Category: Uncategorized

  • GoPro announces the name of its forthcoming camera-equipped drone

    Action camera manufacturer GoPro has officially named its camera drone and announced that it will be available in 2016. Footage from the GoPro Karma is demonstrated in a video on the GoPro website, which is also the same movie the company showed before when it first teased teased the drone.

    GoPro isn’t giving away much information at the moment, but it is giving away a Karma drone to 100 people signed up to the newsletter at the time of the product launch. All we know for now is that the drone will be ‘ultra portable’ and will fold for storage and transportation.

    GoPro has UHD 4K video capability in its Hero 4 Black camera, but it is difficult to tell at this point whether the company will equip the Karma with 4K video, or choose to make it more accessible with a lower price point. Perhaps it will offer both 4K and HD versions.

    In the original teaser movie the company claimed no post-capture image stabilization had been used, and as the same footage is being shown again it is safe perhaps to assume that the Karma will have some form of on-board or in-camera stabilization system.

    For more information visit the GoPro website.

    Articles: Digital Photography Review (dpreview.com)

  • US National Park Service looking for the next Ansel Adams

    Photo by Jeff Keller

    If your dream job hasn’t come along so far and you fancy yourself as a bit of an Ansel Adams, you could do worse than to pay a visit to the US Government’s employment website. The National Parks Service is looking for a full-time photographer to record the glory of the country’s natural treasures, much as Ansel Adams did on contract to the Department of the Interior in the 1940s. The only hitch is that applicants will be expected to use equipment similar to that used by Adams himself, as the job involves shooting with large format film cameras as well as the latest digital kit. 

    You’ll need to be a US citizen, have a driving license and be subjected to a background check, but for your efforts you could earn up to $ 100,000 a year for doing what you love. The job isn’t all wandering around with a big camera and a box of film holders though, as you’ll be expected to make large scale prints, mount exhibitions and help review submissions for the service’s photographic collection. According to the advert, you’ll have to put up with ‘moderate discomfort’ out on location and ‘exposure to weather conditions’.

    Keen enthusiasts though will already be familiar and well-experienced in ‘physical exertion such as long periods of standing; walking over rough or rocky surfaces; recurring bending, crouching, or stretching; and recurring lifting of moderately heavy equipment and materials.’

    The job advert also specifically asks for the following: 

    • Knowledge of the principles and techniques of large format, black and white photography.
    • Knowledge of published standards and guidelines for architectural, engineering and landscape documentation.
    • Knowledge of film and digital photographic processes and techniques.

    Those demands shouldn’t be too much of an issue for most photographers already working with large format equipment in the field. To apply for the job you’ll need to get moving as applications have to be in by 15th December. Santa might be coming early to someone. 

    Articles: Digital Photography Review (dpreview.com)

  • DPReview Gear of the Year part 2: Carey’s choice – Fujifilm X-A2

    Since joining the team at DPReview a few months ago, I’ve been doing my best to borrow and get my hands on as much gear as I possibly can. Like most working photographers, I am heavily invested in a single system, and beyond obsessive review-reading across far corners of the Internet, I didn’t come to DPReview with too much hands-on experience with other brands and their respective systems. In the process of trying to familiarize myself with all the cameras and systems I could, it’s the Fujifilm X-A2 that has surprised me the most and has become my personal pick for Gear of the Year.

    What I love

    • 16MP Bayer APS-C sensor promises great clarity, color and ISO performance
    • Full X-mount compatibility for those wanting a system to grow into
    • Twin control dials for rapid changing of settings
    • Tilting screen with good visibility
    • Cheap.

    Fujifilm’s X-system is filled with fast lenses and quality bodies: the company knows how to make great cameras. But I’ll admit, even with the possibility of putting some gorgeous Fuji glass on the X-A2, I had pretty low expectations because the camera just feels so cheap. My fixed-lens X100 is made of metal, and it feels like it. By contrast, the X-A2 is made almost entirely of plastic, and… it feels like it. The surface is fairly slick and hard to get a good grip on, the controls have nowhere near the satisfyingly dense and damped action as those on higher-end Fuji’s, and while I appreciate a tilting display more than the average Joe, this one hangs somewhat loosely when it should be secure against the back of the camera.

