Category: Uncategorized

  • Nikon D5 real-world low light, high ISO samples

    Nikon’s new flagship DSLR, the D5, has landed and it offers some serious high ISO reach. Natively, you can push the camera all the way to ISO 102,400 and in extended settings it goes all the way up to the 3 million mark. We’ve already seen what it looks like in the studio, so to put the camera’s low light capabilities to the test in the real world we brought the D5 with us to the Crocodile, a much-loved Seattle concert venue, followed by a late night stroll through the cherry blossom-lined streets of the Emerald City’s Capitol Hill neighborhood.

    Please note, we’ve indicated which images are straight out of camera and which are Raw conversions (with ACR edits noted). We’ll be updating with daylight shots for a full sample gallery soon.

    Articles: Digital Photography Review (dpreview.com)

  • Best of both worlds? Canon patent for DSLR hybrid viewfinder design published

    Canon has applied for a patent for a viewfinder design that combines both optical and electronic displays in a DSLR style system. Via a system of mirrored prism the design allows users to benefit from all the advantages of both EVF and TTL optical systems through the same eye piece. Menus can be overlaid on a normal optical view, or a live view function can be used through the viewfinder – which would be of great benefit to video shooters.

    In Canon’s new hybrid viewfinder design light passes through the lens as usual and is reflected through a ground glass screen into the pentaprism. As it exits the pentaprism is can be supplemented with light from a LCD panel (labelled ‘9’) that is projected through a series of lenses and bounced from a half-mirror (6b) and on to a reflective surface (6). The two sources of light combine and pass to the photographer’s eye via the eye piece (8). When the mirror is in the up position the image recorded by the sensor (12) can be sent directly to the LCD panel (9) so the photographer can get a live view of what the sensor is recording. Thus the system combines the best elements of electronic and optical viewfinders.

    Through a clever use of optics and a mirrored prism, the new design allows a ‘full screen’ display across the whole viewfinder. The significance of the system is that DSLRs will be able to gain some of the advantages of mirrorless systems, such as full menus and playback in the viewfinder, and shooting information could be shown across the larger screen instead of just the bottom or sides of the screen. This would also make possible video shooting through the viewfinder, which could become important if technologies like Dual Pixel AF start to replace secondary-sensor PDAF systems. This would eliminate the need to switch between viewfinder and rear screen shooting to change from stills to video mode, creating a more consistent experience.

    The system allows menus to be viewed and accessed as they are overlaid on the image produced by the optical finder

    The patent description explains that one of the challenges has been to ensure that the image projected from the electronic screen matches that of the optical system, which is why the screen has been placed close to the viewfinder instead of before the prism, where there might have been more room. Being on the viewing side of the prism means less magnification is needed to create an image big enough to coincide with that of the optical view.

    The projection system uses a complex set of lenses to reduce the size of the construction so that the manufacturer shouldn’t have to make physically larger cameras to accommodate it. Canon also indicated that it has taken steps to reduce the impact of the half mirror that has been placed in the optical path. It says that the angle of the mirror is optimized to allow as much light to pass as possible.

    The heads-up display type viewing system is nothing new, and although it has been discussed in camera circles before we have yet to see a good example of technology combining optical and electronic views. The closest we have come is the hybrid viewfinders used by Fujifilm in the X-Pro and X100 series of cameras, but Canon’s method is the first to combine an EVF with a TLL viewfinder, rather than a more rangefinder-style arrangement.

    Canon’s patent was applied for in 2014 and the information only just published, so the company may be in a position to introduce the system quite soon. However, as with any patent there’s a chance nothing will come of it, no matter how good an idea it is. We will just have to wait and see what, if anything, comes of it.

    Articles: Digital Photography Review (dpreview.com)

  • Ilford Photo announces ordering program for unusual sizes of sheet film

    UK film manufacturer Harman Technologies has announced that orders are being taken for unusual sheet and roll film sizes in its annual program for supplying low volume and custom-sized Ilford Photo materials for vintage and large format camera owners. Rather than making odd sizes on the chance that they will sell, the company uses it Ultra Large Format (ULF) program to collect orders from the public and institutions through specified retailers and sets aside time especially to produce film to fit old cameras.

