Category: Uncategorized

  • iPhone 8 front camera rumored to capture 3D images

    Last week it was reported that Apple might be replacing the Touch ID fingerprint reader with 3D facial recognition on the top-of-the-line model of the upcoming iPhone 8 series. Now these rumors have become more substantiated by another report by Apple analyst KGI Ming-Chi Kuo which has been published today and obtained by 9to5Mac.

    According to the report, the upcoming iPhone top model, which is also expected to feature an OLED display, will come with a technology that combines 2D images captured by the front camera with depth data from an infrared module to record 3D information. The application for this new front camera technology could include facial recognition, iris recognition, and 3D selfies. It could also be used in innovative games that allow for replacing a 3D-avatar’s head with the head of the phone’s user or for augmented reality purposes. 

    If the report is correct, the infrared transmitter will use vertical-cavity surface-emitting laser technology from a company called Lumentum and the IR receiver will be manufactured by Foxconn/Sharp. The front camera will be supplied by Sony. The hardware will be controlled by algorithms developed by PrimeSense, a company that Apple acquired in 2013. The system works by emitting invisible IR light and then detecting the signals that are reflected by objects in the proximity using a 1.4 megapixel IR receiver. The resulting system will have much more advanced depth-sensing capabilities than the existing iPhone 7 Plus dual rear camera that uses the optical parallax offset of its two lenses to determine the distance to objects in the scene. 

    As usual, there is no guarantee the rumored feature will actually materialize in the final product. That said, it certainly looks as if Apple is preparing something special for its 2017 iPhone generation. Unfortunately, another rumor is saying the flagship model might set you back upwards of $ 1000.

    Articles: Digital Photography Review (dpreview.com)

  • ADOX is doubling the size of its film production plant in Germany

    The analog revival seems to roll on, as film producer ADOX has announced it’s doubling the size of its facility that produces photographic chemicals, film and papers. This latest facility comes shortly after ADOX acquired a facility in Marley, Switzerland, which itself joined the company’s Berlin facilities. The new production plant is being constructed alongside the company’s current ‘crowded and stuffed’ facility in Germany.

    Per a statement from ADOX, the additional space will enable ADOX to construct additional laboratories, a new emulsifying machine, build a large freezer for storing master rolls, incorporate a Super 8 production line, relocate its packaging factory and setup more offices. 

    Via: PhotoRumors, DSLR Magazine

    Articles: Digital Photography Review (dpreview.com)

  • Women Photograph is a directory of female photographers

    Women Photograph is an online directory of female photographers. What started as a spreadsheet has grown to a database over 500 members strong thanks to its creator Daniella Zalcman, a freelance documentary photographer. We asked her a few questions about her experiences, the directory and its origins.


    What has your own experience been like as a female photographer in a male dominated field?

    At the beginning, it was definitely tough. I started stringing as a news photographer in New York when I was 19, and it was very much a boy’s club back then. Getting anyone to take me seriously was always a challenge, and I can’t tell you the number of times I had a male photographer try to adjust the settings on my camera for me or make a joke about the size of my lens. There was a lot of casual sexual harassment that I think I and many of my female colleagues normalized for a long time — sometimes it’s just easier to shrug and move on. But I’ve done enough shrugging.

    Now, I’m a relatively established photographer and I spend most of my time working on long form documentary projects on my own. I rarely interact with news photographer scrums, or even assigning editors, so I’m able to avoid the more frustrating interactions. But I see young women coming up in the field, and I see the attrition rates between photojournalism school and photographers in the first 3-5 years of their careers, and I know what they’re going through. And something needs to change.

    What inspired you to create Women Photograph? How did it start?

    It started with a Google Form last July. I was frustrated by the number of photo editors who were telling me they didn’t know where to find women photographers, so I wanted to have a resource on hand that would render that excuse invalid.

    How many photographers are included now?

    Right now, the private database (which includes more complete information like e-mails, phone numbers, languages spoken, geographical areas of expertise, HEFAT/PPE info, and so on) has 525 members. The site is a little slower to build out because it requires that each photographer send me an image and I’m manually entering them all — so it’s probably at around 300 right now.

    What’s the response to it been like so far?