    So here comes the surprise: I don’t really care so much that this camera feels so cheap, simply because it is so cheap. It is among the lowest-priced interchangeable lens cameras, and yet, still packs a 16MP APS-C sensor that produces absolutely stellar files.

    ISO 500, F5.6, 1/60 at 16mm on the kit lens. If not for the articulating screen, this would have been much more of a ‘spray and pray’ situation. Processed to taste from Raw.

    Glance over the spec list and you’ll note that this is the only Fujifilm camera in its current lineup that lacks an X-Trans sensor. Given that Fujifilm has put X-Trans at the heart of almost all of the X-series models, this also served to temper my expectations a bit. But make no mistake, the Bayer sensor in the X-A2 may not have a pixel-level detail advantage over an X-Trans, but I found that it still produces excellent colors and controls noise very well all the way through ISO 3200 (6400 is usable in a pinch). An added bonus: Raw file support is wider, thanks to the near-ubiquity of the Bayer pattern.

    The included kit lens also feels very cheap, right down to the plastic mount, but as with the body, its build and appearance bely the ultimate results it’s capable of. It is pleasantly sharp for a kit zoom, offers swift, silent and accurate focusing in good light, and includes effective image stabilization. When you pair the X-A2 with one of Fuji’s compact primes, such as the 18mm F2 R or the 27mm F2.8, the setup is coat-pocketable and remains light enough to be handled with only a wrist-strap.

    ISO 6400, F2.8, 1/56 on the Fujifilm 27mm F2.8 lens. Straight-out-of-camera JPEG.

    So while the large sensor and sharp kit lens are big selling points for most people looking at a new and affordable ILC, this little camera keeps on going with additional features that only serve to further enrich the shooting experience, even for seasoned DSLR shooters. Integrated Wi-Fi, above-average battery life, twin control dials, a tilting screen and a bounce-capable pop-up flash make for a camera that is both flexible and responsive for a wide variety of shooting scenarios. There’s also incredibly useful one-button 100% magnification feature during playback, something that is annoyingly omitted on many competing entry-level models.

    The X-A2 is kind of like that kid that skipped a grade in school. He’s the odd one out, maybe a little immature and doesn’t quite belong, but hey, he keeps up with the bigger kids just fine. So yes, the camera and bundled lens are built more cheaply than I’d like and it lacks the X-Trans sensor, but the Bayer sensor is still a treat.

    Shooting with the X-A2 reminded me a lot of shooting with my X100, which is a good thing (yes, I have the latest firmware). As long as you don’t often drop or abuse your cameras too heavily, the X-A2 represents a solid investment in the Fuji X-system, and its image quality can easily hang with its bigger and pricier brethren. With its well-implemented controls, it’s also a great choice for those who are considering taking more manual control over their photography, and is an excellent camera to grow into. 

    ISO 800, F2, 1/60 on the Fujifilm 18mm F2 R lens. Straight-out-of-camera JPEG.

    Articles: Digital Photography Review (dpreview.com)

  • ‘Built like a tank where it counts’ – LensRentals tears down Canon EF 35mm F1.4 L II

    ‘Built like a tank where it counts’ – LensRentals Canon EF 35mm F1.4 L II teardown

    Roger Cicala at LensRentals has a great job – he gets to take things apart whenever he wants, and get paid to do it. And even better, he gets to pay himself to do it. Roger just got his hands on Canon’s new EF 35mm F1.4 L II, and just like us, he’s been very impressed. But, it must be said, for very different reasons. Click through this slideshow for a quick look at what he found behind the red ring, and if this whets your appetite, read Roger’s full tear-down at lensrentals.com.

    ‘Built like a tank where it counts’ – LensRentals Canon EF 35mm F1.4 L II teardown

    This is the plastic ring which sits at the front of the all of the elements of the 35mm, underneath the cosmetic nameplate.

    According to Roger, ‘In most lenses rings like this hold the front element in place, but in this case, it seems the entire purpose of this ring is to improve weather resistance […] It fits tightly around the glass and into the front barrel of the lens, and it has a rubber gasket for further sealing internally.’

