360Photography

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  • Canon G7 X Mark II added to studio scene

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    JPEG Performance

    One of the obvious changes to the G7 X Mark II’s image processing is with sharpening$ (document).ready(function() { $ (“#imageComparisonLink2662”).click(function() { ImageComparisonWidgetLink(2662); }); }). For the G7 X Mark II, the large radius sharpening has been increased, which does enhance certain types of detail$ (document).ready(function() { $ (“#imageComparisonLink2664”).click(function() { ImageComparisonWidgetLink(2664); }); }), but ultimately emphasizes lower frequency detail$ (document).ready(function() { $ (“#imageComparisonLink2676”).click(function() { ImageComparisonWidgetLink(2676); }); }) over high frequency detail. A significant downside of large radius sharpening is more pronounced sharpening halos$ (document).ready(function() { $ (“#imageComparisonLink2663”).click(function() { ImageComparisonWidgetLink(2663); }); }) compared to the G7 X, which can look particularly egregious$ (document).ready(function() { $ (“#imageComparisonLink2675”).click(function() { ImageComparisonWidgetLink(2675); }); }) next to the more refined sharpening the RX100 IV demonstrates (pay attention to the edges of the color patches).

    Noise reduction has also changed. When we took the G7 X Mark II to Sasquatch! music festival, we noticed noise reduction at base ISO was fairly strong. Compared to the G7 X$ (document).ready(function() { $ (“#imageComparisonLink2672”).click(function() { ImageComparisonWidgetLink(2672); }); }), we can see the stronger algorithm in action, especially when compared to the amount of detail visible in Raw$ (document).ready(function() { $ (“#imageComparisonLink2671”).click(function() { ImageComparisonWidgetLink(2671); }); }) mode. The excessive noise reduction combined with the large radius sharpening we mentioned earlier mean that fine detail isn’t as well preserved in the JPEG as it could be.

    The benefit of both the sharpening and NR parts of the new engine is better detail retention at higher ISOs$ (document).ready(function() { $ (“#imageComparisonLink2670”).click(function() { ImageComparisonWidgetLink(2670); }); }), with an ISO 1600 shot from the G7 X Mark II shot showing as much detail as an ISO 800 shot from the G7 X. At the highest ISOs, 6400$ (document).ready(function() { $ (“#imageComparisonLink2668”).click(function() { ImageComparisonWidgetLink(2668); }); }) and 12800$ (document).ready(function() { $ (“#imageComparisonLink2674”).click(function() { ImageComparisonWidgetLink(2674); }); }), the image engine oddly remains unchanged.

    Raw Performance

    Raw high ISO performance in low light remains largely the same as the G7 X$ (document).ready(function() { $ (“#imageComparisonLink2677”).click(function() { ImageComparisonWidgetLink(2677); }); }), which is right where we expect image quality to be from the Sony sensor used across many 1-inch type cameras$ (document).ready(function() { $ (“#imageComparisonLink2678”).click(function() { ImageComparisonWidgetLink(2678); }); }). 

    These improvements come with many other changes for the G7 X Mark II, which will be covered in our full review. Stay tuned!

    Articles: Digital Photography Review (dpreview.com)

  • You’ve got mail: Five photo postcard apps tested

    In this age of sharing images via email, social media and text messages, one form of photo communication has sadly been left behind. It is something we all used to look forward to getting from anyone who was traveling. I’m speaking of the humble postcard.

    Be it a trip as mundane as a work conference in Kansas City or as exotic as a trek through the Amazon rainforest, getting a postcard in the mail was something that we all looked forward to from friends and family. Even today, if I want to make my grandmother happy, sending even the cheesiest of postcards will bring a smile and a thank you. Perhaps more surprisingly, my kids go completely nuts when someone sends them a postcard. At 6 and 8, they both already have email addresses, but the postcards all go right up on the wall above their beds.

