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  • History Repeating: Olympus PEN-F First Impressions Review

    The original Olympus PEN-F first hit the streets in 1963. Built around the half-frame film format, it quickly gained a following thanks to its beautiful, yet simple design and small size. Getting 70 images to a roll of film probably didn’t hurt, either. Now, 53 years later the PEN-F is back.

    The digital reincarnation of the 35mm film Olympus PEN-F does not replace the current digital PEN flagship E-P5, rather it slides in next to it as the ‘premium’ option in the PEN family. The reason being that unlike digital PENs before it, the F has something much more OM-D-like: a built-in 2.36 million dot OLED electronic viewfinder. The F also boasts the highest output resolution of any Olympus body to date, boasting a 20MP Four Thirds sensor (probably the same one we’ve seen in the Panasonic Lumix DMC-GX8).

    Released specifically to appeal to street shooters and the design conscious looking for a capable camera with retro-styling and rangefinder-like controls, the PEN-F has a lot going for it.

    Olympus PEN-F features:

    • 20MP Live MOS Four Thirds format sensor
    • 5-axis image stabilization with automatic panning detection
    • 2.36 million dot OLED electronic viewfinder
    • Up to 10 fps continuous shooting (20 fps with electronic shutter)
    • Highly customizable interface, twin controls
    • Fully articulating 1.04 million dot, 3″ LCD touchscreen
    • 50MP High-res Shot mode
    • 1/8000 sec top mechanical shutter speed (1/16,000 with e-shutter)
    • 1080/60p video recording

    All of the above come packaged in a machined aluminum and magnesium body, with no visible screws anywhere. A faux-leather wrap encircles the PEN-F and the body itself is both well-weighted and has a very solid feel to it. 

    With many of the same guts as the OM-D EM-5 II and sleek rangefinder-style looks (reminiscent of Fujifilm’s X100 series cameras), the most direct competitors for the PEN-F are probably Sony’s a6000 and Fujifilm’s just-announced X-E2S – both of which are APS-C format cameras. Of course, the PEN-F also has to compete against alternatives within the OM-D series as well.

    To help us to better understand how the PEN-F fits into the market place as a whole, we chatted with Eric Gensel, a technical specialist with Olympus. He breaks down exactly how the PEN-F fits in Olympus’ lineup, who the target-audience of the camera is and what went into the design process:

    Compared to its siblings

    Many of the highlight features of the PEN-F aren’t new. In fact a lot of the key spec is shared with other recent Olympus releases. However, some functions have been improved upon. For instance, thanks to its 20MP sensor, the Pen F is capable of higher resolution in multi-shot mode compared to the OM-D E-M5 II, up to 80MP in Raw mode (50MP in JPEG). It also features a dedicated creative control knob on the front, as well as four customizable shooting modes, accessed via the locking exposure mode dial.

    It’s hard to see the PEN-F as a large step forward given how many of its core features are inherited from other models, but it offers a handling experience that is unique in Olympus’s lineup. Is the PEN-F more than just a pretty face? Let’s dig in.

     
    Olympus PEN-F
    Olympus OM-D
    E-M5 II
    Olympus PEN E-P5
    Pixel count 20MP 16MP 16MP
    Image stabilization 5-axis 5-axis 5-axis
    Stabilization (CIPA) 5 stops 5 stops 4 stops
    Max shutter speed

    1/8000
    (1/16000 electronic)

    1/8000
    (1/16000 electronic)
    1/8000
    On-sensor PDAF No No No
    Continuous shooting
    (without /with AF)
    10 fps / 5 fps 10 fps / 5 fps 9 fps / 5 fps
    Flash Clip-on
    Tilt/bounce/rotate
    Clip-on
    Tilt/bounce/rotate
    Pop-up flash
    Viewfinder Built-in 2.36M-dot LCD
    1.23x mag
    Built-in 2.36M-dot LCD
    1.48x mag
    Optional VF-4 accessory EVF w/ 2.36M-dot LCD and 1.48x mag
    Max video res/rate 1080/60p 1080/60p 1080/30p
    Max bitrate 77Mbps 77Mbps 20Mbps
    Mic socket No Yes No
    Rear screen

