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Panasonic Lumix DC-GX9: What you need to know

16 Feb

Panasonic Lumix DC-GX9: What you need to know

Nominally at least, the new Panasonic Lumix DC-GX9 is the successor to the GX8. But while it has a lot in common with the earlier model, the new camera comes with some serious updates, and a couple of caveats. In some ways in fact, the GX9 can be thought of as a step-up model from the GX85, rather than as a direct successor to the more expensive GX8.

We’ve had access to a pre-production GX9 for a few days, and we’ve been digging into its feature set. Here’s what you need to know.

No low-pass filter

The GX9 incorporates the same 20MP Micro Four Thirds sensor as its predecessor, but omits the low-pass filter found on previous models. JPEG shooters might not see much of a difference, but this should allow you to eke out a little more detail in low-ISO Raw files.

Redesigned shutter – no more ‘shutter shock’

The GX8 was a very likable camera, but at certain shutter speeds, we encountered issues with so-called ‘shutter shock’ when the vibration caused by the shutter movement blurred fine detail. We reported this issue to Panasonic at the time, and apparently they took it seriously. The GX9 features a redesigned shutter, which should result in a 90% reduction in shutter shock, compared to its predecessor. That’s according to Panasonic – obviously we’ll be testing it for ourselves as soon as possible.

As well as the mechanical shutter, you also have the option of engaging the silent, fully-electronic shutter from 1 – 1/16,000 sec. If you’re taking pictures in a very quiet environment, this is the way to go, but distortion might become an issue when shooting fast moving subjects.

Tilting EVF (but not the same viewfinder)

One of our favorite features of the GX7 and GX8 were their tilting viewfinders, and we’re pleased to see that this design has been carried over into the GX9.

The bad news is that it’s not the same finder. The GX9’s EVF is a field-sequential type, featuring 2.7 million dot (equivalent) resolution and an equivalent magnification of 0.7X, compared to the 1.04 million-dot, 0.77X magnification OLED of the GX8. The GX9’s viewfinder image is very nice, but it’s a little smaller, and (being field-sequential) it is also prone to ‘rainbow effect’, if you’re one of the people who are bothered by that.

Touch-sensitive rear LCD – tilting only

As well as a tilting EVF, the GX9 also features a tilting, 1.24 million-dot rear LCD. The 3″ screen is touch-sensitive, allowing for (among other thing) easy AF point placement. By contrast, the GX8’s rear LCD was fully-articulating. Some people prefer tilting screens, some people don’t, which will determine whether or not you see this as an up or downgrade.

Continuous shooting and autofocus

Continuous shooting is possible at up to 9 fps with focus locked (and no live view), or 6fps with live view and/or in continuous AF mode. While the GX9’s sensor is not set up for on-sensor phase detection, Panasonic’s Depth from Defocus autofocus technology does a pretty good job of focus acquisition and tracking. DFD uses the individual (de)focus blur characteristics of modern Panasonic Micro Four Thirds lenses to quickly drive the lens’s focus groups in the right direction, largely avoiding the distracting hunting behavior of conventional contrast-detection AF systems. Face and eye-detection AF modes both work well.

In use, the GX9 isn’t in the same league as its action-focused stablemate the G9, but autofocus is fast and accurate in most shooting situations.

4K video

As well as stills, the GX9 can also capture UHD 4K video, at up to 30p. The maximum bitrate of 100Mbps (4K/30) isn’t competitive against Panasonic’s more pro-oriented GH5 and GH5S, but the GX9 should be more than capable of satisfying the needs of occasional videographers.

Video is initiated via the distinctive red button at the center of the main on/off switch, just behind the shutter release in this image. Note also the integrated exposure mode / compensation dials on the upper right of the GX9’s body.

I/O ports door

We don’t normally get too excited by the door that covers I/O ports but we’ll make an exception for the GX9…

I/O ports door

…because the GX9’s ports door is a little bit special. Rather than flapping around, getting in the way of your USB or HDMI cables whenever they’re plugged into the camera, the door hides itself away inside the body of the camera. Neat.

4K Auto Marking and Sequence Composition

Two new 4K features have been added in the GX9: Auto Marking, which automatically marks faces or motion in your video (full disclosure – try as we might, we cannot get this feature to work in our pre-production camera), and 4K Photo Sequence Composition (shown above).

Sequence Composition allows you to shoot a moving sequence in 4K, and then quickly create a composite JPEG in-camera by dragging and dropping the moving element/s from neighboring frames.

5-axis image stabilization

The GX9 features in-body stabilization, which combines with the optical stabilization systems in many Panasonic M43 lenses to offer 5-axis stabilization for a total benefit of around 4EV.

