360Photography

Category: Uncategorized

  • Pelican lightens up with Air cases

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2062335725″,”galleryId”:”2062335725″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Pelican cases have a reputation for sturdiness and reliability, making them a go-to for pros who want to guarantee their gear makes it to the shoot and back intact. Today Pelican has introduced the Air series of cases, boasting the same level of protection without all of the weight. The Air series cases are up to 40% lighter than their Protector series counterparts.

    At launch, the Air series will include six sizes including an overhead compartment-friendly wheeled version, and Pelican plans to introduce 20 sizes over the next year and a half. The new cases are made of an HPX2 resin and will be offered in four configurations: no foam, with customizable cubed foam, with padded dividers or with Pelican’s TrekPak rigid dividers.

    The Pelican Air series are available for pre-order now at pelican.com/air and will ship starting May 1, 2016. Prices range from $ 180 for the 1485 Air up to $ 340 for the 1615 Air wheeled check-in model.

    Press release:

    Pelican Products Introduces Pelican™ Air Cases That Are Up To 40% Lighter

    TORRANCE, CA — April, 15, 2016 – Since 1976, the Pelican™ classic Protector™ case has been the go-to protective case solution for millions of people worldwide. It has made an impact in industries ranging from military and aerospace to photography and hunting. Today, Pelican is proud to announce the outcome of a relentless quest to offer Pelican users more versatility than ever before: Introducing Pelican Air cases. These new cases have been engineered to maintain the same standard of durability, but reduce the weight of each case by up to 40 percent and offer new size selections not currently available in the Pelican classic or Pelican Storm lines.

    Available in six long-form, travel-ready sizes, Pelican Air cases are constructed of lightweight HPX2 resin, the next generation of Pelican’s proprietary formula that rebounds to stress without breaking. With the busy traveler in mind, the 1535 Pelican Air case (Wheeled Carry On) complies with overhead bin standards and the 1615 Pelican Air case (Wheeled Check In) complies with current airline check-in size regulations. 

    Additional models are currently in development with more than 20 new sizes making their debut over the next 18 months. Each case passes the same performance tests (impact, drop, submersion, high and low temperature) that Pelican users have come to trust and is backed by the company’s legendary lifetime guarantee of excellence.

     “The Pelican brand is synonymous with protection and has set the gold-standard in the protective case market for more than 40 years,” said Lyndon Faulkner, President and CEO of Pelican Products. “While using the Pelican classic case design as the basis for the new line, our engineers have spent the past two years reimagining the classic case with a focus on taking out weight while maintaining the same high level of performance customers have come to expect from Pelican. This revolutionary Pelican Air case design underscores Pelican’s continuing commitment to innovation and making a legendary product even better.”

    To construct a lighter case, Pelican’s engineering team faced the challenge of building lightness into every facet of the design without compromising Pelican’s renowned durability. By working with a team of materials scientists, Pelican was able to construct cases that are the lightest protective cases on the market today.

    Pelican Air cases are available with several configurations:

    • No Foam (empty)
    • Pick N Pluck™ foam – manually customizable cubed foam
    • Padded Dividers – newly redesigned with a fully-sewn tub, felt exterior and high-visibility yellow interior, making it easier to identify equipment
    • TrekPak™ – a completely new divider system with rigid, customizable panels and locking pins

    Pelican Air cases are available through select dealers, distributors and retailers starting May 1, 2016. For more information on Pelican Air cases and the full Pelican line, visit http://pelican.com/air. 

    Pelican Products, Inc. is a portfolio company of Behrman Capital, a private equity investment firm based in New York and San Francisco. 

    Articles: Digital Photography Review (dpreview.com)

  • Microsoft Lumia 950 camera review

    In addition to strong camera specifications like a 1/2.4″-type 20MP Sony sensor and Zeiss branded F1.9 lens, the Lumia 950 boasts some tantalizing mobile photography features like Raw capture and extensive manual controls. Unfortunately, its imaging feature set is behind the competition in some notable ways. Read more

    Articles: Digital Photography Review (dpreview.com)

  • Zeiss unveils super-wide Batis 18mm F2.8

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1690428628″,”galleryId”:”1690428628″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Zeiss has added the 2.8/18, a super wide-angle autofocus lens, to its Batis line for Sony E-mount. The full-frame lens joins the current 25mm F2 and 85mm F1.8 offerings. The 18mm lens provides the same dust and weather seals as its siblings, along with an OLED to display focus distance and depth of field information.

