360Photography

Category: Uncategorized

  • Field Test: Claire Bangser and the Olympus PEN-F hit the Mississippi Blues Trail

    DPReview’s Wenmei Hill and New Orleans-based photographer Claire Bangser recently hit the road with the Olympus PEN-F, visiting historic spots along the Mississippi Blues Trail. If you love the blues or want to learn more about the folks living in the small towns that dot the route, then you’ll enjoy our latest field test. 

    See full-resolution images from the Field Test in the Olympus PEN-F Samples Gallery

    See more Field Test videos

    This is sponsored content, created with the support of Olympus. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Readers’ Showcase: Phil Garcia

    Readers’ Showcase: Phil Garcia

    Arctic fox, Iceland 2014. A young white morph Arctic Fox sunbathing in front of his den. After spending a week camping close to that place, the family just accepted me as one of them. Probably because of the smell! Photo and caption by Phil Garcia

    Phil Garcia made a career of shooting mountain sports, but found his hobby photographing wildlife becoming more than a side project. Now he maintains a home in Iceland, studying and capturing the country’s native Arctic Fox. Garcia is about to publish a book of his Arctic Fox photographs, and shares with us his views on photographing wildlife, respecting the natural world and what it takes to weather Iceland’s rain.

    You can see more of his work at his website, and reserve a copy of his forthcoming book by contributing to his crowdfunding campaign. Interested in having your work featured in an upcoming Readers’ Showcase? Let us know! Include your DPR user name a link to your online portfolio.

    Readers’ Showcase: Phil Garcia

    Common Vulture, Pyrénées mountains, Spain 2016. Vultures are quite common in my area and they are my winter favorite. I spend loads of time every year at the top of this cliff in the biting wind to catch this kind of shot. Photo and caption by Phil Garcia

    Tell us where you’re from and your history with photography.

    I’m a French photographer – I was born in the Pyrenees mountains, close to the Spanish border. It’s a mountain area with lots of wildlife, such as eagles, vultures, capercaillie, foxes, mountain goats, deers, etc. I bought my first camera when I was 15, that was 30 years ago. Then I became a full time photographer in the sports business, specifically mountain sports such as skiing and mountain biking. I shot for big brands like Oakley and Redbull and also for many magazines, while shooting wildlife and nature photography as a hobby.

    Readers’ Showcase: Phil Garcia

    Atlantic puffin, Iceland, 2015. Some years ago, I made my first trip to Iceland. That was the time before I went completely mad about that country and decided to buy a house there and spend lots of time photographing its nature. This puffin was shot in the midnight light on the westernmost point of Iceland, facing Greenland. Photo and caption by Phil Garcia

    What do you shoot with now?

    I’m a Canon guy, and at the moment I shoot with the EOS 5D Mark III and 7D II. I don’t use the 1D series anymore, mainly for weight reasons. Because I travel lots I like to take advantage of the APS-C format with smaller and lighter lenses. My lens kit include the 300mm F2.8, 70-200mm F2.8, 100mm macro, TS-E 90mm, 50mm and 16-35mm F4, all L-series.

    Readers’ Showcase: Phil Garcia

    Eurasian Nuthatch, Pyrénées Mountains, France 2013. Snow is also one of my favorites subjects, but this picture was made from a comfortable shelter in my garden! Photo and caption by Phil Garcia

    What kind of subjects do you specialize in photographing?

    In my wildlife and nature photography, I like mountain mammals and birds of prey. But I shoot any kind of animal if it makes an aesthetic picture. I’m more after the good light and scene than after some particular or rare species. There are lots of animals I’ve never photographed properly but I don’t really mind, I’m not ticking boxes. I prefer a good shot of a sparrow than 50 average shots of eagles.

    Readers’ Showcase: Phil Garcia

    Arctic Fox, Iceland 2016. In winter, the arctic foxes of the white morph turn completely white. That’s a picture that took me a long time to get, as most of their areas are so remote that it’s quite impossible to get there in the middle of the winter, as the roads are often closed and the boats can’t sail. Photo and caption by Phil Garcia

    You’re preparing a book featuring the Arctic Fox for publication. What draws you to this subject in particular?

