360Photography

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  • Billingham introduces the tiny ‘72’ for premium compacts and small mirrorless kits

    Premium British bag manufacturer Billingham has launched a new small shoulder bag called the Billingham 72, aimed at users of fixed lens premium cameras and those with small mirrorless bodies. The Billingham 72 features a new padding design that puts a double layer of high-density foam all around the body of the bag in a continuous form that leaves no spaces between the sides and the base.

    Traditional Billingham canvas or FibreNyte finishes are available, both of which are weather, water and heat resistant for the entire life of the bag. All fittings are made from leather and brass, and a quick release catch allows easy access to the cover whether the bag is over the shoulder or attached to your belt.

    The bag is available in a choice of five color combinations that will go on sale in the UK tomorrow for £100. Sales in the USA are expected to begin after Christmas.

    For more information visit the Billingham website.

    Press Release

    Small and perfectly formed. Billingham announces the ‘72’

    High quality, lightweight, compact bag with dense foam padding offers outstanding protection for fixed prime lens and small system cameras

    Designed for owners of fixed prime lens cameras and the growing range of small mirrorless and compact systems, Billingham has today announced the Billingham 72. The new, high quality, lightweight bag will be available to view and order for the first time at the Digital Splash 17 exhibition in Liverpool, 7-8 October.

    The Billingham 72 will come in five colour combinations and will cost £100 inc. VAT:

    • Sage FibreNyte & Chocolate Leather
    • Khaki Canvas & Tan Leather
    • Burgundy Canvas & Chocolate Leather
    • Black Canvas & Tan Leather
    • Black FibreNyte & Black Leather

    At 150 x 130 x 190mm (WxDxH), the Billingham 72 is the ideal size for premium fixed lens cameras such as the Leica Q, Fujifilm X100 range or Sony DSC-RX1R series, and many small mirrorless system cameras with one standard lens, such as the Fujifilm X-T2, Olympus OMD E-M series, Leica M rangefinders or Canon EOS M kits. The bag itself, with shoulder sling attached, weighs just 0.46kg.

    Made in England at the Billingham factory, the 72 offers extensive protection thanks to a newly-designed arrangement of structured, highly dense foam in a continuous double layer around the whole body of the bag. This special fortified padding safeguards the entire camera and lens, keeping all edges and corners fully protected.

    Heavier camera bodies with small lenses fit perfectly into the Billingham 72 interior with the grip facing upwards. A padded inner lid over the main compartment completely covers the top end of the camera, but allows the photographer quick access to their equipment when required. Ideal for travelling, or when working in large crowds, the equipment is shielded on all sides from any knocks or bumps.

    With an outer body constructed of either Billingham canvas or FibreNyte, the Billingham 72 offers the ultimate in water resistance and provides full defence against inclement weather conditions. Both materials are hard-wearing yet lightweight and never require reproofing, remaining moisture- and heat-resistant for their entire life. FibreNyte is an extra-rugged material that is colour-fast, and delivers exceptional durability and protection against wear and tear.

    The bag’s Quick Release System comprises a strong leather tab and brass ClogBall, enabling fast opening with one hand to retrieve the camera, while securing the equipment in transit. Each model is reinforced with the finest top-grain leather, and all fittings are made from solid brass.

    For maximum versatility, the Billingham 72 comes with a comfortable, detachable shoulder sling made of extra strong, shuttle-woven spun polyester, which is long enough to be worn across the body. It also incorporates a wide belt loop for those who prefer to keep their camera a little closer.

    A precisely-formed removable foam base and a vertical padded divider attached with Velcro® are included with the Billingham 72, enabling the photographer to configure the bag and adjust it to fit their individual requirements. A small pocket on the front provides storage for a spare battery, lens cap or memory cards.

    As with all Billingham bags, the 72 is manufactured with extreme precision, meeting meticulous technical standards. Once it has passed Billingham’s strict quality controls, each bag is adorned with a laser-engraved woven label containing an individual 10-digit barcoded serial number as part of the company’s Unique Identifier (UI) system, allowing the bag to be registered, identified and tracked throughout its life.

    Harry Billingham, director at M. Billingham & Co, said, “The idea for the Billingham 72 was conceived by our newly formed in-house design team, following extensive research into the market. They identified a need for a secure but lightweight bag to protect smaller systems or fixed lens cameras, particularly those with heavier bodies, that also gives photographers immediate access to their equipment. It makes a perfect addition to our range, providing owners of small premium cameras with a smart, reliable and robust way of protecting their valuable kit from the elements and daily wear and tear.”

    The Billingham 72 comes with a 5 year manufacturer’s guarantee.

    A collection of leather accessories is available for all Billingham bags, including fine leather luggage tallies and shoulder pads, to complement the colour and style of each model.
    More information on the Billingham range can be found at www.billingham.co.uk.

    Billingham 72 technical specifications:

    • External dimensions: 150 x 130 x 190mm (WxDxH)
    • Internal dimensions: 110 x 90 x 140mm (WxDxH)
    • Capacity: 1.38 litres
    • Weight: 0.33 kgs (without shoulder sling) / 0.46 kgs (with shoulder sling)
    • Sling: Adjustable between 99cm and 172cm in length
    • Front pocket: 110 x nominal x 120mm (WxDxH)

    Availability

    The Billingham 72 is available to order now from Billingham stockists in the UK.

    Articles: Digital Photography Review (dpreview.com)

  • On1 Photo RAW 2018 announced: Adds HDR processing, advanced masking and more

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    On1 just released the newest version of its stand-alone RAW photo manager and non-destructive editor: On1 Photo RAW 2018. Put another way, there’s now yet another alternative to Lightroom out there, and with this new update the program is more capable than ever, adding features like HDR merge and panorama stitching, advanced masking capabilities, and more.

