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Archive for February, 2016

Nikon covers all focal lengths with three ‘DL’ enthusiast compacts with 1″-type sensors

26 Feb

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Nikon is entering the 1″-type premium compact market in a big way, introducing three new models: the Nikon DL18-50, DL24-85 and DL-24-500. Between them, they cover pretty much every focal length. The ‘guts’ of all three ‘DL’ models are the same, in that they share a sensor, image processor, autofocus system and support for 4K video (with clean HDMI output, no less). Parts of the design, especially the control layout and font, strongly resemble that of Nikon’s 1-series mirrorless cameras.

Sensor-wise, the DLs use what is possibly the same 20.8MP 1″-type BSI CMOS sensor as Nikon’s J5 mirrorless camera. It’s paired with the company’s new EXPEED 6A image processor, which allows for a top ISO of 12800 and 4K/UHD video recording at 30p. All three cameras have ‘Dual Detect VR’, which combines data from the cameras’ angular velocity sensors and the scene itself to reduce shake. They also have fluorine coatings on their lenses to keep moisture and oil away. Each has a manual focus ring around the lens, as well.

They also have 3″ touch-enabled OLED displays, tilting on the 18-50 and 24-85 and fully articulating on the 24-500. Naturally, they all have Wi-Fi with NFC, plus Nikon’s ‘SnapBridge’ technology, which uses Bluetooth to maintain a connection between camera and phone, so there’s no need to re-pair. Battery life on all three DL models is rated at 290 shots/charge (per the CIPA standard).

One of the features that may set the DLs apart from the other 1″-type cameras is its Hybrid AF system, which combines 105 phase-detect with 171 contrast-detect points. This allows the camera to shoot at 20 fps with continuous autofocus, which is, by far, best-in-class (spec-wise). If you can live with single AF, then the DLs can shoot even faster: 60 fps.

Nikon DL18-50

The first camera is perhaps the most interesting, as it has the widest lens of any enthusiast compact on the market. That lens has an equivalent focal length of 18-50mm and a fast maximum aperture range of F1.8-2.8. The lens has a 3-stop ND filter and is Nikon’s first compact to have a Nano Crystal Coating, which reduces flare and ghosting. The lens has seven aperture blades and has a top shutter speed of 1/1600 sec (an electronic shutter, found on all three models, maxes out at 1/16000 sec). There is also built-in perspective correction, which is especially useful when shooting architecture.

The camera has full manual exposure control, Raw support, tilting touch OLED display and aforementioned 4K/30p support. The DL18-50 also supports an optional tilting OLED electronic viewfinder with 2.36M dots. The 18-50 is the only one of the camera cameras to lack a built-in flash, though like its siblings it does have a hot shoe.

Nikon DL24-85

The DL24-85 is very similar to its wider sibling, both inside and out. The main difference is its lens, which is a 24-85mm equiv. F1.8-2.8 model, though it lacks the Nano Crystal Coating. Its standout feature is the ability to take life-size, 1:1 macro photos, with a minimum focus distance of 3cm. Macro shooters can also take advantage of focus peaking and bracketing as well as manual priority AF. Again it includes a built-in ND filter.

Nikon DL24-500

For those seeking a long zoom model, there’s the DL24-500. As its name implies, it has a 24-500mm equiv. lens, with a max aperture range of F2.8-5.6. Unlike the other two models, the 24-500 has a fully articulating display and a built-in OLED viewfinder. It’s also the only of the DL models with a mic input jack, with support for Nikon’s ME-1 shotgun mic. 

All three cameras will be available in early summer with suggested retail prices of $ 649 (24-85), $ 849 (18-50), and $ 999 (24-500).

