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Archive for the ‘Uncategorized’ Category

NVIDIA’s content-aware fill uses deep learning to produce incredible results

24 Apr

Adobe Photoshop’s Content-Aware Fill is the current industry standard when it comes to removing unwanted artifacts and distracting objects, but that might not always be the case. Because while Adobe is currently working on an advanced deep learning-based “Deep Fill” feature, NVIDIA just demonstrated its own AI-powered spot healing tool, and the results are pretty incredible.

As you can see from the two-minute demonstration above, the prototype tool can handle both basic tasks, like removing a wire from a scene, as well as more complicated tasks, such as reconstructing books and shelves inside an intricate library scene.

The secret behind this tool is NVIDIA’s “state-of-the-art deep learning method” that the tool is built on. Not only does the tool use pixels from within the image to reconstruct an area—it actually analyzes the scene and figures out what it should look like when it’s finished. This helps to create a much more accurate and realistic result, even when the original image is an absolute disaster.

The best examples of this can be seen in a paper NVIDIA team members published titled ‘Image Inpainting for Irregular Holes Using Partial Convolutions.’ As seen in the comparison images below, NVIDIA’s tool blows Photoshop out of the water when reconstructing portraits where much or most of the face is removed.

From left to right: the corrupted image, Adobe’s Content-Aware results, NVIDIA’s results and the actual image.

In the discussion section (section 5.1) of the aforementioned paper, NVIDIA says its “model can robustly handle holes of any shape, size location, or distance from the image borders. Further, our performance does not deteriorate catastrophically as holes increase in size.”

NVIDIA does note, however, that “one limitation of our method is that it fails for some sparsely structured images such as the bars on the door,” as seen in the image comparison below.

From left to right: the corrupted image, NVIDIA’s results and the original image.

Current shortcomings aside, this particular tool—prototype or otherwise—appears to be leaps and bounds ahead of everyone else that’s currently on the market. Unsurprisingly, there’s no word on when, or if, we’ll ever see this hit the market, let alone in the consumer market, but we’ll keep our fingers and toes crossed.

Articles: Digital Photography Review (dpreview.com)

 
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This hacked Polaroid camera prints your photos onto thermal paper

24 Apr

If you enjoy DIY projects and don’t mind diving deep into programming, soldering, and otherwise hacking apart old cameras, this weekend project is right up your alley. Meet the thermal paper Polaroid.

Created by tinkerer Mitxela, this Frankenstein of a camera takes the shell of a Polaroid Sonar Autofocus 5000 and crams a webcam, thermal printer and Raspberry Pi Zero computer inside. The result is a digital instant camera that immediately prints your photographs onto thermal paper—the type of paper receipts are printed on.

The project isn’t for the faint of heart. It involves a good bit of cutting, soldering, wiring and programming, as meticulously detailed in Mitxela’s step-by-step guide on how he built the thing. The entire process was filled with a healthy bit of trial and error, but when all was said and done, it worked. And not barely worked… flawlessly worked, as though that’s how the Polaroid camera was designed to operate all along.

As explained in the above video, the camera uses a three-dollar webcam as the eye, catching the scene through the lens of the Polaroid. When the shutter of the Polaroid is pressed, a screenshot from the webcam is captured and processed by the Raspberry Pi Zero before being sent off to the thermal printer. As it prints, the paper is fed through the same area a normal Polaroid print would be expelled from.

The amount of work that went into the project is evident in how clean the camera looks even after all of the hacking, soldering and glueing. From the outside, the camera still looks almost identical to how it did when Mitxela started. Everything is packed inside the frame of the original Polaroid Sonar—it can even be booted up externally through the clever positioning of the serial port. which is hidden beneath where flash bars are placed when shooting with instant film.

To see the entire process and dozens of photos from throughout the building process, head on over to Mitxela’s site and check it out. And if you’re brave enough to take on this project yourself, be sure to share your results with us.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a7 III Review

23 Apr

Read our overall conclusion

Despite its billing as a ‘basic’ model, the Sony a7 III is a supremely capable full frame camera. Though it doesn’t have the most megapixels or shoot the fastest bursts, its well-judged mix of resolution, speed, features and price point make it an easy recommendation for all kinds of photographers and all kinds of photography.

