Category: Uncategorized

  • Pre-Visualization: Ansel’s views on what made his images so special

    Marc Silber from Advancing Your Photography continues his interview series with Ansel Adam’s son Michael in this video. Marc visits Ansel’s home and discusses the concept of pre-visualization in photography and Ansel’s writing, workshops and techniques with Michael. 

    In the interview, Michael also details what made Ansel’s work so special – my favorite quote from the video comes from Michael as he paraphrases Ansel’s thoughts on his work. Ansel would always say ‘It’s not what you see, it’s what I want you to see.’ That mindset is really what made Ansel’s photos so dramatic and memorable. He processed them in a way that fulfilled his vision and conveyed the story that he wanted to tell.

    This interview also offers an inside look at a few of Ansel’s favorite cameras, and even some of his color work that he completed through a partnership with Kodak. It really is a fascinating look back at some Ansel’s most profound thoughts, teachings and photographs.

    Articles: Digital Photography Review (dpreview.com)

  • Google Photos for iOS improves Live Photos management

    An update to the Google Photos app for iOS brings some of the features of the Motion Stills stand-alone app to Google’s main photo application. New functions allow for easier editing, sharing and stabilization of Apple’s animated Live Photos. Thanks to intelligent electronic stabilization algorithms Google Photos now lets you create animated images with moving subjects but frozen backgrounds, and sweeping pan shots. 

    After editing Live Photos can now be converted into movie files and saved to the iPhone’s camera roll. This means with the update the files are shareable with Android phones and other devices which are not capable of processing Apples Live Photo format. Additionally, the improved version of the app includes some new photo organization functions. Images in albums can now be sorted chronologically and you can choose thumbnails for your friends’ faces in the People module. 

    The update can now be downloaded and installed from the Apple App Store and should be available for the Android and Web versions of Google Photos soon. 

    Articles: Digital Photography Review (dpreview.com)

  • Meyer Optik brings back the Primoplan 58 F1.9 on Kickstarter

    Meyer Optik, a German lens manufacturer that has already brought some of its historic lens designs back to life via crowdfunding campaigns, has launched another Kickstarter project. This time the company is looking for funding to relaunch the Primoplan 58/F1.9 lens, designed 80 years ago by engineer Paul Schaefter.

    The lens comprises five elements and offers different styles of bokeh, depending on subject distance and aperture. The 58/F1.9 uses some of the same components, including the housing, as the Trioplan 50. This means Meyer Optiks can generate economies of scale and offer the lens at a more affordable price than otherwise possible. 

    The new Primoplan 58/F1.9 will be available worldwide and shipping is slated for February or March 2017. To minimize the cost of delivery the lens will be shipped, depending on the buyer’s location, from either the US or Germany. The campaign has already surpassed its funding goal but you can still secure a Primoplan 58/F1.9 by pledging $ 599. More information, sample images and a video are available on the project’s Kickstarter page. 

     Copyright: Firat Bagdu
     Copyright: Tamara Skudies
    Copyright: Firat Bagdu

    Articles: Digital Photography Review (dpreview.com)

  • Harder than it looks: LensRentals gets inside the Canon EOS 5D IV

    LensRentals gets inside the Canon EOS 5D IV

    Canon’s new EOS 5D IV is a formidable bit of hardware, boasting a 30MP full-frame sensor and 4K video. Our friend Roger Cicala over at LensRentals.com has taken one apart to see how it works. His verdict? It’s harder to disassemble than you might expect…

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    We love it when LensRentals takes cameras to bits for two reasons. First, we’ve always wanted to see what these things look like on the inside, and second, it’s not the kind of thing that our friends at the major camera manufacturers would ever let us do. 

    The screwdrive-happy nerds at LensRentals enjoy opening up Canon cameras particularly, it seems, because in Roger’s words ‘the engineering is always nicely laid out and usually pretty’. Ok then. 

