Category: Uncategorized

  • Instagram is testing a ‘Regram’ button and other major feature updates

    Photo by Erik Lucatero

    Instagram is testing a bunch of new features, including one very intriguing and long-awaited button that will put several 3rd party apps out of business: the Regram. The new features were published by The Next Web, which was able to obtain screenshots of several feature updates that are still only being tested with small groups of users.

    First things first though: Regram. Like Tumblr’s Reblog or Facebook’s Share, regramming would allow Instagram users to share another user’s photo or video with their own followers. Third party apps already allow for a cumbersome version of this, but a built-in button has never existed… until now.

    Regram Button Screenshot. Credit: The Next Web

    In addition to the Regram, TNW found that Instagram may soon:

    • Allow you to search for and add GIFs to your profile or Instagram Story.
    • Allow iOS users to join a Beta program that will give you early access to upcoming versions of the app.
    • Add an Archive feature for Stories (you can already archive regular posts)
    • Create a “Closest Friends List” that lets you share posts or stories with a smaller more intimate group.
    • Share to WhatsApp
    • Search by Top Hashtag and Top Emoji
    • Follow hashtags, not just other profiles

    There is also an “Add Coffee” button that mysteriously popped up in the share page (the same page where you write your caption, select the social media accounts you’d like to share to, and click post). Nobody seems to have any idea what that’s about.

    To see screenshots of all these features, head over to The Next Web’s report by clicking here. And let us know what you think of these new features in the comments down below.

    Articles: Digital Photography Review (dpreview.com)

  • Lytro Immerge 2.0 is a HUGE light-field camera rig for high-end VR production

    Lytro has unveiled the Immerge 2.0, a massive light-field camera rig that looks improves upon the similarly-massive Immerge camera Lytro first introduced in November of 2015.

    As with the original Immerge, Lytro’s new Immerge 2.0 is designed for high-end VR production, but it utilizes “a few smart tweaks” to boost quality and increase production efficiency. But lets you think “a few small tweaks” is nothing major, Lytro is describing the Immerge 2.0 as “a major update” to the original… so there’s that.

    Unlike with the original Immerge camera, Immerge 2.0 is designed with alternating rows of cameras that are pointed in the opposite directions (yes, those are all cameras, not lights). The design enables Immerge 2.0 to capture 120-degrees of content rather than the previous 90-degrees, reducing the number of camera rotations from five to three when capturing 360-degree content. And operators of the original Immerge will be thrilled to know that the calibration process is now automated.

    In addition to its hardware update, Lytro has also been working on improving its software, enabling it to extract higher quality images from the light-field content.

    According to Road to VR, which was given an exclusive look at the Immerge 2.0, Lytro has remastered its previously released video Hallelujah with a higher resolution of 5K per eye (when viewed with a VR headset)—a significant increase over the previous 3.5K. But they didn’t stop there…

    In fact, with this new hardware and software update, Lytro is ready to offer a 10K-per-eye resolution once VR headsets that can handle that kind of resolution are developed.

    Articles: Digital Photography Review (dpreview.com)

  • Zoner Photo Studio X brings support for the HEIF image format to Windows

    Apple introduced the HEIF (High Efficiency Image File Format) image format with its latest iPhone models 8, 8 Plus and X. Essentially, the new format is more efficient than current standards at compressing image data—images with the same size and level of detail occupy up to 50% less space on your device storage or hard drive—while also offering additional features like the ability to store burst photos, focal stacks, and exposure stacks in a single file.

    In the long term, HEIF is meant to replace JPG as a the most common image standard, but until now the format could only be viewed or edited on iOS 11 devices or an Apple Mac… not exactly universal. That all changes today with the latest release of Zoner Photo Studio.

    Zoner Studio X is officially the first software package to bring HEIF support to the Windows platform. Its makers still call the feature “experimental” and recommend keeping a backup of your HEIF photos in a separate format (just in case), but this is a big deal if you’re an iPhone user who uses a PC instead of a Mac. No need to sacrifice image quality to save space or visa versa.

    Zoner Studio X offers more than HEIF support, of course, and is a potent image editor in its own right. The feature set includes: image organization, layers, non-destructive RAW editing, retouching, and automatic adjustments.

    To learn more or download a 30 day trial, visit the Zoner website. The full version will cost you $ 49.

