RSS
 

Archive for the ‘Uncategorized’ Category

Sigma 14-24mm F2.8 DG HSM Art sample gallery

05 Mar

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7388855816″,”galleryId”:”7388855816″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

We’ve been shooting with Sigma’s new 14-24mm F2.8 Art, both close to home and in Yokohama, Japan. Its dust- and splash-proof design, ‘Art’ series pedigree and attractive $ 1300 price tag have made it one of the most hotly anticipated lenses debuting this spring, and we wasted no time getting out and shooting with it.

See our Sigma 14-24mm F2.8 Art sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma 14-24mm F2.8 DG HSM Art sample gallery

Posted in Uncategorized

 

CP+ 2018: Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

04 Mar

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

Although the changes separating the K-1 Mark II from its predecessor are small in number, the new model occupies a big chunk of the Ricoh-Pentax booth at this year’s CP+ show in Japan. We were able not only to get our hands on the camera, but also the company’s upcoming D FA* 50mm F1.4 SDM AW that we’d only previously seen behind glass.

And though we couldn’t save any pictures taken with the camera, we got a chance to quickly try out the maximum ISO value of 819,200 and hand-held Pixel Shift mode – read on to find our impressions.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

Ergonomically, the K-1 Mark II is to all intents and purposes identical to the K-1, and the control scheme is identical its predecessor. With a UI that’s well-sorted and an impressive amount of direct controls, this isn’t a bad thing.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

Indeed, the only noticeable physical change to the body is the name on the front of the camera, and existing K-1 users that send their cameras in for the $ 550 upgrade will have the new name painted on their older models. Functionally, we’re told that an upgraded K-1 and a factory-fresh K-1 Mark II will be identical.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

Thanks to the new ‘accelerator’ in the imaging pipeline, the K-1 Mark II is able to shoot at ISO 819200, which is an increase of two stops compared with the original K-1’s previous maximum value of 204800. As you might expect, the one sample shot we took at this value showed a very high amount of noise, but it’s entirely possible that more moderately high values will show improvement over the original K-1. This is something we’ll be looking at very closely when we get a production K-1 II in for testing.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

The really big change for the K-1 II is the hand-held Pixel Shift mode, with the menu option shown here. We did a trial shot with the D FA* 50mm F1.4, and were pleasantly surprised by the sharpness of the result – despite shooting at a moderate focal length, there wasn’t any blur from hand-shake to be seen.

Unfortunately, your valuable time is the price your pay for this functionality; while the actual exposures are captured rapidly, the camera takes roughly 20-25 seconds to process the final image, during which time it is effectively locked. Still, we’re impressed by the possibilities of this new Pixel Shift implementation.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

And now, on to the HD Pentax-D FA* 50mm F1.4 SDM AW lens. This is Pentax’s first new prime lens to be developed since the introduction of the K-1 two years ago, and it feels like a really premium piece of kit. The nitty gritty details on the lens are still thin – we still don’t know the optical formula, for instance – but this pre-production model appeared fully functional.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

The ‘D FA*’ label designates this as a flagship lens for Pentax, and it certainly feels like it. It’s quite heavy and solid-feeling, but it balances well on the K-1 II thanks to the camera’s good-sized grip.

Focusing is taken care of internally and with a silent motor, and though it isn’t what we’d call ‘lightning fast,’ we would say it’s on par with other manufacturers’ wide-aperture prime lens offerings.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

The 50mm F1.4’s ‘WR’ label stands for ‘weather resistant,’ which is made most visible by the bright red gasket on the rear of the lens. Although we don’t know the full extent of the sealing, we’d surmise there are a number of other seals against both dust and moisture incursion throughout the rest of the lens.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

Handling on the D FA* 50mm F1.4 is straightforward, with only an autofocus switch and a broad, well-textured manual focus ring. The distance scale is likely to be appreciated by users preferring manual focus, and the lens can focus down to 0.4m or 15.75 inches.

Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

We’re really excited to get both the new D FA* 50mm F1.4 and the K-1 II into the DPReview offices to see what this combination can do. The K-1 II will be available in April, 2018 for $ 1999.95 body-only.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on CP+ 2018: Hands-on with the Pentax K-1 Mark II and D FA* 50mm F1.4

Posted in Uncategorized

 

Phottix announces Odin II TTL flash trigger for Pentax shooters

04 Mar

Flash manufacturer Phottix has announced it will introduce an Odin ll transmitter for Pentax users in April. Designed with ‘direct cooperation’ from Pentax engineers, Odin claims the trigger has been extensively tested on the 645Z medium format camera and the company’s flagship K-1 DSLR. It also said to be compatible with the K-5 and K-7 models.

The Odin ll transmitter will allow users to control the Phottix Indra studio heads as well as the Juno manual hotshoe flash unit. The press release doesn’t mention the Mitros + TTL flash unit, though it should be able to control that off-camera via the Odin system—if not via the hotshoe. Users will also be able to use Strato ll, Atlas ll and the Ares ll receivers to control and trigger third party flash units.

As with other Odin ll transmitters, the Pentax model will offer 32 channels and five groups with which to control off-camera heads via a wireless 2.4GHz radio system, and high speed sync will be supported with shutter speeds of up to 1/8000sec.

The Odin ll for Pentax will cost $ 140, and orders are being accepted now for April delivery. For more information, visit the Phottix website.

Press Release

Phottix Introduces the Odin II for Pentax

Bringing the power and control of the Phottix ecosystem to Pentax users

Phottix’s flagship Odin II TTL Flash Triggering system has expanded to include a new transmitter control unit (TCU) compatible with Pentax cameras. Developed with direct cooperation from Pentax engineers at Ricoh Imaging in Japan, the Phottix Odin II for Pentax brings the power, control, and ease of use of the Phottix TTL lighting ecosystem to Pentax users. Tested extensively with the Pentax 645Z Medium Format DSLR Camera and the ground-breaking Pentax K-1 DSLR, the Phottix Odin II gives Pentax users more creative control over their art.

Harness the Power of the Phottix Ecosystem

The Phottix Lighting Ecosystem System offers solutions for every photographer, from lighting minimalists to studio professionals. With the Odin II for Pentax, users can trigger and control the power level of the Indra 500TTL Battery Powered Studio Light in both TTL and Manual modes as well as adjust the modeling lamp all from the top of their camera. Also compatible are the newly introduced Juno Manual Speedlight and receivers from the Phottix Odin, Strato II, Atlas II and Ares II flash trigger systems.

“The Odin II for Pentax enables us to take our 645Z from the studio to on-location! Even in full sun, the Odin II’s HSS support allows us to Take control of ambient light and get amazing results from our 645Z and Indra 500 combo!”
Yaneck Wasio, Wasio Photography

Tame the Sun and Ambient Light

The Odin II allows Pentax users the ability to use High Speed Sync and shoot at speeds of up to 1/8000s on compatible cameras. When paired with the Phottix Indra500 TTL, shutter speeds are no longer a limitation.

Enjoy an Interface Built for Photographers By Photographers
The Odin II for Pentax user interface was built off feedback from photographers across the globe. Features such as individual buttons for each group – A, B, C, D, E, and an analog thumbwheel give users quick and direct access to their strobes from the top of their camera when they need it most.

Stand Out from the Crowd

The Odin II features 32 channels as well as a Digital ID function to completely eliminate interference and outside triggering. Digital ID is a four digit code that secures the connection between compatible Phottix products and will only allow triggering signals from products using the same four-digit Digital ID code. Now there is far less to worry about when shooting in crowded situations like sporting events or concerts.

Price and Availability:

The Odin II for Pentax retails for $ 139.95 and is available for preorder now at major retailers and will start shipping to customers in April.

