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  • Epson’s AR glasses will let you see what your DJI drone sees

    Epson has announced a partnership with drone-maker DJI to ensure its Moverio AR smart glasses are fully compatible with the Chinese company’s aerial camera craft. The partnership means that the DJI Go app, used to monitor drone footage and flight information, will be tailored to suit Epson’s BT-300 glasses.

    Users will be able to view video footage created by a drone’s on-board camera and read flight data on the OLED screens of the smart glasses while simultaneously being able to actually see the drone through the glasses. The app will be compatible with DJI’s Phantom, Inspire and Matrice models, as well as the handheld Osmo camera stabilizing device.

    The Epson BT-300 glasses will be available late this year, at which time the app will also be ready. The glasses are on the Epson website for pre-order at a price of $ 799 plus tax. For more information see the Moverio page of the Epson website.

    Press release

    Epson Partners with DJI to Develop Augmented Reality Smart Eyewear Solutions for Piloting Drones

    Partnership designed to enhance safety and flight capabilities of DJI drone piloting using Epson’s Moverio BT-300 smart eyewear; partnership marks first mass-market consumer application of AR smart eyewear for drone piloting

    8th September 2016 – Epson, providers of the Moverio® augmented reality (AR) smart eyewear platform, today announced a partnership with DJI, the world’s leading maker of unmanned aerial vehicles (drones). The partnership will ensure the development of exciting new applications for Epson’s Moverio smart eyewear that will significantly enhance the piloting experience of DJI drones for hobbyists and professionals alike.

    As one of the first initiatives of the partnership, DJI will optimise the DJI GO app for the Epson Moverio BT-300 AR smart glasses. Using the app with the Moverio glasses, drone pilots will be able to see crystal clear, transparent first person views (FPV) from the drone camera while simultaneously maintaining line of sight with their aircraft. The DJI GO app is compatible with the DJI Phantom, Inspire and Matrice series drone models as well as the Osmo handheld gimbal and camera.

    Epson and DJI will co-market the Moverio BT-300 as a certified DJI accessory, along with the DJI GO app later this year. The Epson smart glasses will be available to buy on DJI.com while the DJI GO app will be available for download from the Moverio Apps Market.
    The Epson/DJI partnership meets various country-specific aviation agency regulations and guidelines for UAVs across Europe, specifically that UAVs should remain within visual line-of-sight (VLOS) of the pilot, enabling a variety of businesses to use drones for a range of aerial photographic and video purposes. Sectors such as construction, housing, insurance, agriculture, emergency services, conservation, academic research, film and video production all benefit from using drones today.

    “The Moverio BT-300 marks an impressive advance in performance for the platform and will make flying and filming safer and help users stay in compliance with regulations,” said Michael Perry, director of strategic partnerships, DJI. “We are excited to see the incredible applications that can be built with the Moverio BT-300 and the recently-relaunched DJI SDK – the possibilities truly are endless.”

    Valerie Riffaud-Cangelosi, Epson’s EMEA New Market Development Manager – Wearables & Connected Devices, says: “This is a milestone event – the first time AR smart glasses will be widely available for a mass-market consumer application. The drone market has become a priority market for Epson and we believe the partnership with DJI will revolutionise how drone pilots operate their aircraft in this fast-growing industry. Our Moverio BT-300 smart glasses are tailored for drone piloting, and its head-tracking sensors enable the drone pilot to visualise a 360-degree canvas, while keeping track of the device and maintaining line of sight. This is an important factor in terms of regulations and piloting experience, because it helps the pilot to concentrate on the task at hand and make decisions more quickly.”

    In addition to making drone piloting safer, the goals of the partnership include providing pilots and film-makers with new AR tools for enhanced productivity when using a drone. Epson and DJI will also work together to create entirely new experiences for the fast-growing number of hobbyists and businesses, as well as conduct joint sales and marketing efforts worldwide.