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    The 5D IV, however, seems not to be a typical Canon camera in that it proved very difficult to get into. According to the crew at LensRentals, ‘Until now Canon cameras have all been pretty straightforward in their disassembly: you take out screws, that part of the case comes off, repeat for another part of the case’. 

    With the 5D IV, on the other hand… ‘to take off any part of the shell, other than the back assembly, you have to take off most of the shell because Canon has added lots of plastic pegs and latches to the various parts of the shell, making it much more interlocking than in previous cameras’. 

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    Part of the reason for the additional latches could be to improve the durability and weather-sealing of the camera, which as you’d hope features ‘lots of foamed seals along doors and joints’

    This view shows the inside of the 5D IV’s rear shell. According to Roger, ‘Inside it looks very much like other Canon back covers. There are aluminum shields over the button panel and LCD. The flexes running to and fro over the LCD are more complex than other Canons because of the extra processing for the touch screen.’

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    This is the main LCD flex, which is unusually large. In Roger’s words ‘almost a circuit board’. 

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    From the back, Roger found a couple of interesting things, looking at the EOS 5D IV: ‘First, there are more flexes connecting to the main PCB than most other models. Second, we were very pleased to see a thick, stiff, sheet of rubber covering the back of the PCB’.

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    The EOS 5D IV benefits from the redesigned mirror assembly we first saw in the EOS 5DS/R, and here’s the mirror motor, tucked away to the left of the lensmount.

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    Here’s the EOS 5D IV’s top assembly. And this is as far as Roger is prepared to go, because ‘we’ve learned from long, painful experience not to take these apart unless we absolutely need to. In general, if something is wrong with the top assembly, you just replace the top assembly’. 

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    This is the EOS 5D IV’s main PCB. Unusual, because ‘there are a lot, a whole lot, of flexes connected to the board from every direction. They are thicker and more complex than previous cameras and a lot end up in thick ‘press in’ connectors instead of simple flex cables.’

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    ‘Underneath where the PCB was we now see the circuit board of the image sensor, and to the right of that the CF card assembly’.

    LensRentals gets inside the Canon EOS 5D IV

    Lensrentals.com, 2016

    What did Roger and his team learn from taking the EOS 5D IV apart? 

    • ‘The weather sealing on the Canon 5d Mark IV appears pretty robust’
    • The multiple pins, clips and screws that hold the camera together might improve weather-resistance but make it ‘kind of a pain to get into’.
    • The extra technology inside the EOS 5D IV mean that ‘there are more chips, and more and heavier connectors moving electrons from board to board than even the Canon 5Ds cameras have’.
    • ‘there’s more air inside this camera than we’re used to seeing. […] In other words, this camera probably could have been a bit smaller but Canon wanted to keep the form factor the same.’
    • ‘Construction is at least as robust as the recent 5 series releases and better than the Canon 5D III’.

    You can read the full tear-down, with Roger’s usual detailed analysis and plenty of additional images at LensRentals.com.

    Articles: Digital Photography Review (dpreview.com)

  • So, you don’t care about the iPhone 7? Here’s 10 reasons why you should

    The iPhone 7 has a newly designed 12MP camera with a six-element, optically stabilized lens. As well as stills it can shoot 4K video at up to 30p, and the iPhone 7 Plus offers a twin-lens camera providing 28mm and 56mm focal lengths. 

    Another year, another iPhone, the usual chorus of Internet commenters going to great lengths to tell the world how little they care. But we’d be foolish to ignore the world’s most popular camera – and so would you.

    Here’s why.

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5515118563″,”galleryId”:”5515118563″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Official iPhone 7 sample photos, courtesy Apple

    1: 12MP is good enough

    Ok, most DSLRs and high-end compacts offer 20MP+ but if we’re being honest, 2MP is good enough for Facebook, 3MP is good enough for a magazine cover, 6-8MP is good enough for a large-ish wall print and anything more than that is a bonus, most of the time. In short, the chances are that 12MP is good enough for you. 