    You can get a decent overview of the new features in the 2018 version in the video below:

    The main additions to this version of On1 Photo RAW are On1 HDR, panorama stitching, new advanced masking options like Feather and Density that allow you to alter a mask globally, Color range masking, versioning, selective noise reduction, and an updated UI that On1 characterizes as “clean and modern.” There’s also a new “Paint with Color Brush” that allows you to either paint with a solid color or leave the luminosity of the underlying layer intact to change things like eye or hair color.

    You can get a full breakdown of these and other new features on the On1 blog.

    The app is being released as a free Beta on Friday, with an official release slated for the end of October. The full app—which promises ‘much more’ when it arrives after the beta period—will cost $ 120 for new users, while current On1 users will have the option to upgrade for a discounted price of just $ 80 (usually $ 100). Both the full version and upgrade package are already available for pre-order.

    To learn more about the app or pre-order your copy, head over to the On1 blog by clicking here.

    Articles: Digital Photography Review (dpreview.com)

  • From the sidelines to the driver’s seat: A photographer’s evolution

    I have worked as a race photographer, a wedding photographer, landscape photographer; I photographed architecture, food, portraits and hot air balloons.

    One of the most incredible things about a photography career is how it has this magical ability to open doors—how my camera has, time and again, taken me from a spectator on the sideline and put me right in the middle of the action.

    In my own career, I’ve experienced this many times. Here are just three of those stories (and some shooting tips along the way).

    A teenager at the race track

    I was fortunate as a teenager when a race car driver threw me a rag and told me to get under his race car and clean it from the tire rubber that was stuck to the underside. I had gone to the racetrack after spending earlier years building models of these very race cars. I wanted to see the real deal.

    From that relationship, I grew to become a professional photographer, since I was lucky enough to sell all of the images from my first roll of film to the drivers at that same racetrack. I always had a desire to drive one of those 200mph “funny cars.”

    This wonderful eye-opening experience led me to create work for the NHRA, AP and many racing magazines creating story-telling images of these now 300mph plus vehicles across the country.

    Shooting Tips

    What is most important to me when capturing cars in the drag racing world is to isolate the car from the distractions near the racecar. Generally, I let the car move down the track, away from the starting line crowds, creating a soft, dimensional background in order to allow the car to stand out.

    By using a telephoto lens like my EF 200-400mm f/4L IS USM Extender 1.4x on my Canon 1DX Mark II, I can create a background made of the heat and exhaust, totally drawing the viewers attention to the razor sharp car. Compression is a wonderful tool to use in order to maintain a story-telling image, but first and foremost seeing every detail of the subject: the race car.

    Another technique that I use commonly in my motorsports imagery is panning with the moving car as it goes by. Panning emphasizes speed by keeping the camera moving at the same speed as the race car. This then blurs the background, making the car look as if it is moving very quickly.

    A slow shutter speed helps illustrate the movement. I may select shutter speeds of 1/30 – 1/500 sec depending upon the speed of the car that I am photographing. For this effect I am choosing to use the TV or shutter priority setting in order to allow me to maintain that certain amount of motion blur. I still try to include some of the race signage to continue that story-telling aspect of your imagery. This image was created with my workhorse EF 70-200mm 2.8L II IS lens.

    While capturing the cars on the racetrack is a wonderful way to spend the day, I do look to see what I can do to add some personal element by visiting the drivers as they are strapped in to their cockpits or as they sit peacefully, contemplating their upcoming run.

    One of the last tips that I would like to share with you about capturing image of powerful race cars is about the launch. I prefer to stand down track and create interesting edges to frame the main part of the composition. A drag race uses a “Christmas tree” of lights to indicate when to go. Many cars have perfected the weight transfer of the start of the race which lifts the front wheels high in the air.

    The fun of flying and photography

    Not too long after that amazing career-carving experience of photographing race cars, I drove to Norwalk, Connecticut in order to see and photograph a small hot air balloon festival. A few weeks later, I needed another balloon festival fix and drove north to Glens Falls, NY where I would buy my first hot air balloon ride.

    All I can say is “Wow.” The hook was in. I would soon become a hot air balloon pilot.

    Fast forward to today: I will soon head out to New Mexico for AIBF happening October 7th-15th, 2017. I will be there to both fly and photograph this magnificent spectacle.

    5 a.m. comes early in the chilly desert air. My team and I need to be at the launch field for a 6:15 am pilot briefing in order for me and nearly 600 other pilots to take to the air filling the New Mexican blue skies with our colorful fabrics. I will be photographing right up until the time that I need to begin my inflation.

    We are treated to “Dawn Patrol” when eight to twelve hot air balloons will go aloft into the dark sky about 1 hour before the rest of us do, showing what the winds are doing that day.

    Shooting Tips

    As most balloon events happen in the still of the early morning, we are treated to the rising sun illuminating the rich, colorful, flowing fabric that can be backlit showing leading lines and the abstract beauty that surrounds them. Wide angle lenses as well as longer telephotos are often used here to create diversely different dimensional images.

    As a pilot, I so enjoy the ability to capture images from the air looking down to see so many unique compositions. This image of the “Mass Ascension” shows how you can create gorgeous landscape images as we fly over and into the river for a “splash and dash.” Pilots descend to gently float along in the rivers current.

    I choose to fly with the EF 28-300mm 3.5-5.6 IS L lens so I can create images that are either wide angle or zoom in to make a tight composition while carrying only one camera body. My best tip to you when you go aloft in a balloon is to be ready to react with lightning reflexes: images come and disappear quickly as everything is moving in many different directions all at once.

    I prefer to use TV or shutter priority in order to use a pre-determined shutter speed that should guarantee sharp images while moving along.