    Launching its first-generation smart glasses in 2011, the Epson Moverio BT-300 represents the world’s lightest binocular, transparent smart glasses with an OLED display. Combining breakthrough silicon-based OLED digital display technology and Android OS 5.1, the Moverio BT-300 enables truly transparent mobile AR experiences. The Epson Moverio BT-300 will be available in late 2016 and may be pre-ordered at www.epson.eu/See-Through-Smart-Glasses. For a complete product overview of the Moverio BT-300, please visit the following link.

    Epson and DJI will be demonstrating the DJI GO app on the Moverio BT-300 during InterDrone 2016 in Las Vegas (Booth 81 this week, 7-9th Sept.), and in Cologne at COPTER WORLD at Photokina” (Hall 6, 20-25th Sept).

    Articles: Digital Photography Review (dpreview.com)

  • Throwback Thursday: Sony Cyber-shot DSC-F707

    Sony’s camera designers have never been shy about trying something different, which explains a lot about the DSC-F707. Introduced in 2001, it was a follow-up to the DSC-F505V, running with that camera’s ‘swiveling lens attached to a body’ design. The F707 appears to be more lens than camera, resulting in what we called ‘a surprisingly usable and ergonomic design’ when we reviewed it. Here’s what the F707 had going for it:

    • 5MP 2/3″ CCD sensor
    • 38-190mm equiv. F2-2.4 lens
    • 1.8″, 123k-dot LCD
    • Built-in EVF
    • 2.8 fps burst (capped at 3 frames)
    • ISO 100-400
    • Memory Stick slot

    The F707 had more than a few tricks up its sleeves, something you might guess from its Swiss Army Knife-like appearance. So just what set it apart?

    Frickin’ laser beams

    The camera was capable of focusing in total darkness thanks to a Hologram AF feature, which throws a Class 1 laser pattern onto its subject and uses that to acquire focus. We found it required some workarounds when trying to focus on certain subjects. And sure, AF assist lamps get the job done now reasonably well, but they’re not nearly as cool as lasers (though nearly as blinding.)

    The F707 projected a cross-type pattern with its onboard laser, which it used to focus. The top two “holes” on the list are IR blasters, while the laser can be found toward the right side.

    Sadly, NightShot disappeared after the DSC-F717 that followed the F707. Why that happened is unclear, though one wonders if people just didn’t feel comfortable having a laser shined in their eyes.

    Night vision… sure, that’s not creepy

    The F707 offered Night Framing and Night Shot modes, flipping the Infrared filter out of the way and engaging two IR lamps on the front of the lens. The image on the LCD would turn green, just like night-vision goggles. NightShot mode actually took ‘green’ photos which, while cool, was of limited use. Night Framing, on the other hand, could capture regular color (flash) photos in total darkness. You composed your shot in ‘green’ and when you pressed the shutter release, up came the flash and a color photo was taken.

    Here’s the NightShot version of a sunflower, taken in total darkness. Photos by Jeff Keller. And here’s the results you get using Night Framing.

    NightShot is probably most famous – or infamous – for different reasons. Sony camcorders (and the F707/F717) equipped with NightShot could be modified to ‘see through’ clothing and other objects. So, if you happen to see an F707 with a dark IR filter on it, run the other way.

    Is it a lens? Is it a camera?

    Is it a lens? Is it a camera?

    The F707 offered an unusual camera-to-lens ratio, which at first seemed unwieldy. But when you stopped fighting the F707’s unconventional design, you found a camera that was surprisingly comfortable to use. Like we said in our review, ‘You find yourself carrying the camera by the lens and using the rear ‘body’ more as a viewing / control platform, which was after all the design aim.’ We chalked it up as a ‘love it or hate it’ feature in our conclusion, ultimately coming down on the side of ‘love it.’

    We may have taken a shine to it, but the design eventually trended toward the DSLR-shaped ultrazoom we know today – the DSC-F828 took another stab at the swiveling lens, but 2005’s DSC-R1 embraced a traditional, non-swiveling design. You’ve got to hand it to Sony, though. They haven’t all enjoyed longevity in the market, but some of their ideas have certainly looked well outside of the box.

