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Sigma’s 70mm F2.8 DG Macro Art lens costs $570, ships this month

12 May

Back in February, Sigma introduced the first Macro lens to join the company’s high-end line of “Art” series lenses: the Sigma 70mm F2.8 DG MACRO Art. And today, after keeping us in the dark for a few months, the company has finally revealed the lens’ pricing and availability.

According to Sigma, you’ll be able to pick up the new lens in Canon EF mount starting at the end of this month for a suggested retail price of $ 570. Additionally, the Sigma mount is expected to ship in June, and the Sony E-Mount version “will be announced later.”

As we mentioned above, this 70mm F2.8 is the first macro lens to join Sigma’s “Global Vision Art Line,” a lineup of lenses touted for its exceptional optical quality (usually at a very reasonable price). The new MACRO Art is said to deliver “stunning resolution and incredible clarity, while at the same time offering extremely smooth autofocus performance for a weightier, high-performance lens.”

In order to achieve this “extremely smooth” AF performance, Sigma has equipped the lens with an extending, floating, two-group focusing mechanism that the company says “minimizes aberration at all focal lengths,” whether you’re shooting at 1:10, 1:5, or the maximum magnification ratio of 1:1. Additionally, a new focus-by-wire system paired with a newly-developed “coreless DC motor” promises precise focusing—a must for macro shooters.

To learn more about this lens, head over to the Sigma website.

Press Release

Sigma Announces Pricing & Availability for Its 70mm F2.8 DG MACRO Art Lens

Ronkonkoma, NY – May 11, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced that its 70mm F2.8 DG MACRO Art, the first prime macro lens to be adorned with the Art badge, will be available in Canon mount in the end of May for $ 569.00 USD through authorized US retailers. The Sigma mount model is expected to ship in June. The release of the Sony E-Mount version will be announced later.

The First Macro Lens in the Sigma Global Vision Art Line

Elevating the legendary Sigma 70mm F2.8 EX DG to the Art line, the brand new Sigma 70mm F2.8 DG MACRO Art prioritizes optical performance that defines the Sigma Art line, delivering stunning resolution and incredible clarity, while at the same time offering extremely smooth autofocus performance for a weightier, high-performance lens.

To achieve optimal results at every shooting distance, the lens features an extending, floating, two-group focus mechanism, which minimizes aberration at all focal lengths. In addition, the lens’ optical elements design increases resolution at close shooting distances, allowing for a razor-sharp in-focus area contrasted with a bokeh area free of color streaking.

Other feature highlights include focus-by-wire system featuring newly developed coreless DC motor for comfortable and precise focusing typically required for macro photography; compatibility of the Canon mount lens with the Canon Lens Aberration Correction function; and compatibility with Sigma Electronic Flash Macro EM-140 DG and Sigma Teleconverters.

Full technical specifications can be found on the Sigma website at: https://www.sigmaphoto.com/70mm-f2-8-dg-macro-a.

Articles: Digital Photography Review (dpreview.com)

 
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ON1 reveals Photo RAW 2018.5 with ‘massive performance boost’, LUTs and more

12 May

ON1 has released a major update to its ON1 Photo RAW photo editor. Version 2018.5 will be available in June and boasts, “a massive boost in overall performance” in addition to bug fixes and two major feature additions: a new LUTs filter in the effects panel, and the ability to select brand-specific in-camera profiles, including Fujifilm’s much-loved film simulations.

There are also some other new features like the ability to collapse RAW + JPEG frames into a single image to de-clutter your library, nested albums, background export, and more. But the big three additions are performance, LUTs, and Camera Profiles.

Performance Boost

ON1 says Photo RAW 2018.5 comes with a “massive overall performance boost,” which should be noticeable across Browse, Develop, and Effects. This is particularly obvious when you flip through photos in the filmstrip view, regardless of module. You should see practically no lag at all.

In addition to culling images, brushing performance, switching between modules, and exporting/sharing photos have all benefitted noticeably from this performance boost.

LUTs Filter in Effects

A much-requested feature, LUTs (or Look-Up Tables) are a popular way to add various color grading looks to your images. This feature is now available inside the Effects module in ON1 Photo RAW 2018.5, which will launch with “a ton” of LUTs, alongside packs you can purchase from professional photographers like Matt Kloskowski and Tamara Lackey. You can also import both the .3DL and .CUBE LUT formats into Photo RAW if you have LUTs of your own.

Applying a LUT will work like all of the current filters available in the Effects module, meaning you’ll be able to “stack them, mask them and control the blending options.”

Camera Profiles

The final feature update coming in 2018.5 is the ability to apply brand-specific camera profiles to your pictures. If you shoot Canon or Nikon, that means your Natural, Landscape, Portrait, etc. profiles will all be available. If you shoot Fuji, that means your film simulations.

Additionally, you’ll have some built-in ON1 profiles—in addition to ON1 Standard, you now have ON1 Faithful, ON1 Landscape, ON1 Portrait, and ON1 Vivid—that can be applied across brands, just like the recently-announced Adobe RAW profiles in Lightroom.

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ON1 Photo RAW 2018.5 is scheduled to arrive officially in June. It’ll be a free upgrade for owners of ON1 Photo RAW 2018, but if you’re not part of the ON1 ecosystem yet, there are some discounts to be had before launch.