While not up there with the G9 and Olympus OM-D E-M1 Mark II’s 6EV+ stabilization systems, 4EV is still very useful, and should mean for example that with a 25mm lens (50mm) equivalent, sharp images can be taken right down to 1/8sec.

New ‘Dynamic’ monochrome mode

A new ‘L Monochrome: Dynamic’ mode has been added to the GX9’s suite of Creative Control effects, along with a random (i.e. non-repeating) monochrome grain effect. Normally we’re pretty indifferent towards modes like this on enthusiast-grade cameras, but the results when shooting in Monochrome D mode + grain actually look really good. Not quite Kodak Tri-X good, but close.

Built-in flash

Also new compared to the GX8 is a small built-in flash. This pop-up flash is available for close-range portraits and fill light, but with a guide number of 4.2 (ISO 100) it won’t replace an external flash for anything more than that.

The GX9 is compatible with Panasonic’s wireless flash control system, when paired with DMW-FL200L / FL360L / FL580L flashguns.

Optional grip and eyecup

The GX9 features a fairly skinny (but perfectly comfortable) handgrip, but if you want a bit more of a handful, an optional grip is available for the pretty reasonable price of $ 59.

Optional grip and eyecup

A wider eyecup is also available as an optional extra, for more comfortable shooting when wearing glasses.

Wi-Fi- and LE Bluetooth

As we’d expect from a modern Panasonic camera, the GX9 features built-in Wi-Fi for image transfer to and remote control from a mobile device, but low-energy Bluetooth (BLE) is a new addition.

BLE allows the camera to maintain a constant connection, allowing for easy wireless remote triggering and avoiding the need to go through lengthy and sometimes frustrating connection steps every time you want to use a wireless feature.

Body, sealing and battery life

The GX9 is about 25g heavier than the GX85, and about 40g lighter than the GX8. It’s slightly smaller than the GX8, too, and lacks the older models’ weather-sealing. Weather-sealing is one of those rather nebulous ‘features’ that means different things to different manufacturers, but if you enjoy shooting in all winds and weathers, take note – you have been warned.

In terms of battery life, the GX9 uses the same DMW-BLG10 battery as the GX85, and as such its CIPA-rated battery life has dropped compared to the GX8, to around 250 images per full charge. It’s not all bad news though – this increases to around 900 shots in Eco Mode, and as always, it’s likely that a stills-focused photographer will be able to get quite a bit more endurance than the CIPA figures suggest. We’d still invest in a spare battery, just in case.

What do you think?

The GX9 is dividing our commenters – some of you like the focus on feature enhancement, and don’t mind the loss of an articulating screen, weather-sealing, and the rest while others are unhappy that Panasonic hasn’t doubled-down on some of the GX8’s unique features.

Some of you, like us, are probably just confused by Panasonic’s ever-changing naming scheme for its entry-level and midrange ILCs. Which camp do you fall into? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Zeiss unveils ‘small, robust and versatile’ Loxia 25mm F2.4 lens

16 Feb

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The Zeiss Loxia manual focus lens family for Sony full-frame mirrorless cameras just gained a new member. Say hello to the Loxia 25mm F2.4, a wide-angle lens that boasts a compact design, the ability to de-click the aperture for video shooting, and “outstanding image performance across the entire image field.”

Zeiss is calling this lens “small, robust and versatile,” a “new focal length of modest proportions” that joins four other manual-focus Loxia lenses: the 21mm F2.8, 35mm F2, 50mm F2, and 85mm F2.4.

The point of the Loxia line and its lack of autofocus is to provide compact, durable, lightweight companions for the Sony full-frame E-mount system that do not draw too much attention—great for street and travel photographers who are happy to trade the convenience of autofocus to remain as inconspicuous as possible.

Here is a sample photo shot with the Loxia 25mm F2.4 in Taipei, by photographer Jeff Hsiao, for your pixel peeping pleasure:

Photo © Jeff Hsiao, courtesy of Zeiss

To see more official Sample Photos, visit the Zeiss Camera Lenses Flickr account.

The Zeiss Loxia 25mm F2.4 will be available in March for €1,300 (including German VAT) or $ 1,300 USD (excluding local taxes), lens hood included. Zeiss also says to look out for a special filmmakers set comprising all five Loxia lenses to be available soon. To learn more, read the full release below or visit the Zeiss website.

Press Release

The New ZEISS Loxia 2.4/25 – Flexibility for Photography On-the-Go

With this compact wide-angle lens, ZEISS is adding a new focal length of modest proportions to its ZEISS Loxia lens family.