    2: It shoots Raw

    It was only a matter of time before Apple added a Raw capture option to its iPhone series, and the day has come. As such, the iPhone 7 and 7S are arguably more enthusiast-friendly than the majority of low-end zoom compact cameras, and almost all tough cameras.

    Adding Raw capture to the iPhone gives photographers a lot more creative freedom, and should allow them to mitigate – if not entirely overcome – some of the limitations of shooting with a control-limited device and a small sensor format. Raw shooting is coming to older iPhones soon too, with the upcoming release of iOS 10.

    3: The iPhone 7 Plus has a proper zoom. Kind of.

    The iPhone 7 and 7 Plus feature 12MP imaging sensors – most likely a 4.9 x 3.7mm BSI-CMOS which gives an equivalent crop factor of around 7X. The 7 Plus has two of them, which form twin cameras shooting at 28mm and 56mm equivalent. Their F1.8 and F2.8 apertures are equivalent in depth of field terms to ~F12 and ~F22 respectively.

    The iPhone 7 Plus features a twin-camera design, which comprises 28mm F1.8 and 56mm F2.8 equivalent prime lenses. A forthcoming update will enable a computationally-derived bokeh simulation effect.

    A 28-56mm two-step zoom might not set your heart ‘a flutter, but for the average beginner, or keen smartphone photographer, the added versatility of a proper choice of optical focal lengths is a serious selling point of the iPhone 7 Plus over every other phone on the market. A true optical zoom would be hugely complicated, but Apple’s approach makes sense. One lens for landscapes, one for portraits.

    5: The iPhone 7 Plus can do bokeh. Kind of. 

    We’ve seen attempts to blur out backgrounds using software before, but they don’t tend to end well. Typically, in the devices which offer some kind of algorithmic background blur feature, the effect is inconsistent. Even when it works, it doesn’t hold up well to critical examination.

    We won’t be able to properly test the iPhone 7 Plus’s bokeh simulation effect for a while, but early samples look very encouraging indeed. 

    Apple seems to be doing two things a little differently. The first is that the feature only works in ‘Portrait’ mode (when the iPhone 7 Plus’s 56mm equivalent lens is employed), and the longer focal length probably gives it a bit of a head-start in terms of baseline background blur for portraits compared to a bog-standard wideangle cellphone lens.

    The second is that rather than just identifying your subject, making a mask, then blurring everything which looks like it probably isn’t your subject, the iPhone 7 Plus’s software makes a very complex depth map of the scene, and selectively applies blur based on the calculated distance of the background from your intended subject. For now, we only have Apple’s sample images to go by, but it seems to work impressively well.

    6: It’s optically stabilized

    Here’s an exploded view of the iPhone 7’s camera, showing its six-element construction.

    This is old news in the mainstream camera market, but optical stabilization still isn’t included in some fixed-lens cameras. Optical I.S. will make the iPhone 7 and 7 Plus cameras more useful in poor light, extending the potential of the products for social and environmental photography.

    7: It’s quick, and powerful

    Modern smartphones incorporate an incredible amount of processing power, and compared to most cameras they’re capable of churning through much more data. With the cameras activated, the iPhone 7 and 7 Plus are constantly sampling a scene in preparation for exposure. So effectively, when you tap the shutter button, they’ve already taken the picture. On-sensor phase-detection autofocus using dedicated pixels means there’s virtually no hunting for focus, either.

    Apple claims that the iPhone 7/Plus’s imaging processor manages more than 100 billion operations every time a picture is taken. Think about that the next time you take a photo of your cat.

    8: It shoots 4K

    Maybe you think you don’t care, but trust us – even if you’re not a filmmaker, the ability to capture 8MP frames at up to 30fps can be pretty handy.

    9: It’s water-resistant

    You can take the iPhone 7 and 7 Plus out in the rain, or drop them in the bath without worrying. How many photographers can say the same thing about their ‘proper’ cameras?

