the time spent editing large photoshoots. Exposure’s new automatic adjustments include the following:

  • Auto White Balance adjusts white balance based on camera metadata. Corrects for tungsten, artificial, shade, and sunlight illuminant scenes.
  • Auto Exposure sets image exposure for both under and overexposed images.
  • Auto Haze Level changes the level of atmospheric haze present in the image. This is particularly useful for backlit subjects and images shot into the sun.
  • Auto Dynamic Contrast lowers and raises the overall image contrast without changing saturation or hue.
  • Auto Tone sets values for Blacks, Shadows, Highlights, and Whites sliders that affect overall image tone.

Using an innovative tonal-zone approach, Exposure’s redesigned shadows and highlights controls are more reliable, consistent, and accurate. These intuitive controls are particularly adept at recovering lost details in the highlight and shadow areas. The adjustments are applied intelligently to prevent unwanted color casts or hue shifts. They are exceptionally well-suited in preserving high or low key scenes.

Exposure’s new profile guided noise reduction capability reduces noise based on camera sensor characteristics, ISO, and estimated electronic noise. Luminance and chrominance noise can be reduced independently. The smoothing option applies an adaptive noise-sensitive algorithm which preserves sharp edges while further reducing noise.

The new Advanced Color Editor builds on Exposure’s innovative 3D color masking to enable vastly greater control of color modifications. For example, a model’s blue dress can be changed to red in just a few clicks. Photographers can select source and target colors based on luminance, hue, and saturation attributes. It is even possible to select multiple color replacement mappings and save them as a preset to be reused.

  • Additional enhancements to Exposure include the following:
  • Updated user interface provides a refined, modern aesthetic
  • New haze level slider, for counteracting the decrease in contrast caused by atmospheric haze. It can also add haze as a creative effect.
  • Customization of the hue and opacity of the selection mask overlay.
  • Optional black background for the mask to view selected pixels without distraction.
  • Optional luminance or saturation background for the selection mask, which helps visualize the mask region when adjusting luminance or saturation constraints.
  • DNG converter integration enables conversion of RAW photos to DNG format using Adobe’s DNG Converter software. Conversion can be performed automatically when copying photos from a camera card, or manually invoked from a photo’s thumbnail view.

About Exposure
Exposure began in 2005 as a film simulation plug-in for Photoshop, and was immediately embraced by digital photographers of all genres seeking to recapture the organic look of film. Over the years, Exposure became a legend among plug-ins, and evolved into a standalone full-featured editing and organizing solution for creative photographers.

Pricing and Availability
Exposure X6 is available now from https://exposure.software for $ 119. Upgrade pricing is available to owners of previous versions of Exposure for $ 89. Additionally, anyone who purchased Exposure X5 on or after July 15, 2020 will automatically receive a free upgrade to Exposure X6.

Exposure X6 is also available in the Exposure X6 Bundle. This integrated collection combines Exposure with Exposure Software’s award-winning Blow Up and Snap Art tools to add high-quality upsizing and natural media special effects. It is available for $ 149. Owners of one or more of the current apps in the Exposure X6 Bundle can purchase for $ 99.

A 30-day fully-featured free trial of Exposure is available. Visit https://exposure.software to learn more and download the trial.

Host Requirements
Exposure X6 may be used as a standalone program or as a set of plug-ins. When used as a set of plug-ins, it requires one of the following host applications:
* Adobe Photoshop CS6 or Adobe Photoshop CC 2015 or newer
* Adobe Lightroom 6 or Adobe Lightroom CC 2015 or newer

System Requirements

Mac
* OS X 10.11 El Capitan or newer
* Intel Core 2 processor or newer
* Monitor with 1280 x 768 resolution or greater
* 8GB RAM minimum, 16GB recommended
* For GPU support, a recent (2015 or later) Metal compatible GPU with 2GB RAM is recommended

Windows
* Windows 10 64-bit or newer
* Intel Core 2 processor or newer
* Monitor with 1280 x 768 resolution or greater
* 8GB RAM minimum, 16GB recommended
* For GPU support, a recent (2015 or later) OpenCL compatible GPU with 2GB RAM is recommended

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Disk Drill 4 makes it easier to recover Raw image, video files from damaged drives and memory cards

08 Oct

The macOS version of disk recovery software Disk Drill has received a major 4.0 update that adds, amongst other features, a dramatically improved ability to recover RAW image formats from drives and memory cards.

Disk Drill for macOS 4.0 is now ready for the latest versions of Apple’s desktop and mobile operating systems, macOS Big Sur and iOS 14. Using ‘state-of-the-art scanning methods and updated recovery algorithms,’ Disk Drill 4 can recover more than 400 different file types from drives with FAT32, NTFS, HFS+, and APFS file systems.

CleverFiles, the team that develops Disk Drill, says it’s ‘invested a lot of resources into researching and implementing unique search and recovery algorithms aiming bring back many raw images.’ Specifically, CleverFiles says it’s dramatically improved the ability to recover Raw image and video formats, including 3FR (Hasselblad), ARW (Sony), CR2 and CR3 (Canon), DNG (multiple mobile devices and cameras), GPR (GoPRO), HEIC (Apple), RLE (QuickTime videos), CVID (Cinepak), H263 and H264, MP4V, BRAW (Blackmagic RAW), CinemaDNG, Canon CRM, multiple MOV-container-based formats and many others.

CleverFiles specifically notes the success rate of being able to reconstruct Raw photo and video files has increased to 99% and 96%, respectively, compared to the respective 68% and 51% success rates with Disk Drill 3.8.

A breakdown of the success rate for recovering Raw image and video files from disks and memory cards compared to its previous version and competing products.

Other benefits of Disk Drill includes the ability to browse recovered files in real-time as they’re reconstructed, rather than having to wait for the entire disk to be scanned, and a secure ‘data shredder’ option for ensuring no data can be recovered from drives you’re looking to get rid of.

You can download Disk Drill 4 for free to try out basic functionality and to get familiarized with all the recovery methods, but if you actually need to recover files from a drive, you can pick up the ‘Pro’ version for $ 89. A single purchase is good for activation on up to three computers. Disk Drill has a great overview of all the new features on its website.

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