RSS
 

Archive for February, 2016

Samyang adds 14mm and 35mm lenses to Xeen cinema system

06 Feb
The 14mm T3.1 Samyang Xeen lens

Korean lens manufacturer Samyang has added two new wide angle lenses to its Xeen series of full-frame video lenses. The new focal lengths are 14mm and 35mm, and while the 35mm conforms to the family-standard maximum aperture of T1.5 the 14mm opens only to T3.1. The Xeen system now contains a total of five lenses as these two join the existing 24mm, 50mm and 85mm.

All the lenses are manual focus only, and feature focus and aperture gear rings in identical positions so that they can be switched quickly in and out of the same rig. Filter rings also match, and users have a choice of metric or imperial focus scales. The lenses come with interchangeable mounts, and adapters are available for Canon EF, Nikon F, Sony E, PL and Micro Four Thirds bodies.

The 35mm T1.5 Samyang Xeen lens

Samyang is proud of the way its lenses render out-of-focus highlights, and the new 35mm complements the existing lenses with its 11-blade diaphragm. The wider lens uses a 9-bladed iris.

The lenses should be on sale by March at a cost of £1599.

For more information visit the Samyang Xeen website. 


Press Release:

Two more XEEN Lenses announced by Samyang to complete a Perfect Five-Lens-Set

SEOUL, February 5th, 2016 –Global optics brand, Samyang Optics, has announced the release of 2 new lenses: XEEN 14mm T3.1 and 35mm T1.5. These two lenses, along with the existing 24mm T1.5, 50mm T1.5 and 85mm T1.5 lenses, create a perfect balanced five-lens-set for filming video and cinema with the outstanding image quality from resolving power for 4K+ production.

XEEN is a specialized brand in professional video-cine lens launched by Samyang Optics in 2015. The XEEN lenses are designed with Samyang Optics’ know-how and have outstanding optical performance for 4K+ with the X-Coating Technology, ensuring maximum image quality to create a cinematic look.

The 24mm x 36mm negative size allows XEEN to not only work with full frame cameras, but also with Super 35, APS-C and APS-H cameras. The lenses are available in five different mounts – PL, EF, F, E, and MFT and two different focus scales – metric and imperial units. Also, the aluminum metal housing is known for its reliability in various shooting conditions.

Most of the XEEN lenses come in a bright T1.5 aperture. The lenses deliver high quality footage with clear contrast and impressive colours, even under less-than-optimal lighting conditions. The large aperture also creates a pleasing bokeh effect for a cinematic look.

“Thanks to the rise of multi-channel networks, the demands for video creation is internationally surging and the expectation of video quality is also increasing,” stated a XEEN official. He continued, “to satisfy the international needs, we have completed the first five lenses which deliver a high-quality cinematic image.” As an answer to the future product plan, he carefully disclosed that two more XEEN lenses will be announced in the second half of the year.

Created to deliver infinite possibilities, XEEN14mm and 35mm lenses will be globally available in early March. The recommended retail price of each lens is £1599.00 inc VAT.

More detailed product information is available on the official website (http://www.xeenglobal.com) and Facebook (http://www.facebook.com/xeenglobal) or Samyang Lens Global Facebook (http://www.facebook.com/samyanglensglobal).

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Samyang adds 14mm and 35mm lenses to Xeen cinema system

Posted in Uncategorized

 

Heavy hitter: Sony FE 24-70mm F2.8 GM first shots

06 Feb

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9303055313″,”galleryId”:”9303055313″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Note: if you’re viewing on mobile, please click here.

Sony has made some strong claims about its new G Master lens series. Unveiled earlier this week, the FE 24-70mm F2.8 GM is one of three in the lineup to make its debut, giving Sony’s full-frame mirrorless customers a fast, constant standard zoom for the first time. We had a few moments to shoot with the lens at Sony’s press event in New York, and while we only provide a small sampling of shots at this time, we will be updating this gallery as soon as we can. 