    The company offers these odd sizes in Ilford FP4 Plus, HP5 Plus and Delta 100 Professional black and white emulsions. Sheet materials as large as 20 x 24in. and as small as 2.25 x 3.25in. are on offer, as well as roll film in 46mm (127 film) and 70mm widths. Sheet sized film is also available in rolls for users to cut themselves, and can be ordered in widths of up to 20in (x 50ft). Some sizes have no minimum order volumes and can be ordered as a single box.

    For information on which films and sizes are available, and through which retailers, see the Ilford Ultra Large Format information sheet (pdf). Orders must be placed by Friday 27th May 2016.


    Press release:

    ILFORD PHOTO ULF, CUSTOM & SPECIALIST FILM MANUFACTURE 2016

    Buoyed by the fantastic response from the film photography community around the world, HARMAN technology Limited are delighted to be offering film photographers the opportunity to place orders for a range of specialist film products for the 11th consecutive year.

    With the continued revival in film photography, it is vital to have film available for photographers using ultra large format alongside previously popular film formats for antique and collectable cameras.

    By consolidating orders HARMAN technology can supply products that would not normally be viable to manufacture.

    “This program enables us to further support the world of film photography that uses and values our conventional products” said Giles Branthwaite, Director of Sales and Marketing at Harman technology. “Through running the ULF program each year, we are able to satisfy the strong demand for specialist film formats. Whilst manufacture is not easy, we have been rewarded by increased demand year on year ensuring we will continue to address and care for this market.”

    Films available for this year are ILFORD FP4 PLUS, HP5 PLUS, and DELTA 100 PROFESSIONAL. Not all films are available in all formats.

    For a full list of the 2016 items and participating dealers visit:
    http://www.ilfordphoto.com/ulf

    The options available reflect what has been asked for over the past 10 years. HARMAN is happy to consider any other size suggestions but do not guarantee to make them available.
    For sheet sizes an order for just one single box can be made, but for roll sizes this is not possible due to potentially excessive waste. Please see the minimums and multiples required next to the appropriate roll size.

    Note:
    Orders must be placed with the listed ULF reseller partners no later than Friday 27th May.

    The UK factory will start to ship orders to Distributors during August and end users should check with the local ULF reseller for expected arrival dates.

    Articles: Digital Photography Review (dpreview.com)

  • Lights… Camera… Stinging nettles? Our Sony a6300 video shooting experience

    The Sony a6300 has some of the most comprehensive video specs of a mass-market camera, so it seemed like a perfect excuse to embark on a video project. DPReview writer Richard Butler is a self-professed beginner when it comes to video, so he set out to see what he could do with the little Sony as he tested the camera’s video features. Find out about the his exploration of videography in our updated Sony a6300 first impressions, or just watch the mini-documentary above he shot, produced and directed.

    Articles: Digital Photography Review (dpreview.com)

  • First sample images from 20MP Sony Cyber-shot RX10 III

    DPReview is in San Francisco checking out the new Cyber-shot RX10 III. The RX10 III maintains the ergonomics and key specifications of its predecessor, but incorporates a massive 24-600mm equivalent F2.4-4 lens. We’ve been doing some shooting with the camera in a range of different situations, and we’ve created a (JPEG only, for now) gallery. 

    Articles: Digital Photography Review (dpreview.com)

  • Google Photos for Android updated with non-destructive editing

    Google has launched version 1.17 of its Google Photos for Android app and the update brings an important improvement: non-destructive editing. Read more

    Articles: Digital Photography Review (dpreview.com)

  • Fotodiox introduces extra large WonderPana Free Arc system for Canon EF 11-24mm wide zoom

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    US accessory manufacturer Fotodiox has announced an XL version of its WonderPana Free Arc filter system for wide angle lenses that it says is designed specifically to allow users of the Canon EF 11-24mm F4L USM lens to use filters over the front element. The Canon super-wide zoom has no filter thread of its own and the front element is heavily convex, so fitting filters in the traditional way is impossible. The WonderPana Free Arc system positions a filter holder over the front of the lens that takes 186mm screw-in filters and/or 80mm rectangular filter sheets. The holder is enormous so that large filters can be used to avoid vignetting when the lens is used at its widest setting.