Owners of previous versions of ON1 Photo RAW can upgrade for just $ 80 (usually $ 100) and new users can purchase ON1 Photo RAW 2018.1 for $ 100 (usually $ 120). Each license of ON1 Photo RAW includes both Windows and Mac installers, and can be activated on up to five devices.

To learn more about ON1 Photo RAW, visit the ON1 website. And if you want to learn more about 2018.5, the company has set up a landing page where they’ll be demoing new features every week before the official release goes live.

Press Release

ON1 Photo RAW 2018.5 – Coming this June

Portland, OR – May 10, 2018 – Today, ON1, Inc. announces the new ON1 Photo RAW 2018.5, a significant update to Photo RAW 2018. Version 2018.5 will include a massive boost in overall performance, fixes for user reported issues, and new key features such as LUTs and camera profiles.

“We’re incredibly excited to unveil the new features in ON1 Photo RAW 2018.5 over the next several weeks. We plan on showcasing the new features and improvements through weekly videos leading up to the June release,” says ON1 President, Craig Keudell.

Key Features and Improvements

  • Camera Profiles – Select the same looks you see on the back of your camera in ON1 Photo RAW. Select from Natural, Portrait, Landscape, etc. depending on what your camera offers. These are not presets as they don’t adjust any of the sliders, and are non-destructive. These will include popular cameras like Fujifilm®.
  • LUTs in Effects – LUTs or Look-Up Tables are a favorite way to add matte, vintage or cinematic color grading looks. These will be available inside Effects in version 2018.5. A ton of LUTs will be available in the release along with individual packs from Matt Kloskowski, Tamara Lackey, and Hudson Henry. The common .3DL and .CUBE formats found online can be imported into Photo RAW. LUTs will work like any of the current filters in Effects. You can stack them, mask them and control the blending options.
  • RAW+JPG – If you shoot RAW and JPG at the same time, you will be able to collapse and hide the JPG copy, so your library isn’t cluttered. Any metadata or file changes you make are mirrored to the JPG seamlessly.
  • Faster Film Strip for Culling – Using the Filmstrip in Develop and Effects will be just as fast as in Browse. You will be able to switch photos instantly! You can even perform your editing and culling tasks, like ratings, labels, rotate and delete, while you are adjusting your raw processing.
  • Transform Enhancements – The Transform pane in Develop will include new tools to correct perspective and rotation issues along with a new grid will make it easier to visualize results.
  • Nested Presets – Ability to better organize presets into a nested category structure will be added along with the ability to move, rename, delete, and nest presets and categories.
  • Nested Albums – Nest albums or photos inside of other albums. If you are migrating from Lightroom®, your nested collections are brought over by the Lightroom migration assistant.
  • Improved Brushing Performance – Brushing with the Masking Brush will be more fluid and responsive, especially on Windows computers with large or high-dpi displays.
  • Export Improvements – Exporting will be processed in the background so customers can continue to work on another job without having to wait for the export to finish. You can even stack multiple export jobs and continue working on your photos.
  • Performance Boost & Increased Stability – Significant under the hood speed and stability improvements are coming in 2018.5. These include speedier switching of modules between Browse, Develop, and Effects along with switching and culling photos using the film strip in Develop and Effects.
  • New Cameras & Lenses – Each update includes new cameras and lenses. The list is continuously updated, and we will share the final details when version 2018.5 is released.

ON1 Photo RAW 2018.5 Exposed

Each week ON1 will be adding videos showcasing the new features and improvements available in version 2018.5. Get a sneak peek of the new camera profiles, new LUTs, and overall performance improvements at www.on1.com/exposed.

Price and Availability

ON1 Photo RAW 2018.5 will be available this June. New customers can purchase version 2018.1 today and receive 2018.5 as a free update once it becomes available. ON1 is running an introductory price of $ 99.99 for new customers for a limited time (Reg: $ 119.99). Owners of previous versions of ON1 can also upgrade at an introductory price of $ 79.99 (Reg: $ 99.99). Version 2018.5 is a free update for all owners of ON1 Photo RAW 2018. A single purchase of ON1 Photo RAW will include both Mac and Windows installers and activation for up to five computers. It comes with a 30-day money-back guarantee, world-class customer support, hundreds of free video tutorials, and free ON1 Loyalty Rewards every month.

About ON1 Photo RAW

ON1 Photo RAW is the only photo editor designed by photographers for photographers. ON1’s unique community-driven development approach via The Photo RAW Project gives customers a voice in how it’s designed, allowing users to submit ideas and vote on new features. The majority of new features and updates in version 2018.5 have come as a result of the Photo RAW Project. With fast photo organizing, hundreds of customizable photo effects, powerful masking tools, LUTs, Camera Profiles, HDR, panos, layers, and other Lightroom and Photoshop®-like features, Photo RAW is the ultimate all-in-one photo editor and raw processor with no subscription.

ON1 Photo RAW 2018.5 isn’t just for raw files. It also supports JPEG, TIF, PSD, PSB, PNG, and DNG are supported and benefit from the speed, performance, and abundance of editing tools in the app. Photo RAW 2018.5 will continue to work seamlessly within current photography workflows. The app will integrate as a plug-in for Adobe® Lightroom Classic CC and Photoshop CC. Like the current version, Photo RAW 2018.5 will integrate with the major cloud services to allow for uploading, managing, and editing photos across multiple computers. This enables users to sync photos and their edits across multiple computers or in a studio setting.