    I’ve spent a lot of time in Iceland over the last five years, as I bought a house there. Iceland is full of birds but there is only one proper mammal to photograph: the Arctic Fox. And it’s a hard one, it took me two years to get my first proper shot of an Arctic Fox. I spent lots of time in the field, and I got to know Ester, an Icelandic biologist specialized in Arctic Foxes. With my wife, we participate in local studies for its protection, spending weeks taking notes in front of a den in the cold and rain. In the end, it has become a full time passion, even when I’m not in Iceland!

    Readers’ Showcase: Phil Garcia

    Arctic fox, Iceland 2014. July is the time for the young foxes to learn many things from their parents. Although the animal is a canid, the cubs love to play in a very kitten-like way. Photo and caption by Phil Garcia

    Iceland is an important photographic subject to you as well. What is it that makes it such a unique destination for photographers?

    Like in many Arctic countries, I think the light makes all the difference. It has amazing light and a very wild nature. I can spend a week in the field and hardly meet a couple of people. I photograph animals that may see a man twice a year. And many places are not hunted, meaning the animals are not extremely afraid of man, like in many other places in the world. 

    Readers’ Showcase: Phil Garcia

    Arctic fox, Iceland 2014. After spending a week around them, the mother of this cub was so confident in me that she very often left me at her den with her cubs around while she went hunting guillemots for them. During that time, the male kept on checking the territory from a distance. He never got that friendly. Photo and caption by Phil Garcia

    What advice would you give a photographer visiting Iceland for the first time?

    Any photographer I’ve met who has traveled to Iceland for the first time has one thing to say: ‘When will I be able to go back there?!’ It’s amazing but it’s a hard country too: it’s cold at any time of the year, and you always need a good rain outfit. I mean a real rain outfit, not just Goretex, thick rubber like sailors wear! If you visit Iceland, you must also take a lot of care to not disturb the natural environment – don’t break any plants, don’t walk on moss. It took the moss three hundreds of years to grow some centimeters thick and can be ruined instantly.

    Readers’ Showcase: Phil Garcia

    Stilt, Mediterranean area, France, 2015. I love to play with lights and water, especially when I use my floating hide. This stilt was playing with the light too. Photo and caption by Phil Garcia

    What’s the experience of publishing a photo book been like so far?

    It’s been going pretty well so far as I decided to publish it myself, so I’m the boss of everything! It’s a subject that is hard to sell for a publisher so I didn’t even bother to propose it. It’s really a lot of work to promote the book, but the crowdfunding went pretty well, it’s almost done. Now comes the fun part of checking the files, the paper orders and the printing. I’ve done that already in a previous job, so it should be fine and the book will be beautiful!

    Readers’ Showcase: Phil Garcia

    Arctic fox, Iceland 2014. This was certainly the first time that this blue-morph Arctic Fox met a man in a short distance. He was not scared at all, just very curious. Photo and caption by Phil Garcia

    What advice would you give to new wildlife photographers?

    That’s an easy one, as I have guided workshops in Iceland for the last three years. I’ll tell you what I tell my people: First, learn everything about the animal, from books or the internet. Second, learn about its habitat. Then you can open your camera bag and hopefully shoot something. Let the animal determine the distance, never follow it when it leaves and most importantly, as my friend Ester would say: ‘Don’t feed the foxes!’ What that generally means is ‘Don’t interfere in the animal’s life, just look at it.’

    Articles: Digital Photography Review (dpreview.com)

  • Get out your spudger: iFixit Panasonic FZ1000 disassembled

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    Feeling like taking apart your pricey Panasonic Lumix DMC-FZ1000 enthusiast superzoom? Probably not. Thankfully, the good folks at iFixit have already done the work for you. So grab your spudger and #00 screwdriver and follow along!

