360Photography

Category: Uncategorized

  • Peak Design announces 5L Everyday Sling camera/drone bag

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    Peak Design announced the 5L Everyday Sling, a small light-weight bag that can be carried as either a sling or a fanny-pack. The smallest bag in the company’s Everyday line, it’s got room for a full frame DSLR with a moderate-size lens, a mirrorless system with a few lenses, or a DJI Mavic Pro/Spark + controller + accessories. There are two interior pockets, one of which can fit an 11″ tablet, as well as an additional exterior zipper pocket.

    The exterior is made off weatherproof nylon canvas, like all bags in this line, and both zippers are also weatherproof. Colors include in ash with leather accents or black with black accents. Retail price is $ 100.

    Articles: Digital Photography Review (dpreview.com)

  • iOS apps can secretly record and take pictures once you’ve given them camera permission

    If you want to be sure nobody is spying on you through your laptop’s webcam, the best thing you can do is cover the lens—but the same might actually be true for the camera on your Apple smartphone.

    Felix Krause, a developer at Google, has found that any iOS app could secretly use the iPhone’s camera to record images and video of the user, once given permission to access the camera at all. Krause developed an app for demonstration purposes that shows how an app could use either front or rear cameras to capture images and video in the background. The resulting footage or images could be directly transferred to cloud servers without the user being aware or receiving any notifications.

    The camera could also be used to run real-time face recognition, possibly even identifying the user.

    The good news is that Krause’s app is not approved for distribution through the iTunes App Store; hopefully such malicious behavior would be picked up during Apple’s pretty strict review process. However, if you want to be entirely certain you’re not being spied on, the best options seem to be covering the lens or not granting camera access to any app you don’t 100 percent trust.

    For a better idea of the issue, watch the video below that shows Krause’s proof-of-concept app in action, or read the full report on his website.

    Articles: Digital Photography Review (dpreview.com)

  • X-Rite unveils i1Studio: An all-in-one spectrophotometer that can calibrate all your devices

    X-Rite has launched the i1Studio, an all-in-one spectrophotometer designed to make it easy to color calibrate a variety of devices—including projectors, scanners, monitors, printers, and mobile devices. The spectrophotometer is joined by new i1Studio software, the ColorTRUE Mobile App for calibrating iOS devices, and the ColorChecker Calibration for Cameras, a standard 24-patch target.

    The i1Studio offers dedicated profiling for the aforementioned devices, as well as Black & White prints. Module features include ambient light measurement, Flare Correct, adaptive profiling technology, support for several video standards including NTSC and PAL, multiple monitor profiling, and extended user controls over luminance, gamma, contrast ratio, and white point.

    The device’s related software is based on the platform X-Rite used for its 1Profiler software, promising a “perfect balance” between controls and automation alongside what X-Rite describes as a “streamlined user experience.” ColorMunki Photo & Design customers are offered a complimentary i1Studio software update, as well.

    The kit is available now from X-Rite for $ 490 USD.

    Press Release

    X-Rite Announces its New i1Studio for Expert Color Results from Capture-to-Print

    All-In-One color control solution with unmatched versatility for cameras, scanners, displays, printers, projectors and iOS mobile devices

    X-Rite Incorporated, the world leader in color management and measurement technologies announces the i1Studio, an all new start-to-finish color management solution that delivers expert results from capture through to print.

    The i1Studio enables exceptional color accuracy for photographers, filmmakers and designers of all levels to achieve consistent and predictable results across their workflow – saving time and money. The package comprises the i1Studio all-in-one spectrophotometer, i1Studio software, X-Rite’s market leading ColorChecker camera calibration tools and the ColorTRUE mobile app.

    “Photographers tell stories with their pictures. Along with light, color plays an essential role in telling these stories. We want to make sure that your story is told as perfectly as possible, whether it’s color or black and white. Managing color should be easy with getting accurate repeatable results every time as the ultimate goal. i1Studio provides an intuitive, start-to-finish color management solution for every device in our users’ workflow so they can easily achieve this goal and get amazing results.”