Our initial impressions are extremely positive: sharpness appears to rival prime levels wide open, and there’s very little axial chromatic aberration to speak of. Sony’s claims may not be exaggerated at all.

We need to make a note about lens corrections: it seems that the camera we were handed had vignetting and chromatic aberration corrections turned on. The way this feature works is that these corrections are applied even in Raw mode (technically, vignetting correction is applied prior to writing the Raw file, while chromatic aberration correction information is embedded in the Raw and irreversibly applied by ACR).

The good news is that we’ve looked at Raw conversions from third-party converters that ignore the CA correction profile, and CA from this lens appears to be very minimal. Watch this space for more sample images, hopefully very soon.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Heavy hitter: Sony FE 24-70mm F2.8 GM first shots

Posted in Uncategorized

 

Weekly Photography Challenge – Warm Fuzzies

06 Feb

Earlier today I shared a collection of images that represent cuddly.

A good hug, a snuggly puppy or kitten, a father with his newborn son – all things that give us warm fuzzies inside.

Wei-Hang Chua

By Wei-Hang Chua

Weekly photography challenge – warm fuzzies

So your challenge this week is, you guessed it, photograph something that either is warm and fuzzy, or gives you that feeling. So that could be many different things:

  • Your bedroom slippers
  • A favorite sweater
  • A pet
  • Parent and baby
  • Kids hugging
  • Someone doing a good deed

You get the idea.

Etolane

By Etolane

Gloson Teh

By Gloson Teh

Richard Walker

By Richard Walker

Thomas Hawk

By Thomas Hawk

Bunches And Bits {Karina}

By Bunches and Bits {Karina}

Phil Dolby

By Phil Dolby

Kate

By Kate

Flickpicpete (Thanks For 1 Million  Views)

By Flickpicpete (Thanks for 1 million+ views)

Share your images below:

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer upload them to your favourite photo sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post Weekly Photography Challenge – Warm Fuzzies by Darlene Hildebrandt appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Weekly Photography Challenge – Warm Fuzzies

Posted in Photography

 

Parasite Houses of Paris: Rooftop Prefabs Cling to Buildings

06 Feb

[ By Steph in Architecture & Cities & Urbanism. ]

parasitic prefab

Prefab structures jut out from the roofs of Paris’ charming architecture, adding affordable real estate to the densely-packed, land-scarce city in the only way possible: building up. While other cities across the world are knocking down one older structure after another to build shiny new condos that stretch up into the sky, the new units are often too expensive for the average urban resident, and significantly alter the historic character of each individual place.

parasitic prefab

Whether historically significant or not, the older buildings in most cities help give each location its own particular flavor. Razing them to throw up generic condominiums for people with upper-middle-class incomes not only displaces existing residents, it erases much of each city’s personality. A new project called 3BOX aims to compromise.

parasite houses 1

parasite houses 2

Stéphane Malka Architecture has designed a series of rooftop prefabs that work within the context of Paris’ new property law, the Loi ALUR, which aims to construct 70,000 new dwellings per year while also stabilizing rent. The law comes with a relaxation in planning and zoning, enabling new rooftop construction.

Screen Shot 2016-02-05 at 8.28.32 AM

While many of the new dwellings built under Loi ALUR will go on brownfield sites, like those currently owned by French rail company SNCF, others will have to be woven into the fabric of the city in more creative ways. ‘Les Toits Du Monde,’ or the Roofs of the World, offers three different prefab structures bolted onto existing buildings with steel supports.

parasite houses 3

Not everyone will be crazy about altering 19th century buildings with these prefab boxes, no matter how science-fiction it may start to look, but the rooftop terraces help make them more attractive, and they could be a good option for structures with less aesthetic value.