    ‘Built like a tank where it counts’ – LensRentals Canon EF 35mm F1.4 L II teardown

    Where most lenses use only three lightweight screws to attach the filter barrel, the Canon EF 35mm F1.4 L II uses six ‘long, strong and deeply threaded’ ones. 

    Behind the screws, Roger’s team found that ‘each hole contained a brass reinforcing spacer with a spring around it. So basically each of the 6 screws passes through the brass spacer and screws into the front barrel, with a spring maintaining tension. This is an expensive way to do things and obviously serves a purpose.’

    ‘Built like a tank where it counts’ – LensRentals Canon EF 35mm F1.4 L II teardown

    With the rear barrel removed, two more layers of rubber felt sealing gaskets were revealed and a ‘a very, very robust eccentric collar set […] used to optically adjust the rear group.’ (that’s the notched, circular thing towards the top of the rear group in this image, surrounded by red gunk to lock it in place).

    In Roger’s words. ‘we consider thick nylon collars robust, brass collars very robust, but these massive heavy collars with a center locking screw are beyond anything we’ve seen outside of super telephoto lenses and the 70-200 f/2.8 IS II’.

    ‘Built like a tank where it counts’ – LensRentals Canon EF 35mm F1.4 L II teardown

    Unusually, even for weather-resistant lenses, the EF 35mm F1.4 L II features tough, moisture-resistant tape underneath the rubber focusing ring, to prevent water getting underneath and into the main body of the lens (the tape has been removed in this image).

    ‘Built like a tank where it counts’ – LensRentals Canon EF 35mm F1.4 L II teardown

    ‘With the focus ring off, we can see another set of robust optical adjustment collars that adjust group 2. (Later experimentation hinted that these were primarily centering collars, with the rear collars primarily adjusting tilt.)’

    ‘Built like a tank where it counts’ – LensRentals Canon EF 35mm F1.4 L II teardown

    As the disassembly progresses, the EF 35mm F1.4 L II seems to get more and more robust – ‘With the USM motor and barrel off we can see the focusing helicoids and the heavy metal rollers that move the focusing elements within the helicoid. In almost every lens, these would be small nylon washers over a screw, not the relatively huge metal rollers we see in this lens.’

    ‘Built like a tank where it counts’ – LensRentals Canon EF 35mm F1.4 L II teardown

    Roger’s team took a closer look at those helicoid rollers.

    ‘When you look close up you see these aren’t just sliding posts, there are actually tiny ball bearings inside them. There’s also a spring tensioning system around one of the rollers. […] By this point I was really rather awestruck by the amount of careful over-engineering that went into making this lens. Nobody, and I do mean nobody, else is engineering lens mechanics like the newer Canon lenses.’

    Roger’s final analysis: 

    ‘[The EF 35mm F1.4 L II is] designed thoughtfully and logically. Things that will inevitably get damaged on any lens, like the front element and filter ring, are designed to be replaced easily. There are some things inside, particularly with the tensioning screws and springs, that I’m not certain I understand the purpose of, but I am certain there is a purpose. If I had to summarize the mechanical design of this lens, I would say simply that no expense was spared, no corner was cut.’

    Articles: Digital Photography Review (dpreview.com)

  • Flickr launches 360 degree image viewing app for Samsung Gear VR

    Image sharing platform Flickr has announced today its app for the Samsung Gear VR virtual reality headset. It allows you to view the tens of thousands of 360-degree panorama images that have been uploaded by Flickr users in an immersive way that allows for panning by moving your head. Read more

    Articles: Digital Photography Review (dpreview.com)

  • Lightroom plug-in for Pentax 645Z tethered shooting now available

    Ricoh has announced a software plug-in for Adobe Lightroom supporting tethered shooting with the Pentax 645Z medium-format camera. Creative Cloud Lightroom subscribers can also take advantage of integration with Lightroom Mobile, making it possible to comment on and adjust photos remotely via the cloud. The Pentax Tethered Capture Plug-In is available now from Ricoh.


