Category: Uncategorized

  • Sony announces camera shipment delays due to Kumamoto earthquake

    The earthquake that hit Japan’s Kumamoto prefecture in April affected multiple camera companies with facilities in the region, including Sony. In its most recent statement about the matter, Sony revealed several camera models that will be delayed getting to customers.

    The following models are mentioned in Sony’s statement: 

    • a7
    • a7R
    • a7S
    • a5100
    • a77 II
    • a99

    It’s interesting to note that the delays primarily affect older models, suggesting the company is concentrating its supplies and efforts on its most popular models. Sony also states that other models not specifically mentioned above might be delayed as well.

    Via: Sony

    Articles: Digital Photography Review (dpreview.com)

  • Photographer finds 1200 rolls of unprocessed film from 1950s

    One of the 66 bundles of undeveloped film, which total an estimated 1,200 rolls, all shot by a single photographer in the 1950s. Far too much for Levi Bettwieser to develop himself.  

    Levi Bettwieser is the founder and film technician for The Rescued Film Project – an archive of images from ‘lost and forgotten’ rolls of film, sourced from all over the word. Last year, Bettwieser acquired 66 packages of undeveloped film from the 1950s, totaling an estimated 1,200 rolls.

    Each package is made up of several rolls of undeveloped film, meticulously wrapped in aluminum foil, newspaper and athletic tape and as Bettwieser explains, ‘this is way more film than I can process myself.’ The single roll that he has developed shows some degradation but has yielded usable images. 

    Blue Moon Camera in Portland has agreed to take on the task of developing the rest of the unprocessed film, but even with a discount, processing so many rolls is going to cost a lot of money. Bettwieser has launched a funding campaign on Indiegogo.com, and at time of writing, his team has raised roughly a third of the total funding goal of $ 15,000.

    If you’re interested in this project, you might enjoy reading a series of articles that we published in 2014. 

    Articles: Digital Photography Review (dpreview.com)

  • Canon warns against use of SanDisk CFast cards with EOS-1D X Mark II

    Canon has issued a warning to EOS-1D X II owners, noting a problem with file corruption that can occur when certain SanDisk CFast cards are used. The issue occurs with the last few images recorded just before the camera is powered off, so Canon’s suggested workaround is to capture a number of extra shots when turning the camera off. 

    These are the problematic cards named in Canon’s advisory: 

    The “xxx” at the end of the product number varies depending on the sales region.

    • SanDisk Extreme PRO CFast2.0 64GB (SDCFSP-064G-xxx)
    • SanDisk Extreme PRO CFast2.0 128GB (SDCFSP-128G-xxx)
    • SanDisk Extreme PRO CFast2.0 64GB (SDCFSP-064G-xxxA)
    • SanDisk Extreme PRO CFast2.0 128GB (SDCFSP-128G-xxxA)
    • SanDisk Extreme PRO CFast2.0 64GB (SDCFSP-064G-xxxB)
    • SanDisk Extreme PRO CFast2.0 128GB (SDCFSP-128G-xxxB)

    Both Raw and JPEG files are affected, but the number of corrupted images varies according to the compression mode used. When shooting Raw, Canon recommends recording just one extra shot, but shooting small sized JPEGs will require 8 extra shots to protect other images on the card.

    The statement makes very clear that the problem is caused by SanDisk’s cards, not by the camera. Canon says it may issue a firmware update in early July to address the problem.

    Articles: Digital Photography Review (dpreview.com)

  • App review: Full Frame is a quick, easy JPEG viewer, EXIF editor

    Full Frame is a Mac-based image viewer, photo importer and metadata editor that centers around an incredibly clean and intuitive user interface. Released by California-based Inland Sea and available now in the App Store, its potential to speed up one’s workflow caught our attention.

    Of course, there are a lot of different photo viewing, ingesting and sorting programs available on market, many of which are geared toward casual users. Full Frame, on the other hand, is targeting more toward high-end users like photo enthusiasts.

    In Use

    Having spent some time trying out using Full Frame in my own workflow, it seems its closest competitors are Photo Mechanic, a time-honored program with a cult-like following from photojournalists world-wide, as well as Adobe Bridge.