Key Features:

  • 24MP full frame BSI CMOS sensor
  • 93% autofocus coverage (693 phase detection points, 425 for contrast detection)
  • Oversampled 4K/24p video taken from full width 6K (cropped-in 5K for 30p)
  • In-body image stabilization
  • 10 fps continuous shooting
  • 2.36m dot OLED viewfinder, 0.78x magnification
  • AF joystick
  • Touchscreen
  • Larger, ‘Z-type’ battery (CIPA rated to 710 shots)
  • Dual SD memory card slots
  • USB 3.1 Type C

Compared to its predecessor, the Sony a7 III has been updated in almost every way; when compared to other similarly priced full frame options, the a7 III looks to be a cut above in many respects. For generalist photographers, wedding and event shooters and even sports specialists, the a7 III gets an awful lot of things just right. But as with previous Sony mirrorless full-frame cameras, there are some foibles that persist with this new model.

We’ve now spent dozens of hours shooting the a7 III in our studio and out in the real world – read on to see how it performs.

What’s new and how it compares

Take a look at the key spec differences between the Sony a7 III and its predecessor and how it compares to existing models from other companies.

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Body and design

Most of Sony’s (positive) ergo changes in other recent cameras have found their way to the a7 III, but there’s been some cost-cutting along the way.

Read more

What’s it like to use

We’ve gone beyond the spec sheet to discuss how the Sony a7 III performs in a wide variety of situations, from landscapes to weddings.

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Image Quality

From our lab and real-world testing, we’ve found the Sony a7 III is capable of excellent image quality – with one or two exceptions.

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Autofocus

The autofocus system in the Sony a7 III is lifted from the company’s advanced a9 pro sports model, and in short, it rocks.

Read more

Video

Despite its relatively affordable price point, the Sony a7 III is one of Sony’s most capable interchangeable lens cameras for video to date.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Video: Understanding the science of camera sensors

22 Apr

When we see a technical video posted online, purporting to explain some scientific concept that has to do with photography, we typically brace ourselves. More often than not, they fall into two categories: (1) oversimplified, or (2) blatantly incorrect.

That’s why this Filmmaker IQ episode on the science of camera sensors is such a breath of fresh air: not only is it factually solid, it goes into more detail and makes that detail easier to understand than just about any other technical breakdown of image sensor science we’ve seen… and they throw in a great explanation about how film works just to sweeten the pot.

The 13 minute video explains:

  • How photographic film uses a thin coating of silver halide crystals to capture light.
  • The science behind the photodiode that converts light into electrical current for all digital image sensors
  • How a Charged Couple Device (or CCD) sensor works, and its pros and cons.
  • How a Complementary Metal Oxide Semiconductor (or CMOS) sensor works, and its pros and cons.

If you’ve never bothered to dive into the science of image sensors or, every time you tried, the explanation was just too dense, give this video a look and let us know what you think in the comments below.

Articles: Digital Photography Review (dpreview.com)

 
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You can own the world’s first single shot 8×10 digital camera for $106,000

22 Apr

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If you’re shooting digital, the largest image sensor you will find at your local camera store is the 53.4mm x 40.1mm medium format sensors inside something like the Phase One IQ3. But if that is just not enough for you… there is one, much larger option. Meet the $ 106,000 LargeSense LS911: a large format digital camera and purportedly the “world’s first 8×10 digital single shot camera for sale.”

The LS911 is the passion project of Bill Charbonnet, who left his desk job in 2014 to start LargeSense LLC and built these large-format digital cameras. Four years later, the LS911 is his first shipping product.

According to the press materials, LS911 features a 12-megapixel 9×11-inch monochrome CMOS sensor (that translates into massive 75 micron pixels), ISO that can be set at either 2100 or 6400, 900GB of internal storage, and the ability to output files to DNG, 16-bit TIFF, 32-bit TIFF, RAW and JPEG formats. There is no CFA, but the monochrome sensor can be used to produce color images (of non-moving subjects) using an in-built 3-shot system and color filters.

Oh, and the thing can also apparently shoot 4K, 3840 × 2160 video at 26fps using its electronic shutter.

Here is a video of the LS911 in action:

And here is how the size of the LargeSense LS911 sensor compares to some of the other image sensors out there:

Note: the LargeSense LS45 is a 4×5-inch digital back Charbonnet is working on, but has yet to release.

If the LS911 seems a bit bonkers, honestly, that’s because it is. We’ve been discussing it in the office for the past couple of days, trying to figure out how to put this camera in context for our readers, and here’s our take: it’s cool, but having a sensor this large may not be as advantageous as you think.