Articles: Digital Photography Review (dpreview.com)

 
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8×10 is an app for selling limited edition framed prints on Instagram

11 May
8×10 / @HULLOITSLYDIA

If you are a photographer, painter, illustrator or other type of artist with a large number of followers on Instagram, there is now a new way of monetizing that following. The new 8×10 app lets you sell framed limited-edition fine-art prints of your artwork.

You’ll have to select the photos you want to offer as prints and define the terms, including the number of prints the sale will be limited to, duration of the sale and of course the price. You can also add a signature to your images and opt to donate proceeds to a charity.

Next, the sale is posted to Instagram and your followers are alerted. They can access the sale page through your Instagram post and purchase if they like what they see. In the back-end, the 8×10 app offers a sales-tracker so you can keep up with your orders, but printing and global fulfillment are both organized by 8×10 to keep the process as simple as possible.

When a print is sold, 8×10 users receive their profit within the next 14 days, once the buyer’s payment clears. Using the app and creating an offer is free, 8×10 only takes a cut of your profits if a sale is made. No specific rate is given, but based on the intro video and screenshots provided through the app store, the app’s cut seems to vary in percentage depending on how much you choose to charge per print.

This quick intro video gives you a good overview of how 8×10 works:

This makes the app an interesting tool for photographers and artists who’d like to test demand for prints of their work, without making any major investment in a print run or dealing with setting up fulfillment. It does genuinely sound like an easy way to dip your toe into the print selling waters.

To find out more or try the 8×10 app for yourself, head over to the app’s website or download it from the Apple App Store.

Articles: Digital Photography Review (dpreview.com)

 
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The Samsung Galaxy S9+’s dual aperture feature explained

11 May
The wide-angle camera on the Samsung S9+, along with its smaller S9 sibling, comes with an adjustable aperture, offering either F1.5 or F2.4.

In a never-ending quest for better image quality, smartphone manufacturers are turning to all sorts of tricks to eke better performance out of very small image sensors. But through all the software, algorithms and dual-and-triple camera setups, the Samsung Galaxy S9 and S9+ flagship phones have joined a very select club of smartphones with real aperture settings. The S9+ will automatically switch from F1.5 to F2.4 depending on your lighting situation, and you can manually select it in ‘Pro’ mode.

Going from F2.4 to F1.5 on the Galaxy S9+ gives you nearly a stop and a third of extra light

So what are the potential benefits of having aperture control on a smartphone anyway? According to Samsung, “the category–defining Dual Aperture adapts to bright light and super low light automatically, like the human eye. And you can flex your artistic side, toggling the aperture to create a mood.”

Just ‘flexing my artistic side’ by manually choosing F1.5 and shooting into the sun. Out-of-camera JPEG.
ISO 50 | 1/516 sec | F1.5

All that strikes us as a little ‘over-the-top,’ but there is some potential here. Going from F2.4 to 1.5 gives you nearly a stop and a third of extra light, and will keep your ISO value down (or your shutter speed up) in dim conditions. But we were also curious about the quality in other situations; after all, these apertures are equivalent to F9 and F14 on full-frame. Could shooting the wider aperture in bright light give you sharper images by having less softness from diffraction?

Landscape quality

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F1.5 F2.4

Here’s an easy-to-see example of the difference in detail capture, despite all the Galaxy S9+ is doing behind the scenes to make these look as detailed as possible. It’s important to put this in context, though: when flipping between these two images full-screen on the S9+ they look identical. So unless you’re planning on making prints from your cell phone landscapes, it probably doesn’t matter all that much which aperture you (or the phone) pick.

Let’s see what sort of difference the aperture makes with a close subject, and distant background.

Close focus quality

Disappointingly, the S9+ and its included applications don’t allow you to use any computational background blur wizardry on images shot using the wide-angle camera that it does allow on its telephoto one (the smaller S9 on the other hand, which only has a wide angle camera, does let you do this). So does having a wider aperture give you some buttery background blur naturally?

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While there is a difference in background blur between the two apertures, it’s nothing like shooting with a wide-aperture prime lens on an interchangeable lens camera – but nor would we really expect it to be. But we do see how the phone’s noise reduction techniques deal with fine gradients in out of focus areas$ (document).ready(function() { $ (“#icl-4085–1726942983”).click(function() { ImageComparisonWidgetLink(4085); }); }).

F1.5 F2.4

Low light performance and takeaways

In really low light conditions, the faster aperture will definitely get you better shots on the Galaxy S9 and S9+ than if you were forced to use the camera at F2.4. Optical image stabilization means that you can hand-hold images down to a reasonably slow shutter speed, and the phone can keep its ISO more than a stop lower – as long as your subjects aren’t moving.

Out-of-camera JPEG.
ISO 50 | 1/13 sec | F1.5

But as I found out while shooting a dimly lit concert with the Galaxy S9+, Samsung’s latest flagship camera phone still isn’t a match for low light and moving subjects in its fully automatic mode (you can switch into ‘Pro’ mode and force higher ISO values or shutter speeds if you’re an advanced user). We are still working through our testing and plan on doing side-by-side comparisons with phones such as Google’s Pixel 2, which intelligently stacks images together even in low light situations.