OBERKOCHEN/Germany, 2018-02-14. – With the ZEISS Loxia 2.4/25 compact wide-angle lens, ZEISS is adding a new focal length to its lens family that will benefit both landscape and architectural photographers: “High resolution across the entire image as well as low distortion ensure the perfect result,” says Product Manager Christophe Casenave. “The compact lens delivers great images thanks to the new optical design.” The ZEISS Loxia 2.4/25 also features high-quality mechanical parts, and the durable metal housing makes this a reliable lens for photographers on the road.

The right companion for years to come

Small, robust and versatile: the lenses in the ZEISS Loxia family for mirrorless cameras in the Sony Alpha series are particularly well-suited for street and travel photographers who love being inconspicuous as they capture special moments in cities and in nature without carrying around a lot of equipment. The compact design of the ZEISS Loxia lenses has been specially developed for the mirrorless full-frame Sony E-mount cameras. Used in tandem, the lens and camera enable filmmakers and photographers to achieve a high-quality result, while the equipment’s modest dimensions ensure users always have whatever they need with them. “This is a significant advantage for anyone who wants to blend into the background and is also on the road a lot,” says Product Manager Casenave. The all-round talent from the ZEISS Loxia family is also great for filming.

Bringing creativity to life through precise, manual focusing

Traditional photography and cutting-edge technology all in one: with the ZEISS Loxia 2.4/25, photographers can let their artistic creativity run free. “A steady hand and the manual focusing means users achieve impressive results,” says Casenave. The electronic interface for the ZEISS Loxia 2.4/25 transfers both lens data and focus movements to the Sony camera and then activates the focus peaking or the zoom function. Demanding photographers can achieve a wide range of creative possibilities thanks to precise, manual focusing, including a retro look and feel.

Precise and sophisticated – the ZEISS Loxia lens family featuring five focal lengths between 21 and 85 millimeters gives users a large number of creative possibilities when taking photographs or filming because of its technical refinement, linking traditional photography with modern technology.

A strong all-rounder for taking photographs and filming

The ZEISS Loxia family comprises five lenses with focal lengths between 21 and 85 millimeters. The lenses with manual focusing are all compact, durable and do not draw too much attention. With these lightweight companions, photographers and filmmakers have the necessary equipment and flexibility they need while on the road. The ZEISS Loxia lenses along with all the accessories have the same diameter and enable users to quickly and easily switch between different focal lengths during a shoot. The lenses offer the optimum foundation for capturing photographs and filming, both individually and as a set. These strong all-round talents excel at a wide range of uses.

Price and availability

The ZEISS Loxia 2.4/25 will be available at the ZEISS Webshop and at dealers from March 2018. The price of the new ZEISS Loxia 2.4/25 is €1,299 (incl. German VAT) or $ 1,299 US (excl. local taxes). The lens hood is included. Filmmakers can look forward to a special offer on a set comprising all five ZEISS Loxia focal lengths ranging from 21 to 85 millimeters.

For more information, please visit www.zeiss.com/photo/loxia2425

Articles: Digital Photography Review (dpreview.com)

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These are the six finalists for 2018 World Press Photo of the Year (NSFW)

16 Feb

The Finalists for World Press Photo of the Year 2018

Warning: This slideshow contains graphic and disturbing imagery that is not suitable for children, and may not be suitable for viewing in the workplace. Proceed with caution.

World Press Photo has changed its announcement process for the coveted World Press Photo of the Year award in 2018. Rather than announcing the overall and category winners at once, they have revealed the six finalists for 2018 World Press Photo of the Year today, almost two months before the official awards ceremony in Amsterdam on April 12th.

The finalists are… harrowing. Six heartbreaking and at times graphic images that were selected from 73,044 entries by 4,548 photographers from 125 countries. Judging was done by “a group of internationally recognized professionals in the fields of photojournalism and documentary photography,” who convened in Amsterdam, where they were presented with all of the entries anonymously.

Behind the scenes photograph of the judging process.

Every single nominated photograph, including all singles and stories in seven of the eight contest categories, is eligible for the World Press Photo of the Year grand prize. And yet, New York Times photographer Ivor Prickett managed to get two of his photos into the top six, both captured as part of his Battle for Mosul series.

You can see all 312 nominated photographs across eight categories on the World Press Photo website, and learn more about the entire contest in the press release below. To view the six finalists for World Press Photo of the year, scroll through the slideshow above.

The World Press Photo of the Year winner will be announced in April, where he will receive a 10,000 Euro cash prize and a selection of camera equipment from Canon.

Press Release

World Press Photo announces 2018 awards nominees

The World Press Photo Foundation announces the results of its renowned contests, the 61st annual World Press Photo Contest and the 8th annual World Press Photo Digital Storytelling Contest.

