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Fujifilm GetPix DASH photo kiosk is designed for mobile devices

06 Jun

Fujifilm has unveiled GetPix DASH, an inexpensive photo kiosk platform for printing images from a mobile device. The GetPix DASH, which resembles a tablet on a pole, doesn’t require a mobile app or cable, instead using a companion website where customers upload their images.

According to Fujifilm, anyone can use the GetPix DASH photo kiosk by uploading images to mygetpix.com and then retrieving them at the kiosk using a unique code. Fuji chose the ASK-300 dye-sublimation printer for the platform, which it says offers lab-quality prints in seconds while keeping costs low.

Fujifilm will begin selling the GetPix DASH photo kiosk on July 2 for $ 1,999 USD.

Via: Fujifilm

Articles: Digital Photography Review (dpreview.com)

 
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Kodak teases first sample photos of Ektachrome

05 Jun
Kodak

Kodak Professional has posted a video to its Instagram page and a few sample photos to its Facebook page teasing the first test images taken with its revived Ektachrome slide film, as well as images of what the packaging will look like.

Back in January 2017, Kodak Professional announced it was bringing back its beloved Ektachrome slide film from the dead. Since then, the only major update we’ve heard is from back in 2017, when a few higher-ups at Kodak Professional detailed the progress it had made on bringing the film back from the dead on the Kodakery podcast.

Ektachrome 100: Our Development team is still working hard on the update! In the meantime, here are some successful test photos from our pilot-scale equipment. #KodakProfessional #Ektachrome #Ektachrome100 #Photography

A post shared by Kodak Professional (@kodakprofessional) on

Now, we finally have something to look at. Alongside a video that slideshows through 12 different images, including color cards, sample shots, and photos of the packaging material, the Kodak Professional Instagram account writes, ‘Ektachrome 100: Our Development team is still working hard on the update! In the meantime, here are some successful test photos from our pilot-scale equipment.’

As a few Facebook and Instagram commenters have pointed out, the sample images appear a bit grainy in the video. Kodak Professional replied, saying the video did appear to make the photos appear more grainy and less impressive than the stills. They said to see more accurate samples, to check out its Facebook post, embedded above, which includes three sample images seen in the Instagram video.

There’s still no definitive date on when the public launch will be, but seeing test photos means we’re one step closer to seeing it back on the shelves.

Articles: Digital Photography Review (dpreview.com)

 
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Here’s what happens when you attach a 70-200mm F4 to a Game Boy Camera

05 Jun
Why? The better question: Why not?

There’s an unlikely vintage camera enjoying something of a resurgence these days: 1998’s 0.5MP Game Boy Camera. Attached to a game cartridge, Game Boy Camera brought digital photography to the youth 2 bits at a time. Lately, its legacy has continued to evolve as clever DIYers repurpose it for astrophotography and motorsports photography, and have even trained neural networks to convert the camera’s low-res monochrome images into photorealistic color.

Clearly, it was time for somebody to step up and work out how to attach EF lenses to the thing. And that’s just what Bastiaan Ekeler did. He’s a designer and self-proclaimed tinkerer, and feeling inspired by recent projects reviving the Game Boy Camera, saw an opportunity for a little fun. His 3D-printed adapter fits to a partially disassembled camera, and with a 1.4x teleconverter and 70-200mm F4 attached, produces an impressive 3026.8mm equivalent view.

With all of the parts in place he took a stroll on the beach to put the rig to use, and even managed a few photos of the full moon despite contending with a dim screen and a 1 fps refresh rate in low light.

Long Beach Bar “Bug” Lighthouse. (Canon 70-200 f4 + Canon 1.4x extender). Photo by Bastiaan Ekeler.
A Seagull at Norman E. Klipp Marine Park (Canon 70-200 f4 + Canon 1.4x extender). Photo by Bastiaan Ekeler.
The full moon on 2018-05-30 in Greenport, NY. (Canon 70-200 f4 + Canon 1.4x extender). Photo by Bastiaan Ekeler.