Share on Facebook





[ By Steph in Architecture & Cities & Urbanism. ]

[ WebUrbanist | Archives | Galleries | Privacy | TOS ]


WebUrbanist

 
Comments Off on Parasite Houses of Paris: Rooftop Prefabs Cling to Buildings

Posted in Creativity

 

24 Cuddly Images That Make You Say Awww

05 Feb

Who doesn’t love a good warm and fuzzy image? All things fuzzy and cuddly that make the heart thump and make us feel good.

These photographers captured the essence of cuddly with their images:

Marji Beach

By Marji Beach

Scott Wills

By Scott Wills

Jürgen Schiller García

By Jürgen Schiller García

Julien REBOULET

By Julien REBOULET

Jonathan Kriz

By Jonathan Kriz

Wsilver

By wsilver

Jan Truter

By Jan Truter

Tambako The Jaguar

By Tambako The Jaguar

Snugg LePup

By Snugg LePup

Mark Philpott

By Mark Philpott

Chris Fifield-Smith

By Chris Fifield-Smith

Barry Rayburn

By Barry Rayburn

Fivehanks

By fivehanks

Tambako The Jaguar

By Tambako The Jaguar

Ray Dumas

By Ray Dumas

Sandor Weisz

By Sandor Weisz

Franziska Geiser

By Franziska Geiser

Lou Bueno

By Lou Bueno

Kathleen

By Kathleen & Ryan Rush

Björn Láczay

By Björn Láczay

Rachel

By Rachel

Luke Jones

By Luke Jones

FancyLady

By FancyLady

Nathan Rupert

By Nathan Rupert

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post 24 Cuddly Images That Make You Say Awww by Darlene Hildebrandt appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on 24 Cuddly Images That Make You Say Awww

Posted in Photography

 

Delayed: Nikon Japan pushes D500 to end of April

05 Feb

Nikon shooters have waited a long time for a D300S replacement, and it appears that they’re going to have to keep waiting a little longer. Nikon Japan has released a statement (in Japanese) pushing the D500’s initial March release back to late April 2016. Nikon cites high demand for the camera as the cause of the delay. It seems that the D500’s battery grip and WT-7A wireless transmitter are also delayed.

Come April, the D500 will be available for $ 1,999.95 body only or with the 16-80mm F2.8-4E ED VR lens for $ 3,069.95.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Delayed: Nikon Japan pushes D500 to end of April

Posted in Uncategorized

 

Panasonic and Fujifilm reveal joint sensor development, offering global shutter

05 Feb
Cross-sectional image of conventional Back Side Illumination (BSI) CMOS sensor compared to Panasonic’s Organic Photoconductive Film (OPF) sensor. (Image courtesy of Panasonic.)

Panasonic has announced that it has developed a new sensor using Organic Photoconductive Film (OPF), developed by Fujifilm, that is capable of recording a much wider range of tones (up to 3 EV greater dynamic range) than current silicon-based sensors, and in which each pixel is read out simultaneously to effect a true global shutter.

We first heard about this collaboration back in 2013, and it appears that the companies have made progress during that time. Similar to InVisage Quantum Film technology, the OPF sensor employs a thin, light-sensitive film on top of CMOS silicon circuitry. Panasonic says that the separation of the light conversion medium and electronic charge storage removes some design trade-offs that need to be made with conventional CMOS designs. The design allows for a larger active pixel area that makes it 1.2x more sensitive to light than normal photodiodes. Decoupling the photoconversion and storage areas also allows for the ability to store more total charge (higher full well capacity), resulting in 10x, or 3 EV, greater dynamic range. 

Additionally, the OPF layer is only 0.5 microns thick, or four to six times thinner than silicon photodiodes that are typically 2-3 microns in depth. According to Panasonic this expands the incident angle of light that can be collected to 60 degrees, compared to 30-40 degrees for conventional silicon sensors, which should allow greater flexibility in lens design. It should also help reduce false color and vignetting.