Amsterdam, 14 February 2018

This year the announcement process is new

The foundation is today announcing the nominees in each category of the Photo Contest and the Digital Storytelling Contest, with the winners to be revealed at the Awards Show in Amsterdam on 12 April.

The highlight of today’s announcement is that, for the first time, the six nominees for the World Press Photo of the Year are revealed. The winner of the World Press Photo of the Year will be announced at the Awards Show in Amsterdam on 12 April.

Lars Boering, managing director of the World Press Photo Foundation:

“The best visual journalism is not of something; it is about something. It should matter to the people to whom it speaks. Today the World Press Photo Foundation continues to play the role it began with in 1955 because the juries in our contests nominate the best photographers and producers. The great work in this 2018 edition of our contests helps us fulfill our purpose: connecting the world to the stories that matter.”

The 2018 World Press Photo Contest

The jury selected nominees in eight categories, including the new environment category. They are 42 photographers from 22 countries: Australia, Bangladesh, Belgium, Canada, China, Colombia, Denmark, Egypt, France, Germany, Ireland, Italy, Norway, Russia, Serbia, South Africa, Spain, Sweden, The Netherlands, UK, USA and Venezuela. Of these nominees, 15 have won previous World Press Photo awards, while 27 are being recognized for the first time. In total, there are 312 nominated photographs across the eight categories.

Gallery of all 2018 Photo Contest nominees.

The World Press Photo of the Year honors the photographer whose visual creativity and skills made a picture that captures or represents an event or issue of great journalistic importance in the last year. Each nominated photograph, including all singles and stories in seven of the eight contest categories (excluding Long-Term Projects) is eligible for the World Press Photo of the Year.

The six nominees for the World Press Photo of the Year are, in alphabetical order:

Rohingya Crisis | Patrick Brown, Australia, Panos Pictures, for Unicef
Boko Haram Strapped Suicide Bombs to Them. Somehow These Teenage Girls Survived. – Aisha, age 14. | Adam Ferguson, Australia, for The New York Times
Witnessing the Immediate Aftermath of an Attack in the Heart of London – Toby Melville, UK, Reuters
The Battle for Mosul – Lined Up for an Aid Distribution | Ivor Prickett, Ireland, for The New York Times
The Battle for Mosul – Young Boy Is Cared for by Iraqi Special Forces Soldiers | Ivor Prickett, Ireland, for The New York Times
Venezuela Crisis | Ronaldo Schemidt, Venezuela, Agence France-Presse

See the video of the jury discussing why they chose these six photographs.

The 2018 Photo Contest details

The contest is free to enter and drew entries from around the world: 4,548 photographers from 125 countries submitted 73,044 images.

A group of internationally recognized professionals in the fields of photojournalism and documentary photography—chaired by Magdalena Herrera—convened in Amsterdam to judge all entries. The jury is independent, and all entries were presented anonymously. A secretary without voting rights safeguards the fairness of the process, which is explained in full here.

For the full list of jury members and secretaries, please see here.

The World Press Photo Foundation will release a technical report reviewing the contest, including the code of ethics, entry rules, and verification process on Monday, 5 March.

Prizes

The premier award, the World Press Photo of the Year, carries a cash prize of 10,000 euros. In addition, Canon will present the winning photographer with a selection of camera equipment. For more information about Canon, visit here.

Nominees have their travel and lodging paid for by the World Press Photo Foundation to Amsterdam so they can attend the World Press Photo Festival, an event taking place 13-14 April featuring photographer presentations, screenings, and talks. They also receive a diploma and a Golden Eye Award at the Awards Show.

2018 Exhibition

The prize-winning photographs are assembled into an exhibition that travels to 100 locations in 45 countries and is seen by more than 4 million people each year. The winning pictures are also published in the annual yearbook, which is available in multiple languages. The first World Press Photo exhibition opens in De Nieuwe Kerk, Amsterdam, on 14 April 2018. For more information about the exhibition in Amsterdam, please follow this link.

This year’s exhibition displays will be printed on Canon large-format and Arizona flatbed printers. Please see the Canon website for further information: http://www.canon-europe.com/

The 2018 World Press Photo Digital Storytelling Contest

The Digital Storytelling Contest (previously known as the Multimedia Contest) rewards those producing the best forms of visual journalism enabled by digital technologies and the spread of the Internet. The contest is open to digital storytellers, visual journalists and producers, with submissions that include the work of a professional visual journalist.

Gallery of all 2018 Digital Storytelling Contest nominees.