    The Batis 18mm F2.8 comprises 11 elements in 10 groups, and four of those elements are aspheric on both sides. The lens provides a minimum focus distance of 0.25m/9.8in. Weighing in at 330g/0.74lb it measures 80mm/3.1in in length.

    Scheduled to arrive in May, the Zeiss Batis 2.8/18 will cost $ 1499/€1260. 

     Press release:

    New ZEISS Super Wide-Angle Lens with Autofocus

    ZEISS Batis 2.8/18 Expands Full-Frame Lenses for Sony Cameras with E-Mount

    OBERKOCHEN/Germany, 14/04/2016.

    The ZEISS Batis 2.8/18 expands the Batis range of lenses with a super wide-angle lens. For the Sony1) á system with E-mount the new lens, which features a diagonal angular field of 99 degrees, is currently the shortest full-frame fixed focal length with autofocus. The new ZEISS Batis 2.8/18 with innovative OLED display to show focus distance and depth of field is also impressive thanks to its high image quality across the entire image field. The lens will be available from May 2016.

    “The ZEISS Batis 2.8/18 follows on from the highly successful first two focal lengths the ZEISS Batis 2/25 and the ZEISS Batis 1.8/85. In spite of the extremely wide angle, we have succeeded in adapting the image quality of the ZEISS Batis 2.8/18 perfectly to the two different lens types,” says Dr. Michael Pollmann, Product Manager of ZEISS Camera Lenses. “With the expansion of the ZEISS Batis range of lenses, we are offering creative and discerning photographers yet another professional tool,” says Pollmann. With the ZEISS Batis 2.8/18 customers can now enjoy the super wide-angle full-frame lens they’ve been waiting for. 

    A vast range of applications

    The new ZEISS Batis 2.8/18 is impressive on account of its high image quality across the entire image field. “By virtue of the large diagonal angular field of 99 degrees, this lens is ideal for capturing unique images in landscape, architectural and astro photography and for impressive interior shots of small spaces,” continues Pollmann.

    Features for discerning users

    The super wide-angle camera lens has 11 lens elements in ten groups and draws on the ZEISS Distagon optical design. Four of the lens elements are aspheric on both sides and seven are made from special types of glass. The Floating Elements design permits constantly high image performance in the focal plane – from the minimum object distance to infinity.

    The new ZEISS Batis 2.8/18 also features an innovative OLED display to show focus distance and depth of field depending on the camera sensor used. “The electronic display is easy to read even in low light,” explains Pollmann. The fast, quiet AF drive with linear motors keeps the subject sharply in focus. In addition to the autofocus, a handy, rubberized focus ring supports precise manual focusing – meaning the photographer has full creative freedom when it comes to image composition. ZEISS Batis lenses are also equipped with dust and weather seals, allowing them to be used in even the harshest weather conditions. All ZEISS Batis lenses support all the operating modes and functions of the current range of E-mount cameras.

    The origins of the name Batis

    Since 2013, new ZEISS lenses in one series have been given the same family name that conveys a common identity. These family names have been derived from the Latin names for birds. The name Batis is derived from a small bird that is found in the forests and scrub of Africa. These birds are characterized by great speed, excellent reflexes and boast a plumage rich in contrasts. Metaphorically speaking, this also applies to the ZEISS Batis lenses, whose fast autofocus enables photographers to capture stunning shots rich in contrasts.

    In addition to the ZEISS Batis range of lenses, there are two further ZEISS ranges for Sony E-mount cameras: the ZEISS Touit and the ZEISS Loxia. 

    Available from May 2016

    Orders are now being accepted for the ZEISS Batis 2.8/18. The lens will be available from May 2016. The suggested retail price is €1,260 or US$ 1,499 (excl VAT) 2).

    Zeiss Batis 2.8/18 specifications

    Principal specifications
    Lens type Prime lens
    Max Format size 35mm FF
    Image stabilisation No
    Lens mount Sony E (NEX)
    Aperture
    Aperture ring No
    Optics
    Elements 11
    Groups 10
    Special elements / coatings 4 aspherical, 7 'special glass' elements
    Focus
    Minimum focus 0.25 m (9.84″)
    Maximum magnification 0.11×
    Autofocus Yes
    Motor type Linear Motor
    Full time manual Unknown
    Focus method Internal
    Distance scale Yes
    DoF scale Yes
    Physical
    Weight 330 g (0.73 lb)
    Diameter 78 mm (3.07″)
    Length 80 mm (3.15″)
    Sealing Yes
    Colour Black
    Filter thread 77.0 mm
    Hood supplied Yes
    Tripod collar No