Science Editor Rishi Sanyal explains:

One of the main benefits of going to a larger sensor is that you can get more resolution as the larger pixels place less of a burden on the resolving power of the lens, but this camera does not take advantage of that.

What it does offer is the tilting, shifting and swinging ability large format cameras are known for, and if you can give the sensor enough light, the entire image has the potential for greater ‘tonality’ because the lower relative shot noise will yield very high signal-to-noise ratio for most tones. That makes the image more amenable to extreme sharpening without accentuating noise. That said, beyond a certain signal-to-noise ratio, tones are already clean enough – particularly with modern full-frame or medium format cameras – that it likely doesn’t matter.

So, are you guaranteed a noticeable improvement in overall quality of the photos just because of the 9×11-inch sensor? Not necessarily. This is probably more about the feel of large format where you can throw most of the image largely out-of-focus by tilting the focus plane, or keep a large amount in focus without stopping down if you align the focus plane with your subject(s).

If, after knowing all of this, you’re still interested in dropping $ 106K on the LS991 (hey – it’s guaranteed to be a conversation piece at parties if nothing else), head over to the LS911 product page on the LargeSense website or check out the full spec sheet at this link.

And do let us know: what would you use it for?

Press Release

LargeSense launches the LS911

It is the first full frame 8×10 digital single shot camera for sale!

Medium format has thus far been the limit as far as sensor size because large sensors are difficult and expensive to produce. With the LS911, photographers now have an option for high quality large format images other than film. Available now. The USA price is US$ 106,000 Check www.largesense.com for more information.

LS911 Specifications

  • Single shot 9×11 inch monochrome CMOS sensor
  • High base sensitivity of ISO 2100
  • Live view for focusing
  • Compatible with any large format lens with a sufficient image circle
  • Easy to use HTML-based WiFi control with any HTML5 browser
  • 4k Lossless video with audio up to 26fps
  • 900GB internal storage, CF cards and external USB 3.1 drives
  • User-generated curves to apply to the linear files
  • Integrated 3 shot tri-color images when using color filters
  • Designed for mounting on large tripods or custom camera stands

LS911 product page: http://largesense.com/products/8×10-large-format-digital-back-ls911/

LS911 spec and feature sheet: http://largesense.com/files/3415/2348/3451/LS911-Specs-And-Features-180411.pdf

Upcoming Products

A 4×5 inch digital back, the LS45, is expected at the end of 2018.

The color version of the LS911 is expected in 2020.

LargeSense was founded in 2014 by Bill Charbonnet to manufacture single shot, large format digital cameras. Inspiration was from Mitchell Feinberg’s 8×10 digital back. The issue for a business in this tiny market is keeping costs low while delivering a specialty product. After 3 years of development, we are proud to be the first to offer such camera, the LS911!

Articles: Digital Photography Review (dpreview.com)

 
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Shooting Greenland in Winter: Part 1 – Uummannaq Whiteout

21 Apr

Earlier this year, I was sent on assignment to shoot Greenland in winter. This was a trip I had been wanting to do for years, but it always fell through due to scheduling conflicts and the fact that visiting Greenland would be quite expensive to do on my own. Luckily, I was approached by Air Greenland and Visit Greenland, in collaboration with my long-time friends and partners at Square Rock, and given the necessary financial support to finally realize this dream.

Being sent on an assignment and given a green light to shoot whatever I wished and realize my passion was incredible. Indeed, on the one hand, I was a bit stressed by the need to justify the costs and produce good results for my sponsors. But on the other hand, I was completely free to go and do as I pleased, all taken care of.

I was determined to take full advantage of the opportunity, and I’d like to tell you the story of my trip in this series of articles.

Selecting the Destinations

When Air Greenland is one of your sponsors, imagination flies. At the beginning, I naturally leaned toward destinations which I would never conceivably visit on my own. Qaanaaq, in the far Arctic north of Greenland, was a candidate. But I was very quickly made to understand that since I was to produce images that would promote tourism in Greenland, I would need to go somewhere where tourists might actually go!

Domestic flights to Qaanaaq cost upward of $ 2,000, and that’s not including the flight to Greenland in the first place… not exactly tourist friendly. Alright, now what? A few options came to mind.

The first was the southern tip of Greenland, which boasts fantastic fjords and mountains, and a good latitude for Northern Lights. It was a good option but the problem was that there is no stable sea ice to go on. I really wanted to drive or walk close to icebergs embedded in sea ice.