Technical Specifications:

  • Frequency: 2.4 GHz
  • Range: 328ft (100m)
  • Channels: 32
  • Groups: 5 (A/B/C/D/E)
  • High Speed Sync: Supported – up to 1/8000s on compatible cameras
  • Exposure Control System: TTL and manual (1/1-1/128,1/3 stop increment)
  • Digital ID: 0000-9999
  • Flash Ratio Control: 8:1-1:1-1:8
  • Flash Exposure Compensation: -3.0 to +3.0, 1/3 stop increment
  • Power Source: 2 x AA alkaline batteries or AA NI-MH batteries
  • AF Assist Light: Yes on compatible cameras
  • Second Curtain Sync: Yes
  • Firmware Upgradeable: Yes via USB
  • Compatible Cameras: K-1, K-5, K-7,645Z
  • Compatible Phottix Stobes: Indra 500 TTL*, Juno Flash
  • Compatible Phottix Receivers: Odin, Strato II, Atlas II and Ares I (Channels 1-4 Manual only)

* Indra 500TTL compatibility requires a free firmware update available on Phottixus.com

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Phottix announces Odin II TTL flash trigger for Pentax shooters

Posted in Uncategorized

 

This SkyPixel 2017 photo contest winner wasn’t shot from a drone… or in 2017

04 Mar
“Sun’s Up, Nets Out” by Zay Yar Lin

Drone maker DJI announced the winners of the 2017 SkyPixel aerial photography competition earlier this month, but already there’s a controversy. As it turns out, the winner of the Landscapes category wasn’t actually taken with a drone or captured in 2017.

The contest rules required entries to have been taken in 2017 using “any aerial platform,” but a recent report from PetaPixel reveals that the winning image in the Landscape category, “Sun’s Up, Nets Out” by Zay Yar Lin, was actually taken in 2014 using a Nikon D750 from an elevated bamboo stage… probably not what they meant by ‘aerial platform.’

In fact, the photograph—which has since been disqualified—was previously submitted to the NatGeo 2015 Traveler Photo Contest as well as the 2016 Sony World Photography Awards, and was a ‘top entry’ in the Amateur Photographer of the Year 2016 contest. Zay’s award bundle for the SkyPixel 2017 contest included a Nikon D850 and DJI Phantom 4 Pro Obsidian drone.

In a statement to PetaPixel, Zay Yar Lin explained that his D750 was attached to a hexacopter on said bamboo stage when this photo was shot, but that he didn’t realize the photo had to be taken in 2017. His statement reads:

I regret that I had shot with my DSLR with hexacopter on the bamboo stage to get the best angle. But to be honest, I wasn’t aware of the Photo Contest rules that all photos should have been shot in 2017. I’m a freelance and ethical photographer in the contests. Please look up my profile in any site. I really regret misunderstanding had occurred between us.

Zay didn’t mention the attached hexacopter when he spoke with Amateur Photographer about this image in 2016.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on This SkyPixel 2017 photo contest winner wasn’t shot from a drone… or in 2017

Posted in Uncategorized

 

Nikon’s ES-2 film digitizing adapter for the D850 will finally ship in March

04 Mar

The ES-2 film digitizing adapter that Nikon introduced alongside the D850 DSLR back in August will finally ship at the end of March. The ES-2 has been available for pre-order since it was first announced, but the product is marked as ‘backordered’ on the Nikon USA website, and the official ship date has been slipping backwards.

The Film Digitize Adapter ES-2 is designed to be used by those wanting to digitize their 35mm negatives and transparencies using their digital SLR, and works by holding your film the correct distance away from a macro lens.

Nikon recommends using the ES-2 with the NIKKOR AF-S Micro 60mm F2.8, having designed the adapter to work easily with the minimum focusing distance of that lens. And while the ES-2 is compatible with a range of Nikon DSLRs, the company suggests pairing it with the D850 because of the camera’s high resolution and the built-in film digitizing mode, which automatically inverts the image and saves a digitial positive as a JPEG.

The Nikon Film Digitize Adapter ES-2 kit—which includes a film strip holder for negatives and transparencies, a slide holder for mounted slides, and a pair of 62mm adapter rings for use with different macro lenses—is due to cost $ 150. However, if you’re looking for a cheaper option, the old ES-1 is still available for $ 60, and designed to be used with the 55mm F2.8 Micro-Nikkor and the PK-13 tube.

