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Russell Kirsch, inventor of the pixel, dies in his Portland home at age 91

14 Aug

Computer scientist Russell Kirsch, best known for inventing the pixel, passed away August 11 at his home in Portland, Oregon. He was 91-years-old.

Kirsch, who was of Jewish descent and the son of immigrants from Russia and Hungary, was born to in Manhattan, New York City, in 1929. It was there in New York City he would go on to graduate in 1946 from the Bronx High School of Science before heading off to New York University in 1950, followed by Harvard University in 1952 and the Massachusetts Institute of Technology (MIT).

In 1951, While still in school, Kirsch joined the National Bureau of Standards as a member of the Standards Eastern Automatic Computer (SEAC) team, which was in charge of handling the U.S.’s first programmable computer, which was created just a year prior.

This image measured just 179 pixels by 179 pixels for a total of 32,041 pixels.

It was in 1957 though that Kirsch would forever make his mark on the world when he, alongside a team of researchers, developed a small 5cm by 5cm digital image scanner for the SEAC that went on to capture the first digital images, including a now-iconic image of Kirsch’s three-month-old son, Walden.

As explained in this archived post from the National Institute of Standards and Technology Museum, ‘the scanner used a rotating drum and a photomultiplier to sense reflections from a small image mounted on the drum […] a mask interposed between the picture and the photomultiplier tessellated the image into discrete pixels.’ Initially, the images were binary, capturing only black or white, but Kirsch and his team discovered that by scanning the image multiple times at different thresholds they could create a grayscale image by stacking multiple scans.

This technology allowed Kirsch and his team to develop algorithms that laid the foundations for image processing and image pattern recognition. Kirsch’s invention also helped NASA with its earliest space explorations, including the Apollo Moon landings, and paved the way for future imaging technologies, such as satellite imagery and Sir Godfrey Hounsfield’s CAT scan.

Even after Kirsch retired in 2001, he never stopped improving upon his inventions. As detailed in a 2010 WIRED article, Kirsch also sought to rid the world of square pixels, a design decision that has shaped the world of technology since its discovery in 1957. In speaking with WIRED, Kirsch said ‘Square [pixels] was the logical thing to do [but] of course, the logical thing was not the only possibility […] It was something very foolish that everyone in the world has been suffering from ever since.” And rather than ‘just complaining about what [he] did,’ Kirsch decided ‘to do something about it.’

Kirsch’s variable-shaped pixel technology smooths out pixellated images by eschewing square pixels for more organic shapes.

The program Kirsch had developed at the time of the WIRED article analyzes a square-pixel images and attempts to rid them of obvious pixellation through clever masking. WIRED details the process here:

Kirsch’s method assesses a square-pixel picture with masks that are 6 by 6 pixels each and looks for the best way to divide this larger pixel cleanly into two areas of the greatest contrast. The program tries two different masks over each area — in one, a seam divides the mask into two rough triangles, and in the other a seam creates two rough rectangles. Each mask is then rotated until the program finds the configuration that splits the 6-by-6 area into sections that contrast the most. Then, similar pixels on either side of the seam are fused.

Kirsch also talks about the variable-shaped pixel technology in the following video from 2011:

Kirsch passed away in his Portland, Oregon home from a form of Alzheimer’s disease. He is survived by Joan, his wife of 65 years, his children Walden, Peter, Lindsey and Kara, and his four grandchildren. You can read his obituary and sign the guest book on the Legacy tribute page.

Articles: Digital Photography Review (dpreview.com)

 
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Fotodiox’s new adapter gives Leica M-mount lenses autofocus on Fujifilm X series cameras

14 Aug

Fotodiox’s new Pro Pronto AF adapter is finally available to pre-order. Announced a few months ago, the specialized adapter lets you autofocus Leica M-mount lenses with Fujifilm X series cameras.

The first adapter of this kind was the Techart Leica M-mount to Sony E-mount adapter released back in 2016. Fotodiox followed up with its own M-mount to E-mount adapter, but this is the first time we’ve seen one for Fujifilm X-mount cameras.

