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MIOPS Splash: The world’s first smartphone-controlled water drop photography kit

04 Apr

Camera trigger company MIOPS has launched a new specialized photography kit that aims to help photographers get into water drop photography. Called the MIOPS Splash, this standalone kit doesn’t require an extra trigger, and is said to be the first of its kind that’s controlled with a smartphone.

MIOPS Splash doesn’t just control a flash or camera, it also controls the timing and size of a liquid drop, essentially taking all of the hardest parts of out of water drop photography. Settings are chosen using a companion smartphone app, and users are given two setup options:

In addition to the Splash kit, which is available now for $ 80 USD, MIOPS offers the Splash Holder kit for an extra $ 20. The Holder kit enables users to mount Splash on a tripod with an included tripod mount and box clip.

The MIOPS Splash kit comes with a 2-year warranty and is available now with free global shipping. To learn more about Splash or order your own, head over to the MIOPS website.

Articles: Digital Photography Review (dpreview.com)

 
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Facebook Messenger adds 360-degree photo and HD video support

04 Apr

Facebook just released an update that brings high-definition video and 360-degree panoramic photo support to Messenger. The update follows the high-res photo support Facebook added to Messenger in November 2017, expanding the quality and type of content that users can privately share with each other.

For 360-degree photos, users capture the panoramic content using their phone’s camera app or a third-party app, then share the panorama in Messenger like any other photo. The app automatically processes the panorama, converting it into an immersive 360-degree image that recipients can ‘explore’ by either moving their phone around or tapping and dragging the photo. Panoramic photos feature a compass icon in their upper right-hand side.

High-definition video sharing, meanwhile, supports the sharing of 720p videos from both the Camera Roll and a user’s newsfeed. To distinguish these videos from standard definition videos, Messenger now shows an HD or SD marker with the content.

360-degree photos are now available to all Messenger users on Android and iOS. HD video support is only available in the following countries:

  • Australia
  • Belgium
  • Canada
  • Denmark
  • Finland
  • France
  • Hong Kong
  • Japan
  • Netherlands
  • Norway
  • Romania
  • Singapore
  • South Korea
  • Sweden
  • Switzerland
  • Taiwan
  • UK
  • USA

Articles: Digital Photography Review (dpreview.com)

 
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Intel unveils Core i9 laptop CPU, promises ‘ultimate’ content creation experience

04 Apr

Intel just revealed its 8th Generation laptop CPUs, and sitting at the top of the heap is a behemoth. Behold the Core i9-8950HK, a chip the company is calling “the highest-performance laptop processor Intel has ever built.” Equipped with 6 cores/12 threads, this unlocked chip boasts single-core Turbo Boost speeds of up to 4.8 GHz and promises “the ultimate content creation experience.”

Of course, that’s just marketing speak, which is why Intel came to this press release armed with some benchmarks. According to the company, the 8th Generation Core i9-8950HK can edit 4K video up to 59 percent faster than a machine sporting the 7th Generation Core i7 with same discrete graphics (in Adobe Premiere Pro).

It’s also 29 percent faster in general performance, and 41 percent faster for gaming.

Of course, you don’t have to go all the way up to the Core i9 to get great photo and video editing performance out of your laptop. All of the 8th Gen Intel Core mobile processors revealed today pack some punch, with 6 cores and 12 threads available in both the 2.6GHz Core i7-8750H and 2.2GHz Core i7-8850H. According to Dell, these deliver 68 percent faster photo editing compared to a 3-year-old system.

This 8th Gen Core i9 CPU has already made an appearance in the Dell and MSI laptops revealed this week, and more high-performance and gaming laptops will surely follow suit. To learn more about the new 8th generation mobile chips, check out the full press release below or check out this product overview presentation.

Press Release

Intel Core i9 Processor Comes to Mobile: The Best Gaming and Creation Laptop Processor Intel Has Ever Built

Today at a global event in Beijing, Intel unveiled the first ever Intel® Core™ i9 processor for laptops. Part of the new lineup of high-performance mobile products unveiled, the powerful 8th Gen Intel Core i9 processor is the highest-performance laptop processor Intel has ever built to deliver the best gaming and content creation experience on the go.