    Articles: Digital Photography Review (dpreview.com)

  • Cameraman injures OSU football player during pregame warm-up

    Photo by Paula R. Lively. CC-BY-2.0

    Ohio State quarterback J.T. Barrett allegedly suffered an injury after being hit in the knee by a cameraman during pregame warm-ups. Barrett went on to play during the first-half of the game, but left during the second-half due to the knee injury.

    The claim that an unidentified cameraman was responsible was initially made by OSU coach Urban Meyer during the post-game press conference. “A guy with a camera hit [Barrett] in the knee…” explained a visibly angry Meyer, going on to call for an “all-out” investigation into who was responsible, though ESPN later reported that OSU Athletic Director Gene Smith said such a probe wouldn’t happen.

    “We’re not doing a full-blown investigation to find the photographer,” Smith said. “We’re looking at what things led up to that.”

    Details about how the incident happened are unclear, and despite there being a stadium full of cameras, no footage of the actual ‘collision’ has been released. TMZ has obtained some footage of the immediate aftermath from a fan who pulled out his smartphone to record what was happening, which shows Barrett limping off and gives you an idea of just how crowded the sidelines were during warm-up:

    Despite Meyer’s anger at the specific cameraman, the incident will probably have a broader impact rather than individual punishment. Smith stresses that the focus will be on making changes so that something like this doesn’t ever happen again.

    According to ESPN, Smith said:

    The conference office is gathering data. That’s the extent of it. The outcome of it will ultimately be improved operations. There’s no attempt to try and find a person. The attempt is to find out what happened, what corrective measures we need to put in place.

    So it sounds like the individual cameraman is off the hook… unless of course this ‘collision’ translates into strict new rules and limited access for sports photographers. Then he’ll have have some very upset colleagues to answer to.

    Articles: Digital Photography Review (dpreview.com)

  • Leica unveils Noctilux-M 75mm F1.25 ASPH lens with ‘hair-thin depth of focus’

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    Leica unveiled a new low-light monster of a lens today, adding to the ‘Noctilux legacy’ with the Leica Noctilux-M 75mm F1.25 ASPH. According to Leica, the new lens boasts ‘impeccable speed’ and ‘exceptional imaging performance’ as well as “hair-thin depth of focus [that] isolates subjects with extreme precision.”

    This is the fourth Noctilux lens ever created and only the second released this century, this lens follows in the footsteps of the Noctilux-M 50mm F0.95 ASPH released in 2008. But while Leica is calling this the “co-founder of a new family of lenses,” the company is also quick to point out that the new Noctilux-M 75mm F1.25 boasts some advantages over its older brother:

    The upgraded features of the Noctilux-M 75 mm f/1.25 ASPH. open up entirely new opportunities in portrait and close-up photography, including a shallower depth of focus than that of the Noctilux-M 50 mm f/0.95 APSH. and a close focusing distance of 0.85m, making for a reproduction ratio of 1:8.8 for even more precise isolation of subjects. Additionally, the eleven blades of its iris ensure a soft and harmonious bokeh in out-of-focus areas.

    Inside, you’ll find six groups made up of nine lens elements that have been manufactured from glasses with “high anomalous partial dispersion and low chromatic dispersion.” Two of those elements are aspherical, and the lens uses a floating element with what Leica describes as a “complex focusing mechanism” (aren’t they all?) that promises high-quality performance all the way from minimum focus distance to infinity.

    You can read more about the Noctilux-M 75mm F1.25 in the full press release and tech specs below, but if you like what you read, be ready to drop some serious cash. According to Leica, the lens will retail for $ 12,795 when it shows up at Leica stores, boutiques and dealers in the beginning of 2018.

    Press Release

    Leica Camera Pushes Photographic Boundaries With the New Leica Noctilux-M 75 mm f/1.25 ASPH Lens

    True to the Noctilux legacy, the new lens boasts impeccable speed and exceptional imaging performance

    November 29, 2017 – For more than 50 years, the name ‘Noctilux’ has been synonymous with exceptional speed and outstanding optical design. Today, Leica Camera announces the newest addition to their lens portfolio – the Leica Noctilux-M 75 mm f/1.25 ASPH. Coupled with exceptional imaging performance and unique bokeh, its hair-thin depth of focus isolates subjects with extreme precision, ideal for portraits with an unmistakable “Leica look”.