    Articles: Digital Photography Review (dpreview.com)

  • Meyer-Optik launches Kickstarter campaign for 50mm ‘Soap Bubble Bokeh’ Trioplan lens

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3223429076″,”galleryId”:”3223429076″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    German optical manufacturer Meyer-Optik Gorlitz has begun a Kickstarter campaign to raise funds to produce a modern 50mm F2.9 version of its Trioplan lens. The Trioplan design is known for its exaggerated circular bokeh which earned it the nickname ‘Soap Bubble Lens’ in its original version. The company has recently released a 100mm F2.8 Trioplan after a similar Kickstarter campaign that raised almost $ 360,000. On this occasion the company is hoping to reach an initial target of $ 50,000 – which is going swimmingly, as it met that goal within hours of the campaign going live.

    The new lens will be an updated version of the company’s original 50mm Trioplan but using glass from the Schott factory and with modern coatings and production standards. The new 50mm Trioplan also has a movable front element that allows much better close focusing and a maximum reproduction ratio of 1:4.

    The lens uses a basic Triplet design with three elements in three groups with a 12-bladed iris designed to help produce smooth and circular out-of-focus highlights at all apertures.

    Meyer Optik plans to produce the manual focus lens in mounts for:

    • Canon EF
    • Nikon F
    • Sony
    • FujiX
    • Micro Four Thirds
    • M42
    • Leica M (rangefinder not supported/focusing via live view)

    The expected price is $ 1299 though discounts can be had by backing the Kickstarter campaign. For more information visit the Meyer-Optik Gorlitz website.

    Press release:

    Today Is the Day.
    Support the Historic and Innovative Trioplan 50 Now!  

    We just launched our Kickstarter for the Trioplan f2.9/50, a special new lens that returns the tradition of a versatile soap bubble bokeh lens to the Meyer Optik line up. Order the art lens that you will always keep attached to your camera body now!  In addition to its regular focus element, the Trioplan f2.9/50 features a second front focus element that opens a whole new horizon of creativity to the world of photography.

    These elements and the quality of the glass used takes the legendary Trioplan 50mm soap bubble bokeh lens to a wider variety of creative photographic situations, including events, travel, street, nature, portraits, macro and so many more scenes.  

    The new Trioplan f2,9/50 is the one lens you can use for every situation. It is ultra compact and features an innovative front focusing element putting incredible amounts of creative opportunity into the palm of your hand. The movable front lens reduces the minimum focusing distance to less than 30 cm (under 12 inches) and raises the image ratio up to 1:4.

    This feature takes the Trioplan 50 into the Macro-Spheres.  Carrying a heavy set of lenses is something that most photographers choose to shed at some point, but they do not want to cut back on their creativity. We give you the best of both worlds in one lens – with only 200 g or about 7 ounces — it has never felt so light to be this prepared.

    The Trioplan 50 produces smaller, finer soap bubbles that turn into a small swirl effect in the corner of the image. Sharpness and contrast are also the highest yet of any Trioplan lens.  

    Surprisingly, for a 50 mm lens it is a perfect tool for portraiture especially including awesome landscapes in the image. Moreover the possibilities in street photography are awesome and the macro capabilities are stunning. This is more than just a nostalgic art lens. It is the most modern innovative lens you can imagine.

    The lens will be available with mounts for
    * Canon EF
    * Nikon F
    * Sony
    * FujiX
    * Micro Four Thirds
    * M42
    * Leica M (rangefinder not supported/focusing via live view)

    The most creative historic lens you have ever held in your hands is available to Kickstarter Backers starting at $ 449!

    The lens is estimated list price is $ 1299. Restore 100 Years of Tradition with the Most Versatile Soap Bubble Bokeh Lens.

    What better way to bring back the Trioplan lens than with the most versatile version possible, the f2.9/50 with its new innovative front variable element? Innovating upon the classic, modernizing the traditional, extending soap-bubble bokeh creativity to a new modern era. Help us bring back the Trioplan 50. Pledge your support now !  Click the Link to visit our Kickstarter campaign.

    Sincerely,
    Dr. Stefan Immes and the whole MOG team.