The 2018 Digital Storytelling Contest in numbers

This year, 308 productions were submitted to the contest: 149 Short Form, 63 Long Form, 68 Immersive Storytelling and 28 Innovative Storytelling.

Prizes

Nominees in each category are invited to the World Press Photo Festival in Amsterdam. A representative from each of the nominated productions will have their travel and lodging paid for by the World Press Photo Foundation. The winners in each category will receive a diploma and a Golden Eye Award, presented during the Awards Show. The prize-winning projects are assembled into an exhibition that travels to select locations.

The FotoEvidence Book Award with World Press Photo

The FotoEvidence Book Award with World Press Photo recognizes a documentary photographer whose project demonstrates courage and commitment in the pursuit of human rights. The 2018 winner is Standing Strong by Josué Rivas.

FotoEvidence was founded in 2011 by photojournalist Svetlana Bachevanova as part of the humanistic tradition of photography. In 2017 FotoEvidence partnered with World Press Photo and the book award became the FotoEvidence Book Award with World Press Photo.

FotoEvidence publishes the winning project in a high quality, hardbound book, which will be launched at the World Press Photo Exhibition 2018 in Amsterdam on 14 April 2018, and then shown in several cities around the globe.

The Finalists for World Press Photo of the Year 2018

Rohingya Crisis | © Patrick Brown, Panos Pictures, for Unicef

28 September 2017

The bodies of Rohingya refugees are laid out after the boat in which they were attempting to flee Myanmar capsized about eight kilometers off Inani Beach, near Cox’s Bazar, Bangladesh. Around 100 people were on the boat before it capsized. There were 17 survivors.

The Finalists for World Press Photo of the Year 2018

Boko Haram Strapped Suicide Bombs to Them. Somehow These Teenage Girls Survived. – Aisha, age 14. | © Adam Ferguson, for The New York Times

21 September 2017

Aisha (14) stands for a portrait in Maiduguri, Borno State, Nigeria. After being kidnapped by Boko Haram, Aisha was assigned a suicide bombing mission, but managed to escape and find help instead of detonating the bombs.

The Finalists for World Press Photo of the Year 2018

Witnessing the Immediate Aftermath of an Attack in the Heart of London | © Toby Melville, Reuters

22 March 2017

A passerby comforts an injured woman after Khalid Masood drove his car into pedestrians on Westminster Bridge in London, UK, killing five and injuring multiple others.

The Finalists for World Press Photo of the Year 2018

The Battle for Mosul – Lined Up for an Aid Distribution | © Ivor Prickett, for The New York Times

15 March 2017

Civilians who had remained in west Mosul after the battle to take the city line up for aid in the Mamun neighbourhood.

The Finalists for World Press Photo of the Year 2018

The Battle for Mosul – Young Boy Is Cared for by Iraqi Special Forces Soldiers | © Ivor Prickett, for The New York Times

12 July 2017

An unidentified young boy, who was carried out of the last ISIS-controlled area in the Old City by a man suspected of being a militant, is cared for by Iraqi Special Forces soldiers.

The Finalists for World Press Photo of the Year 2018

Venezuela Crisis | © Ronaldo Schemidt, Agence France-Presse

3 May 2017

José Víctor Salazar Balza (28) catches fire amid violent clashes with riot police during a protest against President Nicolas Maduro, in Caracas, Venezuela.

Articles: Digital Photography Review (dpreview.com)

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Panono has new CEO, puts focus on software solutions

16 Feb

Professional360 GmbH, the recently re-named company behind the Panono 360-degree camera and software solutions, has a new CEO. Thomas Escher has previously held a number of top-level management positions in media houses such as Axel Springer and ProSiebenSat.1 Media, and managed the French foreign business of the online toy retailer MyToys, among other roles.

With the new CEO at its helm, the company is adjusting its strategy, reducing the focus on hardware and towards customized 350-degree software solutions, with real-estate and construction two key target sectors. Escher explains:

108 megapixels make our camera the highest resolution 360 degree one-shot camera in the market. We will strive to uphold and extend this technological leadership in the future. However, today this is no longer enough: especially among professional users, there’s a growing demand for individual software, cloud and web applications. They desire a first-class virtual presence both for web and mobile applications, as well as the most innovative content solutions.

“At the moment, real estate is still very traditional in its structures and processes, but with digitization moving forward, there are dramatic changes ahead in the next years,” continues Escher. “For one of our customers, we have developed a tool to create virtual tours out of our 360 degree images and to link them to a floor plan. This way, complete houses can be viewed online. Our customers can offer their clients viewings that are independent as to both time and place.”