Head to Ekeler’s website for a full-write up of the project and more sample images. You can also follow him on Twitter and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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Nokia 8 update adds new Pro Camera mode with manual controls

05 Jun

Last week, HMD Global released a software update for the Nokia 8 smartphone that added a new Pro Camera mode. The mode, which resembles the camera controls offered on older Nokia handsets, gives users manual control over five camera functions: shutter speed, ISO, white balance, focus, and exposure.

The Nokia 8 Android handset features dual rear 13MP cameras with Zeiss optics, optical image stabilization, PDAF and a dual tone flash. The handset supports 4K video recording with 360-degree audio. With the newly added Pro Camera mode, users can view the changes each manual adjustment makes to the final image in real time.

The update is currently rolling out globally.

Articles: Digital Photography Review (dpreview.com)

 
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First pictures of rumored Samyang 24mm F2.8 AF lens

05 Jun
Image via Nokishita

Japanese rumor site Nokishita has published images it claims are of the forthcoming, as yet unannounced, Samyang AF 24mm F2.8 lens for the Sony E mount. If accurate, the lens will look very similar to the company’s existing AF 35mm F2.8, and will share its 49mm filter thread.

The lens in the leaked images is marked with a closest focus distance of 0.24m/0.79ft, and features a rubberized close-ribbed focus ring.

There is no word at the moment from Samyang regarding when this lens will appear.

Articles: Digital Photography Review (dpreview.com)

 
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Leica announces SF 60 Flash Unit and SF C1 Remote Control Unit for M and SL cameras

04 Jun

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Leica has announced a new flash and remote control flash unit for its Q, SL/CL and M-series digital cameras. The Leica SF 60 flash offers TTL metering, and high-speed sync up to 1/8000sec. The SF 60 has a guide number of 60 at ISO 100, and also features tilt and zoom, with a built-in diffuser and reflector card.

The Leica SF C1 remote control unit enables wireless control of SF 60 flash units across up to seven channels, in three groups. The SF C1 incorporates a Micro SD card slot for future firmware updates.

The SF 60 flash and SF C1 controller will be available later this month, for $ 595 and $ 350 respectively.

Press Release:

Leica Camera Announces Leica SF 60 Flash Unit and Leica SF C1 Remote Control Unit For On- and Off-Camera Flash Photography

Both compact and versatile, the new flash system allows for
supreme quality light control in any situation

June 4, 2018 – Leica Camera presents the new SF 60 flash unit and the SF C1 remote control unit as perfectly complementary additions to the Leica S, SL and M systems. The two units can also be used in combination with the Leica Q and the Leica CL. While the flash unit provides an extensive range of options for flash-photography in a compact form, the remote control unit enables off-camera flash with the SF 60, providing for endless creative opportunities.

Leica SF 60 Flash Unit

Despite its low weight of 10.8 ounces and a height of only 9.8 cm, the Leica SF 60 offers numerous professional functions. The Leica SF 60 is an extremely powerful and versatile mobile solution for all photographers who appreciate the advantages of excellent light-management in any situation, with impressive features such as TTL-flash, HSS (High-Speed Sync) to 1/8000s, a flash head with tilt and swivel function, a zoom reflector, an integrated diffuser and a reflector card, as well as master-slave capability, as well as an impressive guide number of 60 meters (at ISO 100).

The SF 60 also provides continuous LED light output, adjustable in nine steps, as a source of light for spontaneous video recording of subjects in low light. All settings can be conveniently made via two dials and the color LCD panel of the flash unit. The Leica SF 60 is powered by four AA cells. For longer shooting sessions, the unit can also be connected to a Power Pack as an external power supply, which, in addition to higher capacity, also enables even faster flash recycle times and simultaneous power supply to up to two SF 60 flash units. If required, other devices with USB charging ports, e.g. smartphones or tablets, can also be recharged from the Power Pack.

Leica SF C1 Remote Control Unit

The Leica SF C1 remote control unit adds a multitude of creative options. It is mounted on the hot shoe of the camera and enables wireless remote control of SF 60 flash units in the 2.4-GHz frequency band. The flash units can be organized in up to seven channels, each with three groups, and controlled either together or separately with the same or different settings. Photographers can use all functions of all the flash units, just as if they were mounted on the camera. This opens up countless options for professional lighting set-ups with system flash units.