    Articles: Digital Photography Review (dpreview.com)

  • Major Leica SL firmware update brings better AF, new top shutter speed

    Leica has introduced firmware version 2.0 for its SL (Typ 601) camera that brings a major change to the camera’s focusing as well as a new top shutter speed of 1/16,000sec. The firmware takes the number of AF points available in single point mode from 49 to 529. Leica claims it has also made improvements to the autofocusing system’s speed, accuracy and tracking abilities.

    Exposure compensation gets a new access point with the update and can now be controlled via the top dial and the thumb wheel on the camera’s rear, while the longest exposure timed by the camera goes from 60 seconds to 30 minutes. The company says that it has created a new top shutter speed of 1/16,000sec by using the fast-reactions of the aperture in the system’s SL lenses.

    General image quality of JPEG files is also said to have been optimized, as has the focus peaking feature, and Raw files can now be magnified in review mode.

    For more information see the Leica firmware download page.

    Press release:

    Leica releases firmware update 2.0 for Leica SL mirrorless camera system

    New firmware enhances camera performance, handling and workflow

    Leica Camera has released a new firmware update for the mirrorless Leica SL camera system. Firmware version 2.0 can be downloaded by registered Leica SL owners from the Leica Owners’ Area (https://owners.leica-camera.com). Alternatively, customers can bring their camera to any Leica Store or Leica’s Customer Service department in the UK, for a complimentary update service.

    The numerous new features included in firmware update 2.0 have been designed to further improve the performance of the Leica SL and enable a faster photographic workflow. For example, the autofocus function has been revised and optimised. Already impressively fast in combination with SL-Lenses, it now offers even faster focusing, increased precision and optimised subject tracking. A further enhancement increases the number of AF focusing points available for the single point AF setting to 529.

    Also new in firmware 2.0 is direct exposure compensation controlled by the top dial and the click wheel on the back of the camera, in the three automatic exposure modes, P, T and A. The firmware update also extends the range of shutter speeds. Timed exposures of up to 30 minutes can now be captured automatically without additional support and, thanks to the fast, electronically-controlled aperture of the lenses, exposures can be made with the highest shutter speed of 1/16,000s.

    Additional improvements have been introduced with regard to JPG quality, white balance, the video menu, Auto ISO options and the focus peaking function. Pictures taken in DNG format can now be magnified for better image evaluation, and the camera is also now compatible with all Leica flash units. An update to the app to allow the use of the optimised functions, and three noise reduction settings, complete the improvements provided by this latest firmware update.

    More information can be found at uk.leica-camera.com.

    Articles: Digital Photography Review (dpreview.com)

  • NASA astronaut Jeff Williams showcases ISS photography equipment

    NASA astronaut and Expedition 47 flight engineer Jeff Williams posted a video recently detailing some of the equipment he uses to capture his incredible view of the planet from the International Space Station. So what kind of specialized gear does one use in space? Turns out the crew uses ‘regular photography equipment’ to capture still images and videos, with the Nikon D4 being one of several cameras used. A variety of lenses are used as well, including the massive 800mm lens (with 1.4x teleconverter, no less) shown in the video.

    In addition to the photography equipment, Williams introduces viewers to the Cupola, the ‘window on the world’ that gives astronauts a full view of Earth from a single vantage point. Other windows are used to capture handheld photos and videos as well, and Williams explains that some videos are animated panoramas made from stitched still images.

    You can see Williams’ photos on his Instagram and Facebook pages.

    Via: SLR Lounge

    Articles: Digital Photography Review (dpreview.com)

  • DxOMark Mobile report: HTC 10 rises to the top

    Announced earlier this week, the HTC 10 is the Taiwanese manufacturer’s latest flagship model and comes with a top-end camera specification. A 1/2.3-inch 12MP sensor is combined with a fast F1.8 aperture and optical image stabilization. The attention to camera spec detail has evidently served the device well, as it shoots to the top of DxOMark’s mobile rankings to share the first spot with the Samsung Galaxy S7 edge.

    Read the HTC 10 DxOMark Mobile report

    See the full report at DxOMark.com

    Articles: Digital Photography Review (dpreview.com)

  • Flexible sheet camera concept could lead to bendable capture devices

    Researchers at Columbia University are working to produce a flexible sheet camera with stretchable lenses. The program aims to create very thin, high resolution cameras that can be wrapped around surfaces like car panels. Currently in concept form, the sheet lens array that such a camera might use has been developed to produce a seamless image on a flexible sensor when it is bent or wrapped around a physical object.