In addition to better sensitivity and dynamic range, the new technology brings other benefits as well. In particular, the OPF-based sensor will provide global shutter, by allowing all pixels to be exposed essentially at the same time by turning on and off the entire photosensitive area at once. The net effect is that all the lines of the sensor are essentially exposed simultaneously, as opposed to line-by-line as is the case with traditional ‘rolling’ electronic shutters. This helps avoid the dreaded ‘jello effect’ often seen in video, or the distortion of fast moving objects. It also helps avoid flickering and banding with artificial light sources, which with a ‘rolling’ shutter otherwise result in different rows on the sensor being exposed while the pulsating light source is on vs. off.

When combined with Panasonic’s historical strength in video-oriented products this will likely get the attention of the videography crowd. The potential benefits don’t stop there though. Panasonic has also developed a method of recording sequences of images at slightly different exposure values, that it calls Variable Sensitivity Multiple Exposure Technology. The process can track the direction of motion in the scene by tracing the subject as it moves across the scene becoming gradually darker from one frame to the next. If the camera knows it applied less exposure to the second frame than to the first, it can determine in which direction the subject is moving and at what speed. This could be of great assistance to AF algorithms.

The company is not absolutely clear about what practical uses it will put this new sensor to, but says ‘We expect this technology to be used widely in motion capture applications and also extend to other applications that have been thought to be difficult to realize unless high saturation global shutter or variable sensitivity multiple exposure.’ Panasonic is also developing a system for using cameras that replace wing mirrors in cars, and this technology will probably see the light of day in that area first, but the lessons learned will be very useful for its regular camera business. 

Press release:

Panasonic develops 10times Higher Saturation & Highly Functional Global Shutter Technology by controlling of Organic-Photoconductive-Film on CMOS Image Sensor

Osaka, Japan – Panasonic Corporation today announced that it has developed a new highly functional global shutter[1] technology for CMOS image sensor using organic photoconductive film (OPF)*1. This technology enables to capture high speed moving object up to 10 times brighter*2 scene in global shutter mode. In OPF CMOS image sensor, charge-storage function and photoelectric-conversion function can be set independently. By utilizing the unique feature of OPF CMOS image sensor, this technology solves the degradation of saturation signal[2] in conventional image sensor with global shutter function. Motion direction can be detected from acquired object’s signal level in one picture by fine control of shutter sensitivity by changing applied voltage to OPF which is hardly realized by conventional CMOS image sensors.

The newly developed highly functional global shutter technology contributes to high speed image sensing of moving objects without image distortion which appears in conventional shutter operation under very bright scene. We expect this technology to be used widely in motion capture applications and also extend to other applications that have been thought to be difficult to realize unless high saturation global shutter or variable sensitivity multiple exposure.

The new technology has the following advantages.

1. Wide incident angle (60 degrees), high sensitivity, high saturation and highly-functional circuits due to a unique feature of OPF, in which an OPF for photoelectric-conversion and a readout circuits are independent.

2. High saturation signal up to 10 times larger*3 than conventional image sensors with global shutter function due to Photoelectric Conversion Controlled Global Shutter Technology.

This development is based on the following new technologies.

1. CMOS Image Sensor Design Technology, in that, an OPF photoelectric-conversion part and a circuit part can be designed independently.

2. Photoelectric Conversion Controlled Global Shutter Technology that is realized by controlling of organic photoconductive film sensitivity.

3. Variable Sensitivity Multiple Exposure Technology which can detect the motion and its direction by changing image capturing sensitivity in each frame.

Panasonic holds 60 Japanese patents and 41 overseas patents (including pending) related to this technology.

Panasonic will present part of the research at the international conference ISSCC (International Solid-State Circuit Conference) 2016 which is to be held in San Francisco, USA on January 31 to February 4.

Notes:

*1: We are using an organic photoconductive film (OPF) that FUJIFILM Corporation has developed.

*2: Saturation signal per pixel area, compared with conventional silicon based CMOS image sensor with global shutter function.

More on the Technology

1. The OPF CMOS Image Sensor Design Technology, in that, photoelectric-conversion part and a circuit part can be designed independently.