    Unlike Adobe Bridge, which I find frustratingly sluggish and cluttered in design, Full Frame comes across as exceptionally lean in terms of speed (except when working with un-supported Raw files) and design. It has much more in common with Photo Mechanic like quick startup and image load times. Of course the spectrum of its functionality is much more limited than that of Adobe Bridge.

    I took Full Frame for a spin while sorting images to post to one of my personal sites. Specifically,  I used it to move and rename selects from one drive, to a folder on another.

    Once you have Full Frame fired up, users simply select the source folder and destination (assuming you are copying files) in the upper-left of the screen. The above screenshot represents the entire window when the program is open. There is literally nothing to get in your way of viewing images and deciding which to keep and which to trash.

    To select an image to copy, simply click on it and a checkmark appears. Alternatively you can select all by hitting ‘Command A’ and uncheck the ones you don’t want. In the upper-left portion of the window you’ll find a slider to zoom in the grid view as well as options to view metadata and delete files from their source.

    With your mouse hovering over an image, a small plus sign will appear in the upper left of the photo. Click on it to expand the view. Once in the single image viewer, users can use the slider at the top to zoom the image in and out, to check for critical focus. Unfortunately, when zooming in and out, there is no display of the percentage you are zoomed to, unlike in Photo Mechanic.

    One of the best features of Full Frame is the metadata/EXIF viewer. It offers an incredibly detailed list that goes above and beyond what a lot of other programs show, including Photo Mechanic.

    Users can also add EXIF info to any imported files from within the preferences panel. One thing I’ve always really liked about Photo Mechanic is how simple it is to add copyright warnings and contact info to my files. In Full Frame, it is just as painless. From within the preference panel users can also assign rules for renaming files on import, which is very handy. 

    In many ways, Full frame comes across as a utilitarian program, built to accomplish several specific tasks related to moving and organizing images. However it also doubles as an outstanding way to show off your work to clients, friends or families. The grid view is frankly gorgeous, and once in the single image view, users can simple use the arrow keys to move from image to image. It also starts up very fast, which is a plus.

    Things to consider

    While I found a lot to like about Full Frame, there are some things to consider before purchasing it: First and foremost, despite the claims of Raw support, I found numerous files, from varying manufacturers, to be unsupported. For instance, Raw files from the Nikon D750 are unsupported, as are those from the Sony a7 II. However, if you have Raw+JPEG files, load times will slow significantly but you can at least view and import your images.

    This is really quite unfortunate. Sure, app updates could bring about Raw support but who has time to wait around? On the other hand you could always covert to DNG first, but if the whole point of this program is to speed your workflow, that also makes little sense. Photo Mechanic on the other hand does not have this problem, it can display a JPEG rendering from any Raw file, and loads quickly regardless.

    Another beef I have with Full Frame is that there is only one option for sorting/rating images. In Photo Mechanic and Bridge, there are numerous ways to rate and sort images. For instance, when choosing my selects, I first do an initial sweep and check mark all of the ones I like, I then assign color or star ratings until I’ve got the images sorted down to a manageable amount.  At that point I copy the selects to a separate drive to be imported into Lightroom for processing.

    The Takeaway

    Full Frame is not a program that can do it all, but the things it can do, it does well. If you need a quick, easy way to view JPEGs or edit/view EXIF info, it might be your cup of tea.

    Full Frame is an outstanding option for photographers seeking a powerful EXIF viewer/editor or a quick and easy way to import and rename files. Its spotty Raw support is the main thing holding it back. But at $ 30, Full Frame is a major bargain compared to Photo Mechanic, which will set you back $ 150. It is also a much faster way to quickly view and sort JPEG files than Adobe Bridge.