    A legacy of excellence

    The first lens of the Noctilux family, the Leica Noctilux 50 mm f/1.2, was announced at photokina in 1966. While the original lens innovated with revolutionary optical properties, ongoing developments led to the launch of two additional generations of the Noctilux in 1975 and 2008. The additional lenses were developed under the premise of further pushing the envelope for imaging performance, each with a faster aperture than its predecessor. All Noctilux-M lenses to this day are special for their rendering and aesthetic when shot wide-open, yielding a three-dimensional “pop” that separates its subjects from the background like no other lenses. The out-of-focus areas behind the subject is smooth and pleasing to the eye, giving a lovely soft background even in the darkest of lighting scenarios.

    Together with the Leica Noctilux-M 50 mm f/0.95 ASPH., the Leica Noctilux-M 75 mm f/1.25 ASPH. is the co-founder of a new family of lenses. The two current members of this family are both distinguished by their extreme maximum aperture and exceptionally high performance at all apertures, even wide open, and lend themselves to the creation of timeless images marked by a distinctive and revered Leica aesthetic.

    Superior imaging performance

    The upgraded features of the Noctilux-M 75 mm f/1.25 ASPH. open up entirely new opportunities in portrait and close-up photography, including a shallower depth of focus than that of the Noctilux-M 50 mm f/0.95 APSH. and a close focusing distance of 0.85m, making for a reproduction ratio of 1:8.8 for even more precise isolation of subjects. Additionally, the eleven blades of its iris ensure a soft and harmonious bokeh in out-of-focus areas.

    To guarantee this extraordinary imaging performance, the nine elements in six groups that make up its optical design are manufactured from glasses with high anomalous partial dispersion and low chromatic dispersion. Two of the elements are aspherical, and reduce other potential aberrations to a hardly detectable minimum. The use of a floating element within the complex focusing mechanism guarantees a constantly high level of imaging performance throughout the entire focusing range of the lens – from its minimum focus distance to infinity.

    When shooting at maximum aperture, the exceptionally shallow depth of field of the Noctilux-M 75 mm f/1.25 APSH. can be easily focused in when an electronic viewfinder such as the Leica Visoflex. Additionally, the Leica M-Adapter L transforms the Noctilux-M into an excellent lens to use in conjunction with the Leica SL. When the lens is mounted on the Leica SL, the 4.4 megapixel resolution of the camera’s EyeRes® electronic viewfinder enables particularly comfortable and extremely precise focusing.

    The Noctilux-M 75mm f/1.25 ASPH. features the convenience of an integrated lens hood, which can be extended or retracted in one simple twist. The lens is complemented by a tripod adapter for safe and secure mounting of the lens on a tripod.

    The Leica Noctilux-M 75 mm f/1.25 ASPH will be available at Leica Stores, Boutiques and Dealers at the beginning of 2018.

    Technical Data

    Angle of view
    (diagonal, horizontal, vertical)

    For 35 mm format (24 x 36 mm):

    ~ 32°, 27°, 18°

    For Leica M8 models (18 x 27 mm):

    ~ 24°, 20°, 14°, equivalent to FL of ~ 100 mm in 35 mm format1

    Optical design

    Number of elements/groups

    Aspherical surfaces

    Position of entrance pupil

    (at infinity)

    9/6

    2

    26.9 mm (in front of the bayonet)

    Focusing

    Working range

    Scales

    Smallest object field/

    largest reproduction ratio

    0.85 m to ?

    Combined metre/feet graduation

    For 35 mm format: ~ 212 x 318 mm / 1:8.8,
    For Leica M8 models: ~ 159 x 238 mm / 1:8.8

    Aperture

    Settings/functions

    Smallest aperture

    With click stops, half-stop detents

    16

    Bayonet

    Leica M quick-change bayonet with 6-bit bar coding for Leica M digital cameras2

    Filter mount

    Inner thread for E67 screw-mount filters, non-rotating

    Lens hood

    Integrated, with twist-out function

    Viewfinder

    Camera viewfinder3

    Finish

    Black anodised

    Dimensions and weight

    Length to bayonet flange

    Largest diameter

    Weight

    ~ 91 mm

    ~ 74 mm

    ~ 1055 g

    Compatible cameras

    All Leica M-Cameras3, 4, Leica SL-Cameras with Leica M-Adapter L

    1 The nominal focal lengths of the Leica M-Lenses relate to 35 mm format, i.e. original image frame dimensions of 24 x 36 mm. However, with dimensions of 18 x 27 mm, the sensor of the Leica M8 models is a little smaller, by a factor of 0.75. For this reason, the angle of view of this lens when mounted on a Leica M8 model corresponds to that of a lens with a focal length that is longer by a factor of 1.33 (1.33 = reciprocal of 0.75).