This is only the latest chapter in Panono’s brief but turbulent history, and a stark move away from the more traditional, consumer focused 360° camera industry Panono started in. We had several occasions to have a closer look and test the Panono camera and were impressed by the technology. Hopefully the new CEO and strategy can help get the company back on track, and push 360-degree imaging technology further.

Press Release

MORE THAN JUST A CAMERA: NEW PANONO CEO TO TRANSFORM THE OPERATIONS

– Thomas Escher new CEO of Panono
– New focus on software solutions and services for 360 degree photos
– Strong customer focus

Berlin, 15 February 2018 – In February 2018, Thomas Escher (36) joined Professional360 GmbH as the new CEO. Under the brand name Panono the company offers professional 360 degree photo solutions for businesses and professional users, including its own award-winning camera hardware and customized software, cloud solutions and web integration.

“In Thomas Escher we have found a CEO with expertise both in media and entertainment and in classical e-commerce,” said a spokesperson of Bryanston Group AG, the company who has acquired the assets of Panono and has been running its business operations since July 2017. Escher has held a number of top-level management positions in media houses such as Axel Springer and ProSiebenSat.1 Media, and, among others, managed the French foreign business of the online toy retailer MyToys. As the Chief Marketing Officer (CMO) of the Allianz affiliate InstaMotion, an online dealer for second-hand cars, he
was responsible for marketing and sales activities.

From “technology first” to “customer first”

Panono aims to continue the expansion of 360 degree solutions. “108 megapixels make our camera the highest resolution 360 degree one-shot camera in the market. We will strive to uphold and extend this technological leadership in the future. However today this is no longer enough: especially among professional users, there’s a growing demand for individual software, cloud and web applications. They desire a first-class virtual presence both for web and mobile applications, as well as the most innovative content solutions”, explained Escher. “With this in mind we will further develop our platform, software
features and services, both independently and via sector-specific strategic partnerships. We have already implemented some exciting features, and there are more on the horizon.”

Focus on real estate and construction

Panono has been giving special attention to the real estate sector. “At the moment, real estate is still very traditional) in its structures and processes, but with digitization moving forward, there are dramatic changes ahead in the next years,” said Thomas Escher. “For one of our customers, we have developed a tool to create virtual tours out of our 360 degree images and to link them to a floor plan. This way, complete houses can be viewed online. Our customers can offer their clients viewings that are independent as to both time and place.” According to Escher, Panono also offers interesting possibilities
for construction and maintenance companies, for example when it comes to the documentation of building conditions and work progress.

Articles: Digital Photography Review (dpreview.com)

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Shooting wet plate collodion double exposures… handheld

16 Feb

Wet plate photographer Markus Hofstaetter is always experimenting with his art in different ways—whether it’s capturing creepy halloween portraits, or this failed attempt to capture a fire and water wedding portrait on both digital and wet plate. His latest experiment, however, was a success.

He managed to do something he’s dreamed of for years: he was able to capture wet plate portraits handheld. In fact, he went one better; he shot handheld wet plate collodion double exposures.

One of the hand-held double exposures Markus captured with his newest setup.

The entire ‘journey’—from finding a hand-holdable wet plate camera, to fixing it up and making it ready to shoot, to the actual double exposure shots—is documented in the video above and on Hofstaetter’s blog, in which his tone seems to be “I’m glad I did this, but lord was it a pain in the butt.”

One of the biggest challenges facing Hofstaetter was getting enough light to capture the plates handheld. “Even though these are small plates, I had to use 6000-7000 Watts of Hensel strobe power to get enough light thru the grided softbox,” he writes. But in the end, it worked. And since he was mixing new tech and old technique, he decided that steampunk portraits would be appropriate.

Here’s some of what he captured:

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Whether or not you like the final images, you have to admire Hofstaetter’s determination and creativity. He found a camera that would work, 3D printed plate holders because they were missing, and then managed to do something we haven’t ever hear of before. Kudos are definitely in order.

Check out the video up top to see the full journey from purchase to plates, and the head over to Hofstaetter’s blog for more behind the scenes images and other crazy experiments.

All photos, videos, and GIFs by Markus Hofstaetter and used with permission.

Articles: Digital Photography Review (dpreview.com)

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Samsung teases Galaxy S9 low light and slow-mo performance

16 Feb

On the 25th of February, Samsung will unveil its latest flagship phone, the Galaxy S9, and the Korean company is already heavily teasing some of the new model’s new and improved camera features in a couple of short teaser videos on its Korean Youtube channel.

The first video (above) shows several low-light scenes in quick succession. Towards the end there is the silhouette of a deer in near darkness. The animal’s head brightens up when the number 9 appears around it, hinting at some kind of low-light mode or improved low-light capability in the camera.