    – Liz Quinlisk, Marketing Director Photo & Video, X-Rite.

    The i1Studio package comes with:

    • i1Studio Device: The all-in-one i1Studio spectrophotometer is the only device creatives will need to profile their monitors, projectors, scanners, mobile devices and printers.
    • NEW i1Studio software for Displays, Projectors, Scanners and Printers: The i1Studio software, based on X-Rite’s award winning i1Profiler software, provides an easy to navigate interface that delivers expertly calibrated and profiled monitors (including video pre-sets), projectors, scanners and printers, including a new dedicated Black & White print module for creating custom profiles for five unique B&W looks.
    • ColorChecker Calibration for Cameras: The included industry standard 24 patch target allows creatives to create custom camera profiles, set a custom white balance and have a neutral starting point no matter what light photographers are shooting in for a more streamlined editing process. (Also includes Adobe® Lightroom® Plug-In)
    • ColorTRUE Mobile App for iOS Devices: A simple way to calibrate Apple® iOS mobile devices for a true mobile to desktop color match of all images. (Downloadable from Apple App Store)

    X-Rite’s i1 brand has long been the choice for color perfectionists around the world and is now extended to the i1Studio.

    Amongst its wide array of features, i1Studio includes dedicated profiling for Black & White prints, scanners, mobile devices and video monitors. The new i1Studio software is engineered on the same platform as X-Rite’s i1Profiler, offering a streamlined user experience with the perfect balance of automation and creative controls. This gives users more options and more control, while delivering prints perfectly matched to their creative vision.

    X-Rite’s i1Studio is now available through our global reseller network and on xritephoto.com, xritephoto.eu and xrite.com.

    Existing ColorMunki Photo & Design customers can obtain a complimentary upgrade to i1Studio software at xrite.com/geti1Studio.

    Articles: Digital Photography Review (dpreview.com)

  • Video: The story behind Albert Watson’s iconic Steve Jobs portrait

    Albert Watson is one of the best, and best-known portraitists in the world, and in this video by Profoto he tells the story behind one of his most iconic shots: THE portrait of Apple co-founder Steve Jobs.

    It’s a photo that you have no doubt seen—be it on the Apple homepage the day Jobs passed, or on the cover of Walter Isaacson’s biography of the tech giant—but the story behind it takes just 2 minutes to tell. Watson explains how he instantly earned Jobs’ cooperation, how he got Jobs to look into the camera with his trademark intensity, and how the portrait came to adorn the Apple website on the day Jobs passed away.

    Hear the story from Watson himself in the video above.

    Articles: Digital Photography Review (dpreview.com)

  • Canon G1 X Mark III pre-production sample gallery

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    The Canon G1 X III isn’t a whole lot bigger than the G5 X, but it hosts a much bigger APS-C sized sensor. Consider its 24-70mm equiv. lens, Dual Pixel AF, built-in EVF and generous dedicated controls and you’ve got a versatile tool that juuuuust fits in your coat pocket. We’ve been shooting with a pre-production model; the JPEG images in this beta gallery have been down-scaled to 90% at Canon’s request.

    See our Canon PowerShot G1 X Mark III pre-production sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Canon EOS M100 shooting experience and gallery

    Washington State is known as the Evergreen State, a slogan that is emblazoned on automotive license plates from Seattle to Spokane. New York is the Empire State. Montana is Big Sky Country, and Florida is the Sunshine State.

    What about Idaho? Famous Potatoes.

    Seems to me there’s a lot more to Idaho than just potatoes. Processed and cropped to taste in Adobe Camera Raw using the Camera Landscape color profile. Great exposure in full automatic mode.
    ISO 200 | 1/250 sec | F2.8

    While on a recent road trip through Idaho, this topic of state slogans came up with a few traveling companions who happen to live in the state capital, Boise. In all fairness, it does look like there is an updated slogan. “Great Potatoes. Tasty Destinations.” Eh. Somehow, it still fails to capture any sense of the awesome beauty that I experienced on my first trip through the north-western part of the state, along the Snake River and Hells Canyon and through the Clearwater Mountains.