The conventional image sensor consists of a silicon photodiode for capturing light, metal interconnects and an on-chip micro-lens. And, both a photoelectric-conversion function and a signal charge-storage function are executed by a silicon photodiode. On the other hand, in an OPF CMOS image sensor, a photoelectric-conversion function is executed by an OPF, instead of a silicon photodiode, and a signal charge-storage function is executed by circuits beneath the OPF. Both functions are almost independent, so an OPF CMOS image sensor can achieve the following features.

Expansion of the incident light range to 60 degrees and reproduction of faithful color.

An OPF with high optical absorption coefficient[3], instead of a silicon photodiode, is adopted, the thickness of an OPF has been reduced to just 0.5 microns, four to six times thinner than silicon photodiodes. Since the conventional silicon photodiode needs at least 2 – 3 microns in depth, the range of incident angles was limited to around 30 – 40 degrees. An OPF, achieved with the OPF CMOS image sensor technology, has enabled the expansion of this range to 60 degrees, efficiently utilizing light entering at an angle for faithful color reproduction with no color mixing. It also gives greater flexibility in lens designs, facilitating the reduction of overall camera size.

Boost of sensor sensitivity by 1.2 times compared to conventional silicon image sensors to deliver clear images, particularly in dark conditions.

The transistors and metal interconnects in each pixel, fabricated using Panasonic’s semiconductor device technology, are coated with an OPF. The area of the light receiving section becomes limited in conventional image sensors because of the existence of metal interconnects and the need to form a light shield film to prevent light incidence into areas other than the photodiode in each pixel. However, an OPF CMOS image sensor technology coats the sensor with an OPF, which can harvest all the light received on the sensor. This unique structure and high quantum efficiency of OPF boosts sensor sensitivity by 1.2 times compared to conventional silicon image sensors to deliver clear images, particularly in dark conditions.

Cross-sectional image of conventional Back Side Illumination (BSI) CMOS image sensor and OPF CMOS image Sensor

Design of OPF and circuits completely independent and realization of high-performance (high-saturation)

In the architecture of an OPF CMOS image sensor, the OPF, that converts light into electric signals, and the circuits, that store electric signal charges and readout electric signals, are designed completely independently. Therefore, by selecting an OPF, photoelectric-conversion characteristics, wavelength, sensitivity, etc., can be set with flexibility.

Moreover, in conventional image sensors, it is necessary to place both a silicon photodiode and circuits (transistors and capacitors) on silicon substrate in each pixel, so an area of circuits is limited. On the other hand, in an OPF CMOS image sensor, it is not necessary to place a silicon photodiode, so high-performance circuits, such as high-speed or wide dynamic range[4], can be formed on a silicon substrate.

In particular, in an OPF CMOS image sensor, by providing a large capacitor for storing signal charge, a saturation value[2] of electric signal can be significantly increased from conventional image sensors.

2. Photoelectric Conversion Controlled Global Shutter Technology that is realized by controlling of organic photoconductive film sensitivity.

Conventional CMOS image sensors with global shutter function require storage located near photoconversion area which makes it difficult to simultaneously shrink the pixel size and enlarge the saturation signal. Developed “Photoelectric conversion controlled global shutter technology” realizes shutter function by controlling of photoelectric conversion efficiency by only modulating applied voltage to OPF, without additional in-pixel circuit and no degradation of saturation signal. And developed “high saturation pixel technology” by pixel gain switching operation can capture under extremely bright scene, up to 10 times or more saturation signal per unit square pixel than conventional CMOS image sensor with global shutter function. This technology will solve imaging problems caused by rolling shutter distortion, flash bands[5] and LED flickers[6] in very bright scene.

Comparison of Global shutter pixel structure

3. Variable Sensitivity Multiple Exposure Technology which can detect the motion and its direction by changing image capturing sensitivity in each frame.

