360Photography

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  • Relonch is a camera and photo editing service that costs $99 per month

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    No screen, no flash, no settings, no SD card: Relonch, a $ 99-per-month APS-C fixed lens camera and photo editing service currently in beta, sounds like a whole lot of nope right off the bat. But its creators think they’ve found a way to bring better photography to the masses.

    If Relonch sounds familiar, you might be remembering the prototype iPhone case that held an APS-C image sensor that the company unveiled at Photokina 2014. What became a photo editing app fed into the latest concept, a ‘camera as a service.’ 

    That camera is the Relonch 291, a 20MP APS-C camera ‘based on Samsung Galaxy NX technology’ with a fixed prime lens. It offers just one shooting mode, and button: the shutter release. There’s no way to save photos directly from the camera – what Relonch does offer is a 4G connection to automatically transfer captured images to its server and uses AI to select what it deems to be the best images and processes them. Edited images are transferred back to the user via a mobile app the next day.

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    The company hopes to make Relonch available globally in 2018. Until then, the service is in beta testing as its processing algorithms are refined. In the meantime, if you’re in Palo Alto you can visit their showroom to try one out for three days. If you like what you see, you can ‘reserve’ Relonch now for $ 99 (fully refundable), but you’ll be looking at a wait until at least mid 2018.

    Fast Company’s Emily Price took one for a spin and found some aspects of the experience appealing, but was ultimately disappointed when photos didn’t meet Relonch’s AI’s quality standards. There’s also an argument to be made about cost – over the course of a year Relonch will cost its user $ 1200. For that kind of money, you can be the proud owner of a really nice APS-C camera. But that may be beside the point for Relonch’s target audience.

    Is this something you would consider recommending to your friends and family who find ‘professional’ cameras too intimidating? Let us know what you think.

    Articles: Digital Photography Review (dpreview.com)

  • New Leica SL firmware improves tethered shooting, SL 50mm F1.4 goes on sale

    German photo brand Leica has announced new firmware for its full frame SL mirrorless camera, making it fully compatible with the latest version of the company’s tethered shooting and remote control applications. Firmware 2.2 bolsters the camera’s ability to operate with both Leica Image Shuttle 3.5 for Mac and Windows, as well as Tethered Plug-in 1.1.0 for Mac. Image Shuttle is the company’s application for controlling the camera remotely, while Tethered Plug-in allows images to be drawn directly into Adobe’s Lightroom when connected via a USB cable.

    The firmware also removes the restriction on long shutter speeds for those using 6-bit M lenses with the M-Adapter T/SL, as well as some mystery improvements to the camera that are not specified.

    The company has also today released the Summilux-SL 50mm F1.4 ASPH for sale. Announced alongside the SL itself the lens should offer a very slightly more compact alternative to the 24-90mm F2.8-4 and 90-280mm F2.8-4 zoom lenses the company has released so far. It costs $ 5295/£4080.

    For more information visit the Leica website.

    Press release:

    Firmware update 2.2 for Leica SL with improved support for Leica Image Shuttle software and Leica Summilux-SL 50mm f/1.4 ASPH. lens – available today

    Leica Camera has released Firmware Update 2.2 for the Leica SL mirrorless system camera, improving support for the Mac versions of Leica Image Shuttle 3.5 and Tethered Plug-in 1.1.0., as well as supporting the new Microsoft Windows version of Leica Image Shuttle 3.5.

    Registered Leica SL owners can download the new software and firmware updates from the Leica Owners’ Area (https://owners.leica-camera.com) or take their camera to their local Leica Store or Leica Customer Care in the UK for a complimentary installation.

    Leica Image Shuttle 3.5 improves workflow efficiency for tethered shooting with the Leica SL and allows the camera to be controlled from a computer via a USB 3.0 cable connection. All relevant exposure parameters such as shutter speed, aperture, ISO value and autofocus can be set and controlled from the computer, and exposures can be displayed directly on a large monitor screen for assessment.