    2 The 6-bit coding on the lens bayonet (7) enables Leica M8 digital models to identify the lens type mounted on the camera. The cameras utilise this information for the optimisation of exposure parameters and image data.

    3 With the exception of the Leica M3 and the former version of the Leica MP ( professional version of the M3), all Leica M-Cameras without a 75 mm bright line frame can be retrofitted with this frame by the Customer Care department of Leica Camera AG (it then appears in the viewfinder together with the frame for 50 mm lenses).

    4 This is independent of the image frame format of the respective camera – whether 18 x 27 mm (sensor size) for the Leica M8 models or 24 x 36 mm for all other Leica M models.

    Articles: Digital Photography Review (dpreview.com)

  • 2017 Buying Guide: Best pocketable enthusiast cameras

    If you want a compact camera that produces great quality photos without the hassle of changing lenses, there are plenty of choices available for every budget. Read on to find out which portable enthusiast compacts are our favorites.

    Articles: Digital Photography Review (dpreview.com)

  • Sony will start making CFast memory cards: 510MB/s cards coming in 2018

    Sony has announced that it will introduce the CFast memory card format to its professional range in the first quarter of next year, and odd and exciting move when you consider that CFast 2.0 competes directly with the XQD card format Sony helped pioneer.

    The series will launch with three memory cards that boast maximum read and write speeds of 530MB/s and 510MB/s, respectively. These G-series cards will be aimed at cinematographers and those shooting high bit-rate video, as well as stills photographers working with high frame rate cameras like the Canon 1DX Mark II.

    As mentioned above, the cards boast a maximum write speed of 510MB/s, but more importantly they also guarantee a minimum sustained write speed of 130MB/s under the Video Performance Guarantee. This helps to ensure cards do not force cameras to stop recording during lengthy sequences.

    And since pros need their cards to be sturdy as well as fast, Sony says the new CFast cards have been carefully tested for drop, vibration, shock resistance and rigidity, and states that they work in a wide range of temperatures and are highly resistant to static.

    The cards will be available in 32GB, 64GB and 128GB capacities for $ 120, $ 200, and $ 350, respectively. For more information, read the full release below or visit the Sony website.

    Press Release

    Sony completes Pro memory card line-up with new CFast range

    November 28, 2017 – Sony is launching a range of high performance CFast memory cards, which are designed to meet the needs of professional photographers and videographers. The G Series CFast 2.0 memory cards will be available in 32GB (CAT-G32), 64GB (CAT-G64) and 128GB (CAT-G128) capacities, responding to the ever increasing capabilities of high-end DSLR and 4K cinema-grade broadcast cameras. The cards offer lightning-fast write speeds of up to 510MB/s and read speeds of up to 530MB/s and join an established range of media that includes Professional internal SSDs, XQD and SxS cards, as well as the world’s fastest SD card, while strengthening Sony’s position as a leader in professional memory solutions.

    Step up to industry-leading write speeds

    Professional photographers demand faster speed for continuous burst shooting of higher resolution images including RAW. With up to 510MB/s write speed, far outperforming the capabilities of existing CFast cards, Sony’s G Series supports high-speed burst shooting of high resolution RAW, maximizing the capability of high-end DSLR cameras like the Canon 1DX Mark 2.

    Super-fast read speed for ultra-effective workflow

    Efficient workflow is essential for professional photographers and videographers working in challenging environments on tight deadlines. With a blazing fast read speed of 530MB/s, Sony’s G Series CFast dramatically reduces the time it takes to transfer RAW files, long 4K video footage and high-resolution images to a PC.

    Reliable 4K video recording with VPG130 support

    As well as ultra-fast read and write speeds, the new CFast cards support VPG130 for reliable recording of Cinema-grade or high-bitrate 4K video. A minimum sustained write speed of 130MB/s is guaranteed, making the new media ideal for stable recording of professional grade 4K video, such as Cinema RAW light mode with Canon C200 video cameras.

    Designed for strength and reliability

    The new CFast cards have passed a variety of stringent drop, vibration, shock and rigidity tests, making them perfect for shooting in many different locations. They work reliably across a wide range of temperatures and are highly resistant to static. With a hard case and Sony File Rescue software, which is available when used with a card reader in a Removable Disk configuration, the cards can recover accidentally deleted photos such as RAW images and videos, allowing professionals to shoot with confidence in the toughest conditions.