Conventional multiple exposure cannot detect the direction of motion because the capture sensitivity is fixed. Panasonic have developed “variable sensitivity multiple exposure technology” by controlling the voltage applied to OPF with elapse of time, which is hardly realized in conventional silicon based image sensor. We can get several images of different exposure time and different exposure sensitivity in one picture that enables character recognition by choosing optimum exposure time, so direction of motion can be detected by acquired object’s signal level. This technology enables sensing of moving object detection and motion directions.

Technical Terms:

[1] Global shutter

Shutter operation which can capture the image at the same time in all pixels.

Ordinary CMOS image sensor operates in rolling shutter mode in which exposure and shutter operation is executed row by row.

[2] Saturation/Saturation signals

Maximum amount of electric signal that can be handled by image sensors. Receiving a signal greater than this value leads to highlight clipping.

[3] Optical absorption coefficient

A constant value that indicates how much light is absorbed into a material, when incident light enter to the material.

[4] Dynamic range

Range of brightness that can be captured. (the ratio between highest and lowest signal can be captured by image sensor)

[5] Flash band

stripe shaped contrast appears in captured image, because light flashes during image sensor capture the image row by row pixel (rolling shutter operation).

[6] LED flicker

Imaging phenomenon resulting in incomplete image capture, caused by a LED’s (traffic, headlights, signs, etc.) frequency and a camera’s imaging speed.

Captured images of rotating propeller by different shutter mode

Multiple exposure images by Variable exposure time and sensitivity

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Panasonic and Fujifilm reveal joint sensor development, offering global shutter

Posted in Uncategorized

 

‘We want to make lenses that can be used forever’: Sony engineer discusses G Master lenses

05 Feb

‘We want to make lenses that can be used forever,’ says a senior engineer behind Sony’s new G master lenses. At the launch of the ‘G Master’ range of high end lenses, we spoke to Motoyuki Ohtake, Distinguished Engineer in Sony’s Lens Design Department about the process and the philosophy behind the latest lenses.

The development process series involved re-thinking several parts of the design and manufacturing process, he says.

Motoyuji Ohtake, Distinguished Engineer, Opto Design Department, Core Technology Division, Digital Imaging Business Group at Sony.

To understand how the lenses came about, he explained the usual process of lens development. ‘Sometimes we propose a new lens but often it comes from the product planning department [the marketing department that assesses potential requirements and demands]. We then make a series of rough designs, some are big, with high optical performance, others are more compact but maybe not so optically strong. We discuss which design to proceed with, based on what we think is the optimal balance or cost, performance and size to make the perfect product.’

After deciding which of the initial designs to pursue, there’s a great deal of collaboration between teams, he explains: ‘we work with the mechanical team, the lens motor team, the lens control team, the lens element team and maybe the equipment team who will have to prepare the manufacturing process.’ Each of these team feeds its expertise into the design. ‘Maybe the optical team proposes a new lens design and the motor team tells us which motor is best. Or warn us if the focus will be too slow. They feed back about the mechanical aspects,’ he says.

The G Master series required many of these teams to re-think their parts of the process, from design to manufacture.

Re-thinking basic assumptions

‘For the G Master lenses we decided we would assess the spatial frequency at 50 lines per mm,’ says Ohtake: ‘Usually lens makers, including ourselves, evaluate lenses at 10 and 30 lpmm (or 10, 20 and 40 for Carl Zeiss-branded optics).’

‘At the start of the process we all agreed we should change the spacial frequency [to a more challenging target],’ he says: ’but which is best to get good performance? We could design for 100 lpmm but the lens would become very bulky and long – which might not be a very practical lens. A balance of the size and the optical performance was very important.’

The target of 50 lpmm wasn’t dictated by the company’s 40MP camera or 4K video, he says. ’All our FE lenses were designed for at least 40MP. Because we have an image sensor team within Sony, we get to see the sensor roadmap, so we’ve been designing for this all along with FE. With the G Master we’d like to make lenses that can be used forever.’