    But what if we could merge the old-school and the new-school? What if, instead of relying on the spinning metal rack of cards at a roadside diner or airport giftshop, you could easily send a postcard of an image you took yourself? Through the magic of smartphone apps, doing so is far easier than you might expect.

    Putting them to the test

    I tried out five different postcard apps on an iPhone 5s: Touchnote, Postcard, Ink, Postagram and Snapshot Postcard. All of the apps are free and charge only for sending cards. I sent myself three postcards from each app using the same three images. One of the images was taken with a DSLR and another with a Micro Four Thirds camera, then transferred to my iPhone. The third image was a photo taken with the iPhone’s rear-facing camera. The data regarding pricing was reported by the app companies themselves. I did my best to make it clear what the costs would be for both US and International users. If the company reported specific non-US pricing, it is listed. But if they did not, pricing will be in whatever your local exchange rate is from USD.

    Touchnote
    www.touchnote.com

    Cost: $ 2.99/£2.99/€2.99
    Usable worldwide: Yes
    Cardstock: 110 lb glossy
    Android/iOS: Both
    Additional products: Greeting cards

    As with all of these apps, Touchnote has iOS and Android versions. What is unique is that it also has a web interface so you can order while at your desk. This is actually surprisingly handy if you intend to send non-phone images regularly. Full-bleed, white border, square or 1-6 multi image layouts are available. Images can be cropped, zoomed and rotated within the app. In addition to traditional messages on the back of the postcard, Touchnote allows you to add up to a 33 character caption on the front side as well. There is a confirmation email after you send a card and you can see (as well as copy for future use) all of your past sent cards in a nice timeline view.

    Postcard by PrintMe
    www.printmeapp.com/card

    Cost: $ 2.99/£1.79/€2.49
    Usable worldwide: Yes
    Cardstock: 300 gr/qm (aprox 110 lb) luster
    Android/iOS: Both
    Additional products: Greeting cards, photo books, calendars

    Postcard by PrintMe aims to be more of a ‘photo products’ app than the others in this article. That said, its postcard options are plenty strong on their own. Full-bleed, white border, and multi-image layouts are available, as well as many ‘occasion/holiday’ designs. The image can be zoomed and cropped, but not rotated.

    Rare in these apps is Postcard’s ability to change the font for your message on the back. Sadly, there is no drop-down list, you just have to keep pressing the ‘font’ button over and over. Still, it is one of the only apps that give you any font option at all. Much cooler is the ‘signature’ box option which allows you to sign your name on-screen and have it print on the card. Finally, though I did not test it, Postcard offers the option to pick up folded greeting cards, but not postcards, next-day at Walgreens locations.

    Postagram
    www.sincerely.com/postagram

    Cost: $ 0.99 domestic $ 1.99 international
    Usable worldwide: Yes
    Cardstock: 12 pt (approx 92 lb) with thick glossy laminate
    Android/iOS: Both
    Additional products: None

    Looking to differentiate itself from the other apps out there, Postagram is unique both because it is designed around a, presumably, Instagram-inspired square image layout, and also because that square image comes pre-perforated and ready to pop out in a sort of trading-card style. Your message is printed on both the back of the image ‘card’ and on the front side as well. In a nice touch, you can choose a secondary 0.75 inch x 0.75 inch ‘avatar’ style secondary image to appear in the corner. Which is neat for including an image of yourself along with your landscape image from a trip somewhere, for example. Currently the non-image area of the Postagram cards are black. However, an upcoming app update will offer more colorful options.

    Both Ink (described below) and Postagram are from the same company, so if you have set up an account on one, it will work on the other. They apps are also virtually identical in design and features, with the few small differences owing mostly to the differing focus of each product. There are some basic Instagram-style image filters available as well as the ability to zoom and crop. Rotating your image does not seem to be an option. To make sending multiple cards faster, you can copy a past card and update the address/message. There is a clever payment option that allows you to take a photo of your credit card instead of entering in the numbers manually. Both apps are very good with order-received/card-sent confirmations. I will say that unless you turn them off, they are both a little heavy on the marketing notifications (‘It’s a week until Mother’s Day!’ etc).