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    Articles: Digital Photography Review (dpreview.com)

  • LG V20 comes with dual-cam and stereo sound recording

    LG has unveiled the V20, a smartphone with a focus on audiovisual performance that is also the first device to come with Google’s Android 7.0 operating system. The latter brings with it the new multi-window mode, a new notification system, improvements to battery management and the in-app search application, which allows for content search from third-party apps. Thanks to LG’s UX 5.0+ launcher the interface looks very similar to the LG G5’s. 

    Also pretty much identical to the G5 is the V20’s camera specification. Like its smaller cousin the new model uses a dual-camera setup. A 16MP sensor is combined with a fast F1.8 aperture and optical image stabilization in the main camera, which is joined by an 8MP/F2.4 unstabilized wide-angle module. There is also on-sensor phase detection and laser assistance for AF. In video mode the new device can record up to 4K resolution and comes with Qualcomm’s new Steady Record 2.0 electronic image stabilization which optimizes synchronization between the image and the device’s gyro. At the front there is a 5MP camera with F1.9 aperture.

    In addition, thanks to a built-in 32-bit Hi-Fi Quad DAC, the V20 can record high-quality stereo sound with its videos and eliminate background noise. Recorded images and video can be viewed on a 5.7″ Quad HD display that, like on the predecessor V10, features a secondary small display for quick access to apps, notifications and quick settings.

    The Android OS is powered by a Snapdragon 820 chipset and 4GB of RAM. 64GB of expandable storage are on board and the 3200 mAh battery is removable. It also supports Quick Charge 3.0 via a USB Type-C connector. All the components are wrapped up in a smooth-surfaced metal body. The LG V20 will first be released in Korea later this month but availability in other regions, including the US, should be announced soon. 

    Articles: Digital Photography Review (dpreview.com)

  • Tamron 18-270mm travel zoom lens gets slight update with fluorine coating

     Tamron’s new 18-270mm…  …and the previous version.

    Tamron has introduced an updated version of its 18-270mm travel zoom lens, the Tamron 18-270mm F3.5-6.3 Di II VC PZD model B008TS. Unlike the previous version (model B008), the B008TS features a fluorine coating on the front lens element, in addition to the existing Broad-Band Anti Reflection coating. With the fluorine coating, Tamron says the lens element is water and oil-repellant and less likely to be harmed by dirt, fingerprints, moisture, and dust.

    While the fluorine coating is the new model’s biggest change, the folks at Imaging Resource have pointed out some minor cosmetic changes, as well. The gold trim ring found on the previous lens model has been replaced with a silver ring; as well, the overall lens design has been simplified, with both the zoom ring’s and focus ring’s styles being altered. According to Tamron, these changes ‘create an external design with a high-grade feel.’

    According to Tamron’s website, the new lens will launch tomorrow in Japan with Canon and Nikon mounts for ¥83,000 before tax.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon offers ¥500,000 and D5 for its 100th Anniversary prize in annual photo competition

    Nikon has announced the opening of the 36th Nikon Photo Contest and is giving away cash as well as a collection of top end DSLR cameras to winners. As the company is celebrating its 100th anniversary it has introduced a special category, the prize for which is ¥500,000 (approx $ 4900) and a Nikon D5 with the AF-S Nikkor 24-70mm F2.8E ED VR lens. A further category in addition to the usual Open section is designed for photographers under the age of 30.

    The Grand prize will be a D5 with AF-S Nikkor 24-70mm F2.8E ED VR, while the most popular entry will win a D810 with the same lens. The first prize for each category is the same D810 kit, while 21 second prizes will be awarded of D500 bodies with AF-S DX NIKKOR 16-80mm F2.8-4E ED VR lenses. A total of 35 D5500 bodies will be given away to 3rd placed entries along with a AF-S DX Nikkor 18-55mm F3.5-5.6G VR II each.

    The theme for the 100th Anniversary category is ‘Celebration’, and entrance is via a single image that must have been taken on Nikon equipment. The Next Generation category, for under 30s, and the Open category have the theme ‘Future’ and require two to five images per entry or a video of six to 180 seconds. Any brand of camera may be used for these categories.