The adapter, which supports lenses up to 680g (1.5lbs), is constructed from brass and an aluminum alloy, and uses an integrated helicoid mechanism to extend and retract the lens using AF-S or AF-C contrast-detection autofocus.

Here’s a video of Fotodiox’s older Leica M-mount to Sony E-mount adapter in action:

The Fotodiox Pro Pronto AF adapter is available to pre-order now for $ 350. The Leica M-mount to Sony E-mount version is still available for $ 250.

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DJI’s new Mavic Air 2 firmware update allows for 4x zoom, 4K hyperlapse, and more

14 Aug

A few days ago, DJI released firmware update for the Mavic Air 2 that gives users new capabilities. Coming in at 178.3MB, V01.00.0340 is the first major update since the consumer–grade drone started shipping a little over 3 months ago. It offers up digital zoom, a new hyperlapse resolution, improved obstacle avoidance, and more.

‘We are so excited to bring a unique zooming function to the Mavic Air 2 along with 4K hyperlapse. The zooming feature will help creators add a dynamic perspective to the scene, establish shots and so much more while the 4K hyperlapse offers high-quality content in a manageable format. The Mavic Air 2 continues to be one of the most versatile and capable drones to ever take to the skies,’ says Patrick Santucci, DJI’s Senior Communications Manager.

DPReview recently covered issues encountered when testing out the Mavic Air 2’s 8K hyperlapse feature. So it’s exciting that the drone manufacturer has now made it possible to record 4K hyperlapse clips. Users now have the ability to pause a hyperlapse and then resume recording as well. The number of waypoints you can select when pre-planning a flight has increased to 45 and there is added support for Task Library.

Mavic Air 2 users can now digitally zoom in on a subject. 4K Zoom mode supports 2x digital zoom up to 4K/30p.

Mavic Air 2 users can now digitally zoom in on a subject. 4K Zoom mode supports 2x digital zoom up to 4K/30p. 2x digital zoom is also possible up to 2.7K/60p while full 4x digital zoom is possible up to 1080p/60p in video mode. You can also press the ‘Fn’ button on the remote while using the dial to gradually zoom in and out.

With Obstacle Avoidance, you now have the ability to either bypass obstacles, brake in front of them, or you can turn it off entirely. The option to disable sideways flight is also available. Since the Mavic Air 2 does not have obstacle avoidance sensors on either side of the aircraft (only on the front, back, and bottom), this feature is useful for beginners or those wishing to fly in a straight line, forwards or backwards.

It’s easy to update the firmware within the DJI Fly app.

There are a few other improvements not mentioned above. To install the update, open up the DJI Fly app. You can also use the DJI Assistant 2 desktop app on your computer. At the top right–hand corner, you’ll see three dots. Click on that icon. From the top navigation bar, select ‘About.’ From there it will show you your latest firmware. Select ‘Check for Updates.’ You’ll need a full battery as it can take 10 minutes to install the latest firmware. Full release notes as follows:

• ZOOM – 4K Zoom 2x digital zoom 30/25/24 fps. 2.7 Zoom 2x 60/50/48/30/25/24 and 1080P 4x 60/50/48/30/25/24 in video mode.
• Added Safety Flight Mode. The aircraft avoids obstacles automatically and will not respond to commands to fly left or right.
• Optimized FPV mode for gimbal.
• Optimized hyperlapse. Pause shooting during hyperlapse, increased the number of waypoints to 45, and added support for Task Library.
• Optimized Sports Mode.
• Optimized ActiveTrack when tracking vehicles at low altitude.

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Hands-on with the Sirui 35mm F1.8 1.33x anamorphic lens

13 Aug

Anamorphic for less $ $

After much teasing, Sirui has finally launched its second anamorphic lens for interchangeable lens systems. The first was the 50mm F1.8 1.33x anamorphic that came out at the beginning of this year, and the company doesn’t seem to be wasting much time getting its second model out to the market.

One of the great attractions of the original lens was its price, and many will be pleased to hear that this new 35mm model is following suit. Anamorphic lenses are, in the main, quite expensive, so these sub-$ 800 Sirui examples open anamorphic shooting to a much wider audience. The lens is being launched via an Indiegogo campaign with early-bird prices from $ 599.