For more information, visit the Nikon website.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon’s ES-2 film digitizing adapter for the D850 will finally ship in March

Posted in Uncategorized

 

Nikon releases new firmware for nine cameras, mostly AF-P lens support

04 Mar

Nine Nikon DSLR models are getting new firmware to fix a few issues users have been encountering, particularly when using AF-P lenses. Updated models include the D4, D4s, Df, D800, D800E, D810, D810A, D7100, and D7200.

The whole lot of them received these fixes:

Added the following supports for AF-P lenses:

  • If the standby timer expires after focusing, the focus position will no longer change when the timer is reactivated.
  • When focus is adjusted by rotating the lens focus ring, the focus indicator in the viewfinder (and in live view, the focus point in the monitor) now flash to indicate when infinity or the minimum focus distance is reached.

The D4, D4s, Df, D800 and D800E received the following fixes:

Added support for AF-P DX lenses.

And the D4, Df, D800 and D800E also benefit from:

When photos were taken using Camera Control Pro 2 after Custom Setting d10 (Exposure delay mode) was enabled in the CUSTOM SETTING MENU, the software would sometimes mistakenly display a message stating that no photo could be taken.

Finally, the Nikon D810 and D810A received fixes to their microphone operation and multiple exposure modes, while the D7100 and D7200 get updates that fix an issue of incorrect exposures when E-type lenses are used in live view mode.

For more information on all of these updates, or if you want to get your Nikon DSLR up to the latest firmware version, visit the Nikon firmware download web page.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon releases new firmware for nine cameras, mostly AF-P lens support

Posted in Uncategorized

 

Behind the scenes: Photographing mountain hares in Scotland

04 Mar

The high winds blow the snowflakes into my face, and the stinging feeling in my eyes forces me to look down as I continue to walk forward. I remove the snow that has gathered in the lens hood on my Nikon 200-500mm and, with my binoculars, I search the landscape in front of me.

Nothing to see. Not a single mountain hare.

I am in a total whiteout of blowing snow, and it’s only because of the more clear and calm weather of a few hours ago that I’m aware of the the beauty of this Scottish landscape I am surrounded by here in the heart of the Cairngorms National park.

Who I Am

My name is Morten Hilmer and I am a full time professional wildlife photographer and former special force soldier in the Arctic Dogsled unit – the Sirius Dogsled Patrol. I am specialized in photographing in the Arctic regions and since 2005 I have spent more than 4 years in the amazing high Arctic nature.

(You can read more about my time in the Sirius Dog Sled Patrol on the BBC Earth website).

Beside the many publications, my photographs have been awarded in the Wildlife photographer of the year and European Wildlife Photographer of the Year photo competitions. And in Spring 2017, I published my first book: Silence of the North.

Wildlife photography for me is all about fascination, getting close to nature, feeling its authenticity, and sometimes even feeling reunited. Through my work, it is my mission to share my fascination and raise awareness of the importance of taking care of this awesome planet and all creatures living on it.

Nature Photography is also about adventures—whether the adventure is an expedition to the desolated freezing ice desert of North Greenland, or a shorter trip to the local forest. For me one is never better than the other.

Photographing Mountain Hares

A short break in the snowfall gives me just enough visibility to skim the landscape in front of me and just enough time to get a glimpse of a movement about 50 meters in front of me. I kneel down to support my arm on my knee to keep the binocular more steady. It is the the mountain hare. Instantly I feel excited and extremely lucky.

Slowly, I walk closer while concentrating on the hare and keeping my movements as slow and invisible as possible—I don’t want to scare this little guy. Not only will it destroy my opportunity to get some good shots, but more importantly, it will disturb this little hare that already has a hard time finding enough food to get through the winter.

I am now quite close and I decide to leave my camera bag behind to make it easier to crawl the last distance. I grab an extra battery and my card holder, and get my vlogging camera ready with the microphone. I fell the need to share this moment, even though it adds another challenging element that I have to record myself at the same time as I am working.

What’s In My Bag

For a trip like this, I need to be able to cary everything on my back, which means all of my equipment has to fit into one Lowepro Pro trekker 600 AW. Therefore, I decided to leave my big Nikon 600mm F4 at home and instead bring the smaller, lighter and more flexible Nikon 200-500mm.