A focus on bokeh

But it’s not just the more stringent frequency assessment that was developed for the G Master lenses, Ohtake explains: ‘We had to discuss what good bokeh means. We have some designers from Minolta who understand that the spirit of the ‘G’ lenses was good bokeh in the background but we had no way to evaluate that.

‘We looked at what is considered good bokeh and how it affects not just the background rendering but also the transition from perfectly sharp to out-of-focus regions. We developed a way to evaluate bokeh and were able to make a simulation. This meant we didn’t have to build a lens to see how it performed, we could now computer model it before taking a design too far.’

This is a significant change, Sony says, as it means bokeh can be one of the primary design considerations, rather than being something that can only be adjusted later in the process, once the main aspects of the design have been settled upon.

Another piece of the puzzle – shape and smoothness

This analysis of the factors that affect bokeh showed that both the precision of the lens molding and the smoothness of the lens surface could have an effect.

‘Traditionally it was very hard to achieve both: current technology gives a roughness on the scale of 20-30nm on the aspheric surface. Improving this usually involved polishing, which can then lead to the lens element being slightly unevenly shaped.’

‘We developed a new way of making the lens element and a new molding process, including a new machine. Now we can get roughness down to around 10nm and get a more accurate shape to the aspherical surface.’

AF technologies

Ohtake wouldn’t budge when we asked which his favorite lens was, but immediately reached for the 85mm F1.4 when we took this group shot.

The first three G Master lenses use three different AF motor technologies between them – emphasizing Ohtake’s point that different technologies work better in different contexts.

The 24-70mm F2.8 uses a Direct Drive SSM system (piezoelectric element). This is very fast, very quiet and very precise. We used a linear motor for the 24-70mm F4 but this lens has a heavier focus element, so direct drive was a better choice.

The focus element in the 85mm F1.4 was even heavier, however. ‘For the 85mm we use a ring type focus motor. This is very good for heavy lens elements and our lens software team developed a good algorithm so that it works well with contrast-detection autofocus’ (a traditional weakness for ring-type designs).

Finally, the 70-200mm uses a combination of a linear actuator and a ring-type focus motor. ‘The focus group had become too heavy so we separated the two focusing lenses. One is very heavy, so we used a ring type motor for that one, then used a linear motor for the other. The ring type is used to quickly achieve approximate focus and the linear motor is used for the high precision aspect.’

Still correct to optically correct

Discussing the idea that bokeh and sharpness have previously been in conflict, we asked Ohtake about other trade-offs. We’ve been told that the ability to correct lateral chromatic aberration in software makes lens design easier, since you don’t have to correct it optically, which can quickly complicate the lens design and detract from other parameters.

Not for G Master lenses, he explains. ‘Light doesn’t separate nicely into red, green and blue’ (the color channels that most cameras capture, and which can be adjusted, relative to one another, to correct lateral CA). It’s a continuum with each wavelength being displaced slightly differently. ‘To get the really high contrast we wanted in G Master, we had to suppress it in the lens.’

The future of APS-C

We also asked Ohtake about Sony’s APS-C lenses for E-mount. His team likes designing APS-C lenses, he says: ‘The focus elements are light, so it’s easier to design. We have all these focus motor technologies in-house and we’d like to try them in APS-C lenses if that’s what the Product Planning team says is required.’

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on ‘We want to make lenses that can be used forever’: Sony engineer discusses G Master lenses

Posted in Uncategorized

 

Leica T firmware version 1.5 update adds Wi-Fi Direct feature

05 Feb

Leica has released firmware version 1.5 for the Leica T, adding Wi-Fi Direct functionality for transferring images wirelessly. After updating, Leica T owners can set up a mobile hotspot through which images are shuttled between the camera and an iOS mobile device running the Leica T app. In addition, firmware 1.5 speeds up the camera’s wireless reconnection with known networks and improves reconnection reliability.