With its 1.33x anamorphic characteristic the lens offers a 2.35:1 aspect ratio to those shooting in 16:9 while GH5 and GH5S users using Anamorphic mode will get a high resolution 16:9 image with all the anamorphic trappings of flare, blue streaks and oval out-of-focus highlights. GH5S users shooting in 4096 x 2160 C4K will be able to achieve a 2.5:1 aspect ratio.

MFT mount with adapters

The 35mm F1.8 comes only in a Micro Four Thirds mount, but Sirui offers adapters for Nikon Z, Sony E and Canon EF-M bodies. The 50mm was offered with fixed mounts for MFT, Sony E and Fujifilm’s X mount so there’s been a bit of a shift in favor of Nikon Z and away from Fuji X. Sirui says there is a Fujifilm X-mount lens on the way, but it hasn’t said what focal length it will be. With all the video improvements Fuji has introduced in recent times there should be a decent market for an anamorphic lens, but Sirui says it can’t make an adapter to fit MFT lenses on Fujifilm X-mount bodies.

Designed to cover APS-C, Super 35 and MFT sensors, the smaller imaging areas will add some apparent magnification to the marked focal length. The 35mm focal length on APS-C sensors with a 1.5x factor behaves as a 52.5mm would on a full frame camera, but with the extra 1.33x width in the horizontal plane that 52mm stretches back to the appearance of the 40mm.

On MFT bodies the 35mm doubles to 70mm, but then stretches to cover the horizontal angle we’d expect of a 52mm. The angles of view achieved with this lens are wider than those achieved with the 50mm lens, but they leave a good deal of room for a wider lens in the future.

Gear rings

Sirui has helpfully included a pair of gear rings with this lens to allow it to be used more easily with follow-focus systems. The rings slip over the mount-end of the lens and marry with the ribbing on the focusing and aperture rings. Each ring is labelled so you know which goes where, not that it seems to make much difference.

The rings are essential for follow-focus but they also make hand-made smooth focus transitions much easier too. As the barrel of the 35mm is somewhat wider than that of the 50mm, these rings aren’t interchangeable between the two lenses.

Design

The lens has an all-metal ‘aircraft aluminum’ body that feels very solid in the hand and dense for its size – but without it being heavy. The smooth finish feels good to the touch and the focus and aperture rings turn nicely with just the right amount of resistance. The ribbing on both is perhaps a little fine for a sure grip in all conditions, but the addition of the gear rings soon solves that. I kept mine on all the time.

The aperture ring turns smoothly and without clicked stops, allowing iris altering during filming without disturbance, and of course focus is all manual.

Plain underbelly

The underside of the lens is completely plain other than for the close focus and filter size engravings. I rather like the look without any other text, but it does mean that when the camera is mounted above head-height you can’t see what aperture you are using or the focus distance set. For those more used to lenses designed for stills this won’t seem unusual, but for those coming from movie lenses this might be a surprise.

The distraction-free underside though shows clearly where the anamorphic element group is in the optical construction, as the forward end of the barrel expands to accommodate that wide anamorphic cylinder.

Looking through the lens

Further evidence of the position of the anamorphic group comes when we look through the lens. From the front the iris looks oval and from the rear it looks round, thus demonstrating that the iris is positioned behind the anamorphic group. Not all anamorphics have the anamorphic group at the front of the construction, as some use a design that places the group just in front of the mount, but those with a forward anamorphic group display more pronounced optical characteristics. Having the cylinder at the front helps it catch the light that creates flare and ensures we get those oval out-of-focus highlights.

Close focus

For a normal spherical lens a close focus distance of 0.85m / 33in would be considered a little long, but in anamorphic terms this is about standard. Distances are marked in feet and meters, and apertures in full stop measurements. All markings on the barrel are deeply engraved, with paint neatly dropped well below the surface.

It takes a 191° rotation of the focusing ring to shift focus from the closest point to infinity, which makes for swift shifts in the focus position.

Construction

The Sirui 35mm F1.8 1.33x anamorphic is built with 13 elements in 9 groups, and uses a 10-bladed iris. The glass is made by Schott according to Sirui.