    Supposedly, the iPhone 6S was almost water-sealed, but not quite. With the removal of the headphone jack, the iPhone 7 and 7 Plus have been made fully water resistant, and are both capable – apparently – of being submersed for up to 30 minutes without damage. 

    10: Good iPhone cameras lead to better ‘proper’ cameras.

    Even if you’re one of those people who has an almost religiously-held indifference to cellphones (and I know you exist because I get emails from you), consider this:

    The greater the public’s expectations of the cameras in their cellphones, the more they expect of ‘proper’ cameras, if and when they buy one. There is certainly an argument to be made that the only reason we have things like beautiful high-resolution touch-screens, wireless connectivity, GPS and 4K video in cameras now is the iPhone. That ten years ago, Apple kicked off a smartphone revolution with the original iPhone which lead to the inclusion of these features in cameras becoming an expectation on the part of smartphone upgraders.

    Habitual iPhone photographers won’t put up with laggy low-resolution touch-screens on DSLRs, or the omission of features like 4K video and wireless connectivity that they’re used to from their phones. This drives camera manufacturers to add more features to their products, and we all benefit. Right?

    10.5: It’s an iPhone camera.

    This is an obvious point, but bear with me. Remember what I just wrote about this being the ‘world’s most popular camera?’ Apple has been phenomenally successful when it comes to putting its devices in people’s pockets. More people are taking photographs now than ever before, and the iPhone, in its various versions, is the most popular picture taking device (or strictly speaking, series of devices) in the world.

    What that means is that like it or not, when Apple does something, even if it didn’t do it first, it tends to have a certain significance. It’s safe to assume that there are a lot of people talking about the words ‘Bokeh’ and ‘Raw’ today who had never heard the terms before Apple’s launch event this week. Maybe I’m just a misty-eyed optimist, but I think that’s kind of cool. 

    Articles: Digital Photography Review (dpreview.com)

  • Tiny Atlas Solas ‘casual’ waxed cotton camera bag is lightweight and durable

    Tiny Atlas Quarterly, a travel publication, has launched a new multipurpose camera bag, Solas, on Kickstarter. The Solas bag is made from waxed cotton canvas, making it both lightweight and durable, designed to be carried as an arm tote, a backpack or a shoulder bag. The Solas bag measures 17in / 43cm high and 11in / 28cm wide, while the accessories bag measures 8.7in / 22cm by 8.7 / 22cm and the lens pouch measures 6.7in / 17cm wide.

    Solas is rain-resistant thanks to its waxed canvas exterior; it also features a pair of air-mesh organizer pockets and an internal key leash. The bag’s trim includes vegetable leather paired with metal buckles. An internal protective foam compartment is built-in for carrying cameras, while a padded sleeve can accommodate up to a 13-inch laptop. Additionally, Tiny Atlas says its bag features a cushioned internal frame for further gear protection.

    The bag is offered in three color schemes: Natural + Yellow, ‘Color Block,’ and Black. Tiny Atlas has reached and exceeded its $ 14,000 funding goal on Kickstarter, where it offers backers an early bird bag for $ 175, among other pledge options.

    Via: Kickstarter

    Articles: Digital Photography Review (dpreview.com)

  • Canon EOS 7D Mark II firmware 1.1.0 now available

    Canon has released the firmware update it promised for the EOS 7D Mark II when it launched the W-E1 ‘card-shaped’ wireless adapter. Outside of adding support for the adapter, firmware 1.1.0 is fairly minor, also making it possible to enable and disable automatic storage of three STM lenses when the camera is turned off.

    Firmware v1.1.0’s changelog lists the following changes:

    1. Supports Wi-Fi adapter W-E1.
    2. Adds a setting to enable or disable automatic storage of the lens if it is extended out when a gear-driven STM lens*1 is attached, and the power switch is turned to [OFF].

      *1 EF 40mm f/2.8 STM, EF 50mm f/1.8 STM, or EF-S 24mm f/2.8 STM lenses

    Via: Canon Rumors

    Articles: Digital Photography Review (dpreview.com)

  • Sony’s new flagship FDR-X3000 action cam shoots stabilized 4K video

    The new Sony X3000 both offer image stabilization, with the X3000 (left) shooting 4K and the (center) Full HD. Both are sold in optional kits with the new, smaller live-view remote.