This photograph taken at 1/30 sec in ‘auto’ was the only one that wasn’t blurred to oblivion. Out-of-camera JPEG.
ISO 800 | 1/30 sec | F1.5

Now it’s true that for casual shooters taking their phones out to dinner and photographing their friends and their food, the camera will automatically switch to F1.5 will help them get shots with more detail and less noise reduction, while using an F2.4 aperture will get them slightly better quality in daylight.

But we can’t help wondering if this is a little ‘gimmicky’ – the drop in detail at F1.5 is unlikely to be a deal breaker for these sorts of users, and if Samsung didn’t have to squeeze an aperture blade system into the lens design, could they simply have made the lens perform better wide open? The system looks to have real blades that expand and contract, but you’re only allowed a toggle between the two values.

We don’t know for sure, but we’ve still got lots of testing on the Galaxy S9+ over the coming weeks. Stay tuned for our full review.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix TS7/FT7 is first rugged compact camera to have built-in EVF

11 May

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Panasonic has announced its Lumix DC-TS7 (FT7 outside of North America) which is the first waterproof/rugged compact to have an electronic viewfinder. The viewfinder is 0.2″ in size and has an resolution equivalent to 1.17 million dots and a magnification of 0.45x equivalent. Obviously, you won’t be able to use the EVF if you have a scuba mask on, but for shooting in bright light on land it could come in handy. There’s also a 3″ non-touch LCD available for composing and reviewing your photos.

The TS7 has a 20.4MP, 1/2.3″ BSI CMOS sensor and an F3.3-5.9, 28-128mm equiv. lens. It’s able to go 31m/102ft underwater, can take a fall from 2m/6.6ft and can withstand 100kg / 220lb of crushing force. It’s also freezeproof to -10C / +14F.

You’ll find a 49-point contrast-detect AF system on the TS7, and Panasonic claims that it can track a moving subject at 5 fps. The camera can capture UHD 4K video at 24p and 30p as well as 1080/60p. There’s a 120 fps mode, but only at 720p resolution. Naturally, the TS7 supports Panasonic’s 4K Photo feature, which allows for ‘Post Focus’ and 8MP still extraction. Wi-Fi (but not Bluetooth) is built in, and battery life is CIPA-rated at 30 shots per charge.

The TS7 will be available this summer for $ 449. Available colors include blue, orange and black.

Press Release:

New LUMIX TS7 with LVF, Wi-Fi® and 4K Video and 4K Photo

Featuring Waterproof, Rugged Design Camera for Outdoor Imaging

Newark, NJ (May 11, 2018) – Panasonic is pleased to introduce the 20.4-megapixel LUMIX TS7, the rugged new LUMIX TS Series camera geared exclusively for outdoor use. This tough, lightweight camera is waterproof to 102ft., dustproof, shockproof to 6.6ft., freeze proof to 14 degrees F and pressure resistant to 220lbf for exceptional imaging in virtually any and all locations and conditions.

The LUMIX TS7 features a 28mm wide angle 4.6x optical zoom lens (35mm equivalent: 28-128mm) and includes a new 0.2-in, 1,170K-dot equivalent LVF (Live View Finder) to easily capture subjects even under strong sunlight or with backlighting. A 3.0-in rear LCD monitor delivers highest-in-class 1,040K-dot resolution for approximately 100% field of view.

For video, the LUMIX TS7 records smooth, high-resolution QFHD 4K video in 3840×2160 at 30p/ 24p in MP4. Taking full advantage of 4K technology, outdoor photographers will enjoy 4K PHOTO to capture perfect moments at 30 fps and save 8-megapixel, high-resolution photos. The LUMIX TS7 also includes the LUMIX Post Focus feature, which enables users to modify focus after capturing the image.

A newly integrated 20.4-megapixel High Sensitivity MOS sensor and the camera’s advanced imaging engine enables high-speed, high-sensitivity image recording to generate high-speed burst shooting at 10 fps* in high picture quality. The LUMIX TS7 also provides Light Speed AF to capture the most fleeting shooting opportunities, ideal for outdoor adventures like diving, snorkeling, surfing, climbing, skiing and snowboarding.

The LUMIX TS7 ensures flexible shooting with built-in Wi-Fi® connectivity for fast, easy image sharing, also integrating a variety of special effects’ options — Creative Control, Creative Panorama, Time Lapse Shot and High-Speed Video —adding creativity and fun to outdoor imaging. Beginning photographers will like the popular LUMIX Shooting Assist function iA (Intelligent Auto) mode to help shoot sharp, memorable photos and video. Plus, the camera’s built-in LED Photo Light function illuminates the subject to help compose the shot even if the camera function is not activated.

Other new LUMIX TS7 features include:

1. Airtight, all-seasons design
Thanks to a minimum aperture area, rubber padding and reinforced glass inside the camera, the LUMIX TS7 features an airtight body to withstand water immersion, dust and sand. A reinforced body case performs flawlessly at depths up to 102 ft with water pressure resistance up to 220lbf. The durable TS7 can absorb drops to hard surfaces from up to 6.6ft in accordance with the “MIL-STD 810F Method 516.5-Shock” test standard. And in cold weather, all components including the lens unit can endure temperatures up to 14 degrees F. Specifically designed for active outdoor imaging, the LUMIX TS7 includes a compass and altimeter, all of which makes the all-seasons LUMIX TS7 the perfect camera for photos and video when fishing and camping in the spring; diving, snorkeling and surfing in summer; traversing mountains in autumn; and skiing and snowshoeing in winter.