    Entry is free and works may be submitted between 17th October 2016 and 27th January 2017. For more information see the Nikon Photo Contest website.

    Press release

    Call for entries for Nikon Photo Contest 2016-2017

    Neville Brody inaugurated as Lead Judge and two new categories introduced

    Nikon is pleased to announce that entries for the Nikon Photo Contest 2016-2017 will be accepted between October 17, 2016 and January 27, 2017.

    One of the world’s largest international photo contests since its inception in 1969, the 36th Nikon Photo Contest sees the addition of two new categories. The ‘Nikon 100th Anniversary’ category celebrates Nikon’s upcoming 100th birthday in 2017, and the ‘Next Generation’ category, for anyone under the age of 30, looks to encourage the talent of the next generation of photographers.

    World renowned graphic designer and art director, Neville Brody, has been chosen as Lead Judge due to his huge influence on artists, including photographers, both young and old. He says of his role, “The Nikon Photo Contest is recognised globally as a key place to discover new and rising talent, searching out rich, imaginative power and inspiration. As Lead Judge, I feel it is my responsibility to continue this great tradition by selecting works that represent new ideas and superior quality. I am excited to see just how participants express their wonderful ideas and creativity through the works they submit.”

    The Nikon Photo Contest 2016-2017 photography and video categories will accept entries recorded with any digital device, including smart devices*, and video entries with a length of six to 180 seconds.

    The winners of the Nikon Photo Contest 2016-2017 will be announced in July 2017, with an awards ceremony in Japan, home of Nikon Corporation.

    Articles: Digital Photography Review (dpreview.com)

  • Apple unveils iPhone 7 and dual-cam iPhone 7 Plus

    Apple has today unveiled the iPhone 7 and iPhone 7 Plus. As with previous generations, the main differences between the two models are screen size and the camera. The 4.7″ 1334 x 750 pixel Retina display in the iPhone 7 is 25% brighter than before and offers a wider color gamut. As before, it supports 3D touch. The iPhone 7 Plus screen offers the same characteristics but is 5.5″ large and comes with a 1920 x 1080 resolution. 

    Like its predecessor, the iPhone 7 comes with a 12MP camera. However, the new model features optical image stabilization and sensor readout is 60% faster than before. At F1.8 the aperture of the six-element lens is wider and the new true-tone flash comes with 4 LEDs for more power output and better color balance. There is also a new flicker-sensor that can detect flickering in ambient light and correct for it at image capture. 

    Apple claims the new in-house designed ISP is faster than before and can complete tasks, such as noise reduction, image stacking and exposure control in approximately 25ms. The moving Live Photos are now captured using video image stabilization and the 7th iPhone generation is the first capable of saving Raw data in DNG format. There is also 4K video and both 1080p and 720p slow-motion modes. At the front the pixel count has been increased from 5 to 7MP.

    Next to the standard 28mm module is a 56mm tele-lens with its own 12MP sensor

    The larger iPhone 7 Plus model’s camera comes with all the iPhone 7 features but adds a second camera module. Next to the standard 28mm module is a 56mm tele-lens with its own 12MP sensor, and this dual cam implementation is predominantly used for zooming. In the camera app you can tap a zoom button to change to the 2x lens, and drag it all the way up to a 10x magnification. After 2x magnification the zoom applies digital magnification, but given the ‘base image’ captured by the tele-lens uses a longer focal length than other smartphone cameras, the quality of digitally zoomed images should be better than normal.

    The camera’s second headline feature is a shallow-depth-of-field simulation as we’ve seen it on several other devices before. The mode is automatically activated in the Portrait scene mode. ‘Depth Mode’ will be provided via a software update later this year, so we’ll have to wait a little while to find out if it performs better than the systems we’ve seen so far. 

    The home button has been improved and provides haptic feedback for notifications and other events. Additionally, the iPhone 7 models are the first ones to come with stereo speakers which provide twice the volume and a higher dynamic range than the previous generation. The devices are powered by Apple’s new A10 Fusion 64-bit four-core chipset, of which Apple says it is 40% faster than the previous A9 chip. Thanks to a new GPU graphics power has been increased by 50% as well.  