    The primary reason for this trip was to get some more shooting time in with the Canon EOS 6D Mark II. But I also threw the new, beginner-friendly Canon EOS M100 with the 22mm F2 pancake prime into my jacket pocket for capturing some of the lighter moments on the trip.

    And given just how much of a thing I have for large-sensor compact cameras with prime lenses, it shouldn’t be much of a surprise that I really, really enjoyed it.

    What Canon got right

    Not a bad parking spot. Processed to taste in Adobe Camera Raw using the Camera Neutral profile.
    ISO 100 | 1/250 sec | F5.6

    The most important thing that Canon got right with this camera is that it’s just fun to use. With a good full Auto mode, and an easy switch over to Program Auto or Aperture Priority, it was easy to just yank the M100 out of my pocket, take a quick shot, and put it back in at a moment’s notice. This was especially handy on, say, the top of a mountain with failing post-sunset light.

    Despite the fairly serious guts in the M100, which include Canon’s newest 24MP APS-C sensor and Digic 7 processor, the M100 doesn’t feel like too ‘serious’ a camera to use. While it sometimes seemed overkill to take out the 6D II for some photos of late-night photo editing or a trip to the pool hall, the EOS M100 just seems made for such photographic opportunities.

    Image processed to taste in-camera using tuned monochrome settings, with increased sharpening and contrast – still another good exposure from full Auto mode.
    ISO 6400 | 1/40 sec | F2.8

    It’s also true that default sharpening and noise reduction values aren’t really our favorites on Canon’s recent cameras, but if your main purpose is getting better photos than what your cellphone can capture and then uploading to Instagram, it doesn’t seem to be too much of a problem. Speaking of cellphones, the built-in NFC on the M100 (which the older M10 also has) makes pairing with Android phones an absolute breeze.

    And if you find yourself needing to tweak your images, the M100 is one of the few entry-level Canon cameras that allows for in-camera Raw processing, which is a really nice touch. It also makes it easier to find your preferred settings.

    Lastly, the tilting touchscreen combines with the excellent Dual Pixel AF to make shooting from the hip a really addictive experience.

    Smartphone cameras are steadily improving, but there’s no way my phone could handle this sort of thing. Processed and cropped to taste in Adobe Camera Raw.
    ISO 2000 | 1/60 sec | F2

    Things to consider

    Of course, there’s also a couple things Canon could improve. I mean, look at this USB port. Just look at it.

    What’s wrong with this picture?

    First off, that’s a mini USB port, not the far more common micro USB port, so good luck finding a cable should you need to transfer over USB. The bigger issue is that the USB port included on the M100 does not support USB charging – something that’s also true of Canon’s EOS M5 and M6.

    These cameras, particularly the tiny M100, practically beg to be travel cameras, at least with the pancake prime. Even if I’m traveling ultra-light, I’ll need a charger for my phone, and being able to share that between the phone and camera means one less power brick to lose. Plus, if I do lose it, a generic USB charger is damned near ubiquitous compared with something that works specifically with Canon’s LP-E12 batteries. And if you already have a bigger Canon kit with its own chargers, do you really want to carry another dedicated charger?

    Besides that, I do wish that the M100 came with the M6’s screen mechanism. The fact that the screen only flips up makes shooting top-down difficult, but it’s better than a screen that doesn’t tilt at all, particularly given the M100 lacks a viewfinder. Of course, a more complex screen mechanism would likely mean a bigger physical size, so there’s no free lunch here, I suppose.

    Tilt-up screens – great for low angles with pets and kids, lousy for high angles of whatever it is you might be eating. Out-of-camera JPEG in auto mode, cropped to taste.
    ISO 200 | 1/250 sec | F5

    Lastly, there’s no getting around the limited native lens ecosystem for Canon’s EF-M mount. Seriously, I love the 22mm F2, but it’s the only compact, fast prime they’ve released in five years. The 35mm macro option is great to have, and the 11-22mm wide-angle is of high-quality, but is it too much to ask for a native fast 50mm equivalent? Given the system’s size, packing an extra lens or two isn’t going to be too much of a stretch for people who are into photography, but there just aren’t great options out there right now.