    It’s been great! It’s provoked a lot of good conversations, which is really what I’m hoping for. If the presence of this site at least makes photo editors who traditionally rely on the same cadre of male news photographers think about their hiring practices, then I think that’s a good start.

    Why do you think it’s important to hire female photographers?

    This isn’t just about equality in hiring practices — though obviously that’s important to me too. It’s about making sure that the people in charge of visually documenting our diverse, complex world are diverse themselves. We can’t look at everything through a predominantly white, male gaze — that’s irresponsible and, frankly, colonial. We need our storytellers to be as diverse as our audience and our subjects.

    Articles: Digital Photography Review (dpreview.com)

  • Neural network converts Game Boy Camera images into color photos

    We’ve seen a lot of research lately that uses neural networks to upsample low resolution images and the results have been impressive – even a little creepy. Google recently showcased a system that can turn a low resolution 8×8 input image into a 32×32 sample that’s remarkably close to the original image. Inspired by recent breakthroughs, research engineer Roland Meertens found another application for neural networks – one that’s highly relevant to our interests. He created an application that turns low-res, monochrome Game Boy Camera images into photorealistic color images.

    Original images in the center, Game Boy-ified images on the left and image generated by neural network on the right


    A network must be trained, and training means feeding it input images. To create a training data set, Meertens gave some ‘real life images’ a Game Boy Camera treatment by re-creating them in four shades of black. By comparing the Game Boy-ified images with the originals, the network is ‘taught’ how to convert the images to color. With the network trained and ready, Meertens began testing it on celebrity photos as well as images from the Game Boy Camera (including the game’s mysterious character at the top of the page).

    Finally, Meertens uses the application on an image taken with the Game Boy Camera. Naturally, it should be a selfie, as it is here. If you have all of the necessary components, taking a photo with the Game Boy camera is easy. Getting it onto your computer is another story. Lacking a specialized cable, Meertens did his best to photograph the Game Boy screen. As a result the lighting is slightly uneven, which affects the output from the network, but the re-creation is still pretty darn cool. Our hats are off to him.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma announces 14mm F1.8, 24-70mm F2.8 and 135mm F1.8 Art lenses

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    Sigma has released a trio of its high-end ‘Art’ lenses: two primes and one zoom. All three are designed for full-frame Canon, Nikon and Sigma bodies.

    The first is the ultra-wide 14mm F1.8 DG HSM, which Sigma claims is the ‘world’s first and only F1.8 ultra-wide-angle lens.’  The lens has 16 elements, three of which are FLD (low dispersion) and four are SLD (super-low-dispersion). It also has a large (80mm) aspherical front element to reduce distortion and ‘deliver outstanding image quality from the center to the edges.’ The 14mm F1.8 has 9 rounded aperture blades, a minimum focus distance of 27cm/11in and a ring-type ultrasonic (HSM) focus motor.

    Next up is the Sigma 24-70mm F2.8 DG OS HSM Art. This lens features three SLD and four aspherical, nine rounded aperture blades and optical image stabilization. The lens is weather-sealed and made of a combination of metal and ‘thermally stable composite’ material. The minimum focus distance of the 24-70 is 37cm/1.5in and it uses 82mm filters.

    Last, but certainly not least, is the 135mm F1.8 DG HSM telephoto prime. Sigma says that this lens ‘offers the […] resolution required for 50MP or higher ultra-high-megapixel DSLRs.’ It has a hypersonic (ring-type ultrasonic) focus motor that delivers fast (and ‘exceptionally stable’) focus speeds, while an acceleration sensor ‘detects the orientation of the lens’ so the AF system can respond to ‘varying loads on the focusing group due to gravity.’

    The lens has 9 rounded aperture blades, dust and splashproof construction, and a weight of 1130g/40.2oz.

    Pricing and availability for all three lenses will be announced at a date to be determined.