As is the case with the Leica SF 60 flash unit, all settings can be viewed and easily changed on the clearly laid-out color LCD panel of the Leica SF C1 remote control unit. Alongside reserves sufficient for around 3,000 exposures from its two AAA cells, the future-proof SF C1 remote control unit also features a microSD card slot that allows the latest firmware updates to be uploaded to keep the unit at the cutting edge of technology.

Both units will be available worldwide in Leica Stores, Boutiques and Dealers later this month. The SF 60 Flash will retail for $ 595 and the SF C1 Remote Control will retail for $ 350.

Articles: Digital Photography Review (dpreview.com)

 
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SeaLife DC2000 sample gallery

04 Jun

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The SeaLife DC2000, known as the (much cooler-sounding) Sea Dragon in Europe, is a waterproof, rugged compact camera with a large 1″-type sensor and a fixed 31mm-equivalent F1.8 prime lens. You’d be forgiven for not being aware of this camera’s existence; it’s almost exclusively marketed toward hardcore divers, with the retail kit including an additional case that takes its waterproof rating from 18 meters (60 feet) on its own to 60 meters (200 feet) when safely tucked inside the enclosure.

A quick search across the interwebs turns up no shortage of stunning underwater photography that’s been captured with this camera, but remarkably little from its use above land as a large-ish sensor point-and-shoot that’s both easy to carry around and will withstand a knock or two. So, we took it upon ourselves to create that gallery. After all, it’s the only camera with a 1″-type sensor and fast, fixed prime lens currently on the market.

The SeaLife DC2000 on its own is very well-built, and could be considered pocketable. When inside its additional case, it is of course not pocketable, but going to 60 meters of depth is impressive.

We’ll be writing more on the SeaLife DC2000 / Sea Dragon soon, going into its image quality in greater depth as well as what it’s like to use. But for now, enjoy our selection of photos taken near the water, if not beneath it.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm X-T100 Review

03 Jun

The new Fujifilm X-T100 includes some impressive features at a budget-friendly price. So, how does this Bayer sensor camera stack up? Chris and Jordan have been shooting it since launch day, and it won’t surprise you to find out they have an opinion on the matter. Tune in to this week’s episode to find out what they think of this new camera.

Make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

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Articles: Digital Photography Review (dpreview.com)

 
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Underwater macro photography in Anilao, the Philippines

02 Jun
1/160, F20, ISO100, diopter 12.5 This Emperor shrimp is about 1.5 cm long, shut using a 12.5 diopter.

A few months ago, a friend invited me to try underwater photography and join a macrophotography workshop in Anilao, the Philippines. I’ve been shooting above the water for more than five decades but had no experience shooting underwater. I decided to take up the challenge, renewed my diving license, acquired the necessary photography gear and took a few dives with an underwater photography guide in the Red sea, Eilat, preparing myself for the workshop.

The workshop was conducted in Anilao, Batangas province of the Philippines, with full diving service, dive masters, boat riding, etc. provided, as well as an excellent camera room to take care of the photo gear. Anilao is considered an ideal place for macro photography. The diversity is incredible – rich reefs, a wide variety of fish, unexpected critters and nudibranchs are all over. The beachfront resorts are nestled against the jungle and provide exotic scenery while riding to and from dive sites.

1/160, F9, ISO100. Face to face with a yellow Cubicus boxfish.

The workshop schedule is quite intense: Breakfast at 0630, Review of the previous day photos between 0700 and 0830, two morning dives between 0900 to noon. Lunch break at 1200; a theoretical learning session (light, macro photography, use of strobes and more) at 1400 to 1500, two afternoon and evening dives between 1530 and 1900, dinner, photo editing and submitting some images for the next morning review, and falling asleep.