    The wrap

    This Idaho roadtrip got me thinking. We did, of course, do a lot of serious photography with the Canon EOS 6D Mark II, including some portraits with Canon’s gorgeous new 85mm F1.4L IS as well as some off-road action with something called an RZR. For the more serious stuff, the 6D Mark II was far and away the better tool.

    But after a full day of shooting, when I’d stumble across some nice light or a casual moment I wanted to capture, I found that having the M100 in my pocket was a godsend, especially if it was my main option while the 6D II’s batteries were charging, or files were backing up, or I simply didn’t want to carry a full-frame DSLR with me out to dinner.

    The EOS M100 was great for when I wanted to unwind from using a full-frame DSLR all day, but still have the capability to snag some nice photos. Out-of-camera JPEG.
    ISO 4000 | 1/60 sec | F2

    For the serious photographer, the M100 doesn’t make much of a case for itself as that user’s only camera. But for someone looking for a fun second camera, or a smartphone user looking to get into more serious photography with an excellent and easy-to-use touchscreen interface (i.e. the camera’s intended audience), the EOS M100, with its updated sensor, processor and autofocus system, is definitely worth a look. And sure, it’s just another ‘entry level’ model, but kind of like Idaho and it’s ‘famous potatoes,’ you may find there’s a lot to like in the M100 when you start exploring it – or better yet, exploring with it.

    Sample gallery

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    Articles: Digital Photography Review (dpreview.com)

  • Tamron unveils lightweight 100-400mm F4.5-6.3 ultra-telephoto zoom for $800

    Tamron just revealed its newest ultra-telephoto zoom. Meet the Tamron 100-400mm F4.5-6.3 Di VC USD (Model A035) for full-frame Canon and Nikon DSLRs—a lens that combines compact, lightweight construction with ‘superior’ image quality and ‘fast and precise AF’, according to Tamron. The lens’ tagline: heavyweight performance in a lightweight lens.

    The new lens was revealed this morning, and its claim to fame is its size and weight. At just 39.3 oz., the new 100-400mm lens is the lightest in its class thanks to the use of magnesium allow in ‘key areas’ of the lens barrel. Inside that barrel you’ll find 17 lens elements in 11 groups—including three low dispersion (LD) elements—and Tamron’s high-speed Dual MPU that allows for ‘fast and precise AF’ as well as four stops of stabilization.

    Below are some sample photos captured with the new Tamron 100-400 F4.5-6.3 Di VC USD at the racetrack by photographer Takahito Mizutani for Tamron:

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    The Tamron 100-400mm F4.5-6.3 Di VC USD will be available starting November 16th, in both Canon and Nikon mounts, for $ 800. To find out more or see more impressive sample photos, read the full press release below or head over to the Tamron website.

    Press Release

    100-400mm F/4.5-6.3 Di VC USD (Model A035)

    Tamron announces the launch of a new ultra-telephoto zoom lens with fast and precise AF, superior image quality and a lightweight, compact design

    October 26, 2017, Commack, New York— Tamron USA, Inc. , announces the launch of a new ultra-telephoto zoom lens, 100-400mm F/4.5-6.3 Di VC USD (Model A035), for full-frame Canon and Nikon DSLR cameras. The Model A035 delivers fast and precise AF performance and consistently powerful VC (Vibration Compensation) 4 stops*1 benefits thanks to the high-speed Dual MPU (Micro-Processing Unit) control system that is found in the latest Tamron lens models. The advanced optical design of Model A035 includes three LD (Low Dispersion) lens elements for aberration reduction and Tamron’s original eBAND Coating for superior anti-reflection performance. At 1,115g (39.3 oz), the new lens is the lightest in its class*2 and features magnesium alloy in key areas of the lens barrel to ensure weight reduction, and improve strength and portability. Model A035 is compatible with Tamron’s 1.4X tele converter and the Tamron TAP-in ConsoleTM that enables lens customizations for focus adjustments, VC mechanism adjustments and more. Additionally, an Arca Swiss compatible tripod mount is available as an optional accessory. The new Tamron 100-400mm will be available in both Canon and Nikon mounts on November 16th at $ 799.