Press Release:

THE NIKON DL PREMIUM COMPACT SERIES: PUTTING POCKETABLE POWER AND LEGENDARY NIKKOR LENS PRECISION INTO THE HANDS OF PASSIONATE PHOTOGRAPHERS

Pairing a Large 1-Inch Sensor with Superior NIKKOR Lens Technology, Nikon’s New Compact DL24-85, DL18-50 and DL24-500 Will Help Capture Stunning Images and 4K UHD Video

MELVILLE, NY (Monday, February 22, 2016 at 11:01 P.M. EST) – Today, Nikon Inc. announced the new DL Series of premium compact cameras. These pocketable yet powerful imaging tools offer an elite level of imaging prowess that fits easily in one’s palm. Equipped with a variety of focal lengths optimized for different types of shooters, the DL24-85, DL18-50 and DL24-500 combine powerful NIKKOR optics with a large 20.8-megapixel (CX-format) 1-inch BSI CMOS sensor to produce stunning image quality and amazingly detailed images, even when shooting in low-light. Cameras in the new DL line will also feature powerful performance, with high-speed Autofocus (AF) and 20 frames-per-second (60 fps with fixed AF) continuous shooting capability for fast action moments, as well as 4K UHD video recording for users to tell their stories in new ways. Ergonomically designed and familiar for advanced users, all three cameras will utilize the new Nikon SnapBridge connectivity to make it easier than ever to shoot and share with ease.

“We recognize consumers’ desire for smaller cameras capable of outstanding image quality,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “With the new DL line, Nikon is proud to fuse legendary NIKKOR optics with the latest innovations in imaging to provide advanced photographers amazingly compact tools capable of capturing photos and video that even the most discerned professional would be proud of.”

The Nikon DL Series: Powerful Performance, Superior Optics

The new DL line of premium compact cameras packs innovative and powerful imaging technology into elegantly designed yet remarkably compact camera bodies, making it easier than ever to carry pure imaging prowess in the palm of one’s hand. All of these new cameras are designed with a 20.8-megapixel CX-format (1-inch) BSI CMOS sensor, which when combined with fast, high quality NIKKOR glass, help to create stunning image quality for stills or 4K UHD video. Working alongside the new sensor is the new EXPEED 6A image processor that allows for impressive noise reduction and powerful, fast performance, making it possible to capture stunning low-light street photography, beautiful portraits or spectacular landscapes with ease. 

For fleeting moments and fast-action, the DL line incorporates a high-speed hybrid autofocus (AF) system featuring 105 phase detect focus areas (with 171 focus points in contrast detect AF mode), as well as continuous shooting up to an incredible 20 fps, with capability to capture up to a blazing fast 60 fps with focus locked on the first frame. The DL series also features Dual Detect Optical VR technology to compensate for camera shake while handheld or at slower shutter speeds.

Continuing the impressive legacy of NIKKOR glass, each new DL camera features a unique lens design capable of amazing resolution and beautiful background blur (bokeh), with impressively fast apertures. The lens barrel also includes a manual focus ring, giving users enhanced control over focus on any subject.

Each NIKKOR lens is also equipped with a fluorine coating that helps repel dirt, water and oil, and also facilitates easy cleaning. For the first time in a Nikon compact camera, the DL18-50’s NIKKOR lens will utilize Nano Crystal Coat to help reduce ghost and flare, particularly useful when shooting at a wide-angle. With the best NIKKOR technologies now integrated into compact camera models, users will be able to capture phenomenal images with amazing detail time and time again. 

Control and Versatility

The DL24-85, DL18-50 and DL24-500 put creative control in the hands of each photographer and are all operated using the familiar Nikon DSLR menu design and an assortment of physical controls. The series also supports RAW (NEF) image capture, full PSAM manual controls and over 20 preset creative options, for use in both still and video shooting (including Picture Control, Creative mode, Multiple Exposure Lighten) to help challenge each user to expand their photographic horizons.

The DL line provides the tools to frame nearly every shot, with all three cameras sporting high-resolution 1,037k-dot OLED Touch displays. While the DL24-85 and DL18-50 allow for tilting, the DL24-500’s display provides full Vari-angle capability, vitally important when shooting from unique perspectives. Even further customization and control is possible utilizing the hot shoe/accessory shoe available on DL24-85 and DL18-50 models that allows for complete system expandability with the DF-E1 optional electronic viewfinder. The DL24-500 also sports a hot shoe and a stereo microphone input jack, while all three models are compatible with Nikon i-TTL Speedlights. 

Seamlessly Shoot and Share

Nikon SnapBridge makes it easier than ever to shoot and share amazing images with friends and family. Available throughout Nikon’s newest line of premium compacts, SnapBridge utilizes Bluetooth®1 low energy technology (BLE) to provide an “always on” connection to a compatible2 smart device. Users can now seamlessly send images from their camera to a smart device (utilizing the new SnapBridge app) for easy sharing via social networks or to the cloud for instant storage. An unlimited number of thumbnails and 20 GB of storage will also be available for registered Nikon owners and SnapBridge users on Nikon Image Space, Nikon’s free image storing service. Additionally, built-in Wi-Fi3 and NFC remain available to help facilitate easy connection and sharing. 