2. New LVF (Live View Finder) and high-resolution rear monitor
The LUMIX TS7 integrates a new 0.2-inch, 1,170K-dot equivalent LVF (Live View Finder) to make it easier to capture subjects under strong sunlight or in backlighting and reduce power consumption in harsh conditions. Both the sensor and LVF are in a 4:3 aspect ratio, and the 3.0-in tempered-glass rear LCD monitor in a 3:2 aspect ratio, delivers highest-in-class 1,040K-dot resolution for an approximately 100% field of view. Image output between the LVF and the rear monitor is instantly switched with a dedicated button.

3. 4K imaging with 4K video and 4K PHOTO
The LUMIX TS7 records smooth, high-resolution QFHD 4K videos in 3840×2160 at 30p or 24p in MP4* in addition to Full-HD 1,920 x 1,080 60p videos in MP4 (MPEG-4 / H.264) format with practical full-time AF.

With 4K video and 4K PHOTO, photographers can choose and extract single images from 30 fps video frames to save as 8-megapixel equivalent resolution photos. Three exclusive LUMIX functions integrated into the TS7 make it easy; 4K Burst Shooting, 4K Burst (Start/Stop) and 4K Pre-burst. 4K Burst Shooting provides consecutive shooting at 30 fps,** which can be used like photo burst shooting. The LUMIX TS7 includes the LUMIX Post Focus function to select in-focus areas after shooting — a helpful feature in situations like macro shooting where severe focusing is required, or for changing expression by changing the subject in focus.

The camera’s 4.6x optical zoom with POWER O.I.S. is also available in video recording to suppress hand shake, and an Auto Wind Cut function blocks most of the noise created by background wind. High Speed Video feature enables recording in HD (1280×720) at 120 fps/100 fps, and Time Lapse /Stop Motion Animation functions are also available.

4. 20.4-megapixel High Sensitivity MOS Sensor
The 20.4-megapixel LUMIX TS7 integrates a High Sensitivity MOS sensor to deliver highest-in-class resolution. And its high-speed response achieves burst shooting at 10 fps* in full resolution with a mechanical shutter, 5 fps with continuous AF. Auto focusing is quick and accurate with its Light Speed AF. The LUMIX TS7 incorporates a high-quality 28mm wide-angle LUMIX lens with a 4.6x optical zoom (35mm equivalent: 28-128mm) in folded optics. Thanks to LUMIX Intelligent Resolution technology, the Intelligent Zoom is included in the LUMIX TS7, which virtually extends the zoom ratio to 9.1x equivalent, maintaining picture quality even when combined with the digital zoom.

5. Other
• Wi-Fi 2.4GHz (IEEE802.11b/g/n) Connectivity
The LUMIX TS7 integrates Wi-Fi® connectivity for flexible shooting and instant image sharing with easy operation. Once the camera is connected to a smartphone or tablet installed with Panasonic Image App for iOS/Android, users can shoot, browse and share images remotely. GPS geotag can also be added on the photos after shooting.

• AC/USB Charging
The camera’s rechargeable battery can be charged via AC or USB.

• Creative Control
The LUMIX TS7 is equipped with Creative Controls for 22 filter effects – Expressive, Retro, Old Days, High Key, Low Key, Sepia, Monochrome, Dynamic Monochrome, Rough Monochrome, Silky Monochrome, Impressive Art, High Dynamic, Cross Process, Toy Effect, Toy Pop, Bleach Bypass, Miniature Effect, Soft Focus, Fantasy, Star Filter, One Point Color and Sunshine. Creative Controls let users shoot and review filter effects, which can also be used for video recording.***

With the Creative Panorama, users can shoot a horizontal/vertical panoramic image by overlaying consecutive shots with filter effects like Expressive, Retro, Old Days, High Key, Low Key, Sepia, Monochrome, Dynamic Monochrome, Rough Monochrome, Silky Monochrome, Impressive Art, High Dynamic, Cross Process, Bleach Bypass, Soft Focus, Fantasy, Star Filter and One Point Color.

• LED Photo Light illuminates the subject even while the camera function is not activated.

• SDXC UHS-I Memory Card Compatibility
The LUMIX TS7 complies with SDXC UHS-I Memory Card for high-speed 4K video.

*Max.11 images.
**Max.29 min 59 sec.
***Not all filters can be used in video recording.

•Design and specifications are subject to change without notice.

The LUMIX TS7 will be available in early summer 2018 in blue, orange and black with an MSRP of $ 449.99.