    My final tip as you walk amongst the bags of fabric that will soon grow to be a balloon as tall as a 10 story building is to search out a very pretty, colorful foreground that could nicely balance a floating balloon slowly flying past, creating a multidimensional look like the above image captured through the EF 28-300mm IS L lens.

    I can create images of hot air balloon events with hundreds of other balloons around me or I can fly in the desert at sunrise or sunset to have a unique perch in order to take some beautiful landscape images. It certainly puts a smile on my face whenever I get to fly, either in a balloon or even a small fixed-wing aircraft, all to enjoy being off the ground as well as seeing images from a different perspective.

    Taking to the skies… again

    My last story of coming from the sidelines into the driver’s seat (or in this case cockpit) would be when I furthered my flying abilities and accomplished my fixed-wing license that would carry me to locations that driving just would not allow in a relatively short time.

    My first flight after successfully adding to my airmen’s license was to head to the beautiful island off the Massachusetts coast called Martha’s Vineyard. From my home on Long Island, it would take me 5-6 hours to reach the ferry that would bring you over to the island. I could fly the same route in 45 minutes.

    I would do this a few times a year to go have lunch and shoot on the island before heading home for the day, very content. Photographing the beauty, flying and navigating and enjoying some remarkable culinary delights makes for a wonderful day!

    Shooting Tips

    Whether I’m in a fixed wing plane or a helicopter, I need to select the best lens that will be able to reach out beyond the boundaries of the aircraft to capture what I am looking for.

    I will then make sure to remove my lens hood and anything else that could come off the camera while flying along at over 100 mph, and set my ISO high enough to give me a shutter speed of at least 1/1000 sec for the sharpest images.

    Personally, I enjoy flying with the EF 100-400 mm f/4 IS L lens because it’s both compact and provides a great range of focal lengths. I find it important to crop my photographs in the camera, taking advantage of each and every mega-pixel my Canon gives me. Zoom lenses like this allow me to be exact in my cropping.

    I always consider the lighting as a part of the planning of the flight time. I want to be able to fly in the most dimensional light possible. That lighting will provide shadows that will define the landscape below. What a great way to see and create images of iconic locations but from a different perspective.

    Shape, shadow and color are very important tools that I make use of as often as possible. It may be the warm light of a sunset on the red rocks of the desert southwest or the cool morning flight over the lava fields of Hawaii. You can reserve any aircraft for the time that you would like to fly, so, select that right time for the image that you see in your mind’s eye.

    In order to create the best images of any subject, you need to be intimately familiar with that subject. Throughout my photographic career, I have been able to succeed at photographing anything as long as I had some knowledge of what I was photographing.

    Having knowledge of the race cars that I was learning about working on gave me the edge to be able to create story-telling imagery. I then took that and ran in order to be the best that I could be. The same followed when I chose to be a hot air and fixed wing pilot—photography opened the door to be more than a spectator, but then the experience provided me the knowledge and platform to succeed.

    So much of being a successful photographer comes down to being knowledgeable of the subject and the relationships that you make along the way. From there, it’s up to you to continue to drive to be the best that you can—you are only as good as your most recent project.

    I hope that, at least, will be an incentive for you to continue to grow and improve your skills. It certainly worked for me!

    Ken Sklute is a multi-talented photographer and Canon Explorer of Light with over 42 years of professional photography experience. Over the course of his career, he’s photographed people, professional sports, architecture, weddings and landscapes (among other things).

    To see more of his work, be sure to visit his website, or by following him on Facebook and Instagram.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm releases firmware updates for X-T2, X-Pro2 and two lenses

    Fujifilm has released firmware updates for its X-T2 and X-Pro2 camera bodies. The update to version 2.12 on the X-T2 and version 3.12 on the X-Pro2 fixes an issue that could occasionally cause the cameras to lock up when shooting in continuous high speed mode.

    The X-T2 and X-Pro2 firmware updates are available to download at the links below:

    • X-T2 Firmware ver. 2.12
    • X-Pro2 Firmware ver. 3.12

    Additionally, the company released updates for its XF 18-55 and XF 10-24 lenses. The new versions of the lens firmware fix an issue that could cause the focal length to be displayed incorrectly, and/or cause shaking in peripheral parts of images, even with focal length focus fixed.

    You can download those updates by clicking on the links below.

    • XF18-55 Firmware ver. 3.22
    • XF10-24 Firmware ver. 1.12

    Articles: Digital Photography Review (dpreview.com)

  • Pixelstick creators unveil the Colorspike: An incredibly versatile LED lighting strip

    The inventors of pixelstick have launched a new Kickstarter campaign to fund their latest creation: a strip of LEDs they’re calling the ‘colorspike.’ Like the pixelstick, it can be controlled via an app to produce a range of effects; unlike the pixelstick, the colorspike panel is more about lighting and color than it is about fun effects or light painting.

    At about two feet long, the colorspike consists of a strip of LED lights that the user can program to produce a massive range of different colors and pulsating lighting effects. The results, when used in concert with, say, portrait photography, can be striking:

    The idea is that stills and video photographers can use these to add easily controlled color to their shoots, while videographers can also include flashing lights to emulate emergency vehicles, fire, lightning and any interrupted lighting.

    The colorspike panels are controlled via a smartphone app that allows colors and effects to be selected from an existing menu or to be custom mixed for the occasion (and saved for later use). Finally, groups of color spikes can be controlled together from the app to create more complex set-ups, and users can determine brightness, color and pulsation patterns via the app or the interface on the panel itself.

    For on-location shooting, a battery is supplied that the company claims will last at least 45 minutes; and for those working near a mains power supply, a DC adapter also comes included the kit.