Building on the arrival of the new Intel Core i9 processor for mobile, Intel also announced a new Intel Core platform extension that brings together the benefits of 8th Gen Intel Core processors with Intel® Optane™ memory, rounded out its family of high-performance desktop CPUs and chipsets that deliver modern standby and ambient computing capabilities, and shared new details on the 8th Gen Intel® Core™ vPro™ platform.

Delivering the ultimate gaming and content creation experience

The new 8th Gen Intel Core i9, i7 and i5 processors for laptops are based on the Coffee Lake platform and leverage the 14nm++ process technology enabling them to deliver up to 41 percent more frames per second in gameplay1 or edit 4K video up to 59 percent faster than the previous generation with same discrete graphics.2

At the top of the stack, the 8th Gen Intel Core i9-8950HK processor is optimized to push the limits of performance. It is the first mobile Intel processor with six cores and 12 threads. It comes fully unlocked and features the new Intel Thermal Velocity Boost (TVB), which opportunistically and automatically increases clock frequency up to 200 MHz if the processor temperature is low enough and turbo power budget is available. This translates to a turbo frequency of up to 4.8 GHz.

As the PC gaming industry rapidly grows, Intel has seen increasing demand for incredibly fast laptops that can provide desktop-like performance for an immersive and responsive experience, including the ability to stream and record without compromising gameplay while still enabling portability.

But, performance goes beyond gaming. Thanks to the rapid pace of technology innovation, the industry has broadened the access to all types of content and how people create it. It has radically redefined what creativity means, and as content has become richer and more immersive, the level of performance needed to both consume and create that content has also increased. This 8th Gen Intel Core processor family provides a powerful mobile platform for creators. In addition, the new highest-performance 8th Gen Intel Core mobile processors’ single- and multi-threaded performance allows users to enjoy the smoothest and highest-quality mobile VR and new Windows* Mixed Reality Ultra experiences.

The highest-performance 8th Gen Intel Core mobile processor family also adds a new Intel® 300 Series Chipset, which adds integrated Gigabit Wi-Fi for a blazing-fast connection that is capable of being up to 2 times faster than standard 2×2 802.11AC 80 MHz (867 Mbps).3

Intel Optane memory: now on 8th Gen Intel Core mobile and desktop platforms

Intel Optane memory is a smart and adaptable system accelerator for desktop and mobile platforms, increasing the performance and responsiveness of SATA-based storage technology without compromising storage capacity.

Now, Intel Optane memory is available across both 8th Gen Intel Core mobile and desktop platforms. Additionally, Intel has released a new Data Drive Acceleration feature that delivers a boost to a large secondary HDD data drive. This powerful combination provides up to 4.7 times the game loading4 and 1.7 times faster media loading.5 See more on Data Drive Acceleration.

Consumers will also begin to see a new platform extension with Intel Core i5+, i7+ and i9+ badges on select systems, starting with today’s high-performance 8th Gen Intel Core mobile processors and desktop processors. This indicates they are purchasing a device that has the combination of Intel Core performance with the acceleration of Intel Optane memory.

1As measured by Total War: WARHAMMER II Workload comparing 8th Gen Intel® Core™ i9-8950HK vs. 8th Gen Intel® Core™ i7-7820HK

2As measured by Adobe Premiere Pro Video Editing Workload comparing 8th Gen Intel® Core™ i9-8950HK vs. 8thGen Intel® Core™ i7-7820HK

3802.11ac 2×2 160 MHz enables 1733 Mbps maximum theoretical data rates, 2x faster than standard 802.11ac 2×2 80 MHz (867 Mbps) and nearly 12x faster than baseline 1×1 BGN (150 Mbps) Wi-Fi as documented in IEEE 802.11 wireless standard specifications, and requires the use of similarly configured 802.11ac wireless network routers or better. To achieve Gigabit wireless speeds, the network requires a wireless router/access point that supports 160 MHz channels.