    Read iFixit’s Panasonic FZ1000 Disassembly Guide

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    The first rule of camera disassembly is… removing the battery! No need to take off the battery door at this time, as that whole compartment will be removed later in the process.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    After rotating the LCD outward and removing a few screws, it’s time to get out that spudger and separate the display from the body.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    And here’s the 3″ touchscreen LCD separated from its frame.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    Now it’s time to get out the #00 screwdriver and get down to business. The screws on the top and both sides must all come out.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    You can then pull the back panel off, after which you need to carefully remove a lot of ribbon cables.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    With ribbon cables and yet more screws removed, the motherboard can be pulled out. While we’re not 100% certain, that large chip could be the Venus Engine processor.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    Coming out next is the camera’s 2.36 million-dot OLED electronic viewfinder. The unit is a lot bigger than you think!

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    After – you guessed it – more screws and ribbon cables, the lens can be liberated from the rest of the body. In case you’re forgotten, this is a 25-400mm equivalent F2.8-4 ‘super zoom’ lens.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    After removing the aperture motor and yet more screws and ribbon cables, the FZ1000’s 20MP, 1″-type BSI CMOS sensor is now yours for the taking.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    Very gently, the top panel can be removed from the frame. iFixit warns users to be careful when doing this, so electrical wires aren’t snapped.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    The disassembly is nearing its end, as this metal panel – probably used to dissipate heat – is taken off.

    All images courtesy of iFixit.

    iFixit Disassembles the Panasonic Lumix DMC-FZ1000

    After removing with what seemed like a million screw removals, the FZ1000 has finally been completely disassembled. As you can imagine, putting it back together is as ‘simple’ as doing everything in reverse!

    Thanks to iFixit for showing everyone how it’s done!

    Articles: Digital Photography Review (dpreview.com)

  • Crossing the Bridge: Canon XC10 Review

    Canon XC10 key features

    • 12 Megapixel 1″ CMOS sensor
    • DIGIC DV5 image processor
    • Fixed 10x (24 – 240mm equivalent) zoom lens with image stabilizer
    • Face Detection/Tracking auto-focus mode
    • Records 4K XF-AVC UHD (3840 x 2160) video to CFast 2.0 cards
    • 305Mbps video codec (4K)
    • Canon Log (12 stops of dynamic range)
    • Slow and Fast motion capture
    • 12 Megapixel stills (JPEG only, no Raw)

    Hybrid cameras are those capable of capturing both high-quality stills and video. Although they have been around since the release of the Nikon D90 and Canon 5D Mark II, a professional mirrorless hybrid camera is a new category for Canon. When Canon announced the XC10 at NAB 2015, there was some confusion as to what kind of camera it was. Was it a system targeted towards Canon DSLR shooters or Vixia shooters? A drone camera? Or a micro ENG camera? The only thing that was certain was that Canon positioned the camera as one that could credibly be used for both video and still photography work.

    The XC10 is an all-in-one compact hybrid camera that features both 4K and Full HD video capture as well as 12 Megapixel stills. It has great ergonomics for handheld shooting, is built around a 1″-type sensor, and includes the ability to record Canon Log, providing up to 12 stops of dynamic range. Optically, it uses a fixed zoom with a 2x Digital Teleconverter and Optical Image Stabilization, as well as a built-in ND filter.

    The XC10’s lens gives you a focal range of 27.3-273mm equivalent for video capture and 24.1-241mm equiv. for stills. For monitoring, the camera features a touchscreen with Vari-Angle LCD monitor and an included loupe to mount to the LCD for viewing in bright environments. Unlike the 1080p EOS 5D Mark III, the XC10’s video workflow options should meet the standards for professional video shooters, offering H.264 4:2:2/8-bit MXF 4K UHD (3840 x 2160) files (up to 305Mbps) to internal CFast 2.0 cards, or Full HD (1920 x 1080) to SD cards.

    Its form factor sets the XC10 apart from typical DSLR and compact mirrorless cameras like the Sony a7R II or Panasonic GH4. With its adjustable side grip and loupe attached for continuous run-and-gun video shooting, the XC10 slightly resembles Canon’s Cinema EOS cameras, such as the C300 Mark II and the C100 Mark II. With its side grip and adjustable LCD, you can comfortably shoot and monitor your shots at any angle.