    Ink
    www.sincerely.com/ink

    Cost: $ 1.99 within the USA, $ 2.99 International, $ 2.99 extra for “Premium” option
    Usable worldwide: Yes
    Cardstock: 12 pt (approx 92 lb) with thick glossy laminate, Premium cards are 120lb with eggshell finish
    Android/iOS: Both
    Additional products: None

    Ink is designed as more of a greeting-card style postcard app, with many pre-formatted designs for various holidays and occasions that you can add your image to. But they also offer standard postcard options as well as full-bleed, white border or multi-image layouts. Ink postcards are the largest of any tested here, at 5×7 (vs roughly 4×6 for the others). They also offer an upgraded “Premium” card that is printed on heavier matte cardstock and comes in an embossed envelope with a real stamp.

    SnapShot Postcard
    www.snapshotpostcard.com

    Cost: $ 1.99 domestic $ 2.99 international (first card is free from anywhere)
    Usable worldwide:  Yes
    Cardstock: 110 lb glossy
    Android/iOS: Both
    Additional products: None (though they do have a greeting card app, SnapShot Greeting Card, as well)

    SnapShot Postcard is the only one of the apps that offers a quick ‘getting started’ video as part of its signup flow. While none of these apps are what I would call confusing for anyone who is used to mobile apps, a quick video walkthrough is pretty handy for those who aren’t as tech savvy. Another area where SnapShot Postcard is ahead of the others is that you can send your first card free. Trying a product before you buy is always a nice thing. While user interface is not particularly fancy, all the basics are there in the app. You can set a return address, place a caption on the front, and crop/zoom/rotate (with a handy ‘shake to reset’ function). You can choose borders or full bleed for your images. The borders are fairly cheesy and there isn’t any ‘white’ border option, so full-bleed is going to be your best bet. You are asked if you would like to send the same card again to a different address, handy for vacation or family photos where you might send the same card to many people. There is a nice order history, but you cannot copy old cards. 

    Head to the page 2 to see which apps we liked best

    Articles: Digital Photography Review (dpreview.com)

  • Photographing fireworks: The basics and then some

    Photographing fireworks

    Here in the U.S. there’s a major summer holiday coming up – one that is celebrated with colorful explosions in the sky. The Fourth of July is traditionally celebrated with grilled meats, red-white-and-blue popsicles and of course, fireworks. If you’ve ever taken a terrible photo of a fireworks display and wondered what went wrong, we’ve got some ideas for you – from the very basics to some simple tips that will help you capture all the majesty of those ‘bombs bursting in air’.

    Photographing fireworks

    First things first: get your hands on a tripod. You’ll need to steady your camera by any means necessary otherwise the long exposures – anywhere from 2s to 10s or more – needed to capture the fireworks trails will just results in a blurry mess. Something else that can blur your photos is pressing the shutter release button, so a remote release of some sort, whether a cable, remote or smartphone will do the trick.

    Next, you’ll want a lens or two that give you a variety of framing options. Depending on where you set up and what obstructions are in your path, a zoom lens will allow you to get your composition just right. It’ll also afford you variety with respect to story-telling: a telephoto focal length allows you to compress city elements with the fireworks as we’ve done here, while a wide-angle field of view will allow you to include different context in your framing, such as the viewers in this shot at the end of our slideshow.

    Photographing fireworks

    Shooting fireworks can be challenging from the perspective of camera settings. First, we recommend you place your camera on a tripod, so you can use the lowest ISO possible. This helps your camera capture as much light as possible, minimizing noise and maximizing dynamic range. Raising the ISO simply brightens tones so much as to often blow the fireworks to white. If you wish to raise dark tones, like the skies and cityscape, it’s better to selectively brighten them in post-processing, rather than increase the ISO which raises the exposure of all tones in your image.