    In terms of design, the new models come with a similar basic shape to the previous generation but the antennae are now embedded in the enclosure and therefore almost invisible. The new models are also available in a new high-gloss finish which goes through an anodization process for protection. The body is water and dust resistant in line with the IP67 standard and will be available in jet-black, black (blasted aluminum), gold, silver or rose gold. There will be 32, 128 and 256GB storage options for both new models and pre-ordering starts on September 9. Start of shipping is scheduled for September 16.

    The iPhone 7 starts at $ 649 for the 32GB version, for the Plus model you’ll have to invest at least $ 769.

    Articles: Digital Photography Review (dpreview.com)

  • Interview: Landscape photography master Charlie Waite

    Grand Canyon Lighting by Grant Ordelheide. Winner of the ‘My USA’ category in the 2015 USA Landscape Photographer of the Year Award.

    Founded in 2006, the annual UK Landscape Photographer of the Year Award has become one of the most prestigious photo contests in the world. 2016 marks the third year of a USA-specific competition, open to entrants from all over the world to showcase inspirational images taken in the United States.

    As the deadline for the 2016 USA Landscape Photographer of the Year Award approaches, we spoke to its founder, renowned landscape photographer Charlie Waite about his life and career, and his hopes for the contest.

    You’re one of the best-known names in landscape photography – how did you get started?

    Well originally, I was an actor. I was rather a mediocre actor for 12 years, and I photographed a lot of actors for their publicity and so on. My wife was in television, and in the 1970s she was filming down in Devon. One day I was watching her filming and I wondered off into the Devon landscape with my camera and I just found myself responding to the landscape.

    Back in London my wife and I went to look at a house we were thinking of buying and the guy who was selling it asked me what I did, and I said I was a landscape photographer, which was a complete untruth.

     Loch Indaal, Scotland. Photograph by Charlie Waite, used with permission.

    It turns out he was in charge of the illustrated books department at a publisher and he said ‘can I look at your portfolio?’ so over the weekend I enlarged the pictures that I’d made, showed them to him and he commissioned me to do a book.

    So I went from being an out of work actor to a photographer. And it just rolled on after that.

    What inspired you to continue and make a career out of landscape photography?

    I felt spiritually enriched. I knew that a deep engagement with the landscape was really good for me, and really elevated me as a person and calmed me. I found that landscape photography leveled me. Fully engaging with my surroundings. A lot of people think that landscape photography has nothing to do with emotions, it’s just craft, and skill, and finding the right light and everything else but it settles me and I’m very enriched by it. I’m more in love with photography now than I ever have been before.

     Amish country, Pennsylvania, USA. Photograph by Charlie Waite, used with permission.

    What’s your favorite location?

    In my heart I want to say the UK, and I think in joint second place would be the USA and France. I like to call France the most undiscovered country in Europe. It’s so quiet there.

     Autoire, France. Photograph by Charlie Waite, used with permission.

    What lead you to create the Landscape Photographer of the Year programs?

    I didn’t think there were many people out there who loved landscape photography as much as I did. I’ve always thought that if it elevated me it could elevate other people. I hate the word ‘evangelist’, but I felt sort of evangelical, and I wanted to say ‘come on let’s get together’. I love being in the company of other photographers, and I thought we could all get together and do a good thing, and bring landscape photography to a wider audience. And the competition really has done that.

    It’s brilliant to go to the annual winners’ exhibitions, with 30 or 40,000 people visiting, and seeing the pleasure they get from the images. They’re moved by the eye and the craft of the photographer that made the images. I call a photograph a production. It’s not something you ’take’.

    Dancing Trees, by Paul Leatherbury. Winner of the ‘Classic View’ category of the 2015 USA Landscape Photographer of the Year Award.

    I love the US, I’ve traveled there a lot, so I thought it was a natural thing to start a US version of the competition, which we’ve been running in the UK since 2006. It’s been really fun bringing it all together. I wasn’t very good at school, I wasn’t a very good actor, and I wanted to do something that might mean something to people. And that’s what drives me on. There are some great photographers out there.