As for the camera, I am using my Nikon D5—primary because of its durability in cold, wet conditions like this one. I was tempted to bring the D850 because of the superb image quality, but I have had a few moisture problems when I’ve really challenged it with snow and heavy rain.

I have also brought the Nikon 16-35mm VR and, of course, some extra batteries, cards, cleaning equipment etc.

As for my vlogging camera, I am currently using a Panasonic GH5 with the Røde Videomicro and the 42.5mm and 12mm Leica lenses. I charge the batteries for this camera with power banks.

If you want to dive deeper into my equipment, I explain it in a little more depth in this video.

How I Set Up My Camera

Everything is ready and I move a little bit closer. Through the viewfinder, I can sometimes see the hare and sometimes it disappears, hidden by the blowing snow.

I find myself using almost the exact same camera setup and setting whenever I capture wildlife photography, regardless of which camera and brand I am using. I primary shoot with Nikon, but I have also worked with the Canon 1D X Mark II, the Canon 5D Mark IV, and the Sony A7S.

My camera is set to manual exposure, and because of the constantly changing light I turn on auto ISO. I use this setting because I want to be able to set both the aperture and shutter speed myself to get the perfect level of blurred background, and at the same time use the shutter speed that gives me the exact level of movement in the blowing snow that I want.

This way, I get the best from both the worlds of aperture and shutter priority programs, allowing only the ISO to be the variable factor. Yes, I do run the risk of noise, but I always keep and eye on how high the ISO goes as I shoot.

I set my AF to 3D, and assign the function button on the front to single point AF—I am ready.

An Amazing Experience

It is interesting how looking into the viewfinder can make everything else around me disappear. I reckon all photographers know this feeling. Only me and the little hare—nothing else exists. I watch how he sits there in his little snow bed and, only every now-and-then, he moves a little bit. I don’t dare to take my eyes from the viewfinder.

Suddenly, the hare raises and stretches his long leg and then, without warning, he rolls around in the snow. The time he gives me to react is too short but what did I expect—this is what us wildlife photographers have to deal with all the time, and I assume it’s also one of the things that makes us keep going out again and again… all these photos that we have seen but haven’t been able to capture.

I manage to get a few shots of the rolling hare, but already before I look at them, I know they are not totally in focus. This is fantastic—so intense.

The little fellow sits for a moment looking at me and I pray that he will not run away. He decides to stay. He starts eating the sparse vegetation and with his small paws he scrapes away the snow on top.

I don’t know for how long I have been here, but it is getting quite dark and I am getting colder laying in the snow. My thoughts starts to travel to the side pocket of my backpack where I keep my thermal with warm coffee.

As I walk down the mountain I think about this little hare who is still sitting up there on the mountain in the blizzard, patiently waiting for the Spring. It is so fascinating how they manage to survive in such conditions. It is my first time photographing wildlife in Scotland, but definitely not the last. It has been an absolutely fantastic experience to spend some time with the hares in highlands of this amazing country and tomorrow I am going further up north to find and hopefully photograph the impressive stags.

A Few of My Favorite Settings

Set custom button to preview

One of the most important things for me is that I want to have my left hand on the lens— at the ready to zoom in or out, and to take over manually when autofocus fails. Therefore, I always set one of the custom buttons to preview the image, and another to zoom the image 100%.

I like to have the preview button as the lowest function button on the front of the camera, so that I can press it with one of my fingers without having to move my index finger from the shutter and the thumb from my AF-lock button.

Predefined AF on custom button

Before I start photographing, I alway choose the autofocus method that I believe will do the best job. In my case, it is often the 3D AF on the Nikon D5—either that, or single point AF. Then I try to predict which other AF method I will need, and I set the top button on the front of the camera to use this method as long as it’s pressed.

Auto ISO on/off

Because of the option of doing exposure compensation in manual mode with auto ISO on, I use either this setting or full manual almost all the time. I call Manual with Auto ISO: MAI. To be able to make a quick switch between M and MAI, I setup one of the custom buttons near the release button to toggle Auto ISO on/off.