    Press Releases:

    SIGMA 14mm F1.8 DG HSM
    Introducing the world’s first and only* F1.8 ultra-wide-angle lens

    A true high-speed lens that delivers a new dimension of visual experience

    *Among interchangeable lens for digital SLRs as of February 2017

    1. 14mm ultra-wide angle of view and F1.8 brightness deliver a new dimension of visual experience
    2. Seventh 35mm full-frame prime lens to join the Art line
    3. Other features 

    A true high-speed lens that delivers a new dimension of visual experience

    In taking photographs of starry skies or other celestial scenes at night, or of the seashore with a wide perspective, a large-diameter lens is a strong ally, since it allows the capture of a moving subject by adjusting shutter speed without relying on ISO sensitivity. With its full-frame 35mm coverage, 14mm focal length for an ultra-wide angle of view, F2 barrier-breaking F1.8, the SIGMA 14mm F1.8 DG HSM | Art is the true high-speed ultra-wide-angle lens for which so many photographers have been waiting. Although some zoom lenses are available that can cover 14mm, the large diameter delivering F1.8 brightness is a singular advantage. Going beyond fast shutter speed, this lens can capture a swarm of fireflies with crystal clarity, a beautiful bokeh effect, and outstanding control of light streaking.

    ?Key features?

    1. 14mm ultra-wide angle of view and F1.8 brightness deliver a new dimension of visual experience

    By leveraging its extreme angle of view and the dramatic perspective this creates, an ultra-wide-angle lens can get up close and personal with a subject while at the same time taking in a vast background—an example of photography going beyond normal human vision.

    SIGMA 14mm F1.8 DG HSM | Art combines the extremely deep depth of field that comes from an ultra-wide angle of view with the extremely shallow depth of field that comes from F1.8 brightness. The result is a sharply captured subject set against a vast background dramatically blurred with a beautiful bokeh effect. It is a highly impressive mode of photographic expression that until now simply has not existed.

    • Minimized chromatic aberrations

    Three FLD (“F” Low Dispersion) glass elements and four SLD (Super Low Dispersion) glass elements help minimize transverse chromatic aberration, which tends to be noticeable in shots taken with ultra-wide-angle lenses. The result is outstanding image quality from the center of the image to the edges.

    • Featuring a large-diameter aspherical lens element

    The SIGMA 12-24mmF4 DG HSM | Art was the first SIGMA lens to feature a large ?80mm aspherical lens element. Building on the expertise derived from this success, the new lens features a large ?80mm precision-molded glass aspherical lens as its front element. This technology has made possible the 14mm F1.8 specification—the first of its kind.

    • Minimized distortion

    Serving as the front lens element, the large ?80mm precision-molded glass aspherical lens effectively minimizes distortion. Offering excellent peripheral brightness, this lens delivers outstanding image quality from the center to the edges.

    • Distinctive bokeh effect

    Even at the 14mm ultra-wide-angle of view, F1.8 brightness makes possible a very shallow depth of field with the subject standing out dramatically against a bokeh background. It’s the unique mode of expression that only a large-diameter lens can deliver. 

    1. Seventh 35mm full-frame prime lens to join the Art line

    Launched in 2012, the SIGMA 35mm F1.4 DG HSM | Art was the first lens in the Art line. Since then, SIGMA has developed a wide variety of lenses for the line, and the SIGMA 14mm F1.8 DG HSM | Art is the seventh prime lens in the line to offer 35mm full-frame coverage. Now even stronger, the Art line sets the new standard for prime lenses in the ultra-high-megapixel era.

    1. Other features
    • Fast AF with full-time manual override

    Note: The operation of full-time MF may vary based on mount type

    • Compatible with Mount Converter MC-11
    • Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)
    • Available Mount Conversion Service (Allows use with another camera body)
    • Rounded diaphragm
    • Designed to minimize flare and ghosting
    • High-precision, durable brass bayonet mount
    • Evaluation with SIGMA’s own MTF measuring system “A1”
    • Made in Japan (With outstanding craftsmanship)
    • The lens barrel is engraved with the year of release

    SIGMA 24-70mm F2.8 DG OS HSM
    Top-level performance optimized for the era of ultra-high-megapixel cameras

    1. The large-diameter standard zoom ideal for today’s ultra-high-megapixel digital cameras
    2. OS functionality and newly designed HSM for success on any shoot
    3. Lens barrel designed for high rigidity
    4. Other features?

    The definitive large-diameter standard zoom lens for any shoot

    What photographers demand from the 24-70mm F2.8 specification is much more than outstanding image quality. They want all the features that make this a go-to lens for a wide range of photographic opportunities, including optical design ideal for the latest ultra-high-megapixel digital cameras, hypersonic motor (HSM) for high-speed autofocus, optical stabilizer (OS) with powerful stabilization effect, dust- and splash-proof mount with rubber sealing, and a metal barrel for a stable, rigid feel. This all-new 24-70mm F2.8 lens from SIGMA delivers the performance and functionality that help pros succeed in news, nature, and many other fields of photography.