    The colorspike is being launched on Kickstarter with a price of $ 270, and kits of four can be had for the discounted price of $ 1,000. The company, Bitbanger, expects delivery to begin in March next year if the target of $ 120,000 is reached—and given they’ve already reached over half of that goal with a full 42 days left in the campaign, chances are good the colorspike will become a reality

    For more information on this nifty new lighting accessory, visit the colorspike Kickstarter page or Bitbanger’s website.

    Articles: Digital Photography Review (dpreview.com)

  • Seagate’s 12TB BarraCuda Pro is the fastest, highest capacity desktop drive on the market

    As storage needs grow with the rise of VR content and ubiquity of 4K video, it looks like more and more hard drive options are becoming available that boast better reliability and performance at even bigger capacities. Case in point: Seagate has just announced new 12TB versions of its IronWolf, IronWolf Pro, and BarraCuda Pro hard drives, following hot on the heels of Western Digital’s recent 12TB drive launch.

    These new Seagate drives come in a 3.5-inch form factor, with the BarraCuda Pro drive designed for desktop use, while both IronWolf drives are designed for Network-attached Storage (NAS) devices.

    According to Seagate, the new 7200rpm 12TB BarraCuda Pro is “the fastest, highest-capacity and most reliable hard drive for desktop computing available on the market today.” The inclusion of Intel Optane non-volatile memory offers responsiveness and performance akin to that of an SSD, as well as twice the load and boot speeds compared to standard drives. This tech allows the drive to offer sustained data transfer rates of 250MB/s and burst data speeds up to 6Gb/s.

    The IronWolf drives, meanwhile, are designed for creative professionals and others who prefer centralizing data onto a NAS unit. Both of the new 12TB drives support Seagate’s IronWolf Health Management software, which is designed for use with the Asustor NAS, Synology DiskStation NAS, and QNAP NAS units and helps to protect data with ‘prevention, intervention, and recovery’ solutions.

    The IronWolf 12TB drive has a sustained data transfer rate of 210MB/s and the IronWolf Pro 12TB has a sustained transfer rate of 250MB/s. Both the IronWolf and IronWolf Pro 12TB HDDs are listed on Newegg for $ 470 and $ 540, respectively. Unfortunately, the ‘world’s fastest’ of the bunch, the BarraCuda Pro 12TB drive, isn’t currently listed, but you can probably expect a price north of $ 600.

    Press Release

    Seagate Expands Guardian Series Portfolio With 12TB Drives For NAS And Desktop Computing

    12TB IronWolf™, IronWolf™ Pro and BarraCuda® Pro deliver highest capacity, reliability and performance available on the market

    CUPERTINO, CA – Seagate Technology plc (NASDAQ: STX) announced today its IronWolf™, IronWolf™ Pro and BarraCuda® Pro hard drives are now available at capacities up to 12TB. Offering the highest capacity, reliability and performance in the industry among network-attached storage (NAS) and desktop HDDs, Seagate’s 12TB IronWolf and BarraCuda Pro drives further extend the capabilities of the leading Seagate Guardian Series to meet the growing data needs of large enterprise business, small and medium-sized businesses (SMBs), and creative professionals.

    Across the globe, we are experiencing a massive increase in the volume of data created, with a recent study by IDC and Seagate finding that data creation will swell to a total of 163 zettabytes (ZB) by 2025, 10x more than today. Seagate’s latest portfolio of 12TB drives are designed for today’s media storage needs – including augmented reality (AR), virtual reality (VR), 4K resolution and 360-degree videos – and offer scalability for the future with increased space and speed.

    “Our storage hungry customers and partners continue to ask for our latest and greatest technology along with increased capacity and performance in our purpose built products,” said Matt Rutledge, senior vice president of Business Marketing at Seagate Technology. “With the 12TB Pro products, Seagate buyers are overcoming capacity constraints in their systems and can access vast amounts of digital data anytime, from anywhere.”

    12TB BarraCuda Pro Desktop Drive
    Seagate’s 12TB BarraCuda Pro HDD is the fastest, highest-capacity and most reliable hard drive for desktop computing available on the market today. With 12TB of capacity – double the space of its closest competitor – the BarraCuda Pro can meet any number of demanding data management needs from creative editing workflows to gaming to desktop computing. The drive’s high speed means that data-intensive activities like large file transfers and photo-editing are faster when using BarraCuda Pro.

    12TB IronWolf and IronWolf Pro for NAS
    Offering the highest capacity, reliability, performance and system scalability in the industry, Seagate’s 12TB IronWolf and IronWolf Pro HDDs empower customers to centralize their data onto NAS systems to ensure round-the-clock access for multiple users. At 12TB and in only a 3.5 inch form factor, IronWolf and IronWolf Pro offer more capacity in less space, meeting the needs for file-sharing, remote access and backup for SMBs, enterprises and creative professionals.

    “Whether it’s storing your family photos, collaborating on important documents at work, or protecting your home with our video surveillance solutions, Synology NAS enthusiasts will be excited by the addition of Seagate’s 12TB IronWolf drives,” said Alex Wang, CEO of Synology America Corp. “By working together, Seagate and Synology are providing great ways for people to safeguard their digital lives and get the most out of their private cloud.”

    The new 12TB drives also support Seagate’s leading IronWolf Health Management (IHM) software. Designed to operate on enabled Synology DiskStation NAS, Asustor NAS, and QNAP NAS, populated with Seagate IronWolf or IronWolf Pro drives, IHM improves the overall system reliability by displaying actionable prevention, intervention or recovery options for the user and will be available within the next quarter with NAS partners.

    “We are excited with Seagate’s launch of the industry’s largest capacity NAS drive – the 12TB IronWolf and IronWolf Pro,” said Meiji Chang, general manager of QNAP, adding, “QNAP has collaborated with Seagate for many years on product and technology enhancements, working with them to create the best hard drives for NAS users. We believe that Seagate’s new IronWolf family provides the performance, reliability, and capacity needed to dependably store the vast data generated by virtualization, high-resolution media workflows, the Internet of Things, and other applications driven by modern QNAP NAS solutions.”