    The Leica Tethered Plug-in 1.1.0 (for Mac) – also available as a download from the Leica Owners’ Area – establishes a direct connection between the Leica SL and Adobe Photoshop Lightroom 6 / CC for Mac via USB cable. The camera’s shutter release can be activated from the plug-in and the images captured can be displayed directly in Adobe Photoshop Lightroom 6 / CC (for Mac), making the workflow even faster and more reliable. The corresponding firmware update is required for the use of Leica Image Shuttle and the Leica Tethered Plug-in.

    Firmware update 2.2 also removes the shutter speed limitation when shooting with 6-bit coded Leica M-Lenses, while further optimising the performance of the Leica SL system.

    Available from today, the Leica Summilux-SL 50mm f/1.4 ASPH. is the first prime lens for the Leica SL-System and sets a new standard in its class. Its large maximum aperture makes this high-performance lens ideal for photography in challenging lighting conditions, and enables the use of shallow depth of focus as a creative tool. Furthermore, the fast, precise and reliable autofocusing ensures that photographers can concentrate fully on composition and creativity. The lens’ combination of resolving power and soft bokeh in unsharp areas clearly isolates subjects from their background, particularly when shooting at maximum aperture.

    For additional product specifications, please visit: Leica Summilux-SL 50mm f/1.4 ASPH.

    Articles: Digital Photography Review (dpreview.com)

  • Adobe Photoshop CC gains new MacBook Pro Touch Bar support

    Adobe has announced that Photoshop CC now supports the Touch Bar found on certain models of the new Apple MacBook Pro. Three categories of Touch Bar functions are currently supported, including brush selection, customized favorite actions and layer properties. The update that brings this new support is available to download now. 

    When using the Layer Properties section with the Touch Bar, Photoshop CC users can access various tools and options related to layers, including Select & Mask, switching between blend modes, placing a Smart Object, clipping layers and scrolling through the layer history. The Brushes section is similar, lending access to brush settings like opacity and flow, size, color, and hardness.

    Finally, the Touch Bar also provides access to Favorites, of which users can create their own favorite actions. Says Adobe, users can gain quick access to, for example, Flip Horizontal/Vertical, Full screen mode and the macOS share menu. Additionally, users can set up actions involving the Brushes and Layer Properties categories.

    Via: Adobe Blogs

    Articles: Digital Photography Review (dpreview.com)

  • Take an entertaining look back at the cameras that came before SD cards

    Looks like we’re not alone in our love of cameras from the early days of digital photography: YouTuber The 8-Bit Guy has published a thoroughly entertaining look back at cameras that used floppy disks and other memory media that preceded the humble SD card. He revisits the Sony Mavica FD-7, Mavica FD-85, Panasonic SD4090 and the Mavica CD-350. Take a look at the video and see if it sparks any memories of cameras from your past, and then head over to our Throwback Thursday feature on the floppy-disk-using Mavica FD-91.

    Articles: Digital Photography Review (dpreview.com)

  • Canon 16-35mm F2.8L III real-world sample gallery

    The Canon 16-35mm F2.8L II has been one of the most popular and sought after lenses in landscape photography thanks in part to its distinct and gorgeous sunstar. That said, the lens did have its fair share of issues. We took the updated version of the lens out for a spin to get a feel for its performance.

    See our Canon 16-35mm F2.8L III
    sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Benjamin Von Wong’s latest project spotlights conservation with mermaid photo series

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    A single plastic bottle doesn’t make for a terribly compelling photo. But what about 10,000 plastic bottles and an brightly costumed model? That’s a different story.

    Benjamin Von Wong’s latest project seeks to call attention to the problem of plastic pollution. Von Wong quotes research that says 50% of plastic is used just once before it’s thrown away, and by 2050 the world’s oceans will contain more plastic than fish. 

    Von Wong wanted to call attention to the problem, and came up with a concept that would help represent his subject beautifully – colorful mermaids lost in a sea of plastic. To do so required a massive number of plastic bottles and an equally large space to stage the scenes. You can read more about the logistics on Von Wong’s blog.