    Though probably intended for slightly different audiences, on paper the XC10 has a couple of competitors in this space: Sony RX10 II/III and Panasonic FZ1000. All three cameras contain 1″-type sensors and capture 4K video. The RX10 II/III also give you cinematic picture profiles, including S-Log2 which, like Canon Log, extends the cameras’ latitude. Unlike the RX10 II/III and FZ1000, which are aimed at stills photographers, the XC10 does not support Raw image capture. Also, the XC10 is by far the most expensive of the three with a retail price of $ 2,499 (though street prices hover around $ 1,999).

    And if video is your primary format, the XC10 could well be a solid replacement for your DSLR, especially if you need to capture 4K. So the question becomes, can the XC10 be a credible stills camera for people who primarily shoot video but need high quality stills in certain situations? Let’s find out.

    Articles: Digital Photography Review (dpreview.com)

  • Macphun updates Tonality with batch processing and Raw support for more cameras

    Software manufacturer Macphun has announced an update to its Tonality application that introduces batch processing, free preset packs, as well as Raw support for a wider range of cameras.

    The black and white image manipulation package designed for the Mac platform already offers 160 ready-made manipulation and effects settings, but will now offer between one to three extra settings per month, created by a band of professional photographers. The company has four contributing professionals at the moment and will add a new one each month to enlarge the collection of settings users can download for free. Users can, of course, create their own presets using the tools and controls provided and can then share these amoung themselves. Further pre-sets are available to purchase.

    The update also brings raw support for owners of Canon PowerShot G1 X Mark II, Fujifilm FinePix HS50 EXR, Leica Q (Typ 116), Leica SL (Typ 601), Leica M Monochrom (Typ 246), Nikon D300S, Panasonic DMC-G7, Sony DSLR-A700, Sony DSC-RX100M3 and Sony DSC-RX10M2 cameras.

    The company has also added a link to the 500px image sharing website to smooth the uploading of pictures directly from the program, and has also made it easier to export files to Adobe’s Photoshop and Lightroom applications.

    The program is available in three forms, as a standalone application that is priced £15 (though £7.99 until 14th April), as part of the Tonality Complete Kit you get the Pro Version for £48.99, or as part of Creative Kit 2016 with five other Macphun applications for £89.99.

    For more information see the Macphun website.

    New Tonality updates brings amateur photographers closer to professionals

    Ability to add free preset packs created by worldfamous photographers, 500px export integration, batch processing, new cameras support, and special discounts at Mac App Store

    Macphun Software, a leading innovative photography app developer with over 30 million users worldwide, have today launched a major update to Tonality, their awardwinning black and white photo editor for Mac.
    To celebrate the update, Macphun are offering a 50% discount and a free batch processing in the MAS version of Tonality for one week only (7th14th April) .

    What are the key highlights of the update to Tonality?

    Preset Packs from WorldFamous Photographers

    Tonality users will now have access to a free preset library, created by professional photographers from around the world. To access the library, users simply need to click “Get more presets” from inside the software.

    Macphun have enlisted the expertise of professional photographers, including Serge Ramelli, John Batdorff, Dan Hughes, Andy Krucezk and others to create exciting new preset packs exclusive to Tonality, which can be found at macphun.com/tonalitypresets.

    Statistics show that since August 2014 (when the software was launched) Tonality users have processed over 7 million images , and applied over 50 million presets to their photos. Current favourite preset packs include Portrait, Architecture, and Dramatic.

    500px Support plus 3month FREE membership

    Macphun have teamed up with 500px to allow users to easily export images directly from Tonality to the global online photography community. Macphun are also excited to offer a 3month 500px membership for free as a bonus to Tonality.

    More cameras supported

    RAW file support has been improved and extended so RAW image files can now be opened from a variety of new cameras: Canon PowerShot G1 X Mark II, Fujifilm FinePix HS50EXR 100, LEICA Q (Typ 116), LEICA SL (Typ 601), LEICA M MONOCHROM (Typ 246), NIKON D300S, Panasonic DMCG7, Sony DSLRA700,
    Sony DSCRX100M3, Sony DSCRX10M2.

    What other new features and improvements can be expected?

    Other improvements include ability to export images from Tonality to Aurora HDR, improved Lightroom and Photoshop export, improved language translation quality, and improved stability.