The lens is really very small for an anamorphic, which is partly down to its reduced covering circle but must also be the result of some internal miniaturization in the design, elements and glass used. It measures 117mm / 4.61in including the mount, is 70mm / 2.8in wide at the front and weighs 700g / 1.55lb.

Compared to the 50mm F1.8

The overall look and design of the 35mm (right) is very much in keeping with the existing 50mm, so the two lenses are easily identified as part of a set. There are some minor changes to the font used in places but you’d only notice if you had the time to look at such things.

The 35mm is longer, broader and heavier than the 50mm, and although the focus rings match in depth they have different diameters due to the difference in barrel size. The aperture rings are different in design too, with the 50mm featuring a much narrower ribbed area.

Red dots

The shift from dedicated mounts to an adapter system has meant Sirui has had to relocate the index red dot. Maybe not such a big deal, but I’m used to Micro Four Thirds lenses having their red dot on the side of the barrel where it is easy to see rather than on the mount itself, so this took some getting used to. The dot has shifted from a permanently visible position to avoid confusion when a Nikon Z adapter is fitted, for example, as the Z mount has its red dot in a different place. Moving the dot to the mount means there will only ever be one on display as the MFT red dot that is marked on the mount will be covered by the adapter ring.

The mount adapters are fitted using the second set of screws in the base of the lens, with an index indentation to ensure it is positioned correctly. One set of screws has a star head while the ones we are supposed to use have a regular cross-head, to avoid getting them mixed up. The 50mm doesn’t have the facility to accept these adapters, so those using Nikon Z cameras, for example, will only have access to the 35mm at the moment. Only Sony E and MFT camera users can fit both 50mm and 35mm lenses.

Clips reel

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Researchers release free AI-powered Fawkes image privacy tool for ‘cloaking’ faces

13 Aug

Researchers with the University of Chicago’s SAND Lab have detailed the development of a new tool called Fawkes that subtly alters images in a way that makes them unusable for facial recognition. The tool comes amid growing concerns about privacy and an editorial detailing the secret scraping of billions of online images to create facial recognition models.

Put simply, Fawkes is a cloaking tool that modifies images in ways imperceptible to the human eye. The idea is that anyone can download the tool, which has been made publicly available, to first cloak their images before posting them online. The name was inspired by Guy Fawkes, the mask of whom was popularized by the movie V for Vendetta.

The Fawkes algorithm doesn’t prevent a facial recognition algorithm from analyzing a face in a digital image — instead, it teaches the algorithm a ‘highly distorted version’ of what that person’s face looks like without triggering errors; it cannot, the researchers say, be ‘easily detected’ by the machines, either.

By feeding the algorithm these cloaked images, it subtly disrupts the machine’s attempt to learn that person’s face, making it less capable of identifying them when presented with uncloaked imagery. The researchers claim their cloaking algorithm is ‘100% effective’ against top-tier facial recognition models, including Amazon Rekognition and Microsoft Azure Face API.

As well, the team says their disruption algorithm has been ‘proven effective’ in many environments through extensive testing. The use of such technology would be far more subtle and difficult for authorities to prevent compared to more conventional concepts like face painting, IR-equipped glasses, distortion-causing patches or manual manipulation of one’s own images.

These conspicuous methods are known as ‘evasion attacks,’ whereas Fawkes and similar tools are referred to as ‘poison attacks.’ As the name implies, the method ‘poisons’ the data itself so that it ‘attacks’ deep learning models that attempt to utilize it, causing more widespread disruption to the overall model.

The researchers note that Fawkes is more sophisticated than a mere label attack, saying the goal of their utility is ‘to mislead rather than frustrate.’ Whereas a simple corruption of data in an image could make it possible for companies to detect and remove the images from their training model, the cloaked images imperceptibly ‘poison’ the model in a way that can’t be easily detected or removed.

As a result, the facial recognition model loses accuracy fairly quickly and its ability to detect that person in other images and real-time observation drops to a low level.

Yes, that’s McDreamy.