    The focus of the research is in creating flexible lenses that are capable of changing shape (and hence the effective focal length) as they are stretched and compressed so that the imaging sensor can record a detailed image whatever the field of view.

    With fixed lenses, gaps appear between the coverage of the lenses as the substrate is bent (left), but in the researcher’s flexible lens example (right) the lenses bend with the substrate and offer continuous coverage of the subject.

    In previous attempts at flexible lens arrays only the substrate has been flexible, and as the sheet of lenses has been bent gaps have appeared in the subject coverage as the angle between the lenses increased beyond their individual field of view. These gaps lead to aliasing artifacts in the final image that can’t be corrected in post-processing software. In this new concept the lenses are also flexible and they stretch as the sheet bends, altering their focal length and providing better sampling of the subject.

    So far the research has successfully produced a sheet of silicone with lenses molded on one side and a diffuser behind a sheet of apertures on the other. The apertures act as a low pass filter ensuring light from each molded lens reaches only one point on the viewing diffuser.

    Images created with the substrate bend by different degrees, showing how the field of view changes

    The system hasn’t actually been used with a sensor yet, but the study did use it to project images on to the diffuser screen to determine how effective it would be. Bending the sheet increased and decreased its field of view, or effective focal length, and the images were displayed without missing areas. All that is required now is a flexible sensor to go with it.

    An array of lenses was formed by pouring silicone into a metal mold

    The intention of the project is to work towards finding a way of making sheets of lenses to work with photosensitive materials that will record images when wrapped around real-world objects. The researchers want ultimately be able to produce these sheet cameras in roll format at a low cost so that the sheets can be cut to size to suit specific uses.

    The released information suggests a sheet camera could be wrapped around the panels of a car to give the driver a view from all angles. Alternatively sheet cameras could be used by consumers to take normal pictures but with the user bending the sheet to alter the field of view, or zoom effect, of the system.

    For more information see the project’s page on the University of Columbia website.

    Press release:

    Flexible Sheet Cameras With Elastic Optics

    In this project, we pursue a radically different approach to imaging. Rather than seeking to capture the world from a single point in space, our goal is to explore the idea of imaging using a thin, large, flexible sheet. If such cameras can be made at a low cost (ideally, like a roll of plastic sheet), they can be used to image the world in ways that would be difficult to achieve using one or more conventional cameras. In the most general sense, such an imaging system would enable any surface in the real world to capture visual information. While there is significant ongoing work on the development of flexible image sensors, our interest here is in the design of the optics needed to form images on such sensors.

    At first glance one might imagine that a simple lens array aligned with a flexible detector array would suffice – its field of view (FOV) can be varied by simply bending it. What is perhaps less apparent is the fact that, in a curved state, the FOV can end up being severely under-sampled. This under-sampling leads to a captured image that is not bandlimited. Thus, the Nyquist sampling criterion is violated and the image will suffer from aliasing artifacts when reconstructed. It is important to note that these artifacts cannot be removed via post-processing since scene information is lost during image formation.

    To address the above aliasing problem over an entire range of sheet curvatures, we propose the design of a deformable (elastic) lens array. We show that, if designed carefully, the deformable lenses of the array will change shape (and hence focal length) under bending forces in a way that mitigates aliasing. A remarkable feature of our design is that the lens array can achieve aliasing compensation passively, without the use of any per-pixel actuation or control. Our optics can be combined with a flexible sensor array to obtain a complete sheet camera. This project was supported by the Office of Naval Research (ONR).

    Articles: Digital Photography Review (dpreview.com)

  • Hands on with the Hasselblad H6D 50c/100c

    Hands-on with the Hasselblad H6D

    Hasselblad claims that its new H6D is a completely new camera and is redesigned ‘from the ground up’ on a completely different platform. The new platform is one of electronics compared to the mechanical bias of its previous models, and consequently there is a good deal more communication between the back and the body – and the new HC lenses.

    The general thrust is one of modernization with a mass of upgraded specification that brings the company’s flagship camera into line with the new Phase One XF body. And now of course there is the 100 million pixel sensor to match. One of the areas in which Hasselblad differentiates itself from its main competitor is in the provision of video – and 4K video at that.