    Using a Sony a7R II and a 16-35mm F4 ZA OSS, Von Wong captured the scale of his creations by rigging the camera to a system of plywood and pulleys, suspending it high above his model. He controlled it remotely from an iPad, and previewed images on a borrowed 52″ TV. See how it came together in the behind-the-scenes video below. If you want to take action, you can sign a petition to pledge to reduce your use of plastic. 

    Articles: Digital Photography Review (dpreview.com)

  • Tokina FiRIN 20mm F2 FE MF lens to begin shipping January 27

    Tokina launched the FíRIN 20mm F2 FE MF lens for Sony E mount just prior to Photokina this year, and has announced that the lens will go on sale at the end of January. The wide-angle lens features three super-low dispersion elements alongside a pair of aspherical elements, an F2 to F22 aperture range, and a nine-blade diaphragm. In addition to full-frame Sony E mount cameras, this lens can also be used with APS-C models.

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    According to Tokina, its new FiRIN lens supports in-camera assist functions, and includes both manual focus up to a minimum 11-inch distance and aperture control. The lens sports a multi-layer coating for minimizing ghosting and lens flare, as well as printed distance and depth of field scales on the lens barrel.

    The lens is slated for release on January 27 with a retail price of ¥108,000. Pre-orders are available through B&H Photo for $ 799.

    Via: Tokina

    Articles: Digital Photography Review (dpreview.com)

  • Syrp introduces Super Dark 5-10 stop variable ND filter

    Accessories brand Syrp has announced a new variable neutral density filter that will appeal to those who like to create very long exposures. The Syrp Super Dark Variable ND Filter operates between five and ten stops (ND32 to ND1024) and provides stop-markings on the rings so photographers can measure exactly how much light they are cutting out.

    The company says it has reduced the range of densities the filters create to avoid the ‘X’ interference effect that is common with one to ten-stop filters. The filter can only be rotated within ‘safe’ limits, and Syrp has used ‘hard stops’ to prevent the forward ring being turned too far.

    The filters come in 67mm and 82mm sizes, and each is packed with a pair of step-up rings to allow them to fit to smaller lenses. The forward ring of each is also threaded so further screw-in filters can be stacked in front of them, and the bezel is moulded to allow a regular lens cap to be fitted.

    The filters cost $ 169 for the 67mm version and $ 209 for the 82mm version, and both come with a protective leather zip-up holder. For more information see the Syrp website.

    Manufacturer information

    Introducing the New Super Dark Variable ND Filter!

    With 5-10 stops of adjustable exposure control, the Syrp Super Dark Variable ND Filter is a must-have tool for any photographer’s gear bag and is available for pre-order from today, with a planned shipping date of the 15th of December. The Super Dark is available in two sizes and includes hard stops at the minimum and maximum ends for reducing X-pattern.

    Long exposures are fundamental to landscape photography as they capture the effect of time passing, giving your images an expressive and often surreal look. They also add a creative element to your time lapses making them more fluid and giving them a dreamy effect. Silky smooth waterfalls or glassy lakes can be captured in full day light with just a simple twist of the filter to allow you to slow your shutter speed and record long exposures.

    Both the Small and Large Filter Kits come with a genuine leather carry case to house the filter and ensure it stays protected from dust and scratches. Our Super Dark Variable ND Filter provides exposure reduction of 5 (ND32) to 10 (ND1024) stops using a smooth, adjustable front ring. The filter also has a front thread so you can easily stack filters if needed and will fit your regular lens cap.

    Included in each Filter Kit are two step up rings for maximum compatibility with the range of lenses in your kit. The Large Kit (82mm) has 77-82mm and 72-82mm rings and the Small Kit has 58-67mm and 52-67mm rings. An invaluable tool for time-lapse, the Super Dark creates a more natural and fluid transition between frames, reducing the appearance of moving elements’ flickering and stuttering.

    Articles: Digital Photography Review (dpreview.com)

  • Zeiss ExoLens PRO lens lineup updated with support for iPhone 7 phones

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    Zeiss has announced a new ‘Edge’ bracket that brings iPhone 7 family support to the maker’s ExoLens PRO with Optics by Zeiss smartphone lenses. The bracket features half a dozen device inlays that support both the iPhone 7 and the iPhone 6 phones, as well as a cold shoe mount for attaching secondary accessories such as lighting instruments.