    The Free Arc clamps the hood of the lens between its collar and the screw-on filter-holding cone, and provides a 186mm thread for the company’s screw-in filters. A set of brackets can also be attached to the cone that allow two square filters to be fitted as well. The system makes it possible to fit one round filter and one square filter at the same time, and the whole filter stage is rotatable so graduated filters can be positioned to suit the subject.

    The Fotodiox WonderPana Free Arc XL costs $ 225.95 and the 183mm filters start at $ 99.95. For more information visit the Free Arc page on the Fotodiox website.


    Wide? Ultra-wide? WonderPana has you covered.

    Ultra wide-angle lenses are typically impossible to filter due to their bulbous front lens element, lack of filter threads and potential for severe vignetting. The ALL NEWWonderPana FreeArc XL, however, is the latest in our line of aluminum filter collars that let you to attach our massive 186mm filter options, like ND 4-1000 and circular polarizers, to wide and ultra wide-angle lenses.

    Perfect for landscape and architectural photographers and filmmakers, we designed the WonderPana FreeArc XL to suit Canon’s new breed of 11-24mm lens. Durable and lightweight enough for hand-held shooting, it can be ready at a moment’s notice to answer any image challenge that requires filters. You can even keep it installed on your lens as a critical layer of lens protection. Just check out our video below to learn more:

    Articles: Digital Photography Review (dpreview.com)

  • Blue Earth Alliance presents Collaborations for Cause 2016

    Are you in Seattle in April? Come down to the Seattle Downtown Public Library, on Friday April 15th and Saturday April 16th 9 AM-4 PM, and join our friends the Blue Earth Alliance for Collaborations for Cause 2016.

    This year’s Collaborations for Cause theme is “Innovations in Visual Storytelling for Impact.” It’s a rare opportunity for visual storytellers, writers, funders, non-profits, corporations and public agencies to join together as peers: to learn new strategies, tools and ideas to leverage the power of story and effect social change. As well as talks and seminars from photographers, filmmakers and activists, attendees can also pay for three one-on-one portfolio review sessions, at the show. Reserve your tickets from the link below.

    Articles: Digital Photography Review (dpreview.com)

  • Cyber-shooting: Sony Cyber-shot RX10 III video overview

    Sony’s new superzoom may look a lot like its predecessor, but an updated 24-600mm lens makes the Cyber-shot RX10 III a much more versatile camera – in theory. We’ve been able to spend a bit of time getting to know the camera’s new features and putting its long zoom range to work. Take a look at what’s new to the RX10 series in our video overview.

    Articles: Digital Photography Review (dpreview.com)

  • Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    Sony’s already had a busy year, and it just got even busier with the announcement of an update to its RX10 series and two new FE lenses: the 50mm F1.8 and 70-300mm F4.5-5.6 OSS. We got to take a first look at them at a press event in San Francisco. 

    Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    The FE 70-300mm F4.5-5.6 is the first full-frame E-mount lens to reach 300mm. It offers SteadyShot stabilization, as evidenced by the OSS on/of switch seen here. 

    Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    The 70-300mm offers a minimum focus distance of 0.9m/2.9ft, a zoom locking mechanism and dust and moisture resistance. It’s fairly compact when used at the wide end…

    Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    …and extends quite a bit to reach that 300mm mark. For the extremely curious, we noted that the lens maintains its widest F4.5 aperture until the 85mm mark, when F5 becomes the widest option. This changes again at 157mm, at which point it stops down to F5.6.

    Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    Sony has posted MTF charts for the 70-300mm, and they show that this lens might be a cut above the typical telezoom. The 70-300 will go on sale in May for $ 1200.

    Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    And now, something a little different: the Sony FE 50mm F1.8. At $ 250 it’s going to be a much more wallet-friendly option than its 55mm F1.8 Zeiss-branded counterpart.

    Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    The 50mm features a 7-blade circular aperture and offers a 0.45m/1.45ft minimum focus distance. Sony emphasizes its compact and lightweight design and indeed, the lens weighs in at a svelte 186g/6.6oz.

    Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

    Here’s another view of that 7-blade aperture. The lens comprises six elements in five groups, including one aspherical element. Like the 70-300mm, it’s expected to ship in May. 

    Articles: Digital Photography Review (dpreview.com)