Panasonic Lumix DC-TS7/FT7 specifications

Price
MSRP $ 449
Body type
Body type Compact
Body material Metal/composite
Sensor
Max resolution 5184 x 3888
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 21 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Processor Venus Engine
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 80-3200 (expands to 6400)
Boosted ISO (maximum) 6400
White balance presets 5
Custom white balance Yes
Image stabilization Optical
Uncompressed format No
JPEG quality levels Fine, standard
File format
  • JPEG (Exif v2.31)
Optics & Focus
Focal length (equiv.) 28–128 mm
Optical zoom 4.6×
Maximum aperture F3.3–5.9
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus Yes
Normal focus range 30 cm (11.81″)
Macro focus range 5 cm (1.97″)
Number of focus points 49
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,040,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 2.53×
Viewfinder resolution 1,170,000
Photography features
Minimum shutter speed 4 sec
Maximum shutter speed 1/1300 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Intelligent Auto
  • Program
  • Manual
Scene modes
  • Clear Portrait
  • Silky Skin
  • Backlit Softness
  • Clear in Backlight
  • Relaxing Tone
  • Distinct Scenery
  • Bright Blue Sky
  • Romantic Sunset Glow
  • Vivid Sunset Glow
  • Glistening Water
  • Clear Nightscape
  • Cool Night Sky
  • Warm Glowing Nightscape
  • Glittering Illuminations
  • Handheld Night Shot
  • Clear Night Portrait
  • Soft Image of a Flower
  • Appetizing Food
  • Cute Dessert
  • Freeze Animal Motion
  • Monochrome
Built-in flash Yes
Flash range 5.60 m (with Auto ISO)
External flash No
Flash modes Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off
Continuous drive 10.0 fps
Self-timer Yes (2 or 10 secs, 10 secs x 3 images)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±3 (3, 5, 7 frames at 1/3 EV, 1/2 EV, 1 EV steps)
WB Bracketing No
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, AAC
  • 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
Microphone Mono
Speaker Stereo
Storage
Storage types SD/SDHC/SDXC (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (microHDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Durability Waterproof, Shockproof
Battery Built-in
Battery description DMW-BCM13PP lithium-ion battery and charger
Battery Life (CIPA) 300
Weight (inc. batteries) 319 g (0.70 lb / 11.25 oz)
Dimensions 117 x 76 x 37 mm (4.61 x 2.99 x 1.46″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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CMOS image sensor sales at all-time high

11 May

Industry analysts IC Insights report that CMOS image sensor sales will be at an eighth straight record-high level this year, with worldwide revenues growing 10% to $ 13.7 billion. This comes after a 19% increase in 2017.

The growth is due to a spread of digital camera applications to vehicles, machine vision, human recognition and security systems, but demand is also driven by more advanced smartphone cameras using multiple sensors.

Smartphone cameras accounted for 62% of CMOS image sensor sales in 2017, but this number is forecast to decrease to 45% in 2022 as demand in other sectors, such as automotive, is expected to grow faster.

Overall, CMOS image sensors accounted for 89% of total image sensor sales in 2017 by value. This is a noticeable increase from 74% in 2012 and 54% in 2007. In terms of units shipped, CMOS imagers represented 81% of all image sensors sold in 2017, making CMOS by far the most utilized image sensor technology and also suggesting CMOS sells at a premium, compared to its rival technologies.

Articles: Digital Photography Review (dpreview.com)

 
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The Yongnuo YN43 is a Micro Four Thirds smartphone clip-on camera with Canon lens mount

11 May

Yesterday, affordable photography accessory maker Yongnuo unveiled a 60mm F2 macro lens, and they’ve also taken the wraps off a YN43 camera module, a clip-on camera for smartphones in the spirit of Sony’s QX-cameras, the Olympus Air, DxO One, and the Kodak PixPro models.

Unfortunately, at this point there are no specifications available on the site. Looking at the images and model name it’s fair to assume the device will feature a Micro Four Thirds sensor. Curiously the lens mount appears to be of the Canon variant, though. On the product images we can see a Yongnuo 14mm F2.8 wide angle lens for Canon mounted to the module. The choice of lens mount is likely due to the fact that Yongnuo only makes lenses for Canon and Nikon, but no Micro Four Thirds glass.

The camera is pictured with an Apple iPhone and an app is already available in the App Store which suggests it will definitely work with Apple devices, but one would assume it’ll be compatible with at least the most popular Android phones as well.

With its unusual sensor/lens mount combination the YN43 looks like a slightly odd product to put it mildly. It also doesn’t bode well that all the similar products mentioned above have disappeared from the market and the built-in cameras in smartphones have improved drastically, almost nullifying the need for bulky clip-on modules.

That said, Yongnuo is known for its budget pricing and while no price information is available yet for the YN43 we’d expect it to be quite affordable. This could make it worth a closer look to anyone who has a few Canon lenses lying around and likes tinkering with photo equipment.

We’ll let you know as soon as more information and specs become available.

Articles: Digital Photography Review (dpreview.com)

 
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Sony reduces Pixel Shift interval to 0.5 seconds in a7R lll

10 May

Sony has released new firmware for its a7R lll camera to insert a new option for Pixel Shift Multi Shooting that reduces the delay between frames to 0.5 sec. Firmware v1.10 adds the 0.5 sec delay setting to the menu so users can halve the current shortest time between frames taken with the camera in Pixel Shift Shooting mode. Previously, delays of 1-30 seconds could be selected. The move will reduce the total amount of time the pixel shift mode takes to record the images it needs, so perhaps will also reduce the risk of movement in the subject.

Users can now also use exposure bracketing in silent mode when recording uncompressed Raw files, and the focus assist peaking display can be tuned when shooting in S-Log mode. Sony says it has improved the general stability of the camera and has fixed problems it had with Eye AF failing in when used with certain settings.

For more information, and to download firmware v1.10 for the Sony a7R lll visit the Sony website.