How does Fawkes achieve this? The researchers explain:

‘DNN models are trained to identify and extract (often hidden) features in input data and use them to perform classification. Yet their ability to identify features is easily disrupted by data poisoning attacks during model training, where small perturbations on training data with a particular label can shift the model’s view of what features uniquely identify …

But how do we determine what perturbations (we call them “cloaks”) to apply to [fictional example] Alice’s photos? An effective cloak would teach a face recognition model to associate Alice with erroneous features that are quite different from real features defining Alice. Intuitively, the more dissimilar or distinct these erroneous features are from the real Alice, the less likely the model will be able to recognize the real Alice.’

The goal is to discourage companies from scraping digital images from the Internet without permission and using them to create facial recognition models for unaware people, a huge privacy issue that has resulted in calls for stronger regulations, among other things. The researchers point specifically to the aforementioned NYT article, which details the work of a company called Clearview.ai.

According to the report, Clearview has scraped more than three billion images from a variety of online sources, including everything from financial app Venmo to obvious platforms like Facebook and less obvious ones like YouTube. The images are used to create facial recognition models for millions of people who are unaware of their inclusion in the system. The system is then sold to government agencies who can use it to identify people in videos and images.

Many experts have criticized Clearview.ai for its impact on privacy and apparent facilitation of a future in which the average person can be readily identified by anyone with the means to pay for access. Quite obviously, such tools could be used by oppressive governments to identify and target specific individuals, as well as more insidious uses like the constant surveillance of a population.

By using a method like Fawkes, individuals who possess only basic tech skills are given the ability to ‘poison’ the unauthorized facial recognition models trained specifically to recognize them. The researchers note that there are limitations to such technologies, however, making it tricky to sufficiently poison these systems.

One of these images has been cloaked using the Fawkes tool.

For example, the person may be able to cloak images they share of themselves online, but they may find it difficult to control images of themselves posted by others. Images posted by known associates like friends may make it possible for these companies to train their models, though it’s unclear whether there exists the ability to quickly located people in third-party images (for training purposes) in an automated fashion and at a mass scale.

Any entity that is able to gather enough images of the target could train a model sufficiently enough that a minority of cloaked images fed into it may be unable to substantially lower its accuracy. Individuals can attempt to mitigate this by sharing more cloaked images of themselves in identifiable ways and by taking other steps to reduce one’s uncloaked presence online, such as removing name tags from images, using ‘right to be forgotten’ laws and simply asking friends and family to refrain from sharing images of one’s self online.

Another limitation is that Fawkes — which has been made available to download for free Linux, macOS and Windows — only works on images. This means it is unable to offer cloaking for videos, which can be downloaded and parsed out into individual still frames. These frames could then be fed into a training model to help it learn to identify that person, something that becomes increasingly possible as consumer-tier camera technology offers widespread access to high-resolution and high-quality video recording capabilities.

Despite this limitation, Fawkes remains an excellent tool for the public, enabling the average person with access to a computer and the ability to click a couple of buttons to take more control over their privacy.

A full PDF of the Fawkes image-cloaking study can be found on the SAND Lab website here.

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Sony a7S III initial review updated: excellent rolling shutter rates

13 Aug

We’ve started digging into the a7S III’s video capabilities. Initial results are positive: we measured excellent, sub-10ms rolling shutter rates, and we can confirm that the camera uses a dual gain sensor.

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These copper-plated Leica cameras manage to make even broken rangefinders expensive

13 Aug

Leica specialist store, Meister Camera, has found a way to make non-working Leica cameras into expensive one-of-a-kind pieces of art by copper-plating the camera, lens and all.

Meister Camera currently has eight of these one-off pieces for sale on its website. According to the product descriptions, the shop partners with a third party to copper-plate the cameras using what it calls a ‘galvanic process.’ The precise details of how the entire camera is effectively embalmed in a coat of copper, including the glass lens and non-metal components, remains unknown, but the end result speaks for itself.

Most of the copper-plated cameras are various versions of the Leica I, II and III cameras, but Meister Camera also has a copper-plated M3 up for sale. Prices start at 995€ (~$ 1,170) for the Leica IIf and go up to 1,450€ (~$ 1,705) for the Leica M3. You can see more information for each of the cameras on Meister Cameras’ online shop.