Previous rumors have mentioned a variable F1.5/F2.4 aperture. The lower value would be one of the fastest apertures on any smartphone camera, but we’d suspect Samsung will add some clever multi-frame-stacking technology on top of that to achieve usable exposures in very low light and manage noise.

Another video is a quick succession of action-packed scenes. At the end, a skydiver is almost frozen in time as the number 9 appears, hinting at some kind of super-slow-motion capture. From what we know so far, the S9 will come with a 480fps 1080p Full-HD slow-motion mode.

These kinds of teasers always leave you with more questions than answers, but fortunately we’ll know more in 10 days time when the device is launched. We’ll be at the event in Barcelona, so stay tuned for more details!

Articles: Digital Photography Review (dpreview.com)

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Skydio R1 4K camera drone boasts game-changing autonomous tech

16 Feb

California-based company Skydio has announced the R1, a drone described as a “self-flying camera” that autonomously follows and records a subject. Unlike some competing models, R1 was built specifically for autonomous flight; it is able to fly itself at up to 25mph / 40kph while maneuvering around obstacles thanks in part to Skydio’s Autonomy Engine.

While many drones depend on GPS for autonomous flight, Skydio’s R1 is different—it features 13 cameras that work with the Autonomy Engine to perceive and map the world around the UAV. Skydio packed an NVIDIA Jetson AI supercomputer into R1, and the little drone is using it to power intelligent features like real-time movement planning and complex environment navigation.

Here’s a quick intro video that explains how it’s all done:

Users launch the drone in either Side, Follow, or Orbit modes using the companion mobile app. No manual operation is necessary, and in fact, Skydio claims that users can move through complex environments, such as dense woods, without interrupting the R1’s tracking and recording abilities. Skydio goes so far as to claim R1 is “the most advanced autonomous device—of any kind—available today.”

Skydio goes so far as to claim R1 is “the most advanced autonomous device—of any kind—available today.”

The R1, which is small enough to fit in a backpack, is made with carbon fiber and lightweight aluminum. The drone’s primary camera can record subjects at Full HD/30/60fps and 4K/30fps with a 150-degree FOV. The primary camera is isolated from vibrations, stabilized with a 3-axis gimbal, and joined by 64GB of onboard storage. The remaining 12 cameras provide omnidirectional vision for navigation.

Skydio R1 is available now in the United States and Canada through the company’s website for $ 2,500 USD. Buyers are currently limited to one unit with orders shipping 2 to 3 weeks after being placed. To learn more, head over to the Skydio website.

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Fujifilm X-H1 sample gallery

15 Feb

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Fujifilm’s newest X-series camera takes video very seriously, but also offers a strong stills feature set largely borrowed from the X-T2. We’ve had some time with a full-production X-H1 that luckily coincided with a little bit of rare February sunshine. Take a look at a fresh batch of samples from Fuji’s newest flagship – including some images processed with the new Eterna/Cinema film simulation mode.

See our Fujifilm X-H1 sample gallery

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Lensbaby introduces Burnside 35 with variable vignetting

15 Feb

Lensbaby has announced the Burnside 35, which it calls an adaptation of the Petzval lens design with the added benefit of an effect slider to adjust the strength of vignetting and bokeh. The gold-anodized slider is located on the side of the lens barrel and operates a second iris, adding more or less vignette effect and adjusting the appearance of bokeh.

The manual focus lens is designed for full-frame and crop-sensor cameras and will be offered in Canon EF, Nikon F, Sony A, Pentax K, Micro Four Thirds, Sony E, Fujifilm X and Samsung NX mount. It’s on sale now for $ 500.

Lensbaby Delivers a Modern Take on Classic Lenses with the Burnside 35

Portland, OR (February 15, 2018) – Lensbaby—makers of award-winning creative effects lenses, optics and accessories—announces the launch of an entirely new kind of creative effects lens, the Burnside 35.

The first ever wide angle adaptation of the Petzval lens design, this 35mm f/2.8 lens creates images with a large, bright central area of sharp focus and striking color rendition surrounded by variable, swirling bokeh and vignette. It also features an effect slider that operates as a second internal iris that changes the shape and amount of swirl in the bokeh; all while adding or removing vignette and center brightness.

Burnside’s 35mm focal length lets you capture a scene at a normal-wide perspective with a dimensionality that makes your subject jump off the page. This lens opens up a new world of creative possibilities for those shooting street photography, landscapes, environmental portraits and more.

“The Burnside 35 is one of the most versatile Lensbabies we’ve made,” said Lensbaby Chief Creative Officer and Co-Founder Craig Strong. “It gives you the ability to have a strong or subtle creative effect in a single lens, a lens you might just keep on your camera all day long.”