    My dream – what I really want to happen, is – do you remember the series ‘Earth From Above? I cannot believe what a grand, far-reaching tour that exhibition had. And what I would love to do is to take the Landscape Photographer of the Year Award in the US and UK and take the exhibition around the world. And say ‘this is what America looks like, in the eyes of some of the word’s best landscape photographers’.

    Hourglass, by Ted Gore. Overall winner of the 2015 USA Landscape Photographer of the Year Award.

    Is there anyone who’s come through the Landscape Photographer of the Year Awards in previous years who’s gone on to make a career out of landscape photography?

    I think they all have. It’s elevated the winners hugely. It’s an amazing label, to be Landscape Photographer of the Year.

    What advice would you give to an aspiring landscape photographer?

    Find your signature and specialize. Don’t be a jack of all trades. Find your way of seeing. And be memorable for your particular way of seeing. I was given that advice, and it’s a bumpy ride, like acting. It’s really not easy. It’s precarious and insecure, but there are many different ways of seeing, and many ways that are still to be found. Make your images have meaning. And practise.

    Click here to submit entries to the 2016 USA Landscape Photographer of the Year Award

    Charlie Waite is a renowned landscape photographer and founder of Landscape Photographer of the Year Award competitions in the UK and USA.

    Articles: Digital Photography Review (dpreview.com)

  • Metz teases 30 percent smaller flash ahead of Photokina

    German company Metz has teased a new generation of flash products ahead of Photokina, where it plans to launch the first flash model in this new product line. According to a post on the company’s Facebook page, the new flash will be 30% smaller than previous models thanks to ‘new developed technologies and construction.’ Metz says it will post more details about the flash on its Facebook in the days leading up to Photokina.

    Via: Photo Rumors

    Articles: Digital Photography Review (dpreview.com)

  • Canon updates Pixma printer line with more compact models

    Canon has announced four new inkjet home printers that it claims are much better looking than its previous models, as well as 40% more compact. The new models are the Pixma TS5050, TS6050, TS8050 and TS9050, each of which offers both printing and scanning functions. Canon has enabled wireless printing on all four models allowing users to connect smartphones and tablets via the Canon PRINT app through Wi-Fi Direct and Access Point Mode. The two top models, the TS8050 and TS9050, allow NFC connection as well, while the TS9050 features an Ethernet port for networking the machine to multiple PCs.

    The LCD screen of the printers differ between models with the TS5050 offering a 3in panel with no touch function. The TS6050 has the same size screen but with touch control, while the touch screen of the TS8050 measures 4.3in and that of the TS9050 measures 5in.

    Printer resolution differs too, from 4800x1200dpi in the TS5050 and TS6050 to 9600x2400dpi in the TS8050 and TS9050. The lower end models use a five-ink ChromaLife 100 system while the higher end models use 6 inks.

    For more information visit the Canon website.

    * PIXMA TS5050 Series – RRP £119.99
    * PIXMA TS6050 Series – RRP £159.99
    * PIXMA TS8050 Series – RRP £199.99
    * PIXMA TS9050 Series – RRP £279.99

    Press release

    Enjoy high-quality prints with one of Canon’s stylishly compact three-in-one home printers

    United Kingdom, Republic of Ireland, 6 September 2016 – Canon today unveils a newly designed PIXMA inkjet line-up with design, connectivity and creativity at their centre. No matter your needs, Canon offers something for everyone with its entry-level PIXMA TS5050 series, mid-range PIXMA TS6050 series, PIXMA TS8050 series and its top-of-the-range PIXMA TS9050 series – all of which are up to 40% more compact.

    Seamless connectivity
    Thanks to integrated Wi-Fi connectivity, each PIXMA offers wireless printing from PCs, smartphones and tablets via the improved Canon PRINT app for Android and iOS. Features such as Wi-Fi Directi and ‘Access Point Mode’ let you connect directly to the printer without needing a router or Wi-Fi password, making it easy to share your printer with visiting friends and family.