The Leica T for iOS app is available from iTunes. The new firmware version 1.5 update is available through the Leica T website.

Via: Leica Rumors

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Leica T firmware version 1.5 update adds Wi-Fi Direct feature

Posted in Uncategorized

 

How to Create Strong Compositions Using Color Contrast

05 Feb

Color contrast and composition

When I wrote about making dramatic images using shadow and contrast, a reader rightly pointed out that a couple of my photos were also good examples of color contrast.

This is interesting because it shows how two photographers can look at the same scene, and see different things. In those examples I saw textures, shadows, and tonal contrast, and instinctively converted them to black and white. But another photographer might place more importance on the strong colors, and make them the centre point of the composition.

Here’s the first of those images. The color contrast here is between the orange car and the blue sky.

Color contrast and composition

If you look at a color wheel, used by artists and graphic designers to show the relationships between colors, you will see that orange and blue are on nearly opposite sides. They are said to be complementary colors (as opposed to analogous colors, which are close to, or next to each other on the wheel).

Color wheel

Diagram by Wikipedia contributor Jacobolus

Using contrasting colors in a composition nearly always results in a strong image. The key is to keep the composition simple, and not to overwhelm it with too many hues.

Here are a couple more examples. The first shows dramatic red stripes on a lighthouse against a dark blue sky (I used a polarizing filter to intensify the colors). Red and blue are also nearly opposite on the color wheel.

Color contrast and composition

The second shows red flowers, against a green background.

Color contrast and composition

These three color combinations – orange/blue, red/blue, red/green – occur a lot in both natural and man-made environments.

Below is the second photo from the earlier article, mentioned above. It uses a different type of color contrast. The green apples are displayed against a grey background. The lack of color in the background makes the green of the apples seem more intense than it is in reality.

Color contrast and composition

This technique of placing a colored object against a dark or neutral background is another that you can use over and over. It’s very effective. Here are two more examples.

The first shows a work created by artist Chris Meek. The grey background emphasises the yellow paintwork, the only strong color in the image.

Color contrast and composition

Image used with the permission of the artist

The second shows a display of pumpkins. The dark grey background emphasizes the intensity of the orange hues.

Color contrast and composition

The key here again is to keep the composition simple. Imagine each of the previous examples with a splash of red in the image somewhere. The red would pull your attention away from the dominant colors, and diminish the impact of the composition.

Another approach to using color contrast is to look for scenes with a limited color palette. Here’s an example – the image below is a portrait of a friend of mine, sitting in front of a gypsy caravan, that she made herself. The image is full of color, but they are mostly shades of two different hues – red and green, which we know are near opposites on the color wheel.

Color contrast and composition

Here’s another example. It’s a colorful image, but again there are two dominant hues – blue and red. The incongruity of the plastic sleeves the chef is using to protect his arms, combines with the color contrast to make a strong composition. The colours are more muted than the earlier examples with this color combination, but it still works.

Color contrast and composition

The images in this article have several things in common: strong use of color (in different ways), simple composition (simplicity often equals strength in design), and good observational skills.

It is is one thing to analyze these things in photos, it is another to train yourself to see them. To do so, you really have to think about the scene in front of you. What colors do you see? Does the light suit the subject? How can you simplify the composition to make those colors stronger? If you can figure out the answers to these questions, your images will be stronger.

Do you have any questions about color contrast, or any photos to show us? Please let us know in the comments below.


Mastering Composition

Mastering Composition ebook by Andrew S. GibsonMy ebook Mastering Composition will help you learn to see and compose photos better. It takes you on a journey beyond the rule of thirds, exploring the principles of composition you need to understand in order to make beautiful images. You’ll also learn how to use colour to create photos like the ones in this article. Click the link to learn more or buy.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post How to Create Strong Compositions Using Color Contrast by Andrew S. Gibson appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on How to Create Strong Compositions Using Color Contrast

Posted in Photography