    The orange dot on the lens here indicates that it is part of the new HC series. The top shutter speed for the new body is 1/1000 sec, but with the new HC lens range that increases to 1/2000 sec as the sensor and lens work together to cut the exposure time in half. As the shutter is in the lens, users can synchronize flash at all speeds. The lenses have a new shutter mechanism that is able to return to the open position more quickly after closing which helps to enable the shorter exposures. The blades have new coatings to reduce friction to allow a smoother motion, and the durability of the system has been increased to the extent that the company guarantees you’ll get at least a million actuations. Hasselblad has also tripled the duration of the camera’s warranty to 36 months (if you register before September 30th – otherwise it’s 24 months).

    Other key developments include:

    • A choice of 50 and 100 Megapixel backs
    • New top shutter speeds
    • Much-improved rear screen
    • A host of new connection ports
    • HD and 4K video
    • A new range of HC lenses

    There are two different versions of the H6D. The H6D 50c sports a 50MP sensor and retails for $ 25995. The 100c has, as you probably guessed, a 100MP sensor and has an MSRP of $ 32995.

    Hands-on with the Hasselblad H6D

    The rear screens used on the 50c and 100c backs are a great improvement over those used on the previous models. They are sharp and crisp, and colors seem much more realistic than before. The resolution is 920k dots, but the improvement is as much about contrast and color as it is about the fine detail.

    The touch function works very well and offers a great response, and dual touch allows pinch zooming in live view and in review modes.

    Live view shooting is also offered, and while at the moment focus is manual-only with the mirror up, we’re told that Hasselblad hopes to have introduced touch AF by the time the camera comes to market at the end of the month.

    Hands-on with the Hasselblad H6D

    The top plate features a new screen that is a bit bigger than before and which uses slightly larger and clearer icons. The display is slightly sunken into the top plate and sits under glass which makes its low-resolution a little less user-friendly, but it is an improvement on the screen of the H5D. The button layout is almost exactly the same as before, though the orange shutter release of the H6D makes it instantly recognizable. 

    Hands-on with the Hasselblad H6D

    Hasselblad is quite proud of the fact that the body of the H6D is very much the same as that of the H5D, claiming that the designers got it so right last time that nothing needed to change. The advantage, of course, is that anyone upgrading will be immediately at home with the new body and, in fairness, the H5D is very comfortable to hold and to use. Metering is still in the body though, so when you switch to a waist-level finder you lose metering and the semi-automatic exposure modes.

    The in-body shutter and mirror mechanisms are the same as those used in the H5D.

    Hands-on with the Hasselblad H6D

    The H6D comes in two options – with the 50MP back as the H6D 50c or with the 100MP back as the H6D 100c. While the obvious difference is the resolution, it is worth noting that the 50MP sensor is 43.8 x 32.9mm and the 100MP model measures 53.4 x 40mm – almost full frame for the 6 x 4.5cm format. Clearly the difference in physical size of the sensors has an impact on the crop-factor of the lens range.

    While both sensors offer video recording the 100MP sensor is capable of 4K output and uses the whole sensor area for capture – which should produce some interesting shallow depth-of-field footage. The 50c back records in HD only.

    The sensors also differ in their dynamic range, with the newer 100MP sensor offering 15 stops versus the 14 stops of the 50c, as well as an ISO range of 64-12800 against ISO 100-6400.

    Hands-on with the Hasselblad H6D

    Below the main output ports compartment is a USB 3.0 port for shooting tethered to a computer. The USB 3.0 socket is Type-C so photographers can connect quickly even in the dark (since the slot is symmetrical), and the data rate of the socket is up to 5x that of FireWire, which previous models used.

    The socket can also be used to power the camera, so portable battery packs that offer USB-out sockets can be used to supplement the camera’s own battery.

    Hasselblad says that it has dramatically reduced the power consumption of the camera by managing downtime better, and users should expect over 550 shots per battery and less drain when not actually shooting.

    Hands-on with the Hasselblad H6D

    The ports compartment offers audio input and output so sound can be recorded via an external microphone (the camera doesn’t have its own) and so audio levels can be monitored through headphones. An HDMI socket is also provided so external field monitors can be used and so video can be streamed to an external recorder. The use of an external monitor is useful when the back is attached to a technical camera. We are told that the labeling in this example doesn’t reflect how the sockets will be marked in the production models.

    Hands-on with the Hasselblad H6D

    The H6D offers dual card slots, with Hasselblad choosing the CFast and SD formats. The company says that the SD slot is only suitable for shooting stills, while the potential 400MB/s data rate of the CFast slot makes it ideal for shooting 4K video. As usual, the slots can be assigned to duplicate or divide tasks, so images can be stored to both simultaneously or arranged so that JPEG files go to one and raw files to the other. 