    Which gets us to our next point: shoot Raw. This affords you the most post-processing flexibility with respect to exposure of tones, and colors of various tones, including white balance adjustment.

    Exposure latitude, and therefore dynamic range, is important when it comes to photographing fireworks. The fireworks are bright, so you don’t want to overexpose and blow them out, while the rest of the city and sky are dark, which you don’t want to clip to black. In fact, some lingering blue color in the sky adds a nice touch to the imagery. Larger sensor cameras, with higher dynamic range, allow you maximum flexibility in post, if you shoot Raw of course. This allows you to recover colors in the bright fireworks, brighten dark blue tones in the sky, and to set White Balance perfectly to balance the warm colors of the fireworks and the blue colors of the sky.

    Photographing fireworks

    But what settings should you shoot with? After setting your camera to the lowest ISO (usually ISO 100), set your Drive mode to Manual Bulb, then F8 (equivalent) for enough depth-of-field, and to ensure that the initial launch of the fireworks itself doesn’t register too brightly in your final photograph. Trigger the shutter with your remote when no action is occurring, to allow the camera to start accumulate background exposure to capture some of the sky blue and city lights. Once the fireworks explode, continue to capture some of the trails, then end the exposure with your remote. That’ll allow you to capture enough of the fireworks to get a pattern against a well exposed deep blue sky. Any other exposure adjustments to balance the sky, foreground, and fireworks can be saved for post-processing of the Raw.

    This method will allow you to to capture just the right amount of fireworks for the effect you desire. Here, for example, we stopped the exposure rather early, to capture some of the interesting paths the fireworks initially took. When the finale rolls around and fireworks are going off all over the place, you’ll want to end the exposures earlier on (shorter shutter speeds), otherwise you’ll get a blown-out mess.

    And by the way, the earlier you start shooting, the less mess of clouds and gas from previous explosions you’ll have in your final photograph – there’s already quite a bit of smoke in this photograph!

    Photographing fireworks

    Photo: Dale Baskin Photography

    Move away from the show

    Now that you’ve got a handle on the basic principles, here are a few easy tricks you can try out to bring your fireworks photo game up a level.

    There’s a natural tendency to want to get close to, or directly underneath, a fireworks show. This works well if your goal is to capture closeups of the fireworks, but without other visual cues a firework over Seattle looks the same as a firework over London. Try moving away from the show and using a telephoto lens to frame fireworks against a city skyline or landscape to provide some context to your photos and to provide a sense of place.

    Photographing fireworks

    Photo by John Cornicello

    Try something tricky

    Racking the zoom or adjusting focus while shooting a longer exposure can offer up a creative and new way to photograph fireworks. One way to go about doing this is to throw the focus at the beginning of a 1 or 2 second exposure and quickly refocus after the initial explosion. This will give your images a flower or even sea creature-like look.

    Photographing fireworks

    Don’t forget video

    You can also opt to forget stills for the night. Try shooting high frame rate video if your camera offers it and slowing it down later. Whether you’re watching professional fireworks or simply lighting off roman candles in your backyard, slow-motion video is a simple way to get some very cool shots. Many modern cameras can shoot video at 60 or even 120 fps. And still some cameras, like to Sony RX100 IV used to capture the video below, can shoot as fast as 960 fps.

    Photographing fireworks

    Capture the human element

    For another view, think of capturing the human element instead of the action: Firework photos can frankly be a tad cliche. Don’t shoot the same boring shot as everyone else, instead turn your camera to 180 degrees and capture those watching. Try looking for people displaying an emotional response to the show. And because most folks will be mesmerized by what they’re watching, it should be pretty easy to go unnoticed while you shoot.