Behind the Scenes Videos

In November 2017, I started a new video project that takes other photographers and nature enthusiasts behind the scenes on my travels. In a series of 4k YouTube videos, I share my experiences from my trips and expeditions around the world.

Below are Part 1 and Part 2 of Photographing Mountain Hares:


Morten Hilmer is a professional wildlife photographer and former Danish special forces soldier in the Sirius Dog Sled Patrol, an Arctic dog sled unit. For the past 13 years, he’s specialized in capturing Arctic landscapes and wildlife. You can find more of his work on his website, or by following him on Instagram and Facebook.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Behind the scenes: Photographing mountain hares in Scotland

Posted in Uncategorized

 

CP+ 2018: Hands-on with the new Tamron 70-210mm F4 VC

03 Mar

CP+ 2018: Hands-on with the Tamron 70-210mm F4 Di VC USD

Tamron’s new 70-210mm F4 Di VC USD looks like a really promising lens, offering a more compact and affordable alternative to the company’s existing 70-200mm F2.8 telezoom. We got our hands on one at the CP+ trade show in Yokohama, Japan – click through for a closer look.

CP+ 2018: Hands-on with the Tamron 70-210mm F4 Di VC USD

To start, the 70-210mm F4 VC really is impressively compact, weighing just 859 grams. It balances very well on a Nikon D750, one of the smaller full-frame DSLRs currently on the market, and shouldn’t give you a hand cramp if you haven’t shelled out for your camera’s accessory battery grip.

CP+ 2018: Hands-on with the Tamron 70-210mm F4 Di VC USD

As with Tamron’s 70-200mm F2.8, the new F4 version features a two-ring design, with the zoom ring pushed all the way out to the end of the barrel. Whether you prefer this to a zoom ring closer to the camera is a matter of personal preference, of course, but in our brief time with the lens, we found the zoom ring to be just a bit too narrow.

Autofocus speed is perhaps not quite as snappy as Nikon’s 70-200mm F4 offering, but should be plenty fast enough for shooting moving subjects.

CP+ 2018: Hands-on with the Tamron 70-210mm F4 Di VC USD

The 70-210mm F4 comes with Tamron’s Vibration Compensation system, offering a claimed four stops of stabilization (per CIPA). If you’re working on a tripod or just happen to have the world’s steadiest hands, the stabilization system can be disabled via a switch on the side. An autofocus / manual focus switch rounds out the lens’ external controls.

CP+ 2018: Hands-on with the Tamron 70-210mm F4 Di VC USD

The Tamron 70-210 F4 has a 67mm front filter thread size, as well as a fluorine coating on the front element to better repel water and resist fingerprints.

Including the coated front element, the 70-210mm’s optical construction comprises 20 elements in 14 groups. Three of those elements are low-dispersion, helping to combat axial and transverse chromatic aberration.

CP+ 2018: Hands-on with the Tamron 70-210mm F4 Di VC USD

Tamron’s 70-210mm F4 is weather-resistant, with a visible gasket on the rear of the lens and a bevy of additional gaskets at other ‘critical areas.’ Obviously it’s not meant to be submersible, but it should stand up to some light rain in a pinch.

CP+ 2018: Hands-on with the Tamron 70-210mm F4 Di VC USD

The included bayonet-style petal hood adds a good bit of length to the 70-210mm F4, but its depth should provide decent flare protection in bright shooting conditions. Tamron is offering a tripod ring as well, but it’s an optional extra.

CP+ 2018: Hands-on with the Tamron 70-210mm F4 Di VC USD

If 210mm isn’t quite enough reach for you, the lens is compatible with both Tamron’s 1.4X and 2.0X teleconverters, as well as the TAP-In console for focus calibration.