    Standard version of Tonality (available on the Mac App Store)
    In addition to all the updates listed above, the Mac App Store version of Tonality now includes batch processing as an InApp purchase. The batch processing inapp will be available for free between 7th and 14th April. Batch in Tonality allows users to process, rename and resize dozens of photos at the same time.

    What is Tonality?
    Tonality is a compelling black and white photo editor. It combines the authenticity of the
    monochrome analog era and the cuttingedge colour technologies of the digital age. Reimagine your monochrome image editing with hundreds of presets, layers, unique digital controls, authentic grain and more.

    Pricing and Availability:

    Tonality is available as a standard version through the Mac App Store, a standalone Pro version direct from https://macphun.com/tonality , or as part of Creative Kit 2016 at macphun.com/creativekit . The standard version of Tonality is available via the Mac App Store at the 50% discount: £7.99 from 7th-14th April: https://itunes.apple.com/gb/app/tonality/id892581529?mt=12

    Tonality CK standalone is available direct from https://macphun.com/tonality at £48.99. Creative Kit 2016, featuring Tonality and five other incredible Macphun apps, is available direct from macphun.com/creativekit at £89.99.

    Articles: Digital Photography Review (dpreview.com)

  • Lee announces very hard neutral density grads for seascapes

    Before and after with the Lee Filters Very Hard ND graduated filter

    Lee Filters has announced a new range of neutral density graduated filters that have an extra hard transition from dark to clear, making them suitable for shooting seascapes and scenes in which the horizon is very flat. Along with these new ‘very hard’ graduates, the company has launched another range that has a ‘medium’ strength transition that sits between the traditional ‘hard’ and ‘soft’ grades.

    Both of the new grades are available in half-stop incremental strengths from one to four stops, and in sizes compatible with the Seven5, 100mm and SW150 systems.
    For more information visit the Lee Filters website.

    Pricing

    Seven5 medium grad (single filter 0.3ND to 0.9ND) RRP £51.88 (excl VAT)
    Seven5 medium grad (single filter 1.2 ND) RRP £77.82 (excl VAT)
    Seven5 medium grad set (0.3ND, 0.6ND & 0.9ND) RRP £138.35 (excl VAT)
    100mm very hard & medium grad (single filter 0.3ND to 0.9ND) RRP £71.86 (excl VAT)
    100mm very hard & medium grad (single filter 1.2 ND) RRP £108.86 (excl VAT)
    100mm very hard and medium grad sets (0.3ND, 0.6ND & 0.9ND) RRP £179.66 (excl VAT)
    SW150 very hard & medium grad (single filter 0.3ND to 0.9ND) RRP £79.70 (excl VAT)
    SW150 very hard & medium grad (single filter 1.2 ND) RRP £119.55 (excl VAT)
    SW150 very hard & medium grad sets (0.3ND, 0.6ND & 0.9ND) RRP £215.00 (excl VAT)

    Press release:

    LEE Filters introduces very hard and medium neutral-density graduated filters to its systems

    Traditionally, neutral-density graduated filters have been available exclusively in hard and soft versions. However, because all neutral-density grads in the LEE Filters range are made by hand, it is possible to be extremely precise with the depth of the transition between the coated and clear sections of the filter. As a result, LEE Filters has the capabilities to manufacture ND grads in medium and very hard versions. In the past, these were available exclusively as custom-made filters for professional photographers. Now, however, they have been made available to all those who use the Seven5, 100mm and SW150 systems.

    The medium and very hard grads not only expand a photographer’s creative options, they also allow for even more exact control when balancing lighter and darker areas of the frame. The very hard grad (available for the 100mm & SW150 systems) is perfect for seascapes that feature a completely flat horizon line, while the medium grad (available for the Seven5, 100mm and SW150 systems) is that perfect ‘in-between’ strength that is ideal for any scene in which an element of the composition – a mountain or a building, for example – protrudes into the sky.

    Both ND grads are available in 0.3ND (1 stop), 0.45ND (1½ stops), 0.6ND (2 stops), 0.75ND (2½ stops), 0.9ND (3 stops) and 1.2ND (4 stops) strengths.