    Press release:

    Ricoh Imaging Delivers Tethered Capture to its Acclaimed PENTAX 645Z Camera

    Highly requested software plug-in to enhance the PENTAX 645Z’s in-studio photo-shooting with Adobe® Lightroom® capabilities available today

    DENVER, December 9, 2015 – Ricoh Imaging Americas Corporation today announced the immediate availability of the highly anticipated PENTAX Tethered Capture Plug-In for use with Adobe® Lightroom®. The software plug-in enhances the tethered capture capabilities of the PENTAX 645Z medium-format camera by enabling files to easily be uploaded into Adobe Lightroom during a studio session, where they can readily be viewed, shared and edited.

    Adobe Lightroom is the digital photo processing and editing software favored by many professional and advanced amateur photographers, making the use of the new PENTAX Tethered Capture software both cost effective and efficient as there is no additional software package to purchase and learn. In addition, with the new capabilities of Lightroom Mobile, uploaded images may be viewed and adjusted by a photographer’s colleagues or clients from any remote location, anywhere in the world.

    “Since Lightroom is already the de-facto standard for many photographers to edit and develop their images, this new plug-in is especially welcome. It makes studio use of the PENTAX 645Z camera easier, more efficient and, ultimately, faster than ever,” said Chris Knight, a New York-based portrait photographer. “Using Lightroom, I am able to quickly share photos with my clients, who are even able to view and comment from remote locations.”

    Since its launch in June 2014, the PENTAX 645Z camera has been embraced by a wide range of photographers. The PENTAX Tethered Capture Plug-In is being offered to further enhance the user experience, and is a free option that can be downloaded starting today at: http://www.ricohimaging.co.jp/english/support/download_digital.html

    Main Features

    • The PENTAX 645Z camera supports industry-standard Adobe DNG (Digital Negative) RAW files, which ensures optimal image quality. The in-camera DNG file format effectively eliminates any RAW file incompatibility issues, thus allowing the photographer to confidently import DNG RAW files during a tethered session.
    • Adobe Lightroom Creative Cloud users can use Lightroom Mobile to connect to tethered sessions via cloud services to comment and adjust photographs and return those edits to the photographer from anywhere in the world.
    • Adobe Lightroom offers an exceptional cataloging system that allows photographers to capture and catalog tethered sessions with confidence.
    • The PENTAX Tethered Capture Plug-in for Adobe Lightroom is an easy-to-install, powerful and streamlined tethering solution that allows any photographer to manage their own workflow from capture to output.
    • Adobe Lightroom users can download and apply presets to any tethered capture session thus eliminating the need to process every raw file individually.

    Articles: Digital Photography Review (dpreview.com)

  • HandeVision announces five lenses for its Iberit family – full frame lenses for mirrorless cameras

    German/Chinese optics brand HandeVision is set to introduce five new lenses next year that are designed for full-frame mirrorless cameras. Each with a maximum aperture of F2.4, the focal lengths the company is planning to release in its Iberit series will be 24mm, 35mm, 50mm, 75mm and 90mm. 

    The company says it has concentrated on making the lenses small and lightweight to suit small and light cameras, but has used brass, aluminum and stainless steel in the construction of the barrels and mounts. 

    The lenses, which look more than a little like Leica M lenses, are all manual focus and offer aperture rings with markings for F2.4-16. Although they have a 44mm imaging circle that covers a full frame sensor, the lenses will be released with mounts for APS-C cameras, such as the Sony NEX and Fuji X system. These lenses will offer electronic aperture control. The 35mm, 50mm and 75mm lenses have six-blade apertures, while the iris in the 90mm uses 10. There is no specification as yet for the 24mm lens.

    The first set of lenses will be made for Leica M, Sony E and Fuji X cameras, though the company doesn’t specify what other mounts will be available eventually. A Micro Four Thirds mount Ibelux 40mm F0.85 lens already exists, but there is no mention of whether MFT mount versions of these new models will be introduced at any point.

    January 2016 is given as the launch date for the 35mm, 50mm and 75mm lenses, and the 24mm and 90mm lenses will be available ‘later in the year.’ Prices are a bit vague at the moment, but HandeVision says the lenses will cost between $ 480 and $ 660 depending on the model. 