    PRODUCT HIGHLIGHTS

    1. High-speed Dual MPU (Micro-Processing Unit) control system delivers quick and highly responsive autofocus performance plus outstanding VC image stabilization

    The Dual MPU system includes an MPU dedicated to vibration compensation processing, enhancing the computational capacity of the entire system. An MPU with built-in DSP (Digital Signal Processor) provides high-speed digital signal processing and achieves outstanding autofocus performance and vibration compensation, both indispensable for ultra-telephoto photography.

    2. Superb image quality in an ultra-telephoto zoom lens

    The Model A035 includes three LD (Low Dispersion) lens elements for optimal optical design and aberration correction. Lighter weight, increased light transmission and crisp images with excellent contrast are achieved by reducing the number of lens elements while ensuring an appropriate balance with aberration correction. The A035 has minimum object distance (MOD) of 1.5 m (59 in) and a maximum magnification ratio of 1:3.6 for close-up work.

    3. Exclusive eBAND Coating reduces flare and ghosting

    The new A035 features Tamron’s eBAND (Extended Bandwidth & Angular-Dependency) Coating, which has an extremely low refractive index and fine multiple-layer coating technology, to achieve outstanding antireflection performance. BBAR (Broad-Band Anti-Reflection) Coating, with excellent antireflection characteristics, increases light transmission. These coating technologies greatly reduce the ghosting and flare that can occur when subjects are backlit.

    4. Lightest weight, 1,115 g (39.3 oz) lens in the ultra-telephoto zoom lens class*, and only 196.5 mm (7.7 in) long

    Magnesium alloy is used in key areas of the lens barrel to improve weight reduction, strength and portability. Total length of 196.5 mm (Nikon mount) means a compact size for an ultra-telephoto zoom lens covering up to 400 mm, and the A035 can therefore be easily carried in a standard camera bag. Combined with excellent vibration compensation functions, the compact size enables successful handheld ultra-telephoto photography.

    *Length is the distance from the front tip of the lens to the lens mount face.

    5. Optional accessory tripod mount is Arca-Swiss compatible

    An Arca-Swiss style tripod mount is available as an optional accessory. Designed exclusively for Model A035, it provides quick and secure attachment to a tripod and greater stability. An easy-to-hold grip shape includes an expanded mounting plane, and the use of magnesium helps achieve lighter weight, thereby further facilitating handheld photography.

    6. Compatible with tele converters and TAP-in Console

    Model A035 is compatible with tele converters designed exclusively for Tamron lenses to achieve 1.4X and 2X the original focal length*. It’s also compatible with Tamron’s TAP-in Console (Model TAP-01), an optional accessory enabling users to update lens firmware and customize the lens settings, including adjustments of focusing positions for autofocusing and the operation modes for the lens’s Vibration Compensation system.

    *Use of the 1.4× tele converter results in light reduction of 1 F stop; use of the 2× tele converter results in the loss of 2 F stops

    7. Moisture-Resistant construction and fluorine coating for enhanced weather protection

    The surface of the front element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The front surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture or oily fingerprints, allowing for much easier maintenance. Also, with active use of the A035 for outdoor photography likely, sealant is used in each of the movable and joining areas of the lens barrel to resist the intrusion of moisture.

    8. Electromagnetic diaphragm system now used also for Nikon-mount lenses

    An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses*. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a built-in motor through electronic pulse signals.

    * Available only with cameras compatible with the electromagnetic diaphragm (D5, D4s, D4, D3X, Df, D850?D810, D810A, D800, D800E, D750, D600, D610, D300S, D500, D7500, D7200, D7100, D7000, D5600, D5500, D5300, D5200, D5100, D5000, D3400, D3300, D3200, D3100). (As of October, 2017; Tamron)

    9. External design places importance on functionality and ease of use

    While inheriting the design that makes use of many organic curves and the delicately polished form down to fine details that characterize the SP lens series, the new Model A035 comes with a highly sophisticated design that also places a lot of importance on the lens’s functionality and ease of use, featuring an overall form that faithfully encompasses the internal structures within, a slim Luminous Gold brand ring and the switch shape design.