    Photographing fireworks

    Photo by Jonah Cohen

    Move away from the show and capture the human element

    Alternatively, take a step back and frame the human element, with the fireworks in the background. Here the people are an integral part of the framing, so a small aperture was used for loads of depth-of-field to get both the viewers and the fireworks in focus. You can also get closer to the viewers to create more separation between them and the fireworks, and use a fast aperture to throw either them or the fireworks out-of-focus for creative effect.

    Either way, if you’re putting people into the frame, a wide-angle lens will allow you to include a large group of people, as well as create separation, or depth, between the people in the foreground and fireworks in the background. The shot above was taken at 26mm equivalent, for example.

    Have any favorite tips or tricks for photographing fireworks? Share them in the comments!

    Articles: Digital Photography Review (dpreview.com)

  • Fighting the elements: Landscape photography in Antarctica

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    When most photographers want a new accessory or piece of gear to help them get a shot, they can usually pick it up at a local store or online. But when you’re a photographer living in Antarctica, you have to be a little more resourceful.

    Josh Swanson has spent 16 seasons working in Antarctica and photographing its landscapes. Starting with a disposable film camera and now shooting with a Nikon DSLR, Swanson has learned the ins and outs of shooting panoramas in one of the most unforgiving environments on earth.

    For example, when he began running into issues with elements in his panoramas not aligning correctly, he discovered that a specialized bracket would help sort things out. He tells Resource Travel, ‘…being on the ice I was not able to get one (planes don’t regularly arrive during the winter which means no mail service). I ended up just building one. It worked for the season, although I later replaced it with a manufactured one for that had degree increments etc. for faster more accurate pans.’

    As you’d expect, he’s also had trouble with LCDs freezing and battery life plummeting in the cold weather. He tells Kira Morris, a fellow photographer and former Antarctic resident, all about it over at Resource Travel. 

    Read ‘A Look Inside the Darkness of the Sub-Zero Antarctic Winter’ on Resource Travel

    Articles: Digital Photography Review (dpreview.com)

  • Fotodiox releases new LED studio-in-a-box

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    Fotodiox has announced a new LED Studio-in-a-Box, designed to make it easy to create simple macro and product images on a tabletop. Aimed at Etsy and Ebay sellers just as much as macro and still life enthusiasts, the Studio-in-a-box comes in four sizes, from 16×16″ ($ 69.99) all the way up to 28″x28″ ($ 119.99). Each model comes with an integrated ring of LED lights, and four plastic, wrinkle-free ‘cyclorama’ backdrops.

    Features:

    • Comes with Integrated Daylight LED Lights (~85 CRI) & Diffusion Panel
    • Folds up into supplied carrying case
    • Four sizes available: 16×16″, 20×20″, 24×24″ And 28×28″
    • Comes with four choices of backdrops: blue, gray, white and black
    • 24 Months Manufacturer Warranty

    Press Release:

    WAUKEGAN, IL JUNE 29, 2016

    Fotodiox Pro Announces Lightweight, Portable LED Studio-in-a-Box for Tabletop Photography

    Fotodiox Pro, creator and distributor of several lines of specialty solutions for videography, cinematography and photography, has announced the LED Studio-in-a-Box: a lightweight, fold-out kit that provides tabletop photographers with a fully-contained environment for shooting clean, professional images.

    Ideal for small business owners, artists, retailers and independent Etsy and eBay sellers, the LED Studio-in-a-Box comes equipped with built-in LED lights and a removable diffusion panel for maximum control and ease of use. Available in four different sizes, the LED Studio-in-a-Box can be purchased now on FotodioxPro.com.

    The LED Studio-in-a-Box can be set up by photographers of any skill level in well under five minutes, with no need for tools, and folds down flat after use. The kit includes four plastic, wrinkle-free “cyclorama” backgrounds in black, white, gray and blue, as well as a removable diffusion panel and an integrated ring of top-mounted LED lights for a powerful, even glow. Perfect for macro photographers, professional tabletop photographers and artisans, the LED Studio-in-a-Box saves an enormous amount of time and space, and allows any user to shoot dynamic, expertly lit images with any type of camera, including smartphones.