I use all full-frame cameras when shooting above the water: the Nikon D850, D5 and Sony a9 mirrorless. For my underwater excursion, I have decided to use the Sony a9 for two reasons: It is smaller and therefore the housing is smaller, and one can review the photos without removing the eye from the viewfinder. The latter is of paramount importance, especially when shooting miniature critters from a distance of less than five centimeters. If you have to move the camera to review a photo on the back screen, the subject gets out of your sight and finding it and focusing again is time consuming.

I exclusively used the Sony FE 90mm F2.8G macro lens, sometimes with a 12.5 diopter wet lens attached in front of the lens port for shooting critters that are smaller (and some are much smaller!) than a centimeter. Each photo provided here includes the main exposure parameters in the caption, and the use of the diopter is noted as well.

The Nauticam housing I used holds two powerful strobes. Below the surface, most of the sunlight is absorbed by the first few meters of water. At depths of 5 meters and more, all critters look almost colorless and it is the light of the strobes that brings back the colors. Even the light of the most powerful strobe is absorbed by the water and therefore underwater the distance from the camera to the (main) subject is usually less than 1.5 meters. Macro photography distance is less than 50 centimeters and super macro (magnification ratio above 1 – the recorded image size on the sensor is larger than the actual size of the subject) distances can be as close as 2 centimeters.

For our diving sessions we were usually three photographers to a boat, accompanied by a local dive master who knows the waters very well and finds the critters for us. We were also accompanied by two boat drivers to handle the boat and help with the diving and photo gear and getting in and out of the water.

1/160, F14, ISO100, 12.5 diopter. Glossodoris Cincta Nudibranch

The diversity of the creatures in this area is reach and unique. Colorful and beautiful Nudibranches populate the waters, ranging in size from 4mm to 600mm. Most we encountered were between 10 to 60mm in size. They can be identified by the pair of rhinophores, on which it makes sense to focus.

But it’s not all serene beauty underneath the water. Survival is a continuous daily battle, and every critter has developed a unique method of protection against predators. There are many such methods, but below are a few in particular that we saw in use:

  • Using a deadly poison and flashing bright colors warning potential predators
  • Camouflage
  • Hiding in small hard to reach holes
1/200, F13, ISO1000. This wire coral shrimp on top of the coral is about 1.5 cm long uses camouflage to protect itself.
1/160, F14, ISO100. Blue-ringed Octopus, one of the world’s most venomous marine animals. If provoked, it will change color quickly as a warning.
1/200, F14, ISO100. 12.5 Diopter. The Pink Hairy Squat Lobster, about 1.5 cm long, hiding under the projections on the sides of sponges.

The underwater world is rich with life. It is so beautiful and exciting and I am sure going to put more time and effort into exploring this new (at least for me) amazing world.

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About the Author: Ze’ev Kirshenboim, an Electronic Engineer by trade, is a seasoned amateur photographer of 52 years and makes his living as the president of ACS Motion Control Ltd which he founded 33 years ago. He likes shooting sport, wildlife and people, and lately has combined his photography hobby with scuba diving, the results of which are depicted in this article.

Articles: Digital Photography Review (dpreview.com)

 
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PNY launches 512GB microSD card

02 Jun

Camera and smartphone users who want to make the most of their device’s microSD card slot have a new option. PNY today announced a new 512 GB microSD card, equaling the capacity of Integral’s latest offering and surpassing the 400GB SanDisk model launched in August 2017.

In terms of speed, PNY quotes a ‘transfer speed’ of 90MB/sec, which makes the PNY 512GB Elite slightly faster (at least on paper) than the Integral which maxes out at 80MB/sec, but if absolute speed is a priority, at 100MB/sec the SanDisk still leads the pack. All three cards carry the UHS-I, U1 label with Class 10 and V10 speed specification.

Priced at $ 349, the new card isn’t cheap but offers heaps of storage capacity. According to PNY, it holds up to 80 hours of Full HD video recording or up to 100,000 18MP photos. This should make it an attractive option for anyone who likes to carry entire media libraries on their phone but could also be useful for drone photographers and other professionals.

More information is available on the PNY website.

Articles: Digital Photography Review (dpreview.com)

 
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