    What we like:

    • Intuitive user interface
    • Very clean, simple design
    • Powerful EXIF viewer and editor
    • JPEGs load very quickly
    • Can be used to import, sort, batch rename files
    • Support for video files

    What we don’t:

    • Despite claims of Raw support, many Raw files not supported
    • No percentage shown on zoom slider
    • Not as many options for rating photos as competition

    Rating:

    Articles: Digital Photography Review (dpreview.com)

  • Correct name of mis-identified Iwo Jima flag raiser revealed after 70 years

    Photo By: Office of U.S. Marine Corps Communication, Headquarters Marine Corps

    One of the officers in Joe Rosenthal’s iconic ‘Rasing the Flag on Iwo Jima’ has been mis-identified for over 70 years, according to a statement by the U.S. Marine Corps. The man (highlighted in the image above) was previously believed to be John Bradley, but a review panel considering ‘all available images, film, statements and previous investigations’ found the man to be Private First Class Harold Schultz.

    How did this case of mistaken identity come about? According to his son James, John Bradley remembered raising a flag on Mount Suribachi, and was later told as he lay recovering in a hospital bed that he was one of the men in the photo. He was believed to be the sixth man in the Pulitzer Prize winning photo for more than 70 years.

    When a Smithsonian Channel research team approached the Marine Corps with a theory that Bradley was not the man in the photo, an investigation was launched. A panel led by retired general officer Jan Huly started looking over evidence in April, and released its findings late last week.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm launches Instax SP-2 with faster printing speeds

    Fujifilm has announced a new and improved version of its Instax printer. The SP-2 follows on the SP-1 and comes with improved Wi-Fi connectivity and faster printing speeds, producing a print in 10 seconds rather than the previously required 16 seconds. Fujifilm says the SP-2 is also quieter than its predecessor. It prints a card-sized format at a 800 x 600 resolution and 320 dpi and uses 256 levels per color. The battery is charged via a microUSB port and the printer supports JPEG and PNG files. 

    Fujifilm has also improved the accompanying SHARE app which is available for iOS and Android devices and now comes with custom filters as well as collage and split templates. It also allows for image transfer from social networks and the overlay of geographic and climate information onto your printed image. 

    The Fujifilm SP-2 printer comes in Silver or Gold body colors and will start shipping in mid-July. The printer is priced at $ 200 and the Instax Mini film that is used as printing media will set you back $ 20 per pack of 20 sheets. More information is available on the Fujifilm website.

    Articles: Digital Photography Review (dpreview.com)

  • Street style chronicler Bill Cunningham passes away at 87

    Bill Cunningham at Fashion Week photographed by Jiyang Chen. May 2012.

    Over the weekend, the photography and fashion communities lost a living legend when Bill Cunningham passed away at age 87. He chronicled New York City street fashion trends – from fanny packs to designer bags – for almost 40 years for the New York Times.

    ‘I never bothered with celebrities unless they were wearing something interesting.’ Cunningham’s 2002 article on his own body of work for the Times explains his approach. He took as much interest in what people were wearing in Harlem and downtown as he took when photographing New York’s elite at countless galas and runway shows. Cunningham was known by his signature plain blue jacket and bicycle, and was named a ‘living landmark’ by the New York Landmarks Conservancy.

    Cunningham was hospitalized recently after a stroke, and the news of his passing came not long after this Saturday. 

    Articles: Digital Photography Review (dpreview.com)

  • Cactus promises 1/8000sec flash sync with V6 II transceiver, new version for Sony users

    Hong Kong-based flash and flash trigger manufacturer Cactus has upgraded its V6 wireless transceiver system to allow flash sync speeds of up to 1/8000sec. The company, claiming its transceivers can apply TTL control to multiple brands of flash at the same time, says that the V6 ll will be compatible with units from Canon, Nikon, Olympus, Panasonic and Pentax. Cactus also plans to bring high speed flash to Fujifilm X cameras even though Fuji doesn’t support the feature with its own flash units. Cactus has, at the same time, announced a V6 lls for Sony users with the same capabilities, but offers a Sony-compatible hotshoe foot.

    The Cactus V6 ll offers an LED AF-assist light and remote control of the flash’s power output and zoom head position, as well as the features of the previous version. Also new is the ability to detect the on-camera flash in the network and to assign an automatic profile to that flash on start-up. This should make the system easier to work with.

    The Cactus V6 ll will be available from July priced at $ 95. The Sony version is scheduled for an August release. For more information and a list of pre-installed flash profiles visit the Cactus website.