4As measured by Game Level Load Workload comparing 8th Gen Intel® Core™ i7+ 8750H (32GB Intel® Optane™ memory module) + 256GB PCIe SSD + 1TB HDD vs. 8th Gen Intel® Core™ i7-8750H + 256GB PCIe SSD + 1TB HDD

Articles: Digital Photography Review (dpreview.com)

 
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Free Atomos Shogun Inferno update will let you capture 5.7K RAW on the Panasonic EVA1

04 Apr
Credit: Atomos

Atomos’ Shogun Inferno and Sumo19 external HDR monitor/recorders are about to get a free upgrade that will really delight owners of the popular Super 35 Panasonic AU-EVA1 cinema camera. The update—full details incoming at NAB 2018—will allow EVA1 owners to capture 5.7K Raw video direct from the sensor at up to 30fps using the recorders’ 6G SDI connections.

If you pull that down to 4K resolution, you can record Raw video at up to 60fps in CDNG Raw, as well as straight to Apple ProRes or Avid DNxHR formats. If you drop the resolution further to 2K, you can record slow-motion Raw video at 240fps. According to Atomos, “the resulting frames are super clean, detailed and capable of withstanding heavy grading.”

Credit: Atomos

For those of us not into video, it’s worth noting why this is a big deal.

The Panasonic EVA1 is a camera that a lot of DSLR/mirrorless users consider when they get serious about video. Support for 5.7K Raw on a ~$ 7-8K cinema camera of this quality is pretty compelling. It’s a logical next step for people who want to go beyond DSLR/mirrorless video.

We won’t dive into the Shogun Inferno or Sumo19’s other features here, but you can learn more on the Atomos website. And if you already own one of these recorders, keep an eye out—this free AtomOS update will be released at NAB 2018 later this month.

Press Release

Atomos Shogun Inferno and Sumo19 unlock the Panasonic AU-EVA1 5.7K RAW output

Melbourne, Australia – 02 April 2018 – Panasonic’s AU-EVA1 is a great Super35 cine camera with excellent low light capabilities – winning wide-spread acclaim since its launch last year.

Now users will be able to unlock the true potential of this amazing camera and its low noise sensor by combining it with the Atomos Shogun Inferno HDR monitor/recorder, thanks to the release of Panasonic’s free RAW output upgrade. The results take the camera to another level of performance, giving you images with maximum dynamic range in pristine quality.

Users will soon be able to capture stunning 5.7K RAW imagery direct from the sensor at up to 30 fps over the 6G SDI connections and record it to reliable, affordable SSD media. Full details will be revealed by Atomos at the NAB 2018 show this month.

In 4K resolution you can record up to 60fps from the RAW output in production ready Apple ProRes, Avid DNxHR,or CDNG RAW up to 2Kp120 or 4Kp30. The resulting frames are super clean, detailed and capable of withstanding heavy grading.

The Shogun Inferno also supercharges the EVA1’s slow motion performance. It can record the RAW output at up to 240fps in 2k/HD, direct to Apple ProRes or Avid DNxHR. Perfect for sports, wildlife and a wide range of other uses.

All these features will come in an AtomOS upgrade for the Shogun Inferno and Sumo19 to be released at NAB April 2018. This will be offered for free as part of our continuing commitment to our users.

“Panasonic and Atomos have combined to deliver an astonishing set of features for end-to-end RAW production – 5.7K, 4kDCIp24-60, 2KDCIp240 in 10-bit V-Log recorded on our Shogun Inferno or Sumo 19. This is the best RAW solution for the price point on the market today,” said Atomos CEO Jeromy Young.

Of course, recording is only half of the equation, accurate monitoring is also essential. Luckily, the Shogun Inferno also offers state-of-the-art monitoring for both HDR and SDR recording with its 7” 1500nit high brightness panel with the Sumo19 at 19” and 1200nits.

Take the guesswork out of exposure in HDR or Log with Atomos’ unique AtomHDR system which shows a massive 10+ stops of dynamic range on either screen. The display is colour accurate and can be calibrated over time using a X-rite i1Display Pro probe. Benefit from AtomoOS’ full range of monitoring tools like waveform, vectorscope, false colour, audio level meters and pixel-to-pixel magnification.

Users can also load and store LUTs directly into Shogun and Sumo for complete creative control, production to post. With HDMI or SDI users can output their footage in 4K PQ (HDR 10) or HLG HDR direct to a compatible television or monitor for instant preview using our AtomHDR engine – great for on-set use or client review.