The Tamron 70-210mm Di VC USD will be available in Nikon and Canon mounts this April for an MSRP of $ 800.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on CP+ 2018: Hands-on with the new Tamron 70-210mm F4 VC

Posted in Uncategorized

 

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

03 Mar

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

Tokina released two lenses in advance of the CP+ 2018 show in Yokohama, and we had a chance to stop by their booth and get a closer look. First up is a premium 50mm F1.4 prime, the first in a new series of ‘Opera’ lenses designed for high performance on DSLR cameras.

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

As you can see, the 50mm F1.4 is fairly large. The build quality is extremely solid, fit and finish is excellent and the focus ring is nicely damped.

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

This new lens is just a prototype, and we unfortunately weren’t given any information on the lens’ optical construction or pricing. But the press release does state that the new lens lineup’s name, ‘Opera,’ was chosen because the company hopes to help photographers create photographic works of art.

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

The 50mm F1.4 Opera features a degree of weather-sealing, including a gasket around the lens mount to help prevent dust and moisture incursion. It’s slated to be available in European and Asian markets in the summer of 2018.

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

The E-Mount FíRIN 20mm F2 FE AF is a different beast altogether. Designed for mirrorless cameras, the 20mm F2 AF is a followup to Tokina’s existing manual focus lens of the same specification.

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

Those specifications include 13 lens elements in 11 groups; three of those elements are Super-low Dispersion, and two are aspherical. Despite this, the FíRIN remains compact and lightweight, with a heft of 464 grams. Unfortunately for those that enjoy manual focus, there is no distance scale.

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

The front of the lens accommodates a bayonet-style hood and 62mm filters. The 20mm F2 AF has a nine-bladed aperture diaphragm, and the closest focus distance is 0.28m or 0.9 feet.

CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

It’s best to take care when using this lens in inclement weather, as there is no rear gasket nor claims of weather or moisture sealing. Despite this, the FíRIN 20mm F2 looks very promising.

The lens will tentatively be available in Japan by the end of April and the rest of the world in May. Pricing information has yet to be announced.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on CP+ 2018: Hands-on with Tokina’s 50mm F1.4 and 20mm F2

Posted in Uncategorized

 

ImageBrief is shutting down, users have one week to save their images

03 Mar

Photo licensing service ImageBrief, which was founded in 2011, is officially shutting down. The news was announced over email, in which ImageBrief notified current users of the close, and told them they have one week to download their images before the site’s servers are wiped.

During its six years in the licensing industry, the company offered customers a different way to get the images they need: rather than searching a pre-defined library, companies could submit on-demand “briefs” detailing the work needed, which photographers responded to in hopes of having their images purchased. This was a big change over how traditional stock photography agencies operate—and one that has been picked up by other companies over time—but the model doesn’t seem to have worked out in the long run.

ImageBrief users were surprised by the closure announcement, which was delivered in the form of an email earlier this week. The statement, which says ImageBrief connected more than 70,000 creators with clients from around the world, fails to provide a reason for the company’s demise. It does, however, advise photographers who participated in project briefs that they must download their account assets within the week, after which point the content will be deleted.

The full email reads:

Today, we’re announcing that after six years of connecting agencies, brands and creators, we will be closing down ImageBrief’s photographer marketing services

We’re proud of the products and apps we built, but even more so, we’re grateful for the community that enabled them to grow. More than 70,000 creators earned millions of dollars collaborating with 12,500+ global agencies and brands in 169 countries.

There has never been a better time for creators to thrive. Demand for content has increased, and the tools to create world-class creative are more accessible than ever.

Our talented team of engineers, designers, developers, and curators have worked tirelessly to make ImageBrief a success in a competitive and rapidly evolving landscape, and our immediate priority is to help you transition to other services to support your business.

In the coming days, our team will be in contact with you directly with detailed information about your specific account, license history, and services. Over the next week, we recommend logging into ImageBrief to download and retain your license history and related assets. […]

We want to thank you for your participation and loyalty, and look forward to working with you in the coming weeks to ensure a smooth transition.

Sincerely,

Team ImageBrief

As of this morning, all of ImageBrief’s social media pages have been deleted. And the homepage has been pared down into a simple log in page for buyers and photographers, with no mention of the closure.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on ImageBrief is shutting down, users have one week to save their images

Posted in Uncategorized