    Sony has announced that the 4K-capable flagship FDR-X3000 action camera (previously announced in Japan) will go on sale in North America, along with the Full HD FDR-AS300 action camera. Both makes use of Sony’s Balanced Optical SteadyShot image stabilization (BOSS – yes, really), which can be used when shooting 4K video on the X3000 and Full HD on the AS300. 

    Stabilized 4K footage from an action camera is a very big deal. Of the cameras included in our recent 2016 Action Camera roundup, only one is capable of stabilized 4K, and it’s an adventure tracker, not an action camera.

    Both the X3000 and AS300 also feature new Zeiss lens designs, and utilize 8.2MP BSI Exmor R CMOS sensors with full sensor readout and no pixel binning. The models feature identical designs, and are smaller than previous Sony action cameras. The user interface has also been vastly improved.

    The X3000 will be sold body-only for $ 400 and kitted with a new 30% smaller live view remote (X3000R) for $ 450. The AS300 will be sold body-only for $ 300 and kitted with the new live view remote (AS300R) for $ 450. Both will be available in North America in late September.

    Press Release:

    Sony Announces new Flagship 4K and HD Action Cams with Superior Image Stabilization

    New 4K and HD POV Cameras Feature Balanced Optical SteadyShot® Image Stabilization, Live-View Remote, 4K Time-lapse Capture and other professional capabilities

    SAN DIEGO, Sept. 9, 2016 – Sony Electronics, a worldwide leader in digital imaging, has today introduced their first POV cameras to feature the innovative Balanced Optical SteadyShot (B.O.SS) image stabilization technology, the FDR-X3000R 4K*  model and HDR-AS300R Full HD model.

    The flagship feature of the two new cameras – Balanced Optical SteadyShot* – is an advanced form of image stabilization where internally, the camera’s lens and sensor are joined and moved together to compensate for camera shake caused by excessive motion, whether shooting handheld with optional accessories or during a fast-paced sporting activity. This is a particularly effective technology when paired with a POV action camera design as it ensures captured video footage is smooth and stable – even in 4K or high-frame-rate shooting modes.

    Advanced Movie-Making Capabilities

    The versatile new FDR-X3000R and HDR-AS300R Action Cam feature a new ZEISS® Tessar lens with significantly less lens distortion than previous models3. They are also equipped with a new back-illuminated Exmor R® CMOS sensor with large pixels designed for 16:9 aspect ratio video plus a powerful BIONZ X™ processor, ensuring that video quality remains consistently strong across all settings.

    The new cameras utilize full pixel readout without pixel binning technology to produce exceptionally high resolution and accurate colors in both 4K (FDR-X3000R only) and Full HD videos. This allows them to read and process data from all of the sensor’s pixels, producing highly detailed video content with minimal noise and ‘jaggies’ in a variety of formats including the high data stream XAVC S™ codec (100Mbps in 4K and 50Mbps in Full HD) 4. The FDR-X3000R can also shoot 120p in Full HD and HDR-AS300R can shoot 120p in HD for impressive slow-motion footage 5. Both cameras offer a new angle of view adjustment, with a 3x smooth zoom or preset “wide”, “medium” and “narrow”6 settings. This allows shooters to get even closer to the action during movie recording, and reducing barrel distortion common with wide view POV cameras.

    FDR-X3000R and HDR-AS300R each have a built-in stereo mic7 with wind noise reduction to reduce the impact of wind interference on overall audio quality, and are equipped with stereo microphone input for advanced recording.

    LiveView Remote and User Interface

    Sony’s new Action Cam models will be offered in a kit with a compact Live-View Remote8 that is about 30% smaller than previous9 version. The remote, with a mountable design, acts as an extension of the camera and allows users to see what is being recorded when the camera is not accessible. The remote has the ability to control various functionalities including shooting settings, start/stop recording, power on/off and more. It also features an “auto display off” mode that turns off its LCD screen display automatically during shooting in order to save power of both camera and remote.