When used with the EVA1 no other external monitor recorder will give users the extensive range of options available from the Shogun Inferno and Sumo19. It remains the most versatile, flexible and cost-effective solution for high end external monitoring and recording on the market today.

If you are attending the NAB Show then be sure to come and check out the EVA1 and Atomos RAW capabilities live at Booth C9425.

Articles: Digital Photography Review (dpreview.com)

 
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The Gnarbox 2.0 SSD lets you backup photos, make selects, review footage and more

03 Apr

If you’re looking to seriously speed up your on-location photo and video workflow without carrying around a laptop, the new Gnarbox 2.0 SSD should probably be at the top of your gear wishlist.

Debuted earlier through crowdfunding platform Kickstarter, Gnarbox 2.0 SSD allows you to backup your photos and video in the field, review and rough-cut footage, cull and edit images, showcase selects, and seamlessly transition all of this into your professional workflow once you’re back in the studio.

Gnarbox does so much it’s kind of hard to describe, but the video above and Gnarbox’s own description from the Kickstarter campaign below do a pretty good job.

GNARBOX 2.0 SSD is a rugged backup device for content creators who prefer to travel without a laptop. Unlike other portable hard drives, we have assembled an ecosystem of mobile applications that serve the professional workflow from the field to the studio.

With single-step backup, dedicated workspaces for photographers and videographers, and integrated access to professional editing software, GNARBOX will save you time and make you a more reliable creator.

The Gnarbox 1.0—which we actually recommended in last year’s holiday gift guide—provided a compelling solution for photographers and videographers who do a lot of work on-location. And everything 1.0 could do, the Gnarbox 2.0 SSD can do better and faster.

Inside the newest build you’ll find a 2.4 GHz Intel Quad Core processor, 4GB of RAM, and up to 1TB of NVMe SSD storage; photos and video can be uploaded to the device using either the SD card slot or one of the two USB-C ports; and the whole thing is powered by a replaceable battery that promises enough juice to back up 36,000 photos, review up to 10 hours of 4K video, and transfer one full TB of data.

All of that hardware works together with a set of dedicated apps—Safekeep, Selects, Sequence, and Showcase—that allow this little computer-in-a-box to do all of the things mentioned above.

  • Safekeep: The most complete field backup experience, with tailored file/folder organization and sleek tools to manage file transfers across your devices.
  • Selects: Provides super-fast RAW image preview and easy-to-use tools to mark your selects, manage metadata, and save time preparing your shots for edit.
  • Sequence: Has the tools you need to review footage, start rough cuts in the field, and seamlessly transition your video project to the studio.
  • Showcase: Lets you view your photos and videos in high resolution on any HDMI-enabled screen.

Here’s a closer look at the new Gnarbox 2.0:

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As we said at the top, this is a pretty compelling solution for on-location photographers and videographers who don’t want to carry a laptop. And apparently, we’re not the only ones who think so: it only took 39 minutes for the new Gnarbox 2.0 to breeze past its Kickstarter funding goal.

As of this writing, with 59 days to go, the company has already raised nearly $ 200,000, which makes us pretty confident they’ll deliver product come December.

To learn more about the Gnarbox 2.0 SSD or order one for yourself—pledges start at $ 300 for a 128GB version and max out at $ 700 for the largest 1TB build—head over to the Kickstarter campaign. If you’re quick, you might even snag one of the very last Early Bird deals still available when we hit Publish.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe releases ‘massive update’ to Camera Profiles in ACR and Lightroom

03 Apr
The new Profiles panel in Lightroom CC. Credit: Adobe

Earlier today, Adobe launched a major update to Camera Profiles (now known as just “Profiles”) in Adobe Camera Raw (ACR), Lightroom Classic CC, Lightroom CC, and both versions of Lightroom Mobile. The update brings six new Adobe RAW profiles, over 40 new Creative profiles, a new profile browser, and a bunch of new features and feature enhancements across both mobile and desktop.

The most significant update here is obviously Profiles.