    According to Zeiss, a bracket specifically for the iPhone 7 and the ExoLens optics is available now from camera stores, as well as a wide-angle ‘accessory lens.’ The Edge bracket, meanwhile, will be available at camera stores starting in the end of January. The company recommends that iPhone 7 Plus owners use either the ExoLens PRO Macro-Zoom or Wide-Angle lenses since the device already offers a 2x telephoto camera, however, all of the lenses are said to be ‘generally compatible.’

    The iPhone 7 bracket is available now for $ 59.95 / €64.95, and the Edge bracket will be available starting next month for $ 49.95 / €59.95. The Wide-Angle lens recommended for the iPhone 7 Plus is $ 149.95 / €179.95, and the Macro-Zoom lens is $ 149.95 / €179.95.

    Via: Zeiss

    Articles: Digital Photography Review (dpreview.com)

  • Medium-format meets the modern age: Hasselblad X1D-50c shooting experience

    Hasselblad’s X1D-50c caused quite a stir when it was announced over the summer, as its mirrorless design and relatively tiny size defied what we thought we understood about the relationship between sensor size and body bulk in digital cameras. All previous digital medium-format models, other than the Leica S series, have been DSLRs with spacious mirror box housings and forward projecting architecture, but the X1D-50c breaks that mold and harks back to the Mamiya 7/Bronica RF compact rangefinder style. More exciting perhaps is the adoption of the features that we associate with mirrorless compact system cameras, such as touch focusing and an electronic viewfinder, that bring this usually lumbering format into the modern age.

    Although the price of the system is higher than those centered around 35mm-style DSLRs, it is also a good deal less than we have come to associate with the 6×4.5cm digital format. The combination of the X1D’s design, features and price made the camera popular immediately. Hasselblad has said that it took more orders in the first ten days than it had expected to take for the year – but now, of course, it has to actually deliver the product to those who pre-ordered it. My understanding is that it is almost ready and I’ve been able to shoot for a short while with the latest pre-production X1D with a 45mm F3.5 lens.

    The camera itself is finished but the firmware is still being added to and refined. As such, this article should give you a good general idea of what the camera will be like when it is all done and a pretty clear idea of the image quality we can expect from the finished product.

    Body and handling

    The Hasselblad X1D-50c isn’t all that much bigger than a Panasonic Lumix GH4 and it will displace less water than the Nikon D810 (don’t try that at home). Size-wise, then, it feels very much like a standard DSLR. The grip is well pronounced which makes the camera very comfortable to hold and to carry, and which makes it feel secure in the hand. The controls feel quite chunky, deliberate and designed to reduce the chances of pressing something by accident. Although the dials are in slightly different places it seems as though they and the shutter release button came out of the same parts bin as those used on the H6D body. These exaggerated features lend the X1D-50c the feel of a big camera but without the size.

    I’m pleased Hasselblad has adopted new buttons for the top plate instead of the slightly spongy ones used around the info panel LCD of the H6D, and it has changed the feel of those running down the side of the rear screen. The exterior of the body houses only nine control buttons plus a depth of field preview and the on/off button, so the space feels un-cluttered and simple to navigate.

    The menu system is very much the same as that used in the backs for H6D, with bold icons and a large shouting print that will require reading glasses less often than the GUIs of most DSLRs. All the features are activated by touch and options can be scrolled through using the touch screen or the traditional control wheels.

    Those used to traditional DSLR and CSC menus might find that of the X1D-50c sparsely populated when it comes to features and options – and it is. The menu will be gradually fleshed out as Hasselblad develops the camera, but don’t expect it to have the same number of options as a regular DSLR.

    The 3″ rear LCD is clear and bright, and its 920k-dot resolution makes the display useful when focusing manually. The EVF is also very clear and its 2.36 million-dot display feels very detailed. The firmware version I was using didn’t allow playback in the viewfinder so I couldn’t check to see what that would look like, but Hasselblad tells me that will be coming soon in a further update.

    Articles: Digital Photography Review (dpreview.com)