Through Nikon SnapBridge, users can also operate their cameras remotely using the app, automatically synchronize time and location information to any image utilizing the camera’s constant connection to a compatible smart device, as well as embed information on any image, including copyright or photographers’ names. Lastly, firmware updates have never been easier, as Nikon will send registered users firmware information via the new SnapBridge application, directly to their smart device.

4K Video Capability

The DL series will be among Nikon’s first compact offerings to support 4K UHD video capability [3840×2160] at 30p, affording users the ability to capture incredibly beautiful video with remarkable detail, all with a compact camera. Multimedia photographers will have free reign over their creative vision with the ability to utilize PSAM selectable exposure modes while recording, alongside popular movie features like HDMI output to an external recorder, slow motion to 1200 fps and the ability to grab stills from video. Other creative video functions available include: Full HD movie, HD movie, Motion Snapshot, Slow motion, 4-second movie, Time-lapse movie, Superlapse movie and Jump cut.

DL24-85: The Premium Compact Camera Ready for Anything

Great for travel, portraits and general photography, the DL24-85 offers pocket-sized imaging power with a fast and versatile 24-85mm focal range. Compatible with 40.5mm threaded filters, the newly designed NIKKOR lens (11 elements in 9 groups) features a 3.6x zoom range (7x with Dynamic Fine Zoom4) and a wide f/1.8-2.8 aperture, empowering users to capture a wide variety of subjects with incredible detail and natural bokeh, even in low-light. The 24-85mm offering also features Dual Detect Optical VR, AF bracketing and a tilting Touch OLED display to make composing from creative angles easier than ever.

Exclusive to this DL model is a new Super Macro Mode (1:1) that helps capture even small subjects in life-size detail. Setting manual zoom on the camera to super macro position allows the user close-up shooting at a 35mm equivalent magnification, providing amazing detail whether shooting flowers in bloom or a wandering ladybug. Macro photographers can utilize a variety of camera functions within the mode, including focus bracketing, manual priority AF (M/A) mode and peaking indication, to truly customize the look and feel of every image.

DL18-50: A Premium Pocket Camera That Can Capture It All

For landscape and architecture shooters looking for compact, ultra-wide angle DL option, the DL18-50 provides a solution that fits easily into any photographer’s pocket. Starting at a wide 18mm and expanding to 50mm (2.8x zoom, 5.5x with Dynamic Fine Zoom) the camera sports a powerful NIKKOR lens with a wide f/1.8-2.8 aperture that makes it easier than ever to produce natural bokeh in any image, while capturing tack-sharp stills and video. This lens is compatible with 46mm filters and features Nikon’s Nano Crystal Coat to help reduce ghosting and flare. 

Those who choose the wide-angle DL premium compact can also take advantage of perspective controls to help compensate for image distortion, particularly for shooting tall objects from the ground like landmarks and skyscrapers. Tailored for architecture shooters, this feature helps to capture the correct perspective with ease.

For use with the DL24-85 and DL18-50, a newly designed optional DF-E1 electronic viewfinder (EVF) will be available for discerning photographers who desire for a traditional eye-level viewfinder to frame their photos. The compact DF-E1 features a 2,359k-dot resolution with eye sensor, alongside a tilting mechanism, diopter adjustment and anti-reflection coating, helping provide further clarity and versatility for DL shooters. 

DL24-500: Get Close and Connect

The DL24-500 offers the longest zoom capability of any DL premium compact, reaching an incredible 500mm focal length and 21x optical zoom (42x with Dynamic Fine Zoom). Combining Nikon’s new 1-inch sensor with this impressive super-zoom NIKKOR lens, the DL24-500 is an ideal choice for users eager to photograph and share anything from concerts to wildlife. Featuring an f/2.8-5.6 aperture, this lens (compatible with 55mm filters) integrates the newest NIKKOR technologies to help render amazing images and background blur, even from afar.