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Google researchers use AI to generate 3D models from random Internet images

13 Aug

Researchers with Google Research and the Google Brain deep learning AI team have published a new study detailing Neural Radiance Fields for Unconstrained Photo Collections (NeRF). The system works by taking ‘in the wild’ unconstrained images of a particular location — tourist images of a popular attraction, for example — and using an algorithm to turn them into a dynamic, complex, high-quality 3D model.

The researchers detail their project in a new paper, explaining that their work involves adding ‘extensions’ to neural radiance fields (NeRF) that enable the AI to accurately reconstruct complex structures from unstructured images, meaning ones taken from random angles with different lighting and backgrounds.

This contrasts to NeRF without the extensions, which is only able to accurately model structures from images that were taken in controlled settings. The obvious benefit to this is that 3D models can be created using the huge number of Internet photos that already exist of these structures, transforming those collections into useful datasets.

Different views of the same model constructed from unstructured images.

The Google researchers call their more sophisticated AI ‘NeRF-W,’ one used to create ‘photorealistic, spatially consistent scene representations’ of famous landmarks from images that contain various ‘confounding factors.’ This represents a huge improvement to the AI, making it far more useful compared to a version that requires carefully controlled image collections to work.

Talking about the underlying technology, the study explains how NeRF works, stating:

‘The Neural Radiance Fields (NeRF) approach implicitly models the radiance field and density of a scene within the weights of a neural network. Direct volume rendering is then used to synthesize new views, demonstrating a heretofore unprecedented level of fidelity on a range of challenging scenes.’

There’s one big problem, though, which is that NeRF systems only work well if the scene is captured in controlled settings, as mentioned. Without a set of structured images, the AI’s ability to generate models ‘degrades significantly,’ limiting its usefulness compared to other modeling approaches.

The researchers explain how they build upon this AI and advance it with new capabilities, saying in their study:

The central limitation of NeRF that we address in this work is its assumption that the world is geometrically, materially, and photometrically static — that the density and radiance of the world is constant. NeRF therefore requires that any two photographs taken at the same position and orientation must have identical pixel intensities. This assumption is severely violated in many real-world datasets, such as large-scale internet photo collections of well-known tourist landmarks…

To handle these complex scenarios, we present NeRF-W, an extension of NeRF that relaxes the latter’s strict consistency assumptions.

The process involves multiple steps, including first having NeRF-W model the per-image appearance of different elements in the photos, such as the weather, lighting, exposure level and other variables. The AI ultimately learns ‘a shared appearance representation for the entire photo collection,’ paving the way for the second step.

In the second part, NeRF-W models the overall subject of the images…

‘…as the union of shared and image-dependent elements, thereby enabling the unsupervised decomposition of scene content into static and transient components. This decomposition enables the high-fidelity synthesis of novel views of landmarks without the artifacts otherwise induced by dynamic visual content present in the input imagery.

Our approach models transient elements as a secondary volumetric radiance field combined with a data-dependent uncertainty field, with the latter capturing variable observation noise and further reducing the effect of transient objects on the static scene representation.’

Upon testing their creation, the researchers found that NeRF-W was able to produce high-fidelity models of subjects with multiple detailed viewpoints using ‘in-the-wild’ unstructured images. Despite using more complicated images with many variables, the NeRF-W models surpassed the quality of models generated by the previous top-tier NeRF systems ‘by a large margin across all considered metrics,’ according to researchers.

The potential uses for this technology are numerous, including the ability to generate 3D models of popular destinations for VR and AR applications using existing tourist images. This eliminates the need to create carefully-controlled settings for capturing the images, which can be difficult at popular destinations where people and vehicles are often present.

A PDF containing the full study can be found here; some models can be found on the project’s GitHub, as well.

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Open source Raw processor Darktable gets substantial 3.2 update

13 Aug

Version 3.2.1 (3.2.0 was skipped from public release due to last minute bug fixes) of darktable, an open source raw photo developer available for many operating systems, is now available. This marks a major departure from the software’s typical annual release schedule. darktable’s team states, ‘The unfortunate state of global health has led to a marked increase in contributions and improvements. On top of that, version, 3.4 is still scheduled for Christmas 2020. 2020 will therefore be the first year in which the darktable team will have the pleasure to offer you two major versions.’ darktable version 3.0 was released around Christmas 2019.