    ?Key features?

    1. The large-diameter standard zoom ideal for today’s ultra-high-megapixel digital cameras 
    • Outstanding optical performance

    Three SLD (Special Low Dispersion) glass lens elements and four aspherical lens elements help minimize optical aberrations. To ensure outstanding image quality from the center to the edges of the photograph, the optical system minimizes coma, which causes points of light to streak, and transverse chromatic aberration, which cannot be corrected via aperture control, The optical system also minimizes distortion, which can be particularly evident in wide-angle shots, resulting in excellent optical performance throughout the zoom range.

    • A 24-70mm F2.8 lens that meets the high standards of the Art line

    SIGMA has continuously pioneered 24-70mm F2.8 lenses that are a step ahead of the times. The first model of this specification, SIGMA 24-70mm F2.8 EX DG ASPHERICAL DF, launched in 2001. Representing the fourth generation of the family, the new SIGMA 24-70mm F2.8 DG OS HSM | Art accomplishes a challenging feat in optical design: incorporating optical stabilizer functionality in a large-diameter standard zoom. By leveraging all of its design and manufacturing expertise, SIGMA has ensured that this new lens fulfills the uncompromising requirements of the Art line for image and build quality.

    • Bokeh that is a cut above

    At wide-open aperture, this lens offers outstanding photographic expression. The area in focus is extremely sharp, while the background exhibits a beautiful bokeh effect with only slight spherical aberration. Since large-diameter zoom lenses are often used at wide-open aperture, SIGMA has paid close attention to the shape of the bokeh, aiming for perfect circularity. 

    • Incorporating advanced aspherical lens processing technology

    Aspherical lenses necessitate refined expertise in the design and manufacturing of advanced, high-performance lenses. SIGMA’s first products to feature this technology were the SIGMA 12-24mm F4 DG HSM | Art and SIGMA 14mm F1.8 DG HSM | Art, which both incorporated a large ?80mm aspherical lens as their front lens element. Building on the success of these predecessors, the SIGMA 24-70mm F2.8 DG HSM | Art incorporates an aspherical lens element that helps achieve extremely high resolution. This element is much thicker at the center than the edges, and forming its unusual shape is a feat of manufacturing technology. Moreover, SIGMA processes the surface of this aspherical lens element with ultra-precise tolerances that are measured in hundredths of a micrometer. This extremely fine surface allows the SIGMA 24-70mm F2.8 DG HSM | Art to deliver a very natural and smooth bokeh effect, without the visible concentric rings that afflict typical aspherical lens elements.

    1. OS functionality and newly designed HSM for success on any shoot

    Designed for advanced utility in a wide variety of situations, the optical stabilizer (OS) offers a powerful stabilization effect. The newly designed large hypersonic motor (HSM) offers 1.3 times the torque of its predecessor and exceptionally stable performance even at lower speeds.

    * Based on CIPA’s guideline. Measuring at telephoto end, when it is attached to the camera with 35mm image sensor.

    1. Lens barrel designed for high rigidity

    Since large-diameter standard zoom lenses tend to serve as a go-to lens and see frequent use, the SIGMA 24-70mm F2.8 DG HSM | Art is designed to stand up to the challenging shooting environments that pros encounter. To this end, the lens barrel contains a large amount of metal, while the external moving parts feature thermally stable composite (TSC), which is resistant to thermal expansion and contraction. This structure contributes not only to the outstanding optical performance of the lens but also to its high rigidity and confidence-inspiring build quality.

    1. Other features
    • Mount with dust- and splash-proof design

    Since the area of the lens most vulnerable to dust and other foreign bodies is the mount, rubber sealing helps provide peace of mind. In addition, the front lens element features a water- and oil-repellent coating that helps the lens perform well in the rain, near water, and in other challenging conditions.

    • Nikon electromagnetic diaphragm mechanism included

    The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism that allows it to receive the appropriate signals from the camera body. This feature ensures precision diaphragm control and stable Auto Exposure (AE) performance during continuous shooting.