    Tamron 100-400mm F4.5-6.3 Di VC USD specifications

    Principal specifications
    Lens type Zoom lens
    Max Format size 35mm FF
    Focal length 100–400 mm
    Image stabilization Yes
    CIPA Image stabilization rating 4 stop(s)
    Lens mount Canon EF, Nikon F (FX)
    Aperture
    Maximum aperture F4.5–6.3
    Minimum aperture F32–45
    Aperture ring No
    Number of diaphragm blades 9
    Optics
    Elements 17
    Groups 11
    Special elements / coatings Three LD elements + eBAND coating
    Focus
    Minimum focus 1.50 m (59.06″)
    Maximum magnification 0.28×
    Autofocus Yes
    Motor type Ring-type ultrasonic
    Full time manual Yes
    Focus method Extending front
    Distance scale Yes
    DoF scale No
    Physical
    Weight 1135 g (2.50 lb)
    Diameter 86 mm (3.39″)
    Length 199 mm (7.83″)
    Materials Magnesium alloy
    Sealing Yes
    Colour Black
    Zoom method Rotary (extending)
    Filter thread 67.0 mm
    Hood supplied Yes
    Tripod collar No
    Optional accessories Tripod collar

    Articles: Digital Photography Review (dpreview.com)

  • Sony a7R III UHD 4K sample video clips

    The Sony a7R Mark III can shoot UHD 4K video at 24 and 30p using the full width of its image sensor or over-sampled footage using a Super 35 crop. We had a quick moment to shoot sample clips while at a Sony-sponsored shooting event earlier this week in New York City. All the clips were shot hand-held, using the camera’s tracking AF function and the new 24-105mm F4 lens.

    The first clip was shot in UHD 4K/24p at the camera’s highest bit rate using the full sensor. You’ll notice the tracking jumps off the subject midway through the clip, only to re-acquire toward the very end. You can download the clip here.

    The next clip was shot UHD 4K/30p using the Super 35 crop mode (also hand-held, using tracking). In this mode, the camera shoots using a 5176 x 2924 pixel region and down-samples it to produce highly detailed 3840 x 2160 UHD 4K footage. In theory, this footage should look better than the full frame footage. You can download the clip here.

    The final clip above was also shot in UHD 4K/30p, but this time Full Frame for the sake of comparison. You can download it here. We’d expect the difference between the quality of the clips to be exaggerated in lower light, where the Super 35 mode is actually using more of the sensor, even though the full frame mode is taking its footage from a more dispersed area.

    For more out-of-camera samples, check out our Sony a7R III sample image gallery.

    Articles: Digital Photography Review (dpreview.com)

  • Photo of the week: I Am Legend

    At first glance this image seems much akin to “Wanderer above the Sea of Fog,” a lonely hiker standing at the edge of a cliff. This is no coincidence as Caspar David Friedrich’s paintings have always been a great inspiration to me. Their striking iconography and atmosphere are unparalleled; however, this image was not taken in Germany, Friedrich’s home country, but in Japan.

    Most might not be able to tell, since the fog doesn’t allow for our gaze to wander off into the distance. But some might have heard of the location it was shot before: the isle of Yakushima. It is a small island about 100 kilometers south of the southern most main isle of Japan called Kyushu. Its great expanses of temperate rainforest have since 1993 been part of the UNESCO World Heritage due to their diverse endemic flora and fauna. Some of the island’s Japanese Cedars are up to 7,000 years old.

    The forest is often engulfed by clouds hanging in the mountains which reach up to almost 2,000 meters in altitude. To explore the woods was one of my main goals when I travelled to the island earlier this year. Even though it’s the rainiest part in all of Japan I just couldn’t help to go. What awaited me was beyond what I had expected.