    The 12TB versions of IronWolf, IronWolf Pro and BarraCuda Pro are now shipping to customers worldwide. For more information on the Seagate Guardian Series, please visit www.seagate.com/internal-hard-drives.

    Articles: Digital Photography Review (dpreview.com)

  • Aputure launches 2K watt Light Storm 300D LED light, its brightest light yet

    Aputure has launched the Light Storm 300D, a 4.6lbs / 2.1kg LED light measuring 13.5in / 34.29cm long with up to 142,000 lux and an output equivalent to a 2,000 watts tungsten. The light can be powered with batteries or through AC power, and can be wirelessly controlled from distances up to 150m / 492ft. Control is also possible through what Aputure calls an intuitive control box.

    The light’s low temperature coupled with its Bowens mount enables users to attach nearly any Bowens mount accessory (if you can find them…), according to Aputure. Additionally, an integrated ultra-silent fan works alongside internal thermometers to intelligently adjust its speed based on the light’s temperature.

    Color accuracy is exceptional with a CRI rating of ?95 and TCLI rating of ?96 alongside a 5500K±200K color temperature.

    The Light Storm 300D is currently listed on Amazon with an in-stock date of November 15th and a $ 1,100 USD price tag.

    Articles: Digital Photography Review (dpreview.com)

  • Throwback Thursday: Google Nexus One

    On October 4th Google introduced two new smartphones: the Pixel 2 and Pixel 2 XL. These phones pack the latest 8-core Qualcomm Snapdragon processors and large displays, along with the impressive AI systems that make these devices stand out from many of their peers.

    You have to be a real phone aficionado to remember the Nexus One – Google’s first smartphone (codeveloped with HTC) – which debuted in 2010. In 2017 terms the One’s specs are almost laughable, with its single-core processor, half gigabyte of RAM, 5MP rear camera and whopping 3.7″ display. The Nexus One actually had two different displays. It initially shipped with a PenTile AMOLED display but later switched to a Super LCD that promised better power efficiency and color accuracy (though saturation and deep blacks got worse as a result). It also had a trackball reminiscent of Blackberry phones of that era.

    The phone launched with Android 2.1 (Eclair) preinstalled and supported voice-guided navigation and voice-to-text transcription. Not long after the One got upgraded to Android 2.2 (Froyo), which added support for Adobe Flash (which was short-lived), a new home screen and Wi-Fi tethering. The final update the Nexus One received was to Android 4.0 (Ice Cream Sandwich), as its hardware couldn’t keep up with subsequent versions.

    Were you one of the lucky few who owned a Google Nexus One? Let us know in the comments.

    View our Google Pixel 2 launch coverage

    Product mockup by Zach Vega.

    Articles: Digital Photography Review (dpreview.com)

  • Live coverage of the Google Pixel 2 launch on DPReview

    10:45am PT

    That’s all folks! You can learn more about these products on the Google Store right now. As for us, we’ll be running over to get our hands on the new Pixel 2 and Pixel 2 XL in person, and see if they really are the world’s best smartphone camera. Stay tuned or our hands-on take later today!

    10:43am PT

    The Google Clips camera looks for clear moments to capture. You can clip it anywhere. It features an F2.4 lens, 130° field of view, and captures short ‘clips’ that can be saved as motion photos, videos, or high res stills. You can choose which high-res still to save by navigating through a clip. When reviewing clips on your phone, just swipe right to save any one.

    Will cost $ 250 and is “coming soon.”

    10:40am PT

    “A camera that takes photos for you, so you can enjoy the moment and get shots you could never get before.”

    Starts with an AI engine at the core of the camera. Google Clips looks for “moments” by analyzing the scene and capturing photos automatically, so you can be part of the moment you’re capturing.

    10:38am PT

    One more photography update, having to do with candid photography that lets you be part of the moment as the photographer.

    Meet Google Clips: a new lifelogging-style camera designed with parents and pet owners in mind.

    10:37am PT

    Here’s something they did NOT mention when talking about the new screen: the new Pixel 2 wide gamut display claims to offer “100% DCI-P3 coverage.” While OLEDs often offer close to full DCI-P3 coverage, our Technology Editor Rishi Sanyal is a bit skeptical of the 100% figure and wants to see an actual CIELAB diagram. Some estimates ‘cheat’ by counting extended gamut outside of the P3 space in one color to make up for the lack of gamut coverage in another color. We’ll have to wait and see, but most OLED coverage estimates max out at 99% DCI-P3 coverage.

    Plus, we’re still waiting to find out if the Pixel 2 phones offer proper color management to provide accurate color on these wide gamut displays. Even the original Pixel phones offered wide gamut displays, but displayed wildly inaccurate colors because of the lack of proper color management and display profiles.

    10:30am PT

    Worth noting about that DxOMark score of 98: that’s an aggregate of Photo and Video scores.

    The Samsung Galaxy Note 8 still beats the Google Pixel 2 in the Photo category, scoring 100 to the Google Pixel’s 99. The Pixel’s insane Video score of 96 is what gives it that high overall score. In Video, the iPhone 8 Plus scored an 89 and the Note 8 only scored an 84. We’re guessing this high score is largely due to the smooth video the combination of optical + electronic stabilization enables.

    Here’s DxOMark’s full review.

    10:27am PT

    Feature breakdown:

    • Ultra Vivid OLED Display
    • Super Fast Charging
    • Water Resistant
    • The Fastest Fingerprint Sensor
    • Smartest Assistant
    • First Phone with Google Lens
    • Exclusive AR Stickers
    • World’s Highest-Rated Camera

    Pre-orders start today.