    Streaming to an external recorder via the HDMI socket will only be necessary if a large amount of storage is required, as the 100c can record raw video in 4K directly to the memory card. It only records in Raw in fact, and users take the footage to the company’s Phocus software where it can be converted to the Apple ProRes format.

    Considering Hasselblad went to great lengths to emphasize that video is very much a secondary feature of the H6D the company has gone to a great deal of trouble to accommodate it. Of course, the CFast slot allows longer bursts at the maximum 3.2 fps in stills mode too.

    Hands-on with the Hasselblad H6D

    The main menu gives users access to all the principle settings of the camera in a clear and icon-centric display. The larger icons at the bottom of the screen switch between stills and video, as well as providing access to the detailed settings, while the smaller icons take us directly to oft-used features and functions. This menu can be customized to suit the photographer’s way of working, favorite features or to the needs of a particular job.

    The Hasselbad engineers’ debugging ‘Develop’ tool icon is shown here because the camera is a prototype.

    Hands-on with the Hasselblad H6D

    Swiping down from the top of the main menu, iPhone-style, brings us to the main shooting interface. The display shows all the principle modes for normal shooting each of which can be accessed by directly touching the icon. A row of four physical buttons below the screen help navigation and when using the touch screen isn’t practical.

    Hands-on with the Hasselblad H6D

    Once an item is selected a rolling tab appears that allows that function to be adjusted. Here the aperture is being controlled, but the main screen also gives us fast access to exposure modes, drive modes, exposure compensation, white balance, ISO and focus modes. When the scrolling tab is in operation selections can be made either by using a finger on the screen or via the thumb wheel on the main grip.

    Hands-on with the Hasselblad H6D

    The H6D uses the same Sony sensors that are already in circulation with the Pentax and Phase One cameras – as well as in the H5D 50c. Hasselblad says that although it is using the same sensors as other brands, the 50c and 100c will produce Hasselblad-unique characteristics as it applies its own calibration to the sensors.

    While the Phocus software plays a large part in the way raw files appear on the computer screen the camera’s processing will have already applied its own ‘look’ to raw files between them leaving the sensor and being stored on the memory card.

    A Hasselblad R&D engineer explained that it has control of fixed pattern noise, how data is dealt with in different temperatures, the way data is dealt with after different exposure durations, tonal gradients and the way color is represented. He said that this allowed Hasselblad to have a significant impact on the look and feel of the image. 

    Articles: Digital Photography Review (dpreview.com)

  • Adobe announces updates to Creative Cloud video-oriented applications

    With Adobe’s upcoming version of Premiere Pro CC, users can start editing video files immediately, even while still importing, and can switch between native and proxy formats as well.

    Ahead of next week’s NAB Show in Las Vegas, Adobe has announced new features to its Creative Cloud software applications for video editing, motion graphics, and audio, including Premiere Pro, After Effects, Audition and Media Encoder.

    Of particular interest to video editors, Premiere Pro users will now be able to start editing video files immediately, even while ingesting clips. Additionally, editors can now work natively with high resolution video formats up to 8K. New proxy workflows facilitate quick switching between native video and proxy formats while editing, which should be helpful to those working on older machines or laptops.

    Premiere Pro also introduces virtual reality (VR) editing capabilities, making it possible to work with imported stitched video, including the ability to show field-of-view so it’s possible to see what the viewer will be seeing in any direction, and tagging of VR files so that VR-capable video players, such as YouTube, will automatically recognize VR footage.

    Other noteworthy features enhanced Lumetri Color tools, improved captioning and titling options, and initial support for Apple Metal for improved performance on Apple devices.

    The updated applications should be available in ‘early summer.’

    Press release:

    Adobe Unveils Breakthroughs in Video and Film Production

    Virtual Reality, Character Animation, Sound Innovation Comes To Creative Cloud

    SAN JOSE, Calif. — April 13, 2016 — The way consumers access and view content has undergone sweeping changes. Media and entertainment companies, along with creative professionals, are under increasing pressure to find new ways to create, deliver and monetize content. They must also adapt to rapidly evolving technology advancements, including high resolution capture, new delivery formats and virtual reality to name a few.  Also, enterprises are dealing with an explosion of content demands from constituencies and need to integrate high-impact content types, like video, into their communications strategies. 