    Press release:

    Go high-speed sync! Cactus launches the V6 II, a newest version of its popular Wireless Flash Transceiver to add cross-brand HSS and the V6 IIs, a dedicated Sony version.

    After two years in the making, Cactus V6 II & IIs – the second generation of the World’s First cross-brand wireless flash transceiver, NOW supports high-speed synchronisation (HSS)!

    Besides the revolutionary remote power control of Canon, Fujifilm, Nikon, Olympus, Panasonic and Pentax flashes all at the same time, the new models now support HSS / FP mode in the same cross-brand environment.1 This unique function gives photographers flexibility undreamed of. Matching flashes with same camera system for off-camera flash photography is over.

    Two High-Speed Sync Modes
    1. Normal HSS: Supports shutter speed up to 1/8000s.
    2. Power Sync: Boosts flash contribution above camera’s x-sync speed, perfect for extreme conditions where Normal HSS is not powerful enough. 2

    Cactus also extends HSS capabilities to Fujifilm cameras despite them not yet
    supporting high-speed sync at the time of writing.

    AF-assist
    Both the V6 II and IIs now has an automatic LED AF-assist light that makes autofocusing in dark environments possible – even in pitched-black!3 Besides the camera-mounted V6 II/IIs, off-camera units will also activate the AF-assist light, which helps focusing even when camera is far from the subject.

    V6 IIs for Sony
    The dedicated Sony version – V6 IIs, embodies all the desirable functions of its sibling V6 II but with a Sony compatible hot shoe on the transceiver body, ensuring a seamless and secured connection with Sony cameras and flashes. Mounting the V6 IIs on a Sony Alpha camera allows the photographer to shoot above camera’s maximum x-sync speed and control power and zoom of Sony, including those with a Minolta/Sony hot shoe via an adapter, and other V6 II compatible flashes. 4 It is the perfect wireless flash trigger for existing and new users of Sony Alpha cameras, especially those who may still have non-Sony system flashes in their camera bags.

    Highly Intelligent
    V6 II and IIs can now auto-detect the on-camera portable flashes at device start-up by selecting the system the flash belongs to and assigning an Auto flash profile. Similarly, the V6 II will auto-detect the camera and selects the system accordingly. 5 This simple plug-and-play makes the setting up extremely quick and easy that both amateurs and professionals appreciate.

    Expands Flash Compatibility
    Remote zoom control now applies to all compatible TTL flashes, gives the photographer much quicker controls. Better still, previously unsupported digital TTL flash models on the V6 are now being supported.

    Features at a Glance
    1. Cross-brand wireless manual power and zoom control with HSS support of Canon, Fujifilm, Nikon, Olympus, Panasonic, Pentax and Sony flashes;

    2. Two cross-brand high-speed sync modes:
    •?Normal HSS supports shutter speeds up to 1/8000s;
    •?Power Sync boosts flash contribution above camera’s x-sync speed;

    3. Multi-master supports up to 20 photographers firing the same set of flashes at their own power settings;

    4. AF-assist light assists focusing in low light environment;

    5. Flash profile customization ensures accurate power output;

    6. Work seamlessly with the RF60 series to support HSS and Power Sync;

    7. Other useful features inherited from the V6 including:

    • Lo Power
    • Absolute Power
    • TTL Pass-through
    • Group Sequence
    • Sport Shutter
    • Remote Shutter
    • Relay Mode
    • Delay Mode
    • Firmware Update support

    Price and Availability
    Cactus V6 II and IIs are currently scheduled to be available in 2016 July and August respectively and both are priced at US$ 95.00 (ex VAT).

    Articles: Digital Photography Review (dpreview.com)

  • Mirrorless is ‘probably’ the future: an interview with Hasselblad Product Manager Ove Bengtson

    It is quite extraordinary for Hasselblad to produce a mirrorless camera like the X1D for a number of reasons. Firstly is the obvious: it has predominantly produced cameras with very large mirrors since its first consumer camera in 1948 – the 1600F. Second, mirrorless cameras with touch screens and electronic view finders are very modern, and we may not all think of Hasselblad as a manufacturer of entirely up-to-date electronic products.