    It was much like what I had seen in Princess Mononoke—a movie the setting of which was largely inspired by the forests of Yakushima. Actually so much so, that there is now a small part of the forest titled “Mononoke no Mori,” which translates as “Mononoke’s Forest.

    For four days I hiked with my friend Philipp Lutz along the Yakushima traverse, witnessing the forest’s and mountain’s beauty. Part of the allure of the place was the fact that it is not very well known in the western landscape photography realms; something which comes as no surprise, given the language barrier and its distance to Europe and the US mainland. Luckily my friend and I do speak some Japanese, so it wasn’t as hard for us to obtain the information we needed to get around.

    This specific image was taken on the third day on the island on our way up to Miyanoura-Dake, the highest elevation of the island. Originally we had planned to get up that day, but the islands paths were quite long and winding, offering so many photo opportunities such as this one, that we spent much time just shooting the forest scenery instead of treading on, arriving a day later than anticipated.

    Due to the topography of the island the upper slopes of the mountain ranges are almost always engulfed in fog. When we went through the undergrowth for some time we came to a cliff where I almost stumbled down the slope as the path was taking us through the ravine you can see on the right side of the image. The old cedar trees were omnipresent and lend the forest its distinct, primordial character. With this image I tried to combine the aforementioned iconography of “The Wanderer above the Sea of Fog” with the island’s unique fauna and mood to forge an atmospheric rendition of what it was like to hike through this one of a kind landscape. It is times like these where I feel like telling people that I am inspired much by landscape painters is more than just a educational phrase to encourage students in my workshops to look beyond photography to find meaningful inspiration. I for myself might not have taken this image had I not looked at so many of Friederich’s works.

    This is something with may be lost on the younger generation and the myriads of instagram selfies on cliffs, but the image type is not even a product of out post-modern, self-referential crave for admiration. Instead it is part of a long tradition dating back hundreds of years.

    Nicolas Alexander Otto is a semi-professional landscape photographer based out of North-Rhine Westphalia, Germany. He writes for different online and print media, teaches workshops for several agencies, sells prints and calendars and offers post processing sessions. You can find more of his work on his website, Facebook and Instagram.

    Articles: Digital Photography Review (dpreview.com)

  • Hands-on with Zeiss Milvus 25mm F1.4

    Hands-on with Zeiss Milvus 25mm F1.4

    Zeiss just announced a new prime lens for full-frame Canon and Nikon DSLRs: The Milvus 25mm F1.4 is very big, very heavy, and should be very high-performing – and we just got our hands on one.

    Hands-on with Zeiss Milvus 25mm F1.4

    The new Milvus 25mm F1.4 is the fourth widest lens in the family – which ranges from 15mm to 135mm – and brings the total number to Milvus lenses to 11, four of which boast fast F1.4 apertures. As we’d expect from previous lenses in this series, build quality is extraordinarily good. If you can handle the size and weight, the experience of using a Milvus is nothing short of luxurious.

    Hands-on with Zeiss Milvus 25mm F1.4

    Optical construction comprises 15 elements in 13 groups, including a grand total of six aspherical elements, for a (claimed) almost total reduction of CA. If that sounds like an expensive way to make a lens, it is. The Milvus will cost $ 2400 (but that’s still a lot less than a new Leica Thambar).

    Hands-on with Zeiss Milvus 25mm F1.4

    At 123mm (4.8 inches) long and 1225 g (43.20 oz), the Milvus 25mm F1.4 is a large, heavy lens. The Canon EOS 5D Mark IV shown here is a pretty chunky camera, but the Milvus makes it look like an Olympus OM-D E-M10 III…

    Hands-on with Zeiss Milvus 25mm F1.4

    Announced earlier this year, the Milvus 35mm F1.4 is similarly tank-like, weighing in at 1174 g (41.40 oz).

    Hands-on with Zeiss Milvus 25mm F1.4

    As well as being slightly lighter, the Milvus 35mm F1.4 is a little less expensive than the 25mm too, at $ 2228.

    Articles: Digital Photography Review (dpreview.com)