    Fully articulating 3″ touchscreen
    1.04M-dots

    Fully-articulated
    3.0″ touchscreen
    1.04M-dots
    Flip up/down
    3.0″ touchscreen
    1.04M-dots
    Wi-Fi Yes Yes Yes
    Environmental sealing? No Yes No
    Battery life (CIPA) 330 310 330
    Weight 427 g 469 g 420 g
    Dimensions 125 x 72 x 37mm 124 x 85 x 45mm 130 x 94 x 63mm

    Pricing and availability

    The Olympus PEN-F will be available at end of February – early March 2016, and will hit the streets at a body-only price of $ 1199. It ships with the FL-LM3 flashgun seen in the image at the top.

    If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

    Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.

    We recommend to make the most of this review you should be able to see the difference (at least) between X, Y, and Z and ideally A, B, and C.

    This article is Copyright 1998 – 2016 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.

    Articles: Digital Photography Review (dpreview.com)

  • Roger Cicala finds innovation sealed inside the Sony 35mm F1.4 ZA

    Sony FE 35mm F1.4 ZA teardown

    We’ve already looked at Roger Cicala’s teardown of the Canon EF 35mm F1.4L II, where he showed it to be a heavy duty design with extensive adjustability to bring it back to spec after a period of abuse. LensRental’s look inside the Sony FE 35mm F1.4 turned up a lens designed with a radically different approach. It’s easy to over-interpret the differences and start trying to picture the different use-cases they’ve been designed for, but even if you don’t want to extrapolate so far, it’s fascinating to see how unconventional Sony’s approach is.

    Taking a more linear route

    The most fundamental difference Cicala highlights between the two designs is how the focus elements are moved. The Canon uses a traditional helicoid design – rotating the focus element along a helical track, in much the same way as manual focus lenses would. The Sony design instead uses a piezoelectric drive to push and pull the lens element along a rail, meaning that there’s no rotational movement occurring at all. Instead it can be shuffled back and forth in very fine increments.

    Sony calls this design ‘Direct Drive SSM’ (with SSM standing for Supersonic motor), and it’s based on technology used for in-body image stabilization in Sony A-mount cameras, hinting at the speed and precision that such systems can provide. It’s distinctly different from the linear motor technology used in the FE 55mm F1.8, which you can see in operation here.

    Direct drive SSM

    The Piezoelectric drive mechanism is fascinating, and we saw it embedded in a cut-in-half FE 35mm at CP+ last year. It involves a drive element that can be expanded or contracted by applying an electric current. Expanding it slowly moves the lens out along its mounting rail, but the connection to the rail is designed to slide in response to rapid movement, so rapidly contracting the drive element leaves the lens in the more distant position but with the drive element retracted. Repeating this pattern of slow extension and rapid contraction progressively nudges the lens away from the drive element. Pulling the lens back again involves reversing the process: rapidly expanding the drive element so that it slips through the clamp, then slowing drawing the lens back in, one step at a time.

    Why do it this way? Well, it’d certainly be quiet and it allows very fast movement, giving the lens possibly the fastest focusing we’ve ever seen in this class: when paired with the a7R II’s phase-detect AF system, autofocus is quick and precise. A single element able to move quickly back and forth in tiny steps lends itself well both to contrast detection focus in video as well as being able to reverse directions when subjects erratically switch between approaching and receding.

    Adding a snap to aperture-by-wire

    Another interesting design detail is the switch for engaging and disengaging the stepped, clicking aperture. A weather-sealed switch pushes a small, sprung ball bearing against a series of tiny teeth, to give tactile feedback as you rotate the aperture ring. However, no other mechanical connection is engaged: the aperture is entirely controlled by-wire, with a sensor detecting movement of the aperture ring and relaying it to the aperture motor.