The DL24-500 also features Dual Detect Optical VR, particularly useful when shooting at extremely long focal lengths or without a tripod, a built-in electronic viewfinder (EVF) with 2,359k-dot OLED display and an eye-sensor and a Vari-angle 1,037k-dot OLED screen.

Price and Availability

The new DL24-85, DL18-50 and DL24-500 will be available in early summer 2016 for suggested retail prices (SRP) of $ 649.95*, $ 849.95*, and $ 999.95*, respectively. Pricing and availability for the optional DF-E1 electronic viewfinder, compatible with both the DL24-85 and DL18-50, is TBD. For more information on these new Nikon products, please visit www.nikonusa.com.

1 The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation and its affiliates is under license. 

2. WI-FI COMPATIBILITY This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera. The SnapBridge app is not yet available (coming soon in spring 2016) Apple, the Apple logo, iPhone, iPad and iPod touch are trademarks of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.

3. Wi-Fi and the Wi-Fi logo are trademarks or registered trademarks of the Wi-Fi Alliance. N-Mark is a trademark or registered trademark of NFC Forum, Inc., in the United States and/or other countries.

4. Dynamic Fine Zoom magnification is calculated from the full-wide end of optical zoom

* SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon DL18-50 / DL24-85 specifications

  Nikon DL18-50 Nikon DL24-85
Price
MSRP $ 849 $ 649
Body type
Body type Large sensor compact
Sensor
Max resolution 5584 x 3712
Image ratio w:h 3:2
Effective pixels 21 megapixels
Sensor photo detectors 23 megapixels
Sensor size 1″ (13.2 x 8.8 mm)
Sensor type BSI-CMOS
Processor Expeed 6A
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 100-12800
White balance presets 7
Custom white balance Yes
Image stabilization Optical
Uncompressed format RAW
File format
  • JPEG (Exif v2.3)
  • Raw (NEF)
Optics & Focus
Focal length (equiv.) 18–50 mm 24–85 mm
Optical zoom 2.8× 3.5×
Maximum aperture F1.8 – F2.8
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus Yes
Normal focus range 15 cm (5.91) 30 cm (11.81)
Macro focus range 3 cm (1.18)
Number of focus points 171
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 1,037,000
Touch screen Yes
Screen type OLED
Live view Yes
Viewfinder type Electronic (optional)
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/2000 sec 1/1600 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program AE
  • Shutter priority
  • Aperture priority
  • Manual
Scene modes
  • Bird Watching
  • Close-up
  • Food
  • HDR
  • Landscape
  • Multiple Exposure Lighten
  • Night Landscape
  • Night Portrait
  • Portrait
  • Selective Color
  • Sports
Built-in flash No Yes
Flash range 5.00 m (at ISO 100)
External flash Yes (via hot shoe)
Continuous drive 60.0 fps
Self-timer Yes (2 or 10 secs)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1 EV steps)
Videography features
Resolutions 3840 x 2160 (30p, 25p), 1920 x 1080 (60p, 50p, 30p, 25p), 1280 x 720 (60p, 50p, 30p, 25p)
Format MPEG-4, H.264
Videography notes Slow motion: 1080/120p, 720/240p, 800 x 296 (400p), 400 x 144 (1200p)
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes Wi-Fi with NFC and constant connection via Bluetooth
Remote control Yes (via smartphone)
Physical
Battery Battery Pack
Battery description EN-EL24 lithium-ion battery & charger
Battery Life (CIPA) 290
Weight (inc. batteries) 365 g (0.80 lb / 12.87 oz) 350 g (0.77 lb / 12.35 oz)
Dimensions 106 x 63 x 58 mm (4.17 x 2.48 x 2.28) 105 x 61 x 50 mm (4.13 x 2.4 x 1.97)
Other features
Orientation sensor Yes
Timelapse recording Yes (video)
GPS None