Camera Profiles has now been renamed “Profiles”, and the whole panel has been moved so it’s easier to find. In Adobe Camera Raw and Lightroom Classic CC, Profiles have been moved from the Camera Calibration panel into the Basics panel; in Lightroom CC, they’ve been added to the top of the edit panel.

But this update isn’t just about adding Profiles to Lightroom CC and moving them around a bit. There are now six new Adobe RAW profiles to work with.

Six New Adobe RAW Profiles

In addition to the tried and true Adobe Standard, you now have Adobe Color, Adobe Monochrome, Adobe Landscape, Adobe Neutral, Adobe Portrait, and Adobe Vivid. Credit: Adobe

Previously, the only Adobe RAW profile you had at your disposal was Adobe Standard. Now, you’ve got six more to choose from:

  • Adobe Color: designed to improve the look and rendering of warm tones, improve the transition between certain color ranges, and slightly increase the starting contrast of your photos. As the new default, it was designed to work with the widest range of photos.
  • Adobe Monochrome: Tuned to be “a great starting point” for any black & white photo. Results in better tonal separation and contrast than Adobe Standard converted to B&W.
  • Adobe Landscape: Produces more vibrant skies and foliage tones.
  • Adobe Neutral: Provides a starting point with very low contrast. Adobe claims this one is most useful “for photos where you want the most control, or that have very difficult tonal ranges.”
  • Adobe Portrait: Provides “more control and better reproduction of skin tones.” This means less contrast and saturation applied to skin tones throughout the photo, so you have more control over how those tones turn out.
  • Adobe Vivid: A “punchy, saturated starting point.”

The point of each of these profiles (and Adobe Standard) is to give your images a unified “look and feel” regardless of the camera you’re using. But now, rather than a single profile, you’ve got six “starting points” to choose from depending on your genre and photo editing style.

Adobe Color replaces 10-year-old Adobe Standard as the default profile for newly imported photos, but you’ll still have access to all of them in the new Profiles section of the Basics panel.

New Creative Profiles

Creative Profile comparison. Credit: Adobe

You now have 40+ Creative profiles to choose from, split up into four groups: Artistic, Modern, Vintage, and Black & White. These profiles can be applied to both Raw and non-Raw photos, and come with a 3D Lookup Table (LUT) for a level of control that was previously reserved for Photoshop.

Creative profiles also come with an Amount slider, so you can increase or decrease the effect.

Black & White Creative Profiles comparison. Credit: Adobe

Additionally, Adobe has also been working with some popular Lightroom preset creators to create a range of 3rd Party Profiles, some of which are already available today. These include profiles by photographers Brian Matiash and Matt Kloskowski, and companies like RNI Films and Contrastly.

You can find links to all of the 3rd Party Profiles on the Adobe blog post about this update.

Updates to Lightroom CC on Android and iOS

The new Detail tab in Lightroom CC for Android. Credit: Adobe

In addition to the Profiles update described above, Lightroom CC for iOS, Android and ChromeOS all got some feature updates and upgrades as well.

On the Android/ChromeOS front, a new Details tab provides Sharpening and Noise Reduction options, Grain options have been added for “realistic film grain,” and some additional control for sharing images over Lightroom CC Web have been added as well.

For iOS users, the new Geometry tab will help you straighten crooked and skewed photos using new Upright, Guided Upright, and Geometry sliders; the same Grain options mentioned above have been added, and Adobe has introduced a Left-Handed Editing Mode on the iPad. The company has also done some iPhone X layout optimizations to take advantage of the dreaded notch.

The new Geometry tab in Lightroom CC for iOS. Credit: Adobe

A Few More Things

Finally, in addition to everything mentioned above, a few minor improvements have been made to Lightroom CC and Lightroom Classic CC on the Desktop.

In Lightroom Classic CC, the Dehaze tool has been made more accessible by moving it to the Basics panel, the Tone Curve panel has been expanded for better/more precise control, and the face-tagging algorithm has been improved.

In Lightroom CC, support has been added for Network Attached Storage (NAS) devices, and a new filter option has been added that allows you to sort your images by “sync status.”

To learn more about all of the updates detailed above, and particularly if you want to dive deeper into the new Profiles features, head over to the Adobe blog or update your Adobe Camera Raw, Lightroom CC and/or Lightroom Classic CC to the latest version. This update went live about 15 minutes ago, and should be available to all Creative Cloud subscribers.