    Locked on place

    The other major difference between the Canon and the Sony is the philosophy behind lens alignment. Where the Canon had a series of shims and adjustment screws to allow the different elements to be re-aligned, and re-centered, the Sony has most of its elements glued together in one giant module. This whole module then has three shims offering only a small degree of adjustment. LensRentals’ testing of its copies suggests this adjustment isn’t sufficient to give the consistency you might hope for.

    Individual replacement parts are not available for after-market repair: the only option is to slot a whole new module in, with limited adjustment to ensure its alignment within the lens barrel. This approach means Sony has a good level of control over the alignment within each module but means the lens is harder and more expensive to service if it goes out of alignment or if the front element gets scratched.

    In summary

    The construction and adjustment isn’t quite as extensive as in the Canon but, as Cicala highlights: nor is it in most lenses. Instead it appears Sony has designed its lens so that it’s durable and everything is fixed in place, whereas Canon has built its lens to be tough but accepted that as a photojournalist’s workhorse, it’ll need to be beaten back into shape every now and again.

    it’s clear, though, that Sony has built this lens to be tough: not only is each element individually positioned, rather than being spaced apart, relative to another, but Sony has included extensive amounts of weather sealing at every step of the design (just look at the size of the rubber gaskets, in the picture above). Cicala concludes: ‘This lens has the most rubber gaskets I’ve ever seen. The weather and dust resistance in the lens itself should be superb.’

    Articles: Digital Photography Review (dpreview.com)

  • Yongnuo announces YN360 LED light wand

    Chinese lighting manufacturer ShenZhen Yongnuo Photographic Equipment Co has announced a variable temperature LED wand for still and video photographers. The Yongnuo YN360 features a 39.5cm/15.5in light board that is equipped with 160 LEDs designed to match daylight, 160 LEDs to match tungsten lighting and 40 further LEDs that are RGB SMD lamps. The wand can be used to produce light that blends in with ambient lighting in a wide range of conditions by varying the mix of 3200K and 5500K LEDs, and also be used to create a spectrum of colors by mixing the red, green and blue LED sources. 

    The company says that the color of the wand and the brightness of its illumination will be controllable via a smartphone app and physical dials on the wand’s handle, and claims that its technology and encoders allow the light to be dimmed without altering its color. 

    The YN360 will be powered by Sony NP-F type lithium-ion cells, and we should expect two hours at its 2560-lumen brightest output in the color temperature mode, and four hours in RGB mode, from a single charge of the recommended NP-F770 battery. A mains adapter will also be available. 

    The Yongnuo YN360 should go on sale by the middle of February, though the company has yet to release information regarding its price. For more information see the Yongnuo store blog. 

    Articles: Digital Photography Review (dpreview.com)

  • GoPro and Periscope partnership enables live broadcasting from Hero4 action cams

    Live-streamed content is about to get a little more extreme as action cam maker GoPro and live-broadcasting video app Periscope have announced a partnership. Starting today, Periscope users can broadcast live from GoPro’s Hero4 Black and Silver models. With Periscope’s iOS app, users can switch between the camera on their mobile device and a GoPro, enabling a two-camera setup. An iPhone 5s, 6 or 6+ running iOS 8.2 is required. If you’ve got all the necessary equipment, download the latest version of the iOS app to start broadcasting from your GoPro.


    Press release:

    GOPRO GOES LIVE WITH PERISCOPE

    Live story-telling just got more immersive! Beginning today, Periscope users can now broadcast live directly from their GoPro HERO4 Black or Silver camera. This innovative integration allows the 10+ million Periscope users to toggle between broadcasting from their iPhone’s camera to their GoPro directly from the phone screen with the simple touch of a button. 

    Much like a production switchboard, you can use your Periscope interface to flip between the two different camera angles, so even if your broadcast is lacking that heart-pounding action only GoPro can capture, you can still set up a two-camera shot for more dynamic story telling in real time. And yes, your GoPro will still record locally on the micro SD card even while broadcasting through Periscope.