    HandeVision is a brand created through cooperation between German lens manufacturer IB/E Optics and the Chinese company Shanghai Transvision Photographic Equipment Co – the company behind the Kipon brand. 

    For more information visit the HandeVision website. 

    Focal Length   35mm  50mm  75mm  90mm
     Angle of View  63.4  46.8  32.2  27
     Aperture  2.4-16 2.4-16  2.4-16  2.4-16
     Close Focus (M/NEX,FX)  0.7/0.35m  0.7/0.6m  0.7/0.6m 0.7m 
     Iris Blades  6  6  6  10

     Length 
    (M/NEX, FX)

     35/45mm  55/65mm  35/75mm  69/79mm
     Diameter  58mm  58mm  58mm  58mm
     Filter Thread  M49x0.75  M49x0.75  M49x0.75  M49x0.75
     Weight (M/NEX, FX)  NA  250/310g  270/330g  NA
     Elements/Groups  6/6  6/6  5/5  4/4

    Articles: Digital Photography Review (dpreview.com)

  • Master of one: Mitakon Speedmaster 135mm F1.4 pre-production sample gallery

    You might remember us getting our hands on the Mitakon Speedmaster 135mm F1.4 at the Photo Plus Expo back in October. We handled the lens and wrote up some quick impressions at the show, but we were lucky enough to be given one of the prototype lenses to take home to Seattle with us.

    Our sample is an engineering prototype of the E-mount version of this beastly lens, and we’ve spent the past few weeks gathering samples both in our studio and out and about around Seattle, to give you an idea of what it can do. 

    The 135mm F1.4 is a massive piece of glass, and in its E-mount flavor, absolutely dwarfs Sony’s a7 bodies. With a 105mm thread, fully manual operation and a weight of over six pounds (about 2.7kg), it can be rather intimidating, and is near impossible to use hand-held. With the proper support in place though it isn’t difficult to use at all, and can reward patient use with dramatic, unique results.

    When viewing our samples, it’s worth bearing a couple of things in mind. Firstly, this lens is one-of-a-kind. Almost literally. So it has no direct competitors that we can shoot alongside. Also note what we said earlier – we were using an engineering prototype that was not cosmetically final, and may not be completely representative, optically, of the finished shipping lenses when they become available (although it’s likely to at least be extremely close)

    With that in mind, take a look, and enjoy with us this truly unique hunk of metal and glass. Let us know what you think in the comments!

    Articles: Digital Photography Review (dpreview.com)

  • Apple launches battery case for iPhone 6s

    Battery life is still one of the most obvious weaknesses of smartphones and many devices, even high-end models, will struggle to get through an entire day of normal use without charging. Apple’s iPhones are no exception, which is why there is an abundance of aftermarket battery packs and cases available for the range, but until today no Apple-branded battery expansion had been available. Read more

    Articles: Digital Photography Review (dpreview.com)

  • Luna is ‘world’s smallest’ 360-degree camera

    As virtual reality grows in popularity, an increasing number of consumer-grade 360° cameras are hitting the market. Latest among them is Luna, a spherical camera that records 360° footage for viewing on desktop or through a cardboard VR headset. The team behind Luna is seeking funding on Indiegogo to cover design and production costs.

    Luna features a pair of 190° fisheye lenses, and uses ‘artificially intelligent auto-stitching software’ to merge the captured 2K footage into a single 360° HD video. Finalized videos can be shared on social networks or YouTube, and can be viewed using the Luna app and a VR headset. A sample video reel shows relatively low image quality from the camera’s video mode, but it’s unclear whether this is representative of a final production version of the camera.

    Integrated Wi-Fi enables live streaming, as well, and the camera itself is waterproof with an IP68 rating. Luna sticks to any metal surface via a magnetic adapter, and has an optional accessory pack including a monopod, universal accessory adaptor, keychain and docking station. At 170g/6oz and 6cm/2.36in diameter it’s very close in size and weight to a pool ball.

    Memora, the company behind Luna, is accepting pre-orders through Indiegogo, where a ‘mega early bird’ unit is available by pledging $ 199. Shipping is available worldwide and estimated to start for backers in October 2016.

    Articles: Digital Photography Review (dpreview.com)