    To learn more about the Studio-in-a-Box and Fotodiox Pro’s additional photography and filmmaking accessories, please visit FotodioxPro.com. View unboxing videos and product demonstrations via youtube.com/user/FotodioxInc.

    About Fotodiox

    Serving the photo and video markets since 2004, Fotodiox Pro is a leading manufacturer and distributor of high-quality, professional and affordable photography and filmmaking accessories. Known for such products as the WonderPana wide-angle filter system, the Vizelex ND Throttle adapter series, the ever-expanding line of award-winning GoTough accessories for GoPro cameras, and the groundbreaking FlapJack LED Edgelights, Fotodiox Pro is also responsible for bringing the CamDolly Cinema System – the industry’s first truly portable, modular dolly system for professional videography gear – to filmmakers in the United States.

    For more information about Fotodiox Pro, please explore online at http://www.fotodioxpro.com, http://www.youtube.com/user/FotodioxInc, http://www.facebook.com/Fotodiox and http://www.twitter.com/Fotodiox.

    Articles: Digital Photography Review (dpreview.com)

  • White House photographer Pete Souza reveals what’s in his bag

     ‘The Situation Room’, photo by Pete Souza. President Barack Obama and Vice President Joe Biden, along with members of the national security team, receive an update on the mission against Osama bin Laden in the Situation Room of the White House, May 1, 2011. 

    There’s no photographer in the world with a job quite like Pete Souza’s. As Official White House photographer, Souza has to be ready to move at a moment’s notice. Familiarity with and trust in his gear is essential. So what’s in his photo bag? Surprisingly little, which actually makes a lot of sense.

    Souza uses two Canon EOS 5D Mark III bodies. Introduced in 2012, it’s a full-frame 22MP DSLR that earned a gold award for its excellent image quality and versatility when we reviewed it.

    Popular Science recently got a look at Souza’s kit and found two Canon 5D Mark III bodies and a trio of L-series lenses: a 135mm F2, 35mm F1.4 and a 24-70mm F2.8 II. Souza also keeps it simple when he isn’t shooting visiting dignitaries and state dinners: he uses a Fujifilm X100S in his downtime. 

    You can keep up with Souza and the POTUS on Flickr and Instagram. 

    Articles: Digital Photography Review (dpreview.com)

  • Pentax K-1 real-world sample gallery

    We’ve been shooting a lot with the Pentax K-1 and have seen what that manufacturer’s first full-frame DSLR is capable of. Its 36MP sensor has shown impressive results in dynamic range tests, especially when coupled with the camera’s Pixel Shift mode. Its sensor-shift image stabilization, extensive weather sealing and attractive price make it very appealing to outdoorsy types and landscape photographers.

    Fortunately, we have several of those kinds of people on staff. They’ve been out shooting the K-1, from the highest mountain peaks to the dimmest concert venues. Our full review is almost wrapped up, but for now we’ve put together a gallery of real-world samples to show you where the K-1 has been so far.

    Pentax K-1 real-world sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Collector’s item: Nikon’s 87th F SLR camera up for auction on eBay

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    A rare Nikon F SLR camera with the original cloth-type shutter and a Nippon Kogaku Tokyo Japan 1:1.4 F = 50mm lens has surfaced in an eBay auction. Per the listing and product photos, this camera was the 87th unit to come off the production line; it was originally owned by the seller’s deceased grandfather who is said to have collected hundreds of cameras during his lifetime.

    The Nikon F SLR was developed by Nippon Kogaku in the late 1950s and launched in 1959. The very first models off the production line used the same cloth shutter curtains as the Nikon SP. Nikon switched to using much more durable titanium shutter curtains in all subsequent F bodies, and it is estimated that Nikon produced only around 100 Nikon F SLR units with a cloth shutter before switching to titanium.