Nikon DL24-500 specifications

Price
MSRP $ 999
Body type
Body type Large sensor compact
Sensor
Max resolution 5584 x 3712
Image ratio w:h 3:2
Effective pixels 21 megapixels
Sensor photo detectors 23 megapixels
Sensor size 1″ (13.2 x 8.8 mm)
Sensor type BSI-CMOS
Processor Expeed 6A
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 100-12800
White balance presets 7
Custom white balance Yes
Image stabilization Optical
Uncompressed format RAW
File format
  • JPEG (Exif v2.3)
  • Raw (NEF)
Optics & Focus
Focal length (equiv.) 24–500 mm
Optical zoom 20.8×
Maximum aperture F2.8 – F5.6
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus Yes
Normal focus range 30 cm (11.81)
Macro focus range 1 cm (0.39)
Number of focus points 171
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3
Screen dots 1,037,000
Touch screen Yes
Screen type OLED
Live view Yes
Viewfinder type Electronic (optional)
Viewfinder coverage 97%
Viewfinder resolution 2,359,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/2000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program AE
  • Shutter priority
  • Aperture priority
  • Manual
Scene modes
  • Bird Watching
  • Close-up
  • Food
  • HDR
  • Landscape
  • Multiple Exposure Lighten
  • Night Landscape
  • Night Portrait
  • Portrait
  • Selective Color
  • Sports
Built-in flash Yes
Flash range 10.00 m (at ISO 100)
External flash Yes (via hot shoe)
Continuous drive 60.0 fps
Self-timer Yes (2 or 10 secs)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1 EV steps)
Videography features
Resolutions 3840 x 2160 (30p, 25p), 1920 x 1080 (60p, 50p, 30p, 25p), 1280 x 720 (60p, 50p, 30p, 25p)
Format MPEG-4, H.264
Videography notes Slow motion: 1080/120p, 720/240p, 800 x 296 (400p), 400 x 144 (1200p)
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes Wi-Fi with NFC and constant connection via Bluetooth
Remote control Yes (via smartphone)
Physical
Battery Battery Pack
Battery description EN-EL20A lithium-ion battery & charger
Battery Life (CIPA) 290
Weight (inc. batteries) 780 g (1.72 lb / 27.51 oz)
Dimensions 123 x 90 x 139 mm (4.84 x 3.54 x 5.47)
Other features
Orientation sensor Yes
Timelapse recording Yes (video)
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Oppo announces first sensor-based IS for smartphones

26 Feb

Chinese smartphone manufacturer Oppo has a history of launching smartphone models with novel camera features and concepts, and has just launched the first sensor-based image stabilization system for smartphones at MWC. Oppo calls it the smallest image stabilizer of its kind, and claims it’s able to correct for shake with greater precision than current optical stabilization systems. Read more

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2016: Hands-on with new Panasonic lenses and ZS100

26 Feb

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

At this year’s CP+ show in Yokohama, Japan, Panasonic unveiled the Lumix G Vario 12-60mm F3.5-5.6 ASPH Power O.I.S. lens. Featuring a splash and dustproof design, the 24-120mm equivalent zoom is designed to be a lightweight, versatile companion to Panasonic’s Micro Four Thirds cameras. 

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

The new 12-60mm is smaller and much lighter than we expected from the specification. Although it is weather-sealed and boasts 11 elements in 9 groups, it weighs a mere 210 g (0.46 lb).

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

The lens is constructed from polycarbonate, but the mount is metal. It’s hard to see in this image but there’s a rubber gasket around the lens throat which prevents dust and moisture from getting into the camera. 

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

This is an O.I.S lens, which means that it is optically stabilized. In combination with the in-body stabilization of the Lumix DMC-GX8 this means that it supports Panasonic’s Dual IS feature, which we’ve found offers very good performance across a wide range of focal lengths, but especially at long telephoto settings, where in-body stabilization alone can sometimes struggle.  

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

The Lumix G Vario 12-60mm F3.5-5.6 ASPH will be available in May for $ 499.99.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

Announced before the show, CP+ was the first chance that most Panasonic users have had to play with the new Leica DG Vario-Elmar 100-400mm F4-6.3 telezoom. We got the chance to shoot with one recently and it certainly impressed us.

Covering a focal length range equivalent to 200-800mm when attached to a Micro Four Thirds body this powerful zoom appropriately features ‘Power’ optical image stabilization to keep things steady. It has has one aspherical, one UED, and two ‘regular’ ED elements, as well as a nine-bladed circular aperture. The minimum focus distance is 1.3m, with a magnification of 0.25x.  