    For further information, contact LEE Filters on 01264 366245; sales@leefilters.com; www.leefilters.com

    Articles: Digital Photography Review (dpreview.com)

  • Hasselblad announces 100MP H6D-100c capable of 4K, H6D-50c 50MP option

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7248304374″,”galleryId”:”7248304374″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Hasselblad has added the H6D range to its medium-format lineup, offering the H6D-100c with 100MP CMOS sensor and 4K video along with the H6D-50c with 50MP CMOS sensor. The H6D system offers a new, faster processor, a 3″ 920k-dot touchscreen monitor, dual card slots, built-in Wi-Fi and USB 3.0 connectivity. Both cameras offer 1080/30p HD shooting in the H.264 format, and include mini HDMI and audio I/O ports. Hasselblad has updated its H series of lenses to support a top 1/2000sec shutter speed when used with the H6D system.

    The H6D-100c includes 4K/UHD video recording in a proprietary Hasselblad Raw format, which can be ingested and converted by Phocus 3.0. The 100MP variant also provides a higher ISO range up to 12800, continuous shooting at 1.5 fps and claims 15 stops of dynamic range. With 50MP the H6D-50c claims 14 stops of dynamic range and is capable of 2.5 fps continuous shooting. 

    The Hasselblad H6D-50c will cost $ 25,995/€22,900; the H6D-100c is priced at $ 32,995/€28,900.

    Press release:

    Hasselblad launches an all new medium format camera

    75 years at the forefront of imagery, Hasselblad continues to innovate

    Hasselblad began its journey when founder, Victor Hasselblad, refused to simply copy an aerial surveillance camera at the request of the Swedish government who asked him if he had the skills to produce a camera identical to one that had been captured. He famously said: ‘No, but I can make a better one’. The camera maker has once again, followed Victor’s philosophy and applied it to the award winning H medium format camera – launching the all new H6D.

    Rather than an improvement on the existing medium format H Cameras, the H6D range has been completely rebuilt with new technical components and an all new electronic platform. The pioneering range retains the modularity appreciated by medium format enthusiasts along with iconic design elements and Swedish handmade quality for which Hasselblad is renowned.

    The H6D range introduces the H6D-100c with CMOS sensor, a 100MP option and the H6D-50c with a 50MP CMOS sensor. A wider range of shutter speeds from 60 minutes to 1/2000th of a second, increased ISO range and a faster shooting rate along with USB 3.0 Type-C connector that delivers exceptionally fast file transfer. The H lens range is fully compatible and, with the choice of a faster shutter speed, can be further leveraged than with previous ranges.

    The H6D-100c brings 4K video capability to medium format. The high-definition rear touchscreen LCD delivers a pin sharp live view experience and Wi-Fi as standard, a HDMI connector, for external monitor connectivity, completes the tool set.

    Built-in dual card slots allow enhanced media capability; a CFast slot allows for high-speed capture and an SD card slot enables maximum compatibility. The all new platform is capable of handling the largest file throughput with speed and ease using optimised algorithms for matchless quality les.

    Hasselblad’s image processing software, Phocus, has been enhanced with the new 3.0 version delivering additional features that allow you to apply local adjustments in the image and a new graphical interface that improves work flow and user experience.

    Commenting on the launch Perry Oosting, Hasselblad CEO noted: “The launch of the H6D range is the beginning of a year of celebration for Hasselblad. It’s fitting that we have returned to our pinnacle medium format camera to showcase the innovation and passion that have been present in every one of our first 75 years. Our obsessive approach to optical quality and precision hand building in Sweden is at the heart of this camera.

    We have retained the best and introduced the most relevant – delivering a medium format camera which we believe the Hasselblad user will fall in love with all over again.”