    10:23am PT

    12MP F1.8 rear camera with OIS. Smaller 1/2.55″ sensor though (1/2.3″ on last year’s models). HDR+ still takes a burst of shorter exposure shots to preserve highlights, then combines (averages) them to reduce noise. The latter essentially simulates the effect of a larger sensor. While this works very well for static scenes, it can be problematic for moving objects like running kids.

    Portrait mode in the Pixel 2 uses Google’s computational photography tech. No second camera required. Just split pixels on the sensor combined with machine learning. This allows both the front and back camera to use Portrait Mode.

    It’s actually quite clever: the phone creates a rudimentary depth map using Dual Pixel technology and machine learning. Or, as our Tech Editor explains it, “The pixels are split just like on Canon Dual Pixel sensors. And the Samsung Galaxy. It’s used for phase-detect AF (fast focus) as well as to create a rudimentary depth map using the left and right perspectives viewed from behind one lens. Smart.”

    And you no longer have to move the camera upward while taking a photo in Portrait mode. You can just snap a shot. This would make it work better with slightly moving subjects compared to the original Pixel phones. Sadly, Portrait mode is not simulated in real-time as it is on recent iPhones.

    Oh, and the Video mode uses OIS and EIS at the same time. We’ve seen this on 1″-type compact cameras and some ILCs like Canon M-series and the Olympus E-M1 Mark II, but it’s a first for smartphones. This should lead to incredibly smooth video!

    10:20am PT

    Pixel camera now!

    “With Pixel 2, we have reimagined smartphone photography. DxOMark has issued Pixel 2 an unprecedented score of 98.”

    That trounces the iPhone 8 Plus and Samsung Galaxy Note 8 which both scored 94.

    10:18am PT

    Augmented reality updates now. Very similar to the AR updates we saw with Apple and the new iPhones—inserting furniture or games into the real world through augmented reality.

    Something ‘exclusive’ to Pixel 2 are AR stickers that interact with the world and with each other… because Google needed something to compete with Apple’s Animojis.

    10:14am PT

    Talking about Google Lens now. Using pictures, machine learning technology, and Google Assistant to pull information out of images and tell you all about them. Like pulling phone numbers off a flyer, or… telling the difference between muffins and chihuahuas (their example, not ours).

    10:10am PT

    Squeezing the phone triggers Google Assistant, so you can ask it to take a selfie. And it uses Machine Learning to tell if that squeeze was “intentional.”

    Still waiting on more comprehensive updates about the camera. Hopefully it’s not all software and AI-based improvements. We’re really hoping for some hardware updates like OIS and maybe a bigger sensor or better processor.

    *fingers crossed*

    10:05am PT

    Pixel 2: Full HD OLED display on the smaller 5-inch model. 100,000:1 contrast ratio. More than twice the contrast ratio of phones in its class (save for the iPhone X). Comes in three colors: Kinda Blue, Just Black, and Clearly White.

    Pixel 2 XL: Less bezel, ‘gently curved’ screen, wide color gamut display, integrated circular polarizer so you can view the screen through sunglasses, 538 ppi (up from 534 ppi in the first Pixel XL). Comes in two colors: Just Black and ‘stylishly simple’ Black and White. We’re told the screen is optimized for VR, which may mean a pixel arrangement more amenable to high magnification.

    “We don’t set aside better features for the larger device.” OOOO sick burn on Apple.

    And yes, they are both IP67 dust and water resistant! On par with the iPhone, but a bit short of Samsung’s IP68. That’s a big upgrade from the IP53 rating of last year’s phones (what do IP ratings mean?).

    10:00am PT

    Google VP Mario Queiroz on stage, getting ready to talk about a ‘smarter’ and ‘simpler’ smartphone.

    The Google Pixel 2, designed “with the best of Google built in.” Comes in 2 sizes, 5-inch and 6-inch XL. More Google Assistant capabilities and will “continue to offer the best photography.”

    9:58am PT

    One hour later, we’re FINALLY about to hear about Pixel 2 and Pixel 2 XL!!!

    9:55am PT

    The 12.3-inch Quad HD touchscreen is nice, it’s the first laptop with Google Assistant built in, and the laptop comes with the new Google Pen that can be used in concert with Google Assistant. 2,000 levels of pressure sensitivity… wonder how well photo editing in Lightroom on the Pixelbook works with the pen?

    9:49am PT

    *Sigh*…

    Still waiting on the Google Pixel 2 launch. Moving on to Pixelbook from Google Home. It’s like they’re TRYING to torture the photo nerds. Let’s see if there’s any photo-centric reasons to be excited about the Pixelbook…

    9:35am PT

    We’re getting a bunch of Google Home updates/announcements. There’s a small one now… something about fabric… they needed 100+ tries to find an appropriately grey grey… cool stuff… clearly we’re very interested in this part.

    *insert Jeopardy waiting music here*

    9:21am PT

    Next generation of Google devices are “fast” and “easy to use” and “anticipate your needs.” Products that get faster and more helpful over time thanks to machine learning.

    9:19am PT

    Rick Osterloh: “Pixel had the best and top rated smartphone camera. We’re really proud with how well the Pixel did as our first generation smartphone.”

    He’s not wrong. But there’s a lot of room to improve…

    Rick is talking about the challenges facing hardware development. So Google is going to take a “different approach” to smartphone [photography] advances by living at “the intersection of AI, software and hardware.”

    9:12am PT

    Pichai is confident that Google is at the forefront of driving the shift to this AI-first future.

    One of the major leaps forward Google has made, is in Object Detection, which he says is now at 45% accuracy! The company is using this tech in Google Lens and, says Pichai, in the Google Pixel smartphones.