    Ahead of the National Association of Broadcasters (NAB) Show next week, Adobe (Nasdaq:ADBE) has revealed new features across its Creative Cloud tools for video editing, motion graphics, audio and collaboration. Media and entertainment companies are combining these advanced content creation capabilities with Adobe Primetime to help deliver TV and video content across screens. With Adobe’s digital marketing tools TV networks and pay-TV providers can drive viewer acquisition, engagement and monetization as audiences embrace “over the top” (OTT) content via connected devices such as Apple TV, Sony PlayStation, Roku and Microsoft Xbox. At NAB, Adobe will demonstrate the updated tools and new workflows at booth #SL3910, South Hall (lower) in the Las Vegas Convention Center and at over 120 partner booths from April 18-21.

    Adobe Creative Cloud video tools are becoming the go-to source for film editors of both award-winning Hollywood and indie films. The most recent example is Deadpool, the 20th Century FOX blockbuster which shattered box office records. The post-production team from Deadpool will discuss their state-of-the-art workflows and why they chose Adobe Premiere Pro CC in a Creative Master Series panel at NAB on April 19 from 4:15–5 p.m. PT. 

    Upcoming productions using Premiere Pro CC include Mindhunter, David Fincher’s new series for Netflix, and 6 Below directed by Scott Waugh and starring Josh Hartnett, which is currently shooting in 6K RED and will be edited natively in Premiere Pro.

    Creative Cloud video tools are also powering a new generation of content delivered via social channels like YouTube, Facebook and Instagram.

    “The videos we make at RocketJump are pure entertainment,” said Freddie Wong, Founder of RocketJump, the hybrid studio/production company behind the popular RocketJump YouTube channel with nearly 8 million subscribers and 1.3 billion views. “We’ve been users of Adobe’s Creative Cloud for years and love the new features coming soon. In addition to editing native footage in Premiere Pro and creating awesome visual effects in After Effects, we use Photoshop for graphics, Audition to sweeten audio, Media Encoder to export content, and now Creative Cloud Libraries to share assets.” 

    Immerse Yourself In Creativity 

    Adobe continues to deliver technology that opens unimagined creative opportunities for video and film production, and now, immersive experiences. In the next release of Creative Cloud –- available in early summer — Premiere Pro CC will add new virtual reality capabilities, including “field of view” mode for spherical stitched media.  In addition, thanks to Adobe Stock integration into CC apps, customers are already experiencing productivity increases of 10 times, when adding stock content into creative projects, including video*. In the upcoming release, Adobe Stock will have enhanced connections with CC apps and new workflows will enable Adobe Bridge and Lightroom users to contribute to the Adobe Stock marketplace directly from within the application.

    Other feature highlights coming soon to Creative Cloud include:

    • Edit immediately during ingest allows Premiere Pro CC users to get straight to work, while importing their video and audio files in the background.
    • Powerful proxy workflows in Premiere Pro CC and Adobe Media Encoder CC enable users to easily work with heavy 8K, HDR and HFR media, so editors can switch between native and proxy formats freely – even on lightweight machines. 
    • Enhanced Lumetri™ Color tools within Premiere Pro CC adds HSL Secondaries to expand the editor’s toolkit for making color correction and adjustment easier for all filmmakers. 
    • New video and audio preview engine in After Effects CC delivers superior playback of cached frames for a smooth experience. 
    • Easier and more efficient Character Animator includes a simplified puppet creation process that enables users to easily tag puppet layers easily and record multiple takes of a character’s movement. Users can animate puppets to respond to motion and trigger animation accordingly. 
    • New Essential Sound panel in Audition CC enables anyone to mix audio content with professional results. 
    • Quickly find Adobe Stock assets with new filtered search in Creative Cloud Libraries. Licensed assets in your library are now badged for easy identification, videos are displayed with duration and format information, and saved videos are linked to video previews on the Adobe Stock site. 

    “There’s rapid change happening in the digital landscape with video now the fastest growing media type across social media platforms and OTT shaking up broadcast and film,” said Bryan Lamkin, executive vice president and general manager, Digital Media at Adobe. “Adobe is transforming the industry with Creative Cloud and Primetime by helping customers create beautiful content to engage viewers and technologies that monetize content that audiences care about.”

    Pricing and Availability

    At NAB, Adobe is previewing the next major updates to Creative Cloud. These updates are expected to ship in the coming months. The company is offering Adobe Creative Cloud for US $ 49.99 a month. For more information, visit http://www.adobe.com/go/video.

    Articles: Digital Photography Review (dpreview.com)