    Periscope lets you see what’s happening in the world right now, unedited and unfiltered. Integrating GoPro offers Periscope broadcasters a new tool to help tell their stories more creatively, while GoPro content creators now have a new platform and audience with Periscope and Twitter to share their experiences, live!

    Live broadcasts from GoPro can now be shared directly to Twitter’s home timeline, enabling GoPro users and Periscope broadcasters to expand their reach to their Twitter fan base. This helps broadcasters cultivate new fans and interact with their audience right from their broadcasts in their home timeline, even after the live broadcast is done.

    Pablo Jablonski, Periscope iOS Engineer said, “As a skier myself, I’ve always loved extreme sports, and I love how GoPro can show us all of the crazy things these athletes can do. As an iOS engineer on Periscope, bringing these two technologies together has been a the fulfillment of a longtime personal wish. Starting with X Games and moving forward, Periscope and GoPro together will bring these LIVE moments to all the fans.”

    *Broadcast functionality is currently only available on iOS, but users will be able to view GoPro broadcasts from any platform.

    *Compatible with iPhone 5s, 6 and 6+ with iOS 8.2

    *Integration for use with GoPro HERO4 Black and Silver models

    Articles: Digital Photography Review (dpreview.com)

  • Adobe Portfolio brings customizable personal websites to Creative Cloud

    Adobe has introduced Adobe Portfolio, a website creation platform similar to Squarespace. Part of Creative Cloud, Adobe Portfolio is offered under three subscription tiers and aims to provide creatives and professionals with a simple way to showcase their work online.

    The Adobe Portfolio service offers pre-made layouts, as well as customization options for website elements like the header, logo, navigation, background and footer. The designs are responsive, able to scale for various screen sizes and there’s an option for a personalized website URL. Features include galleries for showcasing content, password-protected pages and website analytics. Subscribers can also integrate a Behance account with Portfolio for seamless content syncing.

    Adobe Portfolio is available to individuals under three Creative Cloud pricing tiers: $ 9.99 USD/month with included access to Photoshop CC and Lightroom CC, $ 19.99 USD/month with access to 20GB of cloud storage and one desktop app and $ 49.99 USD/month with access to all Adobe creative apps.

    Via: Adobe Blog

    Articles: Digital Photography Review (dpreview.com)

  • The Long Night: Tim Matsui on creating social change through stories

    Award-winning and Emmy-nominated visual journalist and filmmaker Tim Matsui used to view stories as a means of having experiences. Now, he sees them as a means of creating change, engaging audiences and helping them see that they can make a difference. In this PIX 2015 video, Matsui speaks on The Long Night, his documentary on human trafficking, and how he leveraged grassroots distribution to effect social change.

    Matsui’s insistence on grassroots distribution stems from the difficulty he found in getting sponsorships to fund creation of the project and get the final film in front of audiences. ‘This is a difficult subject,’ Matsui says. ‘Brands don’t want to touch it. It’s a little too dark. This pisses me off.’

    After exhausting his grant money, leveraging his own savings and going into debt just to get the filming done, Matsui explored every avenue he could find to take his film to his audience. He explored social media, Kickstarter, mainstream media like TIME Lightbox and the Huffington Post, and GATHR, a crowdsourcing platform for bringing small productions into mainstream movie theaters.

    To be successful in creating change, ‘don’t make them come to you,’ he says about his audiences. ‘Go to them.’

    Articles: Digital Photography Review (dpreview.com)

  • Corbis Images content to be distributed by Getty

    Getty Images is set to become the exclusive distributor of its rival’s content after a deal in which Corbis Images was sold to a Chinese company that has a partnership with the Getty agency. It was announced recently that Unity Glory, an affiliate of media business Visual China Group (VCG), has bought the assets and brands of Corbis Images for an undisclosed sum. A pre-existing agreement between Unity Glory and Getty will see Getty Images representing the Corbis content in all territories outside China, as the two companies have worked together for over ten years to share content. Once the Corbis still and moving images archives have been migrated into Unity Glory’s own archive, Unity Glory will distribute within China and Getty Images will sell the work in the rest of the world. 