    9:05am PT

    Google CEO Sundar Pichai on stage. Started with a somber note about the horrifying tragedy in Las Vegas, and the natural disasters around the world.

    Now talking about how Google is using machine learning technology to improve everything from Google Maps, to parking difficulty prediction, to Google Translate. Pichai is “excited about a shift from a Mobile-first to an AI-first world.”

    This shift will no doubt have a major impact on the future of mobile photography.

    8:59am PT

    Are you ready? The Google DJs are winding down the music.

    8:45am PT

    We’re officially inside the SF Jazz Center waiting for the presentation to start! A few things we’re hoping for: optical image stabilization, better depth of field simulation with live preview, and a much more durable Pixel 2/XL on par with the iPhones (IP67 rating) or even Samsung’s Galaxy Note 8 (IP68 rating).

    8:30am PT

    Hot on the heels of Apple’s own smartphone announcement, Google is taking on the iPhone 8 Plus and iPhone X with its own release. In T-minus 30 minutes, Google is set to unveil the Pixel 2 and Pixel 2 XL (among a few other things) and we’ll be covering the launch live from San Francisco on Twitter and on this page.

    Watch the livestream with us, and keep refreshing this page for up-to-the-minute takes on all things photography related from the Google event.


    Articles: Digital Photography Review (dpreview.com)

  • Sigma to reveal new lens at PDN PhotoPlus Expo 2017

    Lens maker Sigma will showcase its full range of Sigma Global Vision lenses, Cine high-speed primes and zooms as well as the Foveon sensor-based sd Quattro and Quattro H cameras at the upcoming PDN PhotoPlus Expo 2017 Expo trade show in New York City later this month, but that’s not all they’re doing.

    The company has also announced it will reveal one completely new lens at the show, teasing us with this little detail without revealing anything else about the upcoming glass.

    Additionally, a number of photographers and other imaging professionals will take the stage at the Sigma booth and talk about how they use Sigma products in the areas of aviation, editorial, glamour, landscape, travel and wedding photography.

    As if those weren’t enough reasons to pay a visit, PPE 2017 attendees who visit Sigma’s booth (#837) will also have a chance to enter and win a Sigma 24-70mm F2.8 Art lens. Something to think about if you happen to be in New York at the end of October…

    Sigma Reveals its PDN PhotoPlus Expo 2017 Line Up and a Brand New Lens

    The breakthrough year for Sigma Global Vision Art, Contemporary and Sport lenses on display; brand new lens addition to be unveiled; Sigma Pros light up stage with new presentations

    Ronkonkoma, NY – October 4, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, will showcase its full line up of Sigma Global Vision lenses, including a brand-new addition to the line, at the upcoming PDN PhotoPlus Expo 2017 Expo held at the Jacob Javits Convention Center in New York City from October 26-28, 2017 (booth 837).

    The company will also have on hand its breakthrough optics for the cinema market – the Sigma Cine high-speed Primes and Zooms – as well as the Foveon sensor-based sd Quattro and Quattro H cameras.

    “Sigma has had a landmark year with the introduction of seven new lenses across our Global Vision and Cine product lines,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “Our research and development team is dedicated to creating superior optics that meet the ever-growing requirements of today’s high resolution cameras, taking advantage of every possible design and element to capture the greatest picture detail for both still and moving images. We look forward to showcasing the culmination of what has been a remarkable year in optical advancements for Sigma at this year’s PPE event.”

    Sigma 2017 introductions include the award-winning 14mm F1.4 DG HSM Art, 24-70mm F2.8 DG OS HSM Art, 135mm F1.8 DG HSM Art, 100-400mm F5-6.3 DG OS HSM Contemporary Sigma Global Vision lenses and the new Sigma Cine FF High Speed 14mm T2 and 135mm T2 prime lenses.

    Sigma Special PPE Presentation – Sigma Pro Phenom Jen Rozenbaum
    Sigma Pro Jen Rozenbaum will take the PPE stage on Wednesday, October 25, 11:00 AM – 12:30 PM to deliver a PPE Master Class on “How to make every woman look amazing.”Jen will share with attendees her vast experience in boudoir photography, providing top tips and secret tricks – from wardrobe to posing – that flatter all women. Jen’s presentation will help attendees understand how to best dress and pose any woman of any size and shape as well as gain confidence behind the camera whether they are shooting boudoir, wedding or seniors!

    Master Photographers Take the Sigma Stage
    Showcasing the very best in photography craft, the expanded Sigma Pro family will headline the Sigma stage and offer attendees a behind the lens look at the techniques and technology that captured some of the year’s most outstanding photographs in the areas of aviation, editorial, glamour, landscapes, travel and weddings.

    This year’s prestigious Sigma Pro PPE stage line-up includes outdoor sports and adventure travel photographer Liam Doran, aviation photo expert Jim Koepnick, renowned bird and travel photographer Roman Kurywczak, fearless woman photographer Jen Rozenbaum, and glamour and wedding photographer Jim Schmelzer.