    The versatile remote accessory can be attached to various optional accessories such as Finger Grip (AKA-FGP1), Shooting Grip (VCT-STG1) or Handlebar Mount (VCT-HM2) using supplied mount adaptor, or worn as a wristband using supplied belt. Users can also utilize Sony’s PlayMemories Mobile™ application – available for both Android and iOS – to control the new Action Cam with a smart device10.

    Based on extensive feedback from athletes, filmmakers and more casual users, the new cameras and Live-View Remote feature a more in-depth user interface and menu system, with a rich indication of camera settings that makes it easier to navigate menus and customize settings as needed. The new models also offers “Wi-Fi high power mode”, which extends to communication distance between the camera and Live-View Remote11 for more flexible shooting.

    Additional Feature Enhancements

    The FDR-X3000R and HDR-AS300R both include a unique Time-lapse Capture feature that shoots still images in pre-set intervals that can later be transformed into a stunning 4K time-lapse movie utilizing the Action Cam Movie Creator software12. The Action Cam App13 can also create time-lapse movies in Full HD.

    Built-in GPS inherited from previous models3 is available, allowing location tracking and speedometer to be added to the video file when Action Cam Movie Creator is used. This also allows GPS Data Overlay on video to read your speed data and generate another video file14 that includes your route, speed information, etc.

    Additionally, an updated version Sony’s own in-built movie creator – Highlight Movie Maker15 – is available in the new cameras. The innovative feature, which now utilizes face detection technology, automatically assembles footage into a video highlight package and pairs it with custom music for the ultimate viewing experience.

    For the more advanced user, there are an expanded scope of manual controls and setting adjustments including white balance, and auto exposure shifting. Loop recording is also available, allowing users to maximize usage of available memory card space to ensure they get the exact shot they are looking for.

    The FDR-X3000R and HDR-AS300R have a splash-proof body and are waterproof with supplied Underwater Housing (MPK-UWH1) 7 that is certified down to 197 ft. / 60m in depth. A new range of accessories for Action Cam has also been announced, including the Finger Grip (AKA-FGP1) that is an ideal travel accessory as it enables flexible one-handed shooting and the MC Protector (AKA-MCP1) for extra protection from lens scratches and dirt.

    Pricing and Availability

    The new Sony FDR-X3000 will be sold as body only for about $ 400 US ($ 550 CA), and will be offered as a kit (model FDR-X3000R) with the new Live-View Remote for about $ 550 US ($ 700 CA).

    The new Sony HDR-AS300 will be sold as a body only for about $ 300 US ($ 400 CA) and will be offered as a kit (model HDR-AS300R) with the new Live-View Remote for about $ 450 US ($ 550 CA).

    The new AKA-FGP1 finger grip will be sold for about $ 25 US ($ 40 CA), and the AKA-MCP1 lens shield will be sold for about $ 35 US ($ 50 CA).

    All products will be available in North America in late September at authorized dealers.

    Notes:

    1) 3840 × 2160 pixels.
    2) Distortion in image quality or out-of-focus may occur when used in close proximity to vibrating motors and engines. Image results can be improved by using Action Cam with optional accessory Motor Vibration Absorber for X3000/AS300 (AKA-MVA).
    3) FDR-X1000V, HDR-AS200V.
    4) A micro SDXC/SDHC Class 10 or higher is required for XAVC S recording. Micro SDXC/SDHC UHS-I U3 or higher is required for 4K 100Mbps recording.
    5) Requires post-processing for slow-motion movie
    6) Medium and narrow are not available in 4K, time-lapse capture, and high speed recording.
    7) Recorded sound level is lower when using supplied Underwater Housing (MPK-UWH1).
    8) Not sold separately. Included only as part of the FDR-X3000R, HDR-AS300R or HDR-AS50R.
    9) Previous model is RM-LVR2.
    10) Camera on/off control requires Bluetooth 4.0 compatible smartphone or tablet (iPhone/iPad or Android ver.5.0 or later) with PlayMemories Mobile ver. 5.5 or later.
    11) The Live-View Remote may not be able to turn the camera on/off depending on the physical environment and the communication distance. The communication distance will be dependant on the physical environment and connected device.
    12) Requires version 5.1 or later for Windows and 3.1 or later for Mac.
    13) Requires version 2.0 or later of the application. Available for Android and iOS.
    14) Requires version 5.2 or later for Windows and version 3.2 or later for Mac.
    15) Requires a smartphone or tablet with PlayMemories Mobile ver.5.1 or later for the operation. Not available in XAVC S 4K, XAVC S HD 24p, and high speed recording modes.

    Articles: Digital Photography Review (dpreview.com)

  • Sony offers E PZ 18-110mm F4 G OSS for Super 35mm/APS-C

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3521924563″,”galleryId”:”3521924563″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Sony has announced the E PZ 18-110mm F4 G OSS power zoom lens for Super 35mm/APS-C format, designed for video shooters. It’s the second lens in Sony’s lineup to use the company’s Smooth Motion Optics (SMO) design to prevent focus breathing, focus shifts and axial image shifts while zooming. Other potential benefits to movie makers include a dust- and moisture-resistant design, built-in SteadyShot and quiet operation, as well separate, geared rings for focus, zoom and aperture control.

    The Sony E PZ 18-110mm F4 G OSS will be available in November for $ 3500. 

    Press release:

    Sony introduces 18-110mm Super 35mm / APS-C lens with power zoom capability

    • E PZ 18-110mm F4 G OSS (SELP18110G) with 6.1x high zoom ratio
    • High resolution suited to professional 4K movie production
    • Smooth Motion Optics (SMO) design and construction to minimize unwanted focus and image shifts while focusing or zooming
    • Advanced operability including three separate focus, iris and zoom rings for professional operation
    • Optical SteadyShotTM in-lens image stabilization
    • Compact, lightweight design with dust and moisture resistance

    Offering moviemakers a powerful new creative tool, Sony has developed an advanced Super 35mm / APS-C format power zoom lens that starts at 18mm wide angle and extends to 110mm at the telephoto end (27mm – 165mm equiv. in 35mm formatii). The new lens has a 6.1x high zoom ratio, even with inner focus, and maintains a constant F4 maximum aperture throughout its zoom range for beautiful depth of field effects and stable exposure control.

    An ideal companion to a wide range of ? cameras, from the PXW-FS7 professional camcorder to interchangeable-lens cameras such as ?7 series and ?6300, this G LensTM delivers image quality that will satisfy even the most demanding of professional users. It consists of 18 elements in 15 groups, including 6 aspherical elements and 3 ED (Extra-low Dispersion) glass elements and features a 7 blade circular aperture design. This highly intricate design delivers extremely high resolution image quality and is particularly suited to professional 4K movie shooting.

    The E PZ 18-110mm F4 G OSS is only the second lensiii to benefit from Sony’s Smooth Motion Optics (SMO) design and construction, which has been developed to eliminate unwanted image shifts while making adjustments during movie shooting. SMO addresses three particular aspects of lens operation that can have a significant impact on movie quality: Focus Breathing, where shifts in angle of view during focusing are minimized by an internal focus mechanism; focus shift, where small shifts in focus that can occur during zooming are eliminated by precise focus tracking adjustment, and Axial shift, where axial image shifts during zooming are minimized by a constant length design.

    The high level of operability and quiet operation of the new lens makes it a compelling proposition for its integration into professional movie production environments. Its three separate rings give control over focus, zoom and aperture, with optimal torque for a satisfyingly responsive, professional feel. Both servo and responsive manual mechanical zoom are fully supported and the zoom ring direction is switchable to match individual user preferences. Additionally, the lens length remains constant during any changes, making it easy to use with matte boxes and other lens accessories. Also, in a first for Sony ? lenses, a 0.8mm pitch focus gear is built right onto the ring, providing direct compatibility with standard focusing accessories.