Articles: Digital Photography Review (dpreview.com)

 
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Quick look: Canon’s new compressed Raw format

03 Apr
Canon’s new entry-level EOS M50 is also the first Canon camera to come with the new Digic 8 processor, allowing it to capture smaller C-Raw files in the new CR3 format.

The EOS M50 may be aimed at beginning photographers, but its all-new Digic 8 processor makes it Canon’s first camera to use the CR3 Raw file format. Older Canons that used the CR2 file format could capture either losslessly compressed Raw files or ‘medium’ and ‘small’ equivalents, both saving you disk space, the latter at the expense of reducing resolution.

However, if you enable the compact ‘C-Raw’ option on the M50, the files will be 30-40% smaller than their losslessly compressed equivalents without any reduction in resolution. But are there any other image quality penalties to pay? Let’s take a look.

Click here to download the original Raw files for all of the below comparisons.

Base ISO

Uncompressed Raw Compressed Raw
Click through for full size
ISO 100 | 1/40 sec | F5.6 | Canon EF 50mm F1.4

The above images were shot and processed using our standard studio testing procedure. Do you see any differences? We couldn’t find any – but we decided to see if boosting the ISO value and using our low-light scene would turn anything else up, particularly in terms of shadow noise.

High ISO

Uncompressed Raw Compressed Raw
Click through for full size
ISO 12800 | 1/40 sec | F5.6 | Canon EF 50mm F1.4

Now that we’ve switched to our low light setup and boosted the ISO by seven stops, the images still appear all but identical, even in terms of noise levels. So far, it looks like it’s best for you to go ahead and switch into C-Raw and save yourself some disk space.

But when we put the EOS M50 through our standard exposure latitude test, we did find some evidence of what sort of processing is happening in Canon’s C-Raw files.

Pushed shadows

Uncompressed Raw Compressed Raw
Image pushed four stops in Adobe Camera Raw

Our exposure latitude test involves exposing our studio scene with increasingly lower exposures, and then pushing them back to the correct brightness in Adobe Camera Raw. With many older sensors, you would see an abundance of noise being added by the camera, but today’s sensors output files that are much more tolerant to this sort of manipulation.

Basically, after pushing the files, we look into the shadow regions to assess the exposure latitude (essentially the dynamic range) of the Raw files. And it’s after underexposing the EOS M50 by four stops and then re-brightening, we start to see some clearer differences between the regular Raw files and their C-Raw equivalents.

The resulting pattern can be more difficult to remove or reduce than normal noise patterns, and is reminiscent of artifacts left behind from noise reduction algorithms that we’ve seen in the past.

At this time, we’re optimistic that users of Canon’s new Raw format can shoot in C-Raw without a noticeable impact on image quality.

But after all, this is a four-stop push. Depending on your shooting, this may indicate a slight dynamic range disadvantage to using C-Raw, but it’s likely to remain an edge case for most users. And so we’ve decided to finish off with a more informal test in a more common situation. We wanted to see if processing out the two different Raw files would turn up different results for the gradient in a blue sky.

Blue skies and takeaways

Uncompressed Raw Compressed Raw
Click through for full size
ISO 100 | 1/640 sec | F8 | Canon EF-M 15-45mm F3.5-5.6

Smooth gradients can often trip up compression algorithms, particularly in many cameras’ JPEG engines, so we wanted to see if there was any noticeable difference when the EOS M50 compresses its Raw files. As with our un-pushed studio images, it’s again impossible to tell which is the normal Raw file, and which is the C-Raw file. So what does this all mean?

Of course, we still have plenty of tests to run on the EOS M50, but at this time we’re optimistic that users of Canon’s new Raw format can safely shoot in C-Raw and save themselves valuable memory card and disk space without noticeable impact on image quality.

Note that all of the above images of our studio scene were processed in an identical manner to images in our studio scene widget, meaning there was no sharpening nor noise reduction added. Adjustments for the blue sky scene were limited to highlights, shadows, whites and blacks in Adobe Camera Raw, and sharpening and noise reduction were left to default levels.