    Articles: Digital Photography Review (dpreview.com)

  • Huawei Mate S camera review

    The Huawei Mate S boasts a 13MP RGBW sensor, an F2.0 lens and optical image stabilization, with a build quality that places it at the premium end of the market. While its spec positions it against the likes of the Samsung Galaxy S6 and LG G4, if your priority is imaging capabilities the Mate S can’t quite match the competition. Read more

    Articles: Digital Photography Review (dpreview.com)

  • Lexar launches USB 3.0 card reader for XQD storage

    Memory card manufacturer Lexar has announced a new card reader for users of XQD format memory cards that uses the USB 3.0 standard. The XQD 2.0 USB 3.0 Reader is designed to be used with XQD 2.0 cards and to move large amounts of data in a short time. Lexar says the reader is particularly aimed at those shooting high quantities of Raw files and those recording 4K video, and claims the built-in USB plug on the reader makes it more portable and easy to use as no cables are required.

    The reader is backward compatible with USB 2.0 devices, but obviously with some sacrifice in speed. Theoretically, USB 3.0 devices can transfer data at a rate of up to 640MB/s, which is ten times the theoretical speed of USB 2.0 devices. Currently the fastest read speed for a Lexar XQD card is 400MB/s.

    The XQD 2.0 USB 3.0 Reader will cost £29.99/$ 34.99 when it becomes available at the end of this month.
    For more information see the Lexar website.

    Press release:

    Accelerate workflow with high-speed file transfer

    Product highlights

    • Provides professional-level high-speed transfer of RAW images and 4K video files
    • Accelerates workflow, leveraging SuperSpeed USB 3.0 technology
    • Designed for use with XQD™ 2.0 cards
    • Compact, portable design for photographers and videographers on the go
    • Five-year limited warranty

    Quickly transfer files on the go with the Lexar Professional XQD 2.0 USB 3.0 Reader. This professional-level, portable USB 3.0 reader easily offloads a large number of RAW images and 4K video from your XQD 2.0 card to your computer at USB 3.0 speeds, accelerating workflow and getting you back behind the camera faster.

    Quickly offload RAW images and 4K video. Leveraging SuperSpeed USB 3.0 performance, this small but mighty reader makes it easy to quickly transfer a huge number of large files and speed through post-production. This makes it an excellent choice for professional photographers and videographers—either in the studio or on the go.

    Convenient portability. With its compact, portable design, you can slip the reader into your pocket and go. No need to tote a bag or carry cables. Its simple plug-and-play design with USB 3.0 connector makes it easy to quickly offload content—wherever you are. For versatility, it’s backwards compatible with USB 2.0 devices at USB 2.0 speeds.

    Rigorously tested. All Lexar product designs undergo extensive testing in the Lexar Quality Labs, facilities with more than 1,100 digital devices, to ensure performance, quality, compatibility, and reliability.

    Articles: Digital Photography Review (dpreview.com)

  • Lomography Daguerreotype Achromat 2.9/64 Art Lens launches on Kickstarter

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6775714931″,”galleryId”:”6775714931″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Lomography is seeking funds in its latest Kickstarter campaign to bring into production a Daguerreotype Achromat F2.9 to F16 65mm Art Lens, a recreation of the first photographic optic lens from 1839. The lens is designed to work with modern analog and digital cameras, and will be available in Canon EF and Nikon F mounts with support for ‘multitudes of other cameras using adapter mounts.’

    The 64mm Daguerreotype Achromat Art Lens will be available with black and brass finishes, and will support Micro Four Thirds cameras, the Fujifilm X-Pro1, Sony Alpha cameras and others using adapter mounts. An array of special effects are produced via Waterhouse Aperture plates; they range from what is described as an ‘ethereal soft focus’ at apertures below F4 to sharper effects with deep contrasts at aperture F5.6 and greater.

    The special effects are created by inserting Waterhouse Aperture plates into a slot in the lens, positioning the plate in front of the lens elements. Three sets of plates are supported: Standard, Lumière, and Aquarelle. The latter two sets, Lumière and Aquarelle, were created by Lomography for this particular lens to create different effects in out-of-focus highlights.

    By pledging to Lommography’s Kickstarter, supporters can reserve an early copy of the Daguerreotype Achromat Art Lens, though certain backing options have been sold out, such as the brass ‘super early bird’ launch deal. Remaining pledge options include $ 400 for a brass or black-finish lens, $ 500 for a low serial number Nikon mount brass lens and $ 550 for an earlier September 2016 shipment rather than the later December shipment, among others.

    Articles: Digital Photography Review (dpreview.com)