    Optimum optical performance and operability is complimented by a dust and moisture-resistant designi, making the lens ideal for location use. Extra versatility is afforded by Optical SteadyShot technology that provides in-lens image stabilization during handheld shooting. The lens also features a compact and lightweightiv design making it a truly mobile solution. Additional flexibility is afforded when used with the SEL14TC and SEL20TC teleconverters for 1.4x and 2.0x extension of focal range.

    The E PZ 18-110mm F4 G OSS Super 35mm / APS-C power zoom lens for professional movie-makers and photographers will available in North America from November 2016, priced at approximately $ 3,500 US / $ 4,500 CA.

    i Not guaranteed to be 100% dust and moisture proof.

    ii With interchangeable-lens digital camera incorporating an APS-C type image sensor

    iii The only other lens to benefit from SMO technology is the SELP28135G

    iv 1105g without tripod mount

    Articles: Digital Photography Review (dpreview.com)

  • Shutterstock adds Photoshop CC plugin

    Shutterstock is bringing its collection of stock imagery and photography directly into Photoshop CC with a new plugin. It gives users the ability to search Shutterstock’s catalog and access their accounts within the app, as well as access previously purchased images. The plugin will also allow users to make adjustments to watermarked images, and will re-apply edits to the image once purchased.

    Photographers won’t find a way to easily contribute images through the plugin, a feature that Adobe’s own Stock app supports for its contributors. But the Shutterstock plugin will no doubt appeal to designers who rely on the service and want to smooth out their workflow. The plugin is available now for Photoshop CC 2014 and 2015 Mac and PC users.

    Press release

    Shutterstock Launches Adobe Photoshop® Plugin: Simple Installation Enables Access to Largest Collection of Stock Images

    Shutterstock brings nearly 100 million photos and illustrations direct to creative professionals’ workflow

    NEW YORK, Sept. 8, 2016 /PRNewswire/ — Shutterstock, Inc. (NYSE: SSTK), a leading global provider of commercial imagery and music, today announced that its vast collection of high-quality photos and illustrations is now accessible within Adobe Photoshop® software through its new custom built plugin. With more than 100,000 new images added every day, the Shutterstock plugin boasts the largest collection of photos and illustrations that can be licensed directly within the Creative Cloud desktop application.

    This plugin is the latest technological innovation by Shutterstock that furthers its mission to empower the world’s storytellers, providing an image experience that enables creative professionals to work smarter and faster. The first-ever Shutterstock plugin for Adobe Photoshop® software is designed to simplify the creative process, saving users time searching and downloading imagery online and enhancing productivity within the design workflow.

    “This is the largest stock photography collection to ever integrate with the Adobe Photoshop® application. With this plugin we are providing creative professionals the convenience to search for and test more images than ever, directly from the editing tool they are using,” said Jon Oringer, Founder and CEO of Shutterstock. “We are bringing productivity, efficiency and inspiration to designers everywhere, through tighter integration of Shutterstock with their workflow.”

    Key features of the new Shutterstock plugin include:

    • Access to Shutterstock’s fast and innovative search technology
    • Ability to edit any watermarked image for free, with those edits automatically reapplied to the image when purchased
    • Direct access to existing Shutterstock accounts, including Premier, Shutterstock’s Enterprise Platform
    • Ability to view existing lightboxes and access previously previewed and purchased images
    • Instant inspiration from Shutterstock’s curated collections
    • Everyday design essentials such as isolated images, textures, and images with room for text
    • The Shutterstock plugin works for Photoshop® CC 2014 and Photoshop® CC 2015 and it is available for Mac and PC users in English.

    Learn more about this integration, as well as Shutterstock’s API here.

    Articles: Digital Photography Review (dpreview.com)