There are numerous new features and upgrades in darktable 3.2.1. As soon as you launch the software, you will be met with a refined user interface, including a major overhaul to the lighttable, which is the software’s library and photo browser. There are a variety of new overlay modes on thumbnails, including quick access to organizational tools such as ratings, labels and more.

Digital asset management has been improved in the latest release. The metadata editor has been improved with a pair of additional fields: notes and version name. Further, users can expect improved tag management, seven new collection filters and additional image information in the information module.

darktable version 3.2 includes the new negadoctor module, designed to allow photographers to capture digital images of their film negatives and process them with many useful controls and settings. Image credit: darktable

For photographers who want to work with scanned film negatives, the old film negative invert module had a problem, it only worked on non-demosaiced image data. This means that it did not work with negatives scanned using a digital camera. Version 3.2.1 of darktable includes a new module, negadoctor, which is based on the Kodak Cineon sensitometry system developed in the 1990s. There is a lot to discuss when it comes to negadoctor, so if you are interested in using your digital camera to scan negatives, I recommend heading to darktable’s article about version 3.2.1 to read more about how the new module operators and what settings you will have access to when working on scanned image files.

With darktable 2.6, the team introduced filmic to improve color in scenes with wide dynamic range. The filmic module saw major improvements in version 3.0 and has been further improved with darktable 3.2.1. New color science has been implement for improved handling of highlights during editing.

The lighttable in darktable 3.2 includes improved performance, new visual options and a refined user interface. Image credit: darktable

In terms of image editing, the histogram in darktable incorporates a pair of major new features. First, you can now adjust the histogram height size. Secondly, there’s a new RGB parade mode. This displays waveforms that represent the levels of each of the red, green and blue layers. With this mode, you can better visualize the distribution of color components in your image. Although not visible, the histogram has been rewritten for better performance.

With respect to performance, Rico Richardson on YouTube has published a new hands-on video detailing the improvements in darktable 3.2.1 and he remarks that the software is quicker and smoother overall. You can see that video below. If you are interested in using the free, open source darktable software for your photo editing, I highly recommend visiting his channel for many tutorial videos.

There are a lot of new features in darktable 3.2.1. If you’d like to download the latest version or even try darktable for the first time, visit the installation page. Additional information about the darktable 3.2.1 release can be found on Github. User manuals, downloadable styles, a book on using darktable to process your photos and many tutorials can be found here.

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Hasselblad 907X 50C camera and accessories now available

12 Aug

Hasselblad has announced the general availability of its 907X 50C medium format camera kit, as well as the accessory grip and optical viewfinder. The camera was introduced over a year ago, and up until now a limited edition Moon Landing kit was the only way to get one – but those sold out pretty quickly.

The standard production 907X body with the CFV II 50C back will cost €6590 / £5990 / CNY¥48000 including tax / $ 6399 excluding sales tax and will ship at the end of August. The 907X Control Grip will be of €749 / £679 / CNY¥5990 / $ 729 (no US tax) and the optical finder €499 / £459 / CNY¥3990 / $ 499. The limited edition Moon-Landing kit that came in a matt black finish with black trim cost $ 7500/ €7475/ £6990.

The 907X camera body accepts lenses from the XCD range designed for the X1D series cameras, but can also use the HC/HCD, V system and XPan lenses via adapters. The CFV II 50C back features a 50MP sensor, dual SD card slots, USB-C and Wi-Fi as well as the ability to record 2.7K video. For more information see the Hasselblad website.

Press release:

Press information – For immediate release Gothenburg, Sweden 12 August 2020

HASSELBLAD 907 X 50 C NOW AVAILABLE

COMBINING OUR LEGACY WITH YOUR FUTURE
A UNIQUE PHOTOGRAPHIC EXPERIENCE WITH FULL SYSTEM MODULARITY

Introduced as a concept in June 2019 and now available to purchase, the 907X 50C mirrorless medium format digital camera is comprised of the modernised CFV II 50C digital back and the brand new 907X camera body, connecting Hasselblad’s photographic legacy and future into one system.