Click here to download the original Raw files for all of the below comparisons, and to see how the EOS M50’s uncompressed Raw files compare to its peers, check it out in our studio test scene.

Articles: Digital Photography Review (dpreview.com)

 
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Meyer Optik unveils Nocturnus III 50mm F0.95 with new mechanics and Leica M mount

03 Apr

German lens manufacturer Meyer Optik Gorlitz has redesigned its super-fast 50mm F0.95 lens both inside and out, and has added a Leica M mount option to the existing Fuji X and Sony E Mount fittings.

The Nocturnus lll has a new mechanical construction, according to the company, that makes manual focusing and adjusting the aperture almost silent. This new version is somewhat lighter than the Mark ll model, and there is also a slight design change to the outer barrel of the lens that now sees a cut-away in the metal to show the aperture value in use.

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The manual focus lens features a 15-bladed iris that closes down from F0.95 to F11, and the stepless aperture construction and ‘nearly silent’ focus control make it suitable for use in video. Inside you’ll find 10 lens elements in 7 groups, which gives the Nocturnus III a close-focus distance of 0.50m and total weight of 790g.

The new version of the lens is due to ship in August this year, and will cost $ 3,000 in either black or silver. Pre-orders made before the middle of April, however, can be made at a discount of up to 60%. For more information, visit the Meyer Optik Gorlitz website.

Press Release

Meyer-Optik-Görlitz launches new Nocturnus III 50 F0.95 with mounts for Sony-E, Fuji-X and Leica M

The third edition of the Meyer-Optik-Görlitz Nocturnus 50mm F0.95, which is known for its exceptional light intensity comes in a new design and features now mounts for Sony-E, Fuji and Leica M. The lens is currently available through a pre-sale campaign on the manufacture’s website.

Meyer-Optik has just announced the launch of the Nocturnus 50 F0.95. The super-fast manual-focus lens is optimized for use with full-frame sensors, but also works with APS-C cameras. The third edition comes in a new design and now features mounts for Sony-E, Fuji-X and Leica M. Within the next 14 days, the lens in offered in a pre-order sale, where it is available for less than 60% of its future MSRP.

Like its predecessor, the new Nocturnus comes with a focal length of 50mm and an aperture range from F0.95 to F11. Thus, the lens features a lot of versatility both when shooting in available light conditions and in terms of depth-of-field. Its 15 aperture blades with anti-reflective coating, make the new Nocturnus III 50 F0.95 a unique tool to create a pleasant bokeh with circular highlights whilst creating great sharpness in the focused areas.

The Nocturnus has a minimum focus distance of 50cm and weighs 790 grams. The new mechanical design of the Nocturnus III makes the Nocturnus also an interesting option for videography: Manual focus control and the stepless aperture ring operate almost silently.

Technical Specifications:

  • Focal length. 50 mm
  • Aperture: f0.95-11
  • Angle of view: 23°
  • Minimum focusing distance: 50 cm
  • Filter diameter: 67mm
  • Optical design: 10 elements in 7 groups
  • Aperture blades: 15, steel, special anti-reflex coating
  • Weight: 790 g
  • Color: Black or Silver

Articles: Digital Photography Review (dpreview.com)

 
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Canon shows off full-frame sensor that shoots 100fps Full HD in ‘exceptionally low-light’

03 Apr

At CES 2018, Canon unveiled three specialized CMOS sensors: an ultra-high resolution 120MP APS-H sensor, a 5MP Global Shutter sensor, and a 19?m Full HD sensor capable of shooting 100fps Full HD in extremely low light. Each does something special—offering high resolution, global shutter, and high-sensitivity, respectively—and now, a few months later, Canon is showing off these sensors in a series of demo videos.

The first video featured the 120MXS sensor, which can shoot a mind-boggling 9.4fps at 120MP resolution. Now Canon USA has released the second video in the series, demoing its full-frame 19?m Full HD sensor made for shooting slow motion in extremely low light:

The 35MMFHDXS CMOS sensor, capable of shooting 100fps Full HD in ‘exceptionally low-light environments.’