Manufacturer’s information

ILCE-7RM3 Camera Firmware Update

What Does This Do?
This update (version 1.10) provides the following benefits:

  • Adds the menu option to select Pixel Shift Multi Shooting (On: Shooting Interval 0.5sec)

Notes:

When using an A-mount lens via an adaptor (LA-EA1/ LA-EA2/ LA-EA3/ LA-EA4), the interval might be slightly longer

When the camera is connected to PC, please use the latest version of the Imaging Edge software

  • Adds support for bracketing during silent shooting with uncompressed RAW
  • Adds support for tuning of the peaking display level for S-Log shooting
  • Makes improvements for a condition where the Eye AF does not work with certain camera settings
  • Makes improvements for a condition where Viewfinder Brightness is not reflected correctly in the Manual setting
  • Improves overall stability of camera

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Shooting polar bears with the $12,000 Nikon 180-400mm F4E TC1.4 FL ED VR

10 May

In many respects, the Nikon AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR is a dream lens. Earlier this year, with the support of Nikon Europe, I tested it out in some of the harshest conditions on our planet—on a special Polar Bear production in Svalbard, near the north pole.

I took this lens on two different expeditions—first in early April with temperatures reaching well below -20°C with wonderful low-light, and the second expedition at the end of April with the midnight sun and higher contrast. As a professional wildlife photographer, I have to trust my gear to perform and deliver the sharpest images possible, and while this lens took a beating (sorry Nikon) it survived the freezing temperatures and functioned perfectly while providing razor sharp results.

Nikon D850, Nikon 180-400mm F4 @ 250mm (No TC) F4.5 1/800sec ISO 80

Construction and Handling

This lens is part of the new generation of E lenses with reduced weight compared to older designs. That’s important, since it makes hand-held shooting a lot easier. The entire body of the lens feels firm and well-balanced, although it’s a bit front-heavy in my opinion.

Compared to the much-loved Nikon 200-400mm, the new lens weighs less, and is in fact even lighter than the Nikon 300mm F2.8. The wide zoom ring and focus ring, plus the TC lever, make it easy to manipulate even when wearing the thick gloves required at this latitude, in temperatures well below freezing.

During my shooting, this lens “ate” a lot of snow and wind, and survived being transported for hundreds of kilometers on my snowmobile with nary a complaint.

Nikon D850, Nikon 180-400mm F4 @ 195mm (No TC) F4.5 1/2000sec ISO 80

Zoom Range

Without the 1.4X teleconverter engaged, the 180-400mm has wonderful range and the advantage of a constant F4 aperture. Going from one zoom extreme to the other requires only a 1/4 turn of the zoom ring, which is much quicker than the Nikon 200-500mm.

However, while 180-400mm is a usable range for large mammals or medium-sized ones that allow the photographer to approach relatively closely, its not long enough for safety if you want to capture a tight portrait of a predator like a polar bear. For that extra reach, Nikon has integrated a 1.4X teleconverter, which turns the 180-400mm into a 250-550mm lens at the cost of one f-stop—making it an F5.6 constant aperture zoom.

Nikon D850, Nikon 180-400mm F4 @ 210mm (No TC) F4.5 1/500sec ISO 80

Focus

As you might hope from a lens of this type (and price) autofocus is blazing fast. It feels faster than the old 200-400, and also faster than the Nikon 600mm F4. I didn’t notice any hesitation or ‘hunting’ during focusing.

Aperture, Vignetting and Sharpness

Image quality at F4 is really great—not only usable but actually really sharp throughout the zoom range. My Nikon D850 was pushed to its resolution limit even with the widest aperture selected. When engaging the TC, the lens does get a bit softer, and there is very noticeable vignetting wide-open; the converter is there if you need it, but I’d recommend engaging it only when absolutely necessary.
Nikon D850, Nikon 180-400mm F4 @ 550mm (TC) F5.6 1/320sec ISO 80

100% crop (click to view)

Overall, the images came out crisp, sharp and with excellent contrast—even when shooting backlit subjects. I saw no flare, no ghosting and no noticeable chromatic aberrations.

Vibration Reduction

This lens features Nikon’s new-generation VR system, which is good for around 4.5 stops of correction. During my shooting, VR was very useful for hand-held shots.

Price and Value

The sadistic part of my personality enjoys looking in people’s eyes when they get all excited about the lens and ask me how much it costs. When I say $ 12,000 USD, the bright light of childish enthusiasm is quickly extinguished.

It’s a lot of money, but as the expression goes: “you get what you pay for.”

This is a dream lens with so many advantages, both optically and in terms of handling, and that comes at a cost. The cheaper and more approachable option would be the Nikon 200-500 F5.6, which costs a mere $ 1,500. As a friend of mine said, “I could buy eight of those for the price of one 180-400 F4.” I don’t know what he would do with eight lenses, but you get the point.

Nikon D850, Nikon 180-400mm F4 @ 250mm (No TC) F4.5 1/800sec ISO 80

Final Thoughts

So the 180-400mm is a dream lens, but the dream doesn’t come cheap. For a safari in Africa, a project in Svalbard or any action-packed wildlife shooting it’s perfect. In sports or any activity where the subject is moving in your direction, this lens could be a great option. For capturing birds, small mammals or any subject where you know you’d end up cropping after the fact, I’d tend to go for a long telephoto prime instead.