    Note: Functionality may be limited on some camera bodies.

    • Fast AF with full-time manual focus
    • Compatible with Mount Converter MC-11
    • Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)
    • Available Mount Conversion Service (Allows use with another camera body)
    • Rounded diaphragm
    • Designed to minimize flare and ghosting
    • High-precision, durable brass bayonet mount
    • Evaluation with SIGMA’s own MTF measuring system “A1”
    • Made in Japan (With outstanding craftsmanship)
    • The lens barrel is engraved with the year of release

    SIGMA 135mm F1.8 DG HSM
    With F1.8 brightness, this telephoto lens for full-frame cameras further strengthens the Art line’s prime options

    1. The ultimate 135mm telephoto designed to prioritize optical performance
    2. Fast and nimble autofocus photography
    3. Sixth 35mm full-frame prime lens to join the Art line
    4. Other features? 

    Introducing the ultimate 135mm telephoto featuring top-level performance

    135mm telephoto lenses are often categorized as the foundational telephoto, the first one to add to a lens collection. This focal length delivers a strong perspective compression effect, while the large diameter with F1.8 brightness provides a dramatic bokeh effect. By minimizing axial chromatic aberration, the SIGMA 135mm F1.8 DG HSM | Art makes this bokeh effect not only impressive but also beautiful while delivering superb contrast and sharp image quality in every shot. It offers the outstanding resolution required for 50MP or higher ultra-high-megapixel DSLRs. By incorporating its latest innovations in design and optical glass and rethinking every aspect of the lens, SIGMA has ensured outstanding image quality all the way to the edges, establishing the new standard in 135mm telephoto lenses.

    With resolution so crystal-clear that individual hairs can be discerned in a portrait, this large-diameter lens also delivers a beautiful bokeh effect, giving photographers everything they need. It is ideal for close-ups and full-body shots, with subjects standing out against a pleasantly blurred background. In addition to standard portraits, including bridal shots, this lens is a top performer for live events, with its super-fast autofocus capturing subjects with ease.

    ?Key features?

    1. The ultimate 135mm telephoto designed to prioritize optical performance
    • Image quality optimal for ultra-high-megapixel DSLRs

    To deliver the ultra-high resolution that brings the best out of 50MP or higher ultra-high-megapixel DSLRs, the focus mechanism features SIGMA’s floating system. No matter what the distance from the subject, this lens offers top performance from the center to the edges of the image. By minimizing distortion as well, the lens delivers impeccable image quality—no need for digital adjustment during image processing.

    • Ideal for portraits requiring a dramatic bokeh effect

    The 135mm focal length delivers a stunning compression effect: even fairly close to the subject, the telephoto ring allows the photographer to establish a variety of dramatic perspectives. The compression effect truly shines in both close-ups and full-length portraits, making composition easy. Moreover, the large diameter with F1.8 brightness makes possible a body shot with an impressive bokeh background. In sum, this lens puts a full menu of compositional options at the photographer’s fingertips.

    1. Fast and nimble autofocus photography

    The large hypersonic motor (HSM) offers two benefits. It delivers ample torque to the focusing group for outstanding speed, ensuring exceptionally stable performance even at lower speeds. The acceleration sensor detects the orientation of the lens, allowing the autofocus system to respond to varying loads on the focusing group due to gravity. Along with the optimized AF algorithm, these features deliver fast autofocus photography. In addition, the focus limiter makes AF highly responsive to distance from the subject for even more nimble performance.

    1. Sixth 35mm full-frame prime lens to join the Art line

    Launched in 2012, the SIGMA 35mm F1.4 DG HSM | Art was the first lens in the Art line. Since then, SIGMA has developed a wide variety of lenses for the line, and the SIGMA 135mm F1.8 DG HSM?Art is the sixth prime lens in the line to offer 35mm full-frame coverage. Now even stronger, the Art line sets the new standard for prime lenses in the ultra-high-megapixel era.