The sensor is called the 35MMFHDXS, and in many ways it’s the polar opposite of the 120MXS. It only contains 2.2 effective megapixels, but each of those pixels is a whopping 19?m x 19?m in size, allowing them to capture a lot of light. This, combined with new pixel and readout circuitry that helps reduce noise, is what allows this full-frame sensor to capture Full HD at 100fps even when shooting in very little light.

You can see what this means in the video up top, or read Canon’s own description of the 19?m Full HD sensor below:

The 35MMFHDXS CMOS sensor delivers high-sensitivity, low-noise imaging performance, enabling the capture of Full HD video even in exceptionally low-light environments. The sensor’s pixels and readout circuitry employ new technologies that reduce noise, which tends to increase as pixel size increases. High sensitivity and increased well depth have been achieved through a larger pixel size of 19?m x 19?m (square) with proprietary device design technologies. The 35MMFHDXS CMOS sensor is available in RGB, RGB+IR or Monochrome.

Sample video screenshot. Credit: Canon

These new specialized CMOS sensors now have their own landing page on Canon’s website, where you can dig into the specs and read a full white paper on each of them.

As with the 120MXS, we probably won’t see this 35MMFHDXS sensor in standard, consumer-facing Canon cameras anytime soon; however, the technology Canon is developing to create these “advanced CMOS sensors with state-of-the-art technologies” will no doubt trickle down into the sensors the company will use in its DSLR and mirrorless cameras of tomorrow.

Check out the demo video above, and then head over to the Canon landing page to learn more.

Articles: Digital Photography Review (dpreview.com)

 
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Sheriff’s Deputy who shot photographer won’t face criminal charges

03 Apr

On March 22nd, a grand jury decided that Clark County Sheriff’s Deputy Jake Shaw will not face criminal charges for injuring photojournalist Andy Grimm. Shaw shot Grimm after mistaking the photographer’s tripod and camera for a gun.

The incident took place in September of 2017. Grimm was shot by Deputy Shaw in New Carlisle, Ohio, while attempting to photograph the deputy during a traffic stop. The incident made national news in part because it was captured on Shaw’s body cam, which recorded the deputy telling Grimm that he’d mistaken the photographer’s camera and tripod for a firearm.

In December, Grimm, his wife, and KBA News filed a lawsuit against Deputy Shaw, the City of New Carlisle, and the Clark County Board of County Commissioners. The lawsuit, which seeks a minimum of $ 75,000 in damages, accuses Shaw of using excessive force and violating Grimm’s civil rights. According to initial reports, the Sheriff’s Deputy allegedly failed to warn Grimm before opening fire.

Further, the legal complaint claims Grimm has suffered physical and psychological issues since the shooting, as well as loss of wages during his recovery time, and that local law enforcement agencies have “retaliated against” KBA News over the ordeal, resulting in a “loss of business profits.”

However, according to the Springfield Sun-News, Clark County’s lawyers have argued that Deputy Shaw reasonably believed Grimm’s tripod was a firearm. The statement reads:

Defendants aver that it reasonably appeared to Deputy Shaw that Andrew Grimm possessed a firearm under the conditions facing him, in the course and scope of his employment, and in good faith, to make a split-second decision to discharge his weapon in order to protect the public and himself from perceived deadly harm.

Per initial reports, the shooting happened at night during a thunderstorm. Grimm claimed to have first flashed his vehicle’s lights and waved at Shaw, who was conducting a traffic stop, in order to alert the deputy to his presence. As well, Grimm previously stated that he started to set up his camera and tripod “in full view” of Shaw, though moments later he was shot, allegedly without warning.

The county says Grimm may have some responsibility in the shooting, saying that the photographer’s “own contributory and or comparative negligence and/or assumption of the risk may have caused or contributed to cause the injuries and damages of which he complains.”

On March 22nd, a grand jury accepted the county’s arguments, ultimately deciding that Deputy Shaw should not face criminal charges for the shooting. According to local news WHIOTV7, the Clark County Sheriff’s Office is conducting an administrative review of the shooting, which has also been investigated by the Ohio Bureau of Criminal Investigation. Deputy Shaw returned to work in October under a reassignment to the county jail.

Articles: Digital Photography Review (dpreview.com)

 
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