Another option was Scoresby Sound, an excellent location to which I also hadn’t visited. There is plenty of stable sea ice there and an option to dogsled all around and get close to embedded icebergs. The problem with this one is that there wasn’t quite enough material there to fill my two-week time frame.

Finally, I made the choice of going to Uummannaq and to Disko Bay. I had been in Uummannaq once in the summer for just a few hours, and I was seriously intrigued by its beauty and iconic grandeur. Uummannaq Mountain is a landmark which sparks the imagination, with its twin 1170-meter peaks and iconic heart-like shape (Uummannaq means heart-shaped in Greenlandic).

It’s a perfect background for many types of shots, which would give me the diversity I wanted:

Mount Uummannaq above Uummannaq town

Uummannaq Island lies in the middle of Uummannaq Fjord, which was perfect in what it offered: solid, far-reaching sea ice and several glaciers which produce beautiful icebergs. The icebergs travel into the fjord and, in winter, they get stuck in the sea ice—some of them very close to town.

Houses in Uummannaq and an iceberg stuck in sea ice next to town

Uummannaq is a small town but not too small—the infrastructure was more than enough for my needs. I was housed in a very comfortable little guest house right next to the harbor, and there was a restaurant downstairs and a supermarket nearby. I was assigned a local guide who took very good care of me throughout my stay, accommodated my photographic needs and schedule, made sure I was safe and warm at all times and was fun to be around.

First Day in Uummannaq

Uummannaq is at about 70 degrees north, in the far west of Greenland. Getting there from Leknes, Norway, where I had been guiding beforehand, involved no less than eight flights, the last of them by helicopter. The views from the air were admittedly spectacular, but I would have appreciated a shorter route.

Upon arriving at the heliport I was greeted by very cold weather. Even though I had already been in the Arctic for 1.5 months right before arrival, it had been in places with milder weather. For example, temperatures in the Lofoten Islands rarely go lower than -10 Centigrade. Greenland is a different story altogether, and your first breaths at -25 degrees are hard. I had never had to experience this type of temperatures for an extended period of time before—my lungs rejected the cold air and I started coughing until my body got used to the new situation.

Bleak conditions upon my arrival in Uummannaq

After meeting my guide Paaluk and settling into the guest house, I started exploring. That is, if you call being bombarded by snow and gale-force winds exploring.

The first day was quite miserable. With temperatures down to -28 and strong winds, it was very hard to move around, much less shoot. My hands and feet went numb several times, I suffered frostbite on my nose, and was generally frustrated with the lack of light and the harshness of the situation.

The upside was that the weather conditions supplied very interesting photographic material, and even though I sometimes had to go back to the guesthouse to get warm, I did get interesting shots of the locals working and handling their sled dogs.

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I also hiked to the icebergs embedded in the sea ice to shoot them during the whiteout. There were several beautiful icebergs right outside town, and all I had to do to get to them was go down to the harbor and walk for 20 minutes, which also warmed me up a bit. There were also several additional icebergs a bit further away, and I sometimes hiked there or took a ride on Paaluk’s snowmobile.

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Finally, I also took some images of the ice fishermen at work. It astounded me how these men were working throughout the day, no matter the weather. These guys are tough!

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Shooting in the snow and gale was very interesting but a bit hard. Luckily, the upcoming days were much nicer and offered other kinds of photography like the shot you see below. But more on that in Part 2.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you’d like to experience and shoot some of the most fascinating landscapes on earth with Erez as your guide, take a look at his unique photography workshops in Southern Iceland, Northern Iceland, The Lofoten Islands, Patagonia, Greenland in summer, Greenland in winter, Namibia and the Faroe Islands.

Erez also offers video tutorials discussing his images and explaining how he achieved them.

Selected Articles by Erez Marom:

  • Parallelism in Landscape Photography
  • Winds of Change: Shooting changing landscapes
  • Behind the Shot: Dark Matter
  • On the Importance of Naming Images
  • On Causality in Landscape Photography
  • Behind the Shot: Lost in Space
  • The Art of the Unforeground
  • Whatever it Doesn’t Take

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Nikon 180-400mm F4E TC1.4 FL ED VR

21 Apr

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Announced just in time for the 2018 Winter Olympics, the Nikon 180-400mm F4E TC1.4 FL VR has a built in 1.4x teleconverter – when engaged it provides a 252-560mm focal range with an F5.6 max aperture. Similar in design to Canon’s EF 200-400mm F4L IS USM Extender 1.4x, we expect this $ 12,000 lens to mostly find its way into the hands of working sports, action and wildlife photographers.