    Getty Images and Corbis Images have been rivals since Bill Gates, who was still Chairman of Corbis, changed the name of his Interactive Home Systems company to ‘Corbis Corporation’ and acquired the Bettmann Archive in 1995. The 16 million images of the collection made Corbis the largest supplier of stock images in the world, and the library went on the next year to acquire the rights to 40,000 photographs by Ansel Adams. After numerous other acquisitions Corbis bought the Sygma news agency in 1999, which bought over 40 million images of significant European events into its control. 

    Getty Images is said to already control almost 200 million images, including 80 million from its Hulton Archive historical collection. The Getty empire includes iStockphoto (or iStock as it is now), the Tony Stone agency – now called ‘Stone’ – as well as the collection of royalty-free image business PhotoDisc. Thinkstock is Getty’s current royalty-free division. 

    The Corbis Images content will be gradually merged into Getty’s own, which may well lead to job losses across the two agencies. An article on the Time Lightbox website quotes Getty Images’ Senior Vice President of Business Development, Craig Peters, as saying that Visual China Group will take over the contracts of all contributing Corbis photographers. “Contributors will [be able] to execute their rights as their contracts stipulate,” he says, according to the report. 

    VCG is China’s largest visual media content company and currently has over 14,000 photographers and artists contributing to its collection. It won’t hold the physical assets of the Corbis purchase, such as historic documents and images recorded on film, plate and in print, and Getty will be responsible for taking over the housing and digitising of these. 

    Whether this turns out to be good or bad news for contributors we will have to wait and see. Less competition in the market will perhaps stop the downward trend of stock photography prices, but ultimately the likely consequences are unclear. A joint statement from Getty and VCG says ‘details about the transition will be communicated to customers and contributors in the coming weeks’.

    For more information see the Getty Images, Corbis Images and Visual China Group websites. 


    Press release:

    Getty Images and Visual China Group Partner in Exclusive Global Distribution Partnership for Extensive Visual Content Collection of Corbis Images

    Getty Images, the world leader in visual content and communications, and Visual China Group (“VCG”), a leading Chinese visual communications and new media business, today announced an exclusive distribution partnership that will enable Getty Images customers to access the extensive visual library from Corbis Images. As a result, the existing Getty Images collection of almost 200 million images will expand to include Corbis Images content, creating an unprecedented collection of images, videos and historic archival content for creative and editorial use worldwide.

    The partnership follows VCG’s acquisition announced today of Corbis Images, Corbis Motion and Veer. Under the terms of that agreement, Unity Glory, an affiliate of VCG, will own and manage the worldwide images and motion archives, names and trademarks associated with these three Corbis licensing brands and Getty Images will have exclusive distribution rights to these Corbis brands and content.

    VCG has partnered with Getty Images for over a decade to market and distribute Getty Images’ award-winning content exclusively in China.  After a transition period, Getty Images will exclusively offer Corbis creative stills, Corbis Motion content and Corbis archival and documentary content to its global customer base outside of China.

    This partnership brings together the best creative and editorial imagery and combines Getty Images’ renowned Hulton Archive, the largest privately held archive in the world with an estimated 80 million images dating back to the beginning of photography, with Corbis’ Sygma and Bettmann archives. The Bettmann Archive is a significant historical image collection comprising of more than 16 million photographs from the 19th and 20th centuries, while the Sygma Archive holds 34 million images covering Europe’s most important historical events.

    “As the most trusted and esteemed source of visual content in the world, Getty Images is always innovating and investing to bring customers the most comprehensive and diverse offering of quality content,” said Craig Peters, Senior Vice President, Business Development, Product and Content at Getty Images.

    “We are excited to deepen our longstanding partnership with VCG, a trusted business partner for Getty Images in China, and to offer an unprecedented breadth and depth of gold-standard content across creative, editorial, archival and video, which customers will be able to access through an expanded and unified service at gettyimages.com and through our market leading sales teams all over the world.”