    1. Other features 
    • Fast AF with full-time manual override

    Note: The operation of full-time MF may vary based on mount type

    • Compatible with Mount Converter MC-11
    • Mount with dust- and splash-proof construction
    • Nikon electromagnetic diaphragm mechanism included
    • Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)
    • Available Mount Conversion Service (Allows use with another camera body)
    • Rounded diaphragm
    • Designed to minimize flare and ghosting
    • High-precision, durable brass bayonet mount
    • Evaluation with SIGMA’s own MTF measuring system “A1”
    • Made in Japan (With outstanding craftsmanship)
    • The lens barrel is engraved with the year of release

    Sigma 14mm F1.8 DG HSM / 135mm F1.8 DG HSM specifications

      Sigma 14mm F1.8 DG HSM Art Sigma 135mm F1.8 DG HSM Art
    Principal specifications
    Lens type Prime lens
    Max Format size 35mm FF
    Focal length 14 mm 135 mm
    Image stabilization No
    Lens mount Canon EF, Nikon F (FX), Sigma SA Bayonet
    Aperture
    Maximum aperture F1.8
    Minimum aperture F16
    Aperture ring No
    Number of diaphragm blades 9
    Optics
    Elements 16 13
    Groups 11 10
    Special elements / coatings Three FLD and four SLD elements
    Focus
    Minimum focus 0.27 m (10.63) 0.88 m (34.65)
    Maximum magnification 0.1× 0.2×
    Autofocus Yes
    Motor type Ring-type ultrasonic
    Full time manual Yes
    Focus method Internal
    Focus notes Floating focus mechanism
    Distance scale Yes
    DoF scale No
    Focus distance limiter No Yes
    Physical
    Weight 1170 g (2.58 lb) 1130 g (2.49 lb)
    Diameter 95 mm (3.76) 91 mm (3.6)
    Length 126 mm (4.96) 115 mm (4.52)
    Sealing Yes
    Colour Black
    Filter thread 82.0 mm
    Hood supplied Yes
    Tripod collar No

    Sigma 24-70mm F2.8 DG OS HSM specifications

    Principal specifications
    Lens type Zoom lens
    Max Format size 35mm FF
    Focal length 24–70 mm
    Image stabilization Yes
    Lens mount Canon EF, Nikon F (FX), Sigma SA Bayonet
    Aperture
    Maximum aperture F2.8
    Minimum aperture F22
    Aperture ring No
    Number of diaphragm blades 9
    Optics
    Elements 19
    Groups 14
    Special elements / coatings Three HLD and four aspherical elements
    Focus
    Minimum focus 0.37 m (14.57)
    Maximum magnification 0.21×
    Autofocus Yes
    Motor type Ring-type ultrasonic
    Full time manual Yes
    Focus method Internal
    Distance scale Yes
    DoF scale No
    Physical
    Diameter 88 mm (3.46)
    Length 108 mm (4.24)
    Materials Metal
    Sealing Yes
    Colour Black
    Zoom method Rotary (extending)
    Power zoom No
    Zoom lock No
    Filter thread 82.0 mm
    Hood supplied Yes
    Hood product code LH876-04
    Tripod collar No

    Articles: Digital Photography Review (dpreview.com)

  • Irix introduces super wide-angle 11mm for full-frame DSLRs

    New optics manufacturer Irix has announced a second extreme wide-angle lens for full-frame DSLR users that will join the existing 15mm F2.4. The new lens is a manual focus 11mm F4 which will come in two versions – Blackstone and Firefly – like the company’s first lens.

    Constructed using 16 elements arranged in 10 groups the lens offers a nine-bladed iris with apertures from F4 to F22. Electrical contacts allow users to control aperture values from the camera body and for aperture values to be recorded in EXIF data.

    Irix says this new 126° lens is unique because it exhibits only 3.13% curvilinear distortion on a full-frame sensor and shows test images to back up the claim, along with MTF charts that describe the expected resolution.

    Available in mounts for Canon, Nikon and Pentax the lens is weather-sealed and comes in rugged or lightweight versions. The Firefly model is 12% lighter than the Blackstone, but the Blackstone is made from aluminum-magnesium alloy, features a metal-grooved focusing ring and has an anti-scratch coating. Those working in low light conditions might be glad of the Blackstone’s engaged markings that glow in the dark. As the forward element of both versions is so large, and the angle of view so extreme, the company has integrated a filter slot at the back of the lens for 30x30mm gelatin filters.

    There is no indication yet when the lens will begin shipping but it is listed for sale on the company’s US website, with the Blackstone version costing $ 825 and the Firefly $ 595.
    For more information see the Irix website.