Though we at DPReview are none of the above, we also weren’t going to pass up an opportunity to give it a try. An exhibition soccer (football) match between two local Seattle colleges provided the perfect chance to shoot with it mounted on the Nikon D5.

Set up at the midfield line, the 180-400mm range was enough to effectively cover most game play. But the extra bit of reached provided by the teleconverter allowed me to occasionally punch in on the action when I felt comfortable. And engaging the teleconverter is as simple as flipping a switch near its base – a satisfying quiet ‘thunk’ sound lets you know it’s in place. By halftime, I’d mastered the art of flipping it on and off with my eye to the finder.

Weighing about 9 pounds, a monopod is a must when using this lens.
ISO 560 | 1/1000 sec | F4 | 180mm

As you might hope from a camera and lens combination costing almost $ 20,000, the autofocus hit-rate from the soccer match was nearly perfect. A majority of the images were shot with the camera set to its Auto area mode, which for the most part locked on to my intended subject.

Once back in the office, with the images up on a computer, I was impressed by the lens’s sharpness, even with the teleconverter engaged. And though there is some pretty heavy vignetting when the teleconverter is used, it can easily be corrected in post (we chose not to for the purposes of this gallery). Of course one soccer match is hardly enough time spent with Nikon’s 180-400mm F4 to truly test and appreciate what it is capable of. Fortunately we have a little more time with it and the weather in Seattle is just starting to get nice. So stay tuned for more samples, to be posted soon.

See our Nikon 180-400mm F4E TC1.4 FL VR galleryNote: We ordinarily try to keep sample photos in our lens galleries at ISO 800 or below, however we’ve included some higher ISO images shot during the match after the sun set. No noise reduction was applied to these images beyond ACR default.

Thanks to University of Washington and Seattle U for the access.

Articles: Digital Photography Review (dpreview.com)

 
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The 5-in-1 ‘One Backpack’ wants to be your do-it-all bag

21 Apr

Design company ITR Studio has launched a Kickstarter campaign for its The One Backpack, a 5-in-1 modular backpack that can be used as a camera bag, work & gym pack, suit carry backpack, travel pack or tech-backpack, doing away with the need for multiple single-purpose bags.

A magnetic system is used to attach modules to the base pack and adjust for different purposes and loads. Five modules are available to configure the pack: a camera module, a sports module, a sling module, a suit carry module and a pouch module.

The padded camera module is designed to carry a DSLR and two lenses or a DJI Mavic Pro drone with extra battery. The sports module comes with a portable and washable shoe bag. All modular components can be used individually or in combination, depending on your requirements.

The base pack has a capacity of 30 liters and is available on Kickstarter at an early bird price of $ 140 USD. The individual modules will set you back between $ 53 USD for the camera module and $ 85 USD for the suit carry module. For more information, check out the product video below or head over to The One Backpack Kickstarter page.

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics reveals four new Laowa lenses for Sony FE, Fuji GFX, and more

21 Apr

Venus Optics has unveiled several new lenses today, including a wide-angle lens for the Fuji GFX mirrorless medium format camera, and the “world’s widest zoom lens for Sony full-frame E-mount cameras.” There are four new lenses in all: the Laowa 10-18mm f/4.5-5.6 FE Zoom, Laowa 100mm f/2.8 2X Ultra Macro APO, the Laowa 17mm f/4 GFX Zero-D, and the Laowa 4mm f/2.8 Fisheye MFT.

All four will be on display at Venus Optics’ booth at the Beijing P&E Imaging fair. But in case you don’t happen to be in Beijing between May 3rd and the 6th, read on to find out what these lenses are all about.

Laowa 10-18mm F4.5-5.6 FE Zoom

The Laowa 10-18mm F4.5-5.6 FE Zoom is the aforementioned “world’s widest zoom lens for Sony full-frame E-mount cameras.” According to Venus Optics, the lens was primarily designed for travel photography, offering an angle of view between 102° and 130° in a package that weighs only 496g and is less than 100cm in length.