    The PIXMA TS9050 series and PIXMA TS8050 series’ PIXMA Touch & Print feature, accessed via the Canon PRINT app on Android devices, allows you to simply connect your NFC-enabled smartphone or tablet and create a print or scan. The PIXMA TS9050 series’ Ethernet connection gives you the freedom to share the connection between multiple PCs on a network.

    With the PIXMA TS9050 series, PIXMA TS8050 series and PIXMA TS6050 series, the LCD touch screens provide access to the PIXMA Cloud link, which connects to your favourite cloud services, so you can quickly print a photo or upload a document to read on the goii. If you love social media, the selected printersiii can connect to Instagram™, bringing your favourite photographs to life – even as 13x13cm (5×5”) prints on Canon’s new square glossy photo paper.

    Modern, compact designs for stylish and connected homes
    The compact, sleek designs are the most distinct and eye-catching yet, making your PIXMA a piece of art in the home. The contrasting mirror and matte finish of the PIXMA TS8050 series and PIXMA TS6050 series add instant shine in any room, while those wanting to make an artistic statement can with the PIXMA TS9050 series cutting-edge box aesthetic. The front tilt panel and large LCD screens, provide quick access to the all-new intuitive single screen home menu, mirroring the Canon PRINT app’s simple navigation and functionality.

    Quick and easy quality home printing
    The PIXMA TS5050 series and PIXMA TS6050 series’ five individual ink tanks provide fast, high-quality printing on both plain and photo paper. Using an additional grey ink tank and enhanced photo black ink, the PIXMA TS9050 series and PIXMA TS8050 series both improve photo print quality, with richer details in dark and shaded areas, making them ideal for photography enthusiasts. Optional XL cartridges across all models allow you to print more pages, whilst the single ink cartridges minimise waste, with each colour individually replaceable.

    Get creative from the comfort of your home
    From photos, to double-sided documents, or personalised birthday cards and a child’s artwork, the new PIXMA models are compatible with a wide range of paper types and sizes, thanks to the new rear paper feed. In addition to this a front cassette on the TS9050 series, TS8050 series and TS6050 series, mean users can simultaneously have plain paper for documents in the front cassette whilst having photo paper loaded in the rear tray making light work of printing both document and photos without having to switch paper between prints. Both the PIXMA TS9050 series and the PIXMA TS8050 series feature direct disc printing via the Canon PRINT app.

    The PIXMA TS9050 series, PIXMA TS8050 series and PIXMA TS5050 series can also print your photos straight from an SD memory card, without the need for a PC. With SD card printing on the PIXMA TS9050 series, you can even add creative filters directly onto your photos from the large 12.6cm (5”) printer touchscreen itself, for inspiration at the touch of a button.

    PIXMA TS5050 series key features:
    * All-In-One printer that’s compact, elegant and affordable
    * Print over Wi-Fi, from an SD card, or from the cloud
    * 7.5 cm (3”) LCD display and simple user interface
    * Print 10×15 cm (4”x6”) borderless photos at home in under 40 seconds
    * Smartphone- and tablet-ready with the Canon PRINT app

    PIXMA TS6050 series key features:
    * Fast All-In-One document and photo printer
    * Wi-Fi for cable-free printing, copying and scanning around the house
    * Intuitive user interface with 7.5 cm (3”) touchscreen
    * Access cloud features from the printer’s touchscreen
    * Smartphone and tablet ready using the Canon PRINT app

    PIXMA TS8050 series key features:
    * Print your photos at home in stunning quality
    * Compact design Wi-Fi printer with copy and scan functions
    * Large 10.8 cm (4.3”) touchscreen and auto-tilting front panel
    * Wi-Fi, NFC and SD card connectivity options
    * Smartphone- and tablet-ready with the Canon PRINT app

    PIXMA TS9050 series key features:
    * Specialist printer that delivers stunning lab-quality photos
    * Creative filters for SD card images using the large 12.6 cm (5”) touchscreen
    * Compact form factor with elegant contrasting textures
    * Smartphone-ready All-In-One with Wi-Fi and cloud connectivity
    * Wi-Fi, NFC, Ethernet and SD card connectivity options

    Articles: Digital Photography Review (dpreview.com)

  • Sigma gets into the cinema lens game starting with 18-35mm T2 and 50-100mm T2 zooms

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    Sigma has announced its own line of lenses for filmmakers. Sigma Cine Lenses are weatherproof and designed with an emphasis on optical performance and making the most of high-resolution sensors. An 18-35mm T2 and 50-100mm T2 for APS-C bodies will be the first introduced. 