    Amy Jun Liang, Chief Executive Officer of VCG, said: “We are proud to work with our partner Getty Images to assemble such impressive visual assets and work together to better serve our customers around the world. This maximizes the commercial value of the assets, strengthens our market position in the industry, and marks a significant milestone in the expansion of our business portfolio to the world. As one of the largest companies in the image industry, we foresee a growing interest in China and around the world for premium visual content and we look forward to collaborating with Getty Images to fulfil this demand.”

    Getty Images will create specific collections to house this new content on gettyimages.com, where it will sit alongside award-winning content from Getty Images’ own staff photographers, its network of over 200,000 contributors and from approximately 330 existing image partner relationships, including prestigious partners NBC Universal, BBC Worldwide and AFP.

    Getty Images’ purchasing options such as Premium Access agreements and recently introduced UltraPacks, the simplest way to buy and download content across creative, editorial, archival and video, will provide streamlined and flexible ways for customers to search, purchase and download imagery.

    VCG is China’s largest image licensing company. Its VCG.com website is China’s largest online licensing and copyright distribution for premium visual content, and its contributors’ network includes more than 14,000 photographers and artists and hundreds of image partners globally, serving the needs of advertisers, media outlets, and other organizations using licensed images, videos and musical content.

    VCG and Getty Images will immediately begin work to migrate Corbis content, with migration to be completed as quickly as possible to ensure a seamless transition for customers, contributors and other partners. In the interim, Corbis customers will continue to access this content in the usual way via the Corbis websites and sales team.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma demos WR Ceramic lens filter strength with impact test

    In a newly released video, Sigma tests the strength of its protective ceramic lens filters in an impact test. Putting claims of toughness to the test, the video shows a 49g / 1.7oz metal ball dropped from a height of about 1.3m / 4ft onto the WR Ceramic Protector as well as three competing lens filters. While the ceramic protector survives unscathed, the competition isn’t so lucky.

    In addition to its WR Ceramic Protector, the video features a ‘conventional protector,’ ‘Brand A Chemically Strengthened Glass Protector,’ and a ‘Brand B Chemically Strengthened Glass UV Filter.’ According to Sigma, the WR Ceramic Protector is 1000% stronger than a conventional protector and 300% stronger than a chemically strengthened glass filter. The ceramic filters are also scratch-resistant with a water-repellant coating.

    Sigma has a half dozen new WR Ceramic Protectors available now:

    • 67mm for $ 93 USD
    • 72mm for $ 108 USD
    • 77mm for $ 118 USD
    • 86mm for $ 202 USD
    • 95mm for $ 247 USD
    • 105mm for $ 315 USD

    Via: Sigma Blog

    Articles: Digital Photography Review (dpreview.com)

  • Digging into the Fujifilm X-Pro2: Studio analysis and full-production sample gallery added

    Our Fujifilm X-Pro2 First Impressions just got a significant update. With a production-ready camera in hand, we’ve been able to send it through our studio scene and dynamic range tests, make some judgements about image quality from its new 24MP X-Trans image sensor and put together a fresh sample gallery. Compare the X-Pro2 to its peers and take another look at what Fujifilm’s newest flagship can do.

    Articles: Digital Photography Review (dpreview.com)

  • The gift of connection: A pair of friends photograph Cuba

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    As a destination for street photographers and photojournalists, there’s no place quite like Cuba. The natural beauty of the island is plain to see, but for photographers and good friends Susan Roderick and Kenna Klosterman, the real pulse of the country can be found talking to its inhabitants. Klosterman and Roderick have been traveling together since they met in 2008, and have made a habit of getting to know the local culture and people of the far-flung destinations they visit. That was certainly the case on their recent visit to Cuba. See a sample of their images here, read more about their trip on Resource Travel and find out how they made a connection with a Cuban hip hop duo.

    Articles: Digital Photography Review (dpreview.com)