    In the X1D we are looking at a medium-format sensor in a body that can hide behind a standard high-enthusiast 35mm-style DSLR. Okay, so plenty of people will point out that it isn’t ‘full frame’ 645 (the smallest of the 120 film formats), but it’s very similar to 127 film which was considered medium format by the ISO organization. More to the point, it’s much bigger than the ‘full frame’ 35mm format and is essentially the same size as the sensors used in Leica’s S series, the Pentax 645Z, Phase One IQ3 50MP and Hasselblad’s own H6D-50c.

    I guess this kind of breakthrough is one we’d expect to come from what we might consider a high-tech company, not a business that has traditionally created a relatively low volume of very high-priced and principally mechanical professional tools.

    Of course Hasselblad marked a technological turn around when it introduced the H6D with its new electronic platform, but this new X series camera takes what the H6D did a few steps further. Shortly after the announcement of the X1D in Gothenburg I got some time with Hasselblad product manager Ove Bengtson to discuss some of the technical challenges that had to be overcome to create the X1D and to find out some more detail about how the product will work when it comes to market.

    ‘…designing a mirrorless system is relatively easy compared to our usual H cameras’

    ‘The X1D took only between 18 and 20 months to develop from the final concept to where we are today,’ says Ove Bengtson. ‘As it uses the same 50-million-pixel Sony IMX161 sensor, the same electronic platform and same processor as the H6D-50c most of the work was already done – designing a mirrorless system is relatively easy compared to our usual H cameras as there are no moving parts. We started discussing the idea in November 2013 but were still talking about it a year later before we decided to go ahead. The work that we had already done in the development of the H6D saved us a lot of time in research for the X1D.’

    As mirrorless cameras are so much easier to make and offer so much more flexibility I wonder if mirrorless is the future for Hasselblad. ‘Yes, it probably is, but not for a while. Mirrorless systems can be smaller and lighter, and because they have no internal movement they are more durable and they create less vibration so there is less to disturb image quality. Electronic viewfinders will need to get better though and the AF systems will need to improve to catch up with phase detection systems.’ 

    ‘We really do want phase detection but we’ll have to wait for the sensor manufacturer.’

    ‘It is a great benefit to be able to have AF points all over the screen, as in our H system we are really restricted to the centre of the frame, but phase detection wasn’t even an option for the X1D. We discussed having phase detection AF points built into the sensor, but Sony was already too far down the road with the sensor development at that stage. We really do want phase detection but we’ll have to wait for the sensor manufacturer.

    So, while mirrorless has many advantages over mirrored systems there are still just as many reasons to use the H system. The H system has better AF in low light, and a lot of photographers prefer an optical viewfinder. The H system is also modular so you can change the backs and use a waistlevel viewfinder – not to mention a choice of 12 lenses including technical lenses – so it is still a very different experience.’

    To allow X1D users access to the existing range of H system lenses Hasselblad will introduce what it describes as a ‘simple adapter’, but in the announcement there wasn’t much more detail than that. ‘Yes, this adapter will allow autofocus to operate with most of the H lenses, but they weren’t designed to work with contrast detection systems. Consequently users will need to update the firmware in their lenses to allow them to work properly. Not all lenses have firmware that can be upgraded as early H lenses in 2002 were fixed, but all more recent lenses will be able to be used.’

    ‘It is still early days for this camera but when it comes to market it will have touch AF…’

    The cameras on display at the announcement event had touch screen controls for working the menus and for making feature selections, but they didn’t allow touch AF controls. ‘It is still early days for this camera but when it comes to market it will have touch AF and the AF points will be spread across the screen. You will press the AF/MF button and an AF point display will appear on the screen and then you can select the point you want to use.’

    The X1D’s touch-driven interface. The menu screens and displays are controlled via a series of swiping motions, much as we are used to in smartphones.

    Ove said that the company hadn’t directly considered allowing the rear screen to be used as a touch pad while the EVF is in use, but that it would probably be a question of firmware and that they would consider it. ‘The touch experience for the user has been a major consideration for us, and we want the touch sensitivity to be the best there is. Users will all have smart phones and we couldn’t allow the screen of the X1D to present an experience that isn’t as good as people will be used to.’