    Pricing and Availability

    Sony’s G Series CFast cards are planned to be available in early 2018 for a suggested retail price of $ 119.99 for 32GB, $ 199.99 for 64GB and $ 349.99 for 128GB.

    Articles: Digital Photography Review (dpreview.com)

  • Google finally activates ‘Visual Core’ imaging chip inside Pixel 2 smartphone

    The finalized version of Google’s Android 8.1 operating system is expected to be released in December, but today the company has announced the availability of the last Developer Preview which, among other things, activates the formerly dormant Visual Core chipset in the Pixel 2 and Pixel 2 XL smartphones.

    The custom-built system-on-a-chip (SOC) is designed to power and accelerate the Pixel 2 phones’ HDR+ function that achieves better dynamic range and reduced noise levels through computational imaging. The feature is already incredibly powerful, so we can’t wait to see how it gets even better with this additional hardware boost applied.

    HDR+ photo captured with the Pixel 2 for our Sample Gallery. Credit: Allison Johnson

    The latest Pixel smartphone generation comes with the chip built in, but it appears Google ran out of time before the Pixel 2 launch to fully optimize Visual Core implementation in the device, and therefore decided to not activate it. With the new software version, Visual Core can can now be turned on through an option in the Developer menu.

    In addition to souping up the Pixel 2’s native camera app, this update also allows third-party apps using Android Camera API to capture HDR+ shots. Previously, this function has been exclusive to the Google Camera app.

    There is a wide selection of third-party apps for all types of mobile photographers available in the Google Play Store. It’s no doubt a positive move by Google to make the capability of using HDR+ available to all of them. To install the Android Developer Preview, your Pixel 2 device needs to be registered in the Android Beta Program. Or you could just wait for the official Android 8.1 launch in December.

    Articles: Digital Photography Review (dpreview.com)

  • The Yashica Y35 digiFilm camera raised over $1.25M in crowdfunding

    Despite a decidedly lukewarm reception in our community—and much mockery from the pro and semi-pro photographers out there—the Yashica Y35 camera and its digital ‘film’ cartridges has become an Internet sensation, raising many, many times more than the required funding to make it to market.

    The company’s Kickstarter campaign was backed by 6,935 funders who together contributed HK$ 10,035,296 (about US$ 1.286M). And now, in case you missed the Kickstarter round, Yashica has put the Y35 on Indiegogo as well, to ensure that the project not only goes ahead, but that it comes with a few upgrades too.

    In case you’re not familiar, the Yashica Y35 digiFilm project aimed to create a digital camera that acts more like a film camera—complete with film winder and ‘film’ cartridges with different ISO ratings and alternative image characteristics. While many found this idea silly on the face of it, thousands more disagreed and poured their money into Yashica’s crowdfunding campaign, allowing the company to upgrade the camera’s specs a little bit.

    Originally, the Y35 was intended to feature a 1/3.2in sensor, but that has been upgraded to a 1/ 2.5in sensor (still with the original 14MP pixel-count). The 35mm lens has also had a positive change in specification, going from f/2.8 to a four-element f/2.0 lens with a wider diameter and what the company promises is better image quality.

    There is a gallery of sample shots captured with a pre-production version of the Y35 camera—with its bigger sensor and faster lens—on the Kickstarter and Indiegogo pages if you’re curious. As for the production model, the camera is due to be delivered to crowdfunding backers in May of 2018.

    Articles: Digital Photography Review (dpreview.com)

  • Photographer sues Bruno Mars for posting childhood photo of himself on Instagram

    Photo by Brothers Le, CC-BY-2.0

    Singer Bruno Mars recently shared a childhood photo of himself from 1989, and now the photographer behind the photo, Catherine McGann, is suing him for copyright infringement. The image was shared by Mars back in June on Instagram, Twitter, and Facebook, amassing more than a million ‘likes’ and thousands of comments.

    As of this writing, it’s still live on the pop star’s Instagram account:

    A post shared by Bruno Mars (@brunomars) on

    The lawsuit, which was first surfaced via TMZ, is being leveled against both Mars and record label Warner Music. According to McGann, Mars never asked for permission to share the image on his social media accounts, and the lawsuit seeks any and all profits made from the image’s use, plus damages.

    A look at McGann’s Instagram page shows that she posted a version of the image with a copyright notice on November 3rd, 2016.

    Articles: Digital Photography Review (dpreview.com)