Adding to the Burnside 35’s versatility is the radical, new effect slider that can be used to add center brightness, in-camera vignette and adjust bokeh detail. You can toggle the gold-anodized effect slider on the barrel of the lens to create variable balance and harmony between center brightness, bokeh and vignette. The effect slider features a four-stop range of vignette and bokeh enhancement so you can dial in the exact look that appeals to you.

Burnside 35 joins Lensbaby’s lens lineup as an all-metal, non-tilting lens similar to their bestselling Velvet series. Made specifically for full frame and crop sensor cameras, this lens is compatible with Canon EF, Nikon F, Sony A, Pentax K, Micro 4/3, Sony E, Fuji X and Samsung NX.

Burnside 35 Product Specs:

Focal Length: 35mm
Aperture Range: f/2.8-16
6 blade internal aperture
8 blade secondary internal aperture for the effect slider
Minimum Focus Distance: 6 inches
Maximum Focus Distance: Infinity
62mm filter threads
Focus type: Manual
Size/ Weight: 13.2 oz (374.21g)
6 multi-coated glass elements, in 4 groups

The Burnside 35 is now available for purchase on lensbaby.com and select Lensbaby-authorized retailers for $ 499.95.

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Noa N7 smartphone captures 80MP images with ‘high-resolution mode’

15 Feb

Lesser known Croatian brand Noa might not be the first manufacturer that springs to mind when you think about mobile photography, but the company will be launching a new mid-range device with some very interesting imaging features at the Mobile World Congress in Barcelona at the end of this month.

The Noa N7 comes with a dual-camera setup that features two 16MP Sony IMX298 1/2.8″ image sensors. At this point, there’s no further detail on how the two cameras play together, but we would assume there will be a shallow depth-of-field simulation mode and some kind of computational merging for better detail and reduced noise.

What the camera will definitely feature, however, is a 80MP high-resolution mode, presumably using image data from both lenses in combination with a pixel-shift technology. Looking at the demo video below, it seems the mode will require a tripod, but that’s still an attractive option for landscape or architectural photography who require maximum detail.

Main camera aside, the phone will offer a ceramic casing, Face-ID unlocking via the front camera, DTS stereo sound and an octa-core MediaTek MT6750 chipset. Images can be framed and viewed on a 5.7-inch display with 18:9 aspect ratio, and HD+ resolution.

If the 80MP mode has sparked your interest, the Noa N7 might be worth a closer look. Fortunately, the high pixel count won’t come with an expensive price tag—Noa says the N7 will retail for about 250 EUR ($ US 310) in Europe. We are looking forward to testing the high-resolution mode at MWC, so stay tuned!

Press Release

Koprivnica, 15th of February 2018

NOA will focus on its latest smartphone at the Mobile World Congress in Barcelona – NOA N7, with a 5,7 HD+ screen with an 18:9 screen ratio. Ceramic case, improved photography, Face ID and Face Beauty functionality along with an affordable price are the main key selling points of this new model.

The first two thing you’ll notice about this model is its design and a wonderful „royal blue“ color of the ceramic casing. This smartphone’s subtle elegance will certainly be noticed by everyone around you.

What makes this phone especially noticeable is the photo detailing and its quality, something that you’ll experience when you zoom in the photo and notice the perfectly rendered details. The N7 model will feature 2x 16 MP back Sony cameras with an IMX 298 sensor, which enables the creation of photographs up to 80 MP using oversampling technology.

The front 16 MP „selfie“ camera will support „Face ID“ and „Face Beauty“ functionalities. This means that you’ll be able to unlock your smartphone by scanning your face, which adds extra functionality in this price range, and rounds our the feature list with attractive and novel technologies. Your selfies will look sharper, more detailed and be of better quality. Thanks to the „Face Beauty“ feature, you’ll always look your best in photos, whether you’re taking them in the morning or evening.

Users who like to listen to music will also enjoy themselves with NOA N7, thanks to the world famous DTS sound technology. DTS Sound is an all-in-one audio solution that offers improved stereo sound quality, internal speaker optimization, and creates a panoramic audio experience while using earbuds.

NOA N7 is based on the 8 core Media Tek MT6750 processor with a 1,5 GHz frequency and a 5,7” screen. The screen resolution, complete with HD+ technology is 1440×720 pixel and an 18:9 screen ratio. NOA N7 will have 4 GB of RAM and 64 GB of ROM storage, expandable to 128 GB with the help of an SD card. NOA N7 comes with a 3.300 mAh battery and will use the latest Android 8.0 as its operating system.

NOA N7 smartphone will be in the price bracket of up to 250 EUR.

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