    Articles: Digital Photography Review (dpreview.com)

  • Fotodiox Pro launches five GFX lens adapters

    Fotodiox Pro has launched five new lens adapters for the forthcoming Fujifilm GFX medium-format system. This will allow lenses from other systems to be used with the GFX 50S, though as Fotodiox’s website points out, not every lens will give great results. All tilt-shift lenses and many full-frame lenses longer than 50mm will cover the GFX’s sensor, but anything wider will produce vignetting.

    The new lineup features adapters for the Canon EF-Mount, Nikon F-Mount, Olympus OM-Mount, Mamiya 645, and Contax. The adapters are priced at $ 150 with the exception of the Mamiya 645, which is priced at $ 170.

    The adapters are made entirely from metal with chrome-plated brass mounts and a ‘precise fit and solid connection.’ The company also says it uses ‘enhanced craftsmanship and high-tolerance construction for demanding professionals.’

    Finally, Fotodiox cautions, ‘This is a manual adapter, so lens functions that rely on electronic communication with the camera body (autofocus, AE metering, image stabilization, etc.) will be disrupted.’ All five lens adapters are available from the company’s website now.

    Via: ThePhoblographer

    Articles: Digital Photography Review (dpreview.com)

  • First look video: YI 4K+ action camera shoots 4K/60p and stabilized 4K/30p

    The YI 4K+ uses the latest generation of Ambarella processing chip, making it capable of 4K/60p video capture. It can also shoot impressively smooth 4K/30p footage using electronic stabilization. Other standout features include a 2.2″ Gorilla Glass touch display, the best user interface of any action camera on the market and USB-C connectivity.

    We’re eager to spend more time putting the YI 4K+ to the test. Keep your eyes peeled for an updated 4K action camera roundup coming this spring.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon PC Nikkor 19mm F4E sample gallery

    The Nikon 19mm F4 is a wide-angle tilt-shift, or as Nikon calls it, Perspective Control lens. It offers the ability to independently rotate the direction of tilt or shift, making it the perfect tool for keeping those parallel lines straight when working with architecture or interiors. We also took it for a bit of ‘freelensing’ and got experimental with the tilt function.

    Take a look at what is possible when you’re given complete control in our real world sample gallery.

    See our Nikon PC Nikkor 19mm F4E ED sample gallery

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    Articles: Digital Photography Review (dpreview.com)

  • Photography fundamentals explained

    Want to brush up on some basic concepts? Here you’ll find detailed explanations of some of the fundamentals of digital photography. Get your science on and impress all your friends at the next dinner party.

    Sources of noise part two: Electronic Noise
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    Sources of noise part two: Electronic Noise

    Following on our look at the effects of shot noise, our attentions turn to the electronic noise added by your camera. In this second part of the series, we look at read noise and how your sensor’s behavior defines what your camera is capable of and consequently, how you should shoot with it. Read more

    The effect of pixel size on noise
    99

    The effect of pixel size on noise

    A quick look at the effect of sensor size and pixel size on noise.

    What's that noise? Part one: Shedding some light on the sources of noise
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    What's that noise? Part one: Shedding some light on the sources of noise

    How would you react if you were told that the aperture and shutter speed you choose make more difference to image noise than the ISO setting? You might be surprised to discover that a lot of the noise in your images doesn’t come from your camera at all: it comes from the light you’re capturing. Our own Richard Butler explains. Read more

    What is equivalence and why should I care?
    2348

    What is equivalence and why should I care?

    Equivalence, at its most simple, is a way of comparing different formats (sensor sizes) on a common basis. Sounds straightforward enough, but the concept is still somewhat controversial and not always clearly understood. We thought it was about time we explained – and demonstrated – what equivalence means and what it doesn’t. Learn more

    Sense and Sensitivity
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    Sense and Sensitivity

    Sensitivity (ISO) in digital imaging is the subject of quite a lot of confusion – it’s becoming common to hear talk of manufacturers ‘cheating with ISO.’ Here we look at why sensitivity can be hard to pin down, why we use the definition we do and how it’s really as complicated as it can seem.

    Behind the scenes: extended highlights!
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    Behind the scenes: extended highlights!

    Sensors, sensitivity, exposure and dynamic range (blog post)

    Articles: Digital Photography Review (dpreview.com)