    We also talked about the company’s integration of the Nikon flash system and what the reasons were for not developing a system of their own. ‘We don’t want to have to develop our own flash system, as we’d prefer to concentrate our resources on making cameras and lenses. Any system needs a range of flash units as customers want a choice, so it makes much more sense to work with an existing system that already has that range and choice. When we only had the V system we partnered with Sunpak, and in more recent years we worked with Metz, but Metz discontinued the gun as they didn’t sell enough. Nikon agreed to work with us and we are very happy that they offer excellent flash units that will work well with our X1D.’

    ‘We have to produce the best that we can and allowing reduced quality just isn’t an option’

    The XCD lenses that Hasselblad has developed to go with the X1D use leaf shutters and offer a top shutter speed of 1/2000sec. Leaf shutter systems allow much faster flash synchronization than focal plane shutter systems and, as is the case with the H6D, the X1D can work with full power flash at that shortest shutter opening. ‘In this camera and in the H6D we use a dual shutter system to achieve the top 1/2000sec flash sync speed,’ explains Ove.

    ‘The new XCD lenses are designed and built to the same specification standards that we use for the H series lenses. We have to produce the best that we can and allowing reduced quality just isn’t an option. In fact these have a short back focus which makes it easier to design them to really excellent standards. The lenses are designed by us and manufactured by Nittoh who have made many great lenses in the past, including the lenses for the X-Pan. These XCD lenses have no crosstalk and the angle of the light as it approaches the sensor is well within the limits. You’ll notice that the exit pupil of the wide angle particularly is set well inside the barrel.’

    ‘Right now… we have no zooms on the roadmap’

    ‘To start with we will concentrate on fixed focal length lenses as we can make these small in line with the compact concept of the camera. I expect there will be some demand for zooms but we will wait and see what that demand is and then respond to it. Right now though, we have no zooms on the roadmap. Personally I think they will have to be too big, and I want us to concentrate on the best performance and the highest resolution possible.’

    Speaking to Ove and other technicians at the event it is obvious that Hasselblad has built this system around the specific physical dimensions of the 43.8×32.9mm sensor. If there will be a 100MP version of the X camera it will not be one using the current Sony offering that measures 53.4x40mm. ‘The camera isn’t designed to take a larger sensor,’ I was told, ‘and the XCD lenses don’t have the covering circle to work with it. We designed the camera to be small and portable, and a part of that equation is the size of the sensor. If we work with a larger sensor it means we need a bigger body and bigger lenses, and that would defeat the principles of what the X1D is about.’

    No one would be drawn on how many lenses the company expects to have in the XDC range in five years’ time, but it is clear there will be more and that they will start coming shortly. The 30mm will be formally announced at Photokina and I think it reasonable to assume there will be hints of other focal lengths at the time, even if the announcements aren’t formal.

    The X1D really does mark quite a departure for Hasselblad and a step towards a larger market (though still some way from the mass market) that will allow the company to broaden its user base. The step too though is as much about demonstrating it is a modern company now that can make modern products. It has also drawn an unmistakable line under that period of its life when it rebadged and allowed other brands to have too much of a hand in its manufacturing.

    Things are looking up; Hasselblad seems to be back on track, innovating once more and in many ways getting ahead of the game. The X1D is certainly the coolest, most flexible, portable and accessible digital medium format almost on the market.

    Articles: Digital Photography Review (dpreview.com)

  • Photographing surfers on Russia’s Kamchatka Peninsula

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    The Kamchatka Peninsula, located in the far eastern portion of Russia, is home to a passionate surfing community. You read that right – Russian surf community. The peninsula boasts excellent conditions for surfing, and its towering volcanic peaks make for a fantastic backdrop.

    Surf photographer Tania Elisarieva is well familiar with what she describes as the ‘cold and harsh landscapes’ of Kamchatka, having grown up in the far north of Russia. Her photos capture the striking beauty of the place, from its snow-covered peaks to icy volcanic craters, and show the world another side of Russia. Read her story and see more of her work on Resource Travel.

    Articles: Digital Photography Review (dpreview.com)