Inside the 10-18mm F4.5-5.6 you’ll find 14 elements in 10 groups, including two aspherical elements and one extra-low dispersion element. The lens’ aperture can be de-clicked using a switch on the lens barrel, and if you like using filters, you’ll be happy to know the lens features a rear filter slot built to handle 37mm filters.

This Laowa 10-18mm F4.5-5.6 FE Zoom will be available only in Sony FE mount.

Laowa 100mm F2.8 2X Ultra Macro APO

Next up, the Laowa 100mm F2.8 2:1 Ultra Macro APO is… well… it’s an ultra-macro lens that offers a maximum magnification of 2x with a minimum focusing distance of just 24.7cm. The lens can focus from 2:1 macro to infinity, and promises “crystal [clear] sharpness image in both macro and tele distances” thanks to an optical design consisting of 12 elements in 10 groups.

The Laowa 100mm F2.8 2X Ultra Macro APO is the only lens released today that isn’t limited to a single mount. When it ships, you’ll be able to get it in Canon EF, Nikon F, Pentax K, and Sony FE mounts.

Laowa 17mm F4 GFX Zero-D

Third party options for the mirrorless medium format Fujifilm GFX camera are still somewhat limited—at least compared to more popular mounts like Sony FE, not to mention Canon EF or Nikon F. So it was a nice surprise to see Venus Optics release the 17mm F4 GFX Zero-D.

The 14mm F4 GFX is another of Venus Optics Zero-D lenses, offering a full-frame equivalent focal length of 13mm and a field of view of 113° with “close-to-zero distortion.” The lens is made up of 21 elements in 14 groups, including two aspherical and three extra-low dispersion elements. Venus Optics claims this lens is “ideally suited for landscape, architecture and interior photography.”

Laowa 4mm F2.8 Fisheye MFT

Last but not least, we have the only Micro Four Thirds lens of the bunch: the Laowa 4mm F2.8 Fisheye MFT. This circular fisheye lens offers a 210° angle of view at a full-frame equivalent 8mm focal length. Made up of 7 elements in 6 groups, the ultra-portable lens weighs just 135g to keep your MFT kit light and agile.

Here are detailed specs for all four lenses:

All of the new lenses are expected to ship “in mid/late 2018” according to Venus Optics, although “exact ship date and pricing are to be confirmed.”

Press Release

Venus Optics announces 4 new & unique lenses in development, led by the Laowa 10-18mm f/4.5-5.6 FE, World’s widest zoom lens for Sony full frame E-mount cameras

All 4 lenses will make their debut in the coming Beijing P&E Imaging Fair.

Anhui China, Apr 20, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to announce 4 new and unique lenses.

  • Laowa 10-18mm f/4.5-5.6 FE Zoom
  • Laowa 100mm f/2.8 2X Ultra Macro APO
  • Laowa 17mm f/4 GFX Zero-D
  • Laowa 4mm f/2.8 Fisheye MFT

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

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

Laowa 100mm f/2.8 2X Ultra Macro APO

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

Laowa 17mm f/4 GFX Zero-D

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

Laowa 4mm f/2.8 Fisheye MFT

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

Availability

All four lenses will be available for trial at Venus Optics’ booth (T225) in Beijing P&E Imaging fair during 3rd-6th May 2019. They are expected to be shipped in mid/late 2018. Exact shipping date and pricing are to be confirmed.

Articles: Digital Photography Review (dpreview.com)

 
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SmugMug snaps up Flickr, promises ‘the future is bright’

21 Apr

Photo-sharing site Flickr has been acquired by photo hosting service SmugMug. According to USA Today, SmugMug CEO Don MacAskill is committed to ‘breathing new life’ into the once market-leading service, and will maintain it as ‘a standalone community of amateur and professional photographers’.

One of the most important and popular services of the digital photography boom of the mid 2000s, Flickr was acquired by Yahoo more than a decade ago, but in recent years the site has been in decline as once-loyal users abandoned the stagnant platform in favor of competitive services. Flickr loyalists had hoped that Yahoo’s then-new CEO Melissa Mayer would be able to ‘make Flickr awesome again’ when she took over in 2012, but the once industry-leading photo site never regained its former relevance.

Following Verizon’s acquisition of Yahoo and Flickr in 2017, it looked possible that the service might be shuttered, but it seems that with the SmugMug acquisition, this one-time giant of the digital photography landscape may have a brighter future than some users had feared.

Articles: Digital Photography Review (dpreview.com)

 
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