    The exciting topics include (listed by Sigma Pro) and showcase lenses from Sigma Global Vision Art, Contemporary and Sport lines:

    • Liam Doran – Adventure Sports Photography: Get a behind the scenes look at the fast-paced world of editorial adventure sports photography with Liam Doran clients Powder, Bike, Ski, Mountain, Outside, Aka Skidor and many more. Showcasing Art and Sport lenses.
    • Liam Doran – Signature Images – A Visual Journey: From skiing in Switzerland to mountain biking in Colorado, Liam shares the backstory on how some of his favorite images were shot and which Sigma lenses helped him capture some of his best work. Showcasing Art and Sport lenses. Liam shoots extensively with the 12-24mm F4 DG HSM Art, 24-70mm F2.8 Art, 100-400mm F5-6.3 Contemporary and the 150-600mm F5-6.3 DG OS Contemporary and the 70-200mm F2.8 EX DG OS HSM lenses among others.
    • Jim Koepnick – Documentary Photography…A Single Lens Solution: While there is a mystique about street photography with an old rangefinder camera and one lens, the bottom line is the photo that is captured, and the story that photo tells the viewer. Jim shares what a pro can do with a Sigma 18-300mm F3.5-6.3 DC Macro OS HSM Contemporary lens.
    • Jim Koepnick – Air Show Photography – Sigma Has It Covered: Air shows are one of the most popular spectator events in the country, and the wide variety of Sigma lenses make it easy to photograph every aspect of exotic aircraft in the air and on the ground. Learn the best techniques for capturing fast moving planes in flight and making creative images of planes and personalities on the ramp using the Sigma 12-24mm F4 Art, 24-70mm F2.8 Art, 100-400mm F5-6.3 Contemporary and the 150-600mm F5-6.3 Contemporary lenses.
    • Roman Kurywczak – For the Love of Landscapes: Roman will take attendees on an inspirational journey showcasing the magic of landscape photography through useful tips, suggested camera settings, instruction on innovative techniques and recommendations for the optimal Sigma brand lenses and gear for capturing stunning images of your very own. Showcasing the Sigma 12-24mm F4 Art, 14mm F1.4 Art, 100-400mm F5-6.3 Contemporary and the 150-600mm F5-6.3 Contemporary lenses.
    • Roman Kurywczak – Getting Close for Impact: This educational lecture will show you the technical tips and tricks needed to take your close-up photography to the next level. Attendees will learn how to consistently capture sharp images, front to back, handheld, and all in a single frame with a variety of Sigma lens options including the Sigma 105mm F2.8 EX DG OS HSM, 150mm F2.8 EX DG HSM, APO Macro 180mm F2.8 EX DG HSM, 18-300mm F3.5-6.3 Contemporary, 100-400mm F5-6.3 Contemporary and the EM-140 DG Macro Flash.
    • Roman Kurywczak – Photographing Wildlife – from Portraits to Action: This exciting photographic journey will give attendees the important information they need to know about photographing wildlife out in the field – from camera settings to Sigma lens and accessory choices. Roman will share striking examples illustrating how the right lens choice positively impacts the image without breaking your budget. Showcasing the Sigma100-400mm F5-6.3 Contemporary, 150-600mm F5-6.3 Contemporary, 300-800mm F5.6 EX DF APO HSM and the 500mm F4 DG OS HSM Sport lenses.
    • Roman Kurywczak – Photography After Dark: This informative how-to program is designed to open up your eyes to the possibilities of photographing landscapes after dark, whether a natural landscape with the star filled sky as a backdrop, or dazzling city lights photographed from a helicopter using a variety of Sigma lenses including the Sigma12-24mm F4 Art, 14mm F1.4 Art and the 24mm F1.4 DG HSM Art lenses.
    • Jen Rozenbaum – Bulletproof Posing for All Women: Confidence is just as important behind the lens as it is in front of it! Posing women is a creative challenge for all photographers. Join Jen as she shows her bulletproof tips and tricks for posing women to make them look simply amazing, and give the photographer and subject the confidence that generates an incredible shoot. Showcasing the Sigma 50mm F1.4 DG HSM Art,85mm F1.4 DG HSM Art, and the 24-105mm F4 DG OS HSM Art lenses.
    • Jim Schmelzer – Glamour Photography Using Exotic Lenses for Impact: Jim will showcase a variety of glamour images shot with Sigma Art and Sport lenses. He will deconstruct shots –sharing tips, including those that he used to capture the stunning images of world-class models from his latest commercial glamour shoot in Cancun Mexico. Showcasing the Sigma 85mm F1.4 DG HSM Art, 120-300mm F2.8 DG OS HSM Sport and the 135mm F1.8 Art lenses.
    • Jim Schmelzer – Choosing the Right Lens for Your Wedding Day Assignment:Wedding day photographers must wear a variety of hats. They need to be an architectural photographer, photojournalist, portrait artist and most importantly, they need to be fast and accurate. Look over Jim’s shoulder as he demonstrates how he captures the versatility in images required of today’s modern wedding photographer. Showcasing the Sigma 12-24mm F4 Art, 24-105mm F4 Art, 35mm F1.4 DG HSM Art and the 85mm F1.4 Art lenses.

    For the Sigma Pro presentation schedule days and times, please visit:https://blog.sigmaphoto.com/event/photoplus-2017/ ?

    Sigma Super Giveaways at PPE 2017
    PPE 2017 attendees who visit Sigma at booth 837 will have a chance to enter and win a Sigma grand giveaway – a 24-70mm F2.8 Art – an MSRP value of $ 1299.00 USD!

    Re-engineered and introduced in 2017, the newly updated 24-70mm F2.8 Art lens is Sigma’s workhorse zoom lens. It touts a brand new Optical Stabilizer (OS), Hypersonic Motor (HSM) for highly efficient and fast autofocus, as well as a dust- and splash-proof mount with rubber sealing.

    The 24-70mm F2.8 Art lens embodies all the technical qualities and finesse that define the high-performance Sigma Global Vision Art series. A popular industry focal range covering a wide array of shooting scenarios, the 24-70mm’s optical design also includes three SLD (Special Low Dispersion) glass elements and four aspherical elements to ensure image accuracy and sharpness. The 24-70mm F2.8 Art aspherical elements use Sigma’s thicker center glass design and highly precise polishing process, delivering stunning images and bokeh effects. The lens’ purpose-built structure boasts a new metal barrel for optimal durability with TSC composite internal moving components designed to resist thermal contraction and expansion. Available for Canon, Nikon and Sigma camera mounts.

    Articles: Digital Photography Review (dpreview.com)