    A full-frame 24-35mm T2.2 and an assortment of primes will follow in 2017 and beyond. All lenses will be introduced in EF- and E-mounts, with PL versions coming later for each except the 24-35mm T2.2 FF. Pricing isn’t given at this time; Sigma says the first lenses will be available near the end of 2016 starting with Japan and the US.

    Press release:

    SIGMA ANNOUNCES NEW CINE LENSES

    Amsterdam, The Netherlands — September 7, 2016 – The SIGMA CORPORATION is pleased to announce that it will enter into the cinema lens market with the release of its SIGMA CINE LENSES, designed specifically for cinematography. In the world of digital film production, there is an increasing demand for higher resolution, and SIGMA’s new lineup of high-performance lenses is compatible with the latest, high-resolution digital cinema cameras. SIGMA has developed its own production system by establishing the required technology for mass production of high-performance lenses for ultra-mega-pixel shooting. The company feels this valuable new lens line could create a fundamental change in digital film production, and provide a new solution for cinematographers.

    • Unbeatable value – the highest optical performance in its class and outstanding compact design
    • Wide range of lenses for professional use
    • Optimized for the latest digital moviemaking technology

    For the first phase, SIGMA will release two zoom lenses in Japan and the USA for EF and E mount camera systems. Furthermore, another zoom lens and five prime lenses will be released to the market in sequence from 2017 onward. SIGMA plans to develop additional zoom and prime lenses as well as add support for PL mount camera systems. The latest release information will be sequentially updated on its official website.

    High Speed Zoom Line
    High Speed Zoom Line offers the constant aperture of T2 throughout the zoom range, and the optical performance is ready for high-resolution shooting such as 6K – 8K. Furthermore, while offering the highest image quality in its class, the High Speed Zoom Line has a compact construction and offers amazing value.

    FF Zoom Line
    FF Zoom Line is compatible with a full-frame image circle, and the optical performance is ready for high-resolution shooting such as 6K – 8K. It provides a rare option for cinematographers since very few lenses can cater to the requirements of the latest digital cinema cameras’ image sensor, which is larger than Super 35, and expand the range of compatible cameras. This is the cinema zoom lens offering the highest image quality and compact design. This lens is not available in PL mount.

    FF High Speed Prime Line

    The lineup ranges from 20mm to 85mm, and all five lenses are T1.5. They are compatible with full-frame sensors and, while being more compact, can offer superior resolution than other high-end prime sets do. With the five prime lenses from FF High Speed Prime Line, there is no need to change the lighting to shoot a variety of cuts. These lenses bring a consistent level of light to the production and offer greater consistency with regards to the film’s look and color/contrast before it enters post-production.

    Each CINE lens model is weatherproof and has luminous paint markings to aid in changing and operating the lens in the dark. It touts a long focus rotation of 180 degrees and is guided by cams for smooth operation and accuracy. The CINE lens design features standardized essentials such as an 82mm front for ND filters* and a 95mm front diameter for matte box use and standard gear positions for accessories like follow focus. They also include a manual linear iris control and electronic mounts that provide vital camera metadata. Each lens is manufactured and inspected in the Sigma factory located in Aizu, Japan.

    Availability/Pricing

    Availability: toward the end of 2016 (in Japan and USA in the first phase)
    Pricing: TBD
    Mounts: Initially Canon-EF and Sony-E to be followed later by PL**

    *20mm T1.5 FF doesn’t accept filters.
    **24-35mm T2.2 FF is not available in PL mount. The appearance and specifications are subject to change without notice.

    Articles: Digital Photography Review (dpreview.com)