With an outstanding medium format 50-megapixel CMOS sensor (43.8 x 32.9 mm), the CFV II 50C digital back enables use with most V System cameras made from 1957 and onwards in addition to third party technical or view cameras. The CFV II 50C features a brilliant 3.2in 2.36K dot tilting rear display with full touch support and Hasselblad’s renowned user interface for settings, image review, and menu naviga- tion. Users of previous CFV digital backs will appreciate the new fully integrated battery design, the same used on the X System, which reduces overall size and with the option to recharge in-camera via the USB-C port. Combining its iconic aesthetics with a chrome edge body finish in addition to modern tech- nology, the CFV II 50C gives a nod to Hasselblad’s history combined with the brand’s world-renowned image quality.

Coupling the CFV II 50C with the 907X, Hasselblad’s smallest medium format camera body ever, creates a highly compact package. This combination offers a truly distinct photographic experience, including the classic waist-level shooting style of the V System enabled by the CFV II 50C’s tilt screen. With the 907X, the photographer gains access to all of the high-quality X System Lenses in addition to a vast range of Hasselblad optics via adapters, including the H System, V System, and XPan Lenses. In addition, the 907X enables compatibility with a wide range of third-party adapters and lenses. Accessories that beautifully complement the combination include the 907X Control Grip and 907X Optical Viewfinder.

Key features for the 907X 50C:
• Large medium format 50MP 43.8 x 32.9 mm CMOS sensor
• 14 stops of dynamic range
• Hasselblad HNCS
• Captures 16-bit RAW images and full resolution JPEGs
• High-resolution 3.2-inch 2.36K dot touch and tilt screen
• Smooth live view experience with a high frame rate of 60fps
• Video: 2.7k (2720 x 1530) and Full HD (1920 x 1080) / Video covers full sensor width in a 16:9 ratio
• Intuitive user interface with swipe and pinch touch controls
• Internal battery slot with the option to recharge in-camera via the USB-C port (same battery used on the X System)
• Compatibility with most V System cameras made from 1957 and onwards in addition to third party technical or view cameras
• Full compatibility with all XCD Lenses
• Full compatibility with HC/HCD Lenses including AF with optional XH Lens Adapter (manual focus only with HC 120 Macro and HC 120 Macro II)
• Compatibility with V System Lenses, XPan Lenses, and third-party lenses using XV, XPan and third- party lens adapters, respectively
• Dual UHS-II SD card slots
• Audio in/out connectors
• Flash in/out connectors
• Integrated Wi-Fi connectivity and USB-C connection, enabling tethered shooting
• Portable workflow with Phocus Mobile 2 support*
• Optional accessories, including chrome finished 907X Control Grip for quick access to main image functions and 907X Optical Viewfinder for convenient eye-level shooting
• 907X ultra-thin and light weight body converts CFV II 50C digital back into digital SWC
• 907X 50C weight: 740 g (CFV II 50C: 540 g / 907X Camera Body: 200 g)

The 907X 50C has an MSRP of €6590 / £5990 / CNY¥48000 including VAT and $ 6399 excluding sales tax.

The 907X Control Grip has an MSRP of €749 / £679 / CNY¥5990 including VAT and $ 729 excluding sales tax.

The 907X Optical Viewfinder has an MSRP of €499 / £459 / CNY¥3990 including VAT and $ 499 excluding
sales tax.

All products are available to order today, and shipping will begin from the end of August. Visit www.hasselblad.com/cfv-ii-50c-907x/ to see more about the 907X 50C.

*Update for Phocus Mobile 2 for iPad and a brand new Phocus Mobile 2 for iPhone to be released soon. This update for Phocus Mobile 2 will enable Live View, allowing for Focus Peaking, control of Depth-of- Field, setting AF area positioning and the ability to simulate exposure, all from the Live View screen in Phocus Mobile 2.

Articles: Digital Photography Review (dpreview.com)

 
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