    The seller started the auction at 99 cents without a ‘reserve’ price, and it currently sits with a bid of $ 4,050. The auction ends this upcoming Sunday.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma updates 150-600mm firmware to solve overexposure with Nikon D500

    Sigma has announced new firmware for one of its super tele zooms that has a problem with exposure when used with the Nikon D500 and Sigma’s 1.4x tele convertor. Both Sports and Contemporary versions of the 150-600mm F5-6.3 DG OS HSM will need the new firmware if owners want to use the lenses with the company’s TC-1401 1.4x teleconverter on the Nikon D500. The company says it has discovered that when the three items are combined there is an issue with overexposure, and that the new firmware will fix it.

    The TC-1401 can be used with the 150-600mm F5-6.3 lens because both it and the Nikon D500 can support autofocus at apertures up to F8.

    Users who own the Sigma USB lens dock can update their firmware themselves, while those who don’t can receive the update free of charge from a Sigma service center.

    For more information see the Sigma website.

    Lens firmware Update for SIGMA 150-600mm F5-6.3 DG OS HSM |Sports / Contemporary in Nikon mount

    Thank you for purchasing and using our products.

    We would like to announce the availability of a new firmware update for the SIGMA 150-600mm F5-6.3 DG OS HSM | Sports in Nikon mount and the SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary in Nikon mount.

    This firmware update can be installed using SIGMA Optimization Pro.

    The lens firmware update corrects the phenomenon of overexposure when the lens is attached to the SIGMA TELE CONVERTER TC-1401 on Nikon Digital SLR camera “D500”, released by NIKON CORPORATION.

    For customers who own the following applicable products and also SIGMA USB DOCK, please update the lens firmware using SIGMA Optimization Pro.

    For customers who do not own SIGMA USB DOCK, the lens firmware update will be provided free of charge. Please contact your nearest authorized subsidiary/distributor of SIGMA.

    Applicable products

    • SIGMA 150-600mm F5-6.3 DG OS HSM | Sports – Nikon mount
    • SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary – Nikon mount

    Benefit of this firmware update
    It has corrected the phenomenon that it shows some overexposure when it is attached with
    SIGMA TELE CONVERTER TC-1401 on Nikon D500.

    *For customers who are using SIGMA Optimization Pro Ver1.1 or earlier, please ensure to update it to Ver1.3 from the following Download page before updating the lens firmware.

    Download page: http://www.sigma-global.com/download/

    We appreciate your continued support for our company and products.

    Articles: Digital Photography Review (dpreview.com)

  • SanDisk says its two new microSD cards are the world’s fastest

    SanDisk has announced a pair of new 256GB microSD cards: the SanDisk Extreme microSDXC UHS-I card and the Ultra microSDXC UHS-I Premium Edition card. These are the fastest microSD cards in the world, according to SanDisk, with the Premium Edition also ‘optimized for mainstream consumers.’ The cards are intended for action cameras, drones, smartphones and other gadgets with demanding storage needs.

    The 256GB Extreme card is the fastest of the two, offering transfer speeds up to 100MB/s (compared the Ultra’s 95MB/s max transfer speed) and write speeds up to 90MB/s. SanDisk presents the Extreme model as being ideal for UHD video recording, saying the card can hold up to 14 hours of 4K video. The Ultra version, meanwhile, is better suited to lower resolutions, and can store more than 24 hours of Full HD video.

    In addition, both microSDXC cards can withstand extreme temperatures and are waterproof, shock-proof, and x-ray-proof. Both are compatible with SanDisk’s Memory Zone Android app. The company will launch the Ultra Premium Edition card globally in August for $ 149.99, and the Extreme card globally in the fourth quarter of this year for $ 199.99.

    Via: SanDisk 

    Articles: Digital Photography Review (dpreview.com)