So… is it worth it? That depends on your standards, requirements and the depth of your pockets. The 180-400 lets in an extra stop of light compared to the 200-500mm and offers much better sharpness, faster focus and better handling, not to mention the ability to reach 550mm with the flip of my thumb. I’d go for the 180-400mm without hesitating.

If your budget is tight and you can’t afford this lens, the Nikon 200-500mm F5.6 is a very attractive option, but it can’t match the 180-400mm for speed, critical sharpness or versatility.

About the Author: Roie Galitz is an award-winning wildlife photographer. He travels in extreme conditions to the remotest places on earth, from the Arctic right down to Antarctica, capturing images of rarely viewed animals in their natural habitats. He is a sought-after public speaker, a photography expedition leader and a proud ambassador of Nikon Israel, Global DJI and Greenpeace.

You are welcome to see more of his work and bio on his website and follow on Instagram and Facebook.

Roie Galitz was not compensated for this article in any way either by Nikon or DPReview, and Nikon had no involvement in its publication.

Articles: Digital Photography Review (dpreview.com)

 
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DJI launches Phantom 4 Pro V2.0 drone with ‘OcuSync’ and 60% quieter flight

10 May

Following numerous leaks, DJI has officially launched its new Phantom 4 Pro V2.0 drone today: basically a Phantom 4 Pro with a new ‘OcuSync’ transmission system for high-res low-latency video transmission, and a 4 decibel reduction in flying noise (that makes it 60% quieter).

Beyond these two features, the drone features the same build and internals as the Phantom 4 Pro. That means a 4K/60fps camera with a 1-inch 20MP Exmor R CMOS sensor and support for taking stills at 14fps in Burst Mode; an “aerial optimized” F2.8 wide-angle lens with a 24mm equivalent focal length, 8 elements (including two aspherical) in 7 groups, and the promise of low dispersion/distortion; and a mechanical shutter with a max speed of 1/2000s.

There’s also the same FlightAutonomy system, an “advanced aerial intelligence and flight automation platform.”

This spec comparison from DJI’s website shows you what’s new (and not new) in the P4P V2 as compared to the original Phantom 4 Pro and the Phantom 4 Advanced (click to enlarge):

As mentioned above, what’s new about the P4P V2.0 is OcuSync and quieter flight. There’s not much to say about quiet flight except that noise has been reduced by 60% over its predecessor. OcuSync, on the other hand, is a little more interesting.

The OcuSync HD video transmission system replaces Lightbridge in the original Phantom 4 Pro and Phantom 4 Advanced. Like Lightbridge, OcuSync offers a 7km transmission range and automatic dual-frequency band switching (where allowed). Unlike Lightbridge, it connects to DJI Goggles RE wirelessly, and features high-def, low-latency transmission—both convenient features for FPV shooters.

Here’s a closer look at the Phantom 4 Pro V2.0 from all angles:

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The DJI Phantom 4 Pro V2.0 is available now from DJI for $ 1,500 USD. When bundled with the Phantom 4 Pro+ V2.0 controller—which features a 5.5-inch, 1080p resolution screen with 1000 nits brightness—the price increases to $ 1,800 USD. Finally, DJI is also offering a $ 2,200 USD bundle that includes the DJI Goggles.

To learn more about this new(ish) drone, read the press release below or head over to the DJI website.

Press Release

DJI Introduces V2.0 Edition Of The Phantom 4 Pro

With DJI OcuSync Transmission, 60% Propeller Noise Reduction And Simultaneous Wireless Connectivity For An Enriched FPV Experience

Fans of the iconic DJI Phantom drone can look forward to the release of the Phantom 4 Pro V2.0 (P4P V2.0), the latest variation of the Phantom 4 Pro. Packed with the powerful features of the P4P, the P4P V2.0 uses DJI’s OcuSync transmission technology for high-resolution and low-latency digital video transmission and improves the flight experience by reducing propeller noise by up to 60%. Users who utilize the first-person-view experience for work or for play, can directly connect the P4P V2.0 with their DJI Goggles for an immersive FPV flying experience.

With 30 minutes of flight time, 7 km transmission range[1], 5-directional obstacle sensing system and 1” CMOS Sensor with 4k@60p video recording capabilities, the P4P V2.0 is a drone fit for prosumers and professionals who need a reliable and powerful imaging solution that can cater to diverse filming needs and mapping operations.

Retaining its iconic white airframe, the P4P V2.0 also has a Phantom 4 Pro+ V2.0 version, which comes with a 5.5-inch, 1080p resolution screen built-in to the remote controller for operators who often fly outdoors under direct sunlight.

Price and Availability

The Phantom 4 Pro V2.0 is now available for purchase at store.dji.com, the four DJI Flagship Stores and authorized dealers worldwide. Its US retail price of USD$ 1,499 includes the aircraft, battery, remote controller, four pairs of propellers, battery charger, power cable, gimbal clamp, Micro USB cable, Micro SD Card and a carrying case. The Phantom 4 Pro+ V2.0 retails at USD$ 1,799 and includes all P4P V2.0 accessories, but with the 5.5-inch monitor built into the remote controller. For availability and pricing in local currency, visit store.dji.com.

[1] The aircraft must be unobstructed and free of interference, using a remote controller when FCC compliant. Always follow applicable laws and regulations when flying.

Articles: Digital Photography Review (dpreview.com)

 
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