The Leica DG Vario-Elmar 100-400 F4-6.3 will be available in early April at a price of $ 1799.99.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

Also annouced before the show, here’s the new Panasonic Lumix DMC-ZS100 (known as the TZ100 in most regions outside of North America). It’s a compact travel zoom of the kind that Panasonic has historically been particularly good at, but unusually it features a 20 megapixel, 1″-type sensor. 

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

That 20MP sensor is paired with a 25-250mm equivalent F2.8-5.9 Leica DC lens which incorporates the company’s snappy Depth from Defocus autofocus technology. It offers a 3″ touchscreen LCD as well as a 1.04M-dot electronic viewfinder, Raw support, 10 fps continuous shooting (5 fps with AF) and Wi-Fi. 

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

On the video side of things the ZS-100 can record 4K/UHD video at 30p and 24p as well as 1080/60p clips. Panasonic’s unique 4K photo mode lets you grab high quality 8MP stills from 4K video.

CP+ 2016: Hands-on with new Panasonic lenses and ZS-100

A built-in EVF, 25-250mm equivalent lens and plenty of manual controls make the ZS-100 a very attractive camera for traveling, in theory. We’re expecting a reviewable camera very soon and we’ll be posting sample images as fast as we can. 

Articles: Digital Photography Review (dpreview.com)

 
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How to Capture Beauty in Ugly and Mundane Subjects

26 Feb

A huge part of your job as a photographer is to make people pause, and linger over a photograph. Sometimes it could be a stunningly lit portrait, or maybe an epic landscape. But, if you’re like me, more than likely you don’t live in an area that will provide you with daily majestic shots, and you likely don’t have a full studio set up. So, you need to find inspiration around you, in the day-to-day grind, which is not always obvious.

Roots

Albrect Dürer, the masterful Reformation period painter and engraver said, “Nature holds the beautiful, for the artist who has the insight to extract it. Thus, beauty lies even in humble, perhaps ugly things, and the ideal, which bypasses or improves on nature, may not be truly beautiful in the end.” His studies, such as The Great Piece of Turf, are great examples of this concept.

Even if you live in a concrete jungle, or the strip-mall suburbs, there is some sort of nature around you. And in nature lies the capability and potential for endless creativity. Nature may be trees, flowers and plants to you, but it’s also in the weeds, the decay, or in the ugly, neglected bits along the side of the road.

Snail

The other part to this truth of beauty in ugly is this – we are drawn to imperfection and fascinated by it, it’s human nature. Think about it – the last photo that captured your attention, was it a Photoshopped model with flawless skin in a magazine ad, or was it a side-lit portrait of an older man with a grizzled beard, and experience etched into his face? The more interesting things in life are usually the imperfect ones. We connect more to reality, not ideal perfection. So this search for interesting, compelling images in ugly, may turn you towards the neglected and forlorn places, where decay and rust run rampant.

Seed pod

In your search for beauty in ugliness, try to switch your mindset and look past the obvious subject matter.

A great way to start is to take a walk around where you live, or where you work. All the photos in this post were taken either on a 5-minute walk around the neighborhood, or a 15-minute walk around the campus where I teach. The goal is to stretch your mind on what could be an interesting photo. You could easily do this with your smartphone, as a way to actively work on photography at any time.

If you’re having difficulty getting started, think about these tactics:

Look down and look closely

Much of the decay and imperfection is at your feet, or at the edges of things. Peeling paint, rusting hinges, grass and leaves – all can make compelling images, equal or even more so than the roses or pretty blooms. You need to slow down, and look at the things you normally pass by quickly.

Grass

Shoot tight

Are you fortunate enough to have a macro lens? Use it. No such luck? Experiment with your lenses and find the minimal focal distance that works for you. Even without macro or close focus, think about shooting a quality image (ISO, resolution, etc.) that you can crop in on later. And if you’re doing this as a creative exercise, remember that your smartphone has an incredible macro on it–it’ll focus inches away from your subject. Ugly often works best as a subject in small details rather than big, wide shots.

Seeds

Go for contrast

You’re not just looking for tonal contrast, but any contrast is a magical photo trick. Contrasting textures? Check. Contrasting colors? Check.

Peeling paint

Texture, texture, texture. It’s really your best friend in the search for interesting shots in not-so-pretty settings.

Think deeper

Don’t underestimate the power of symbolism. You intuitively know that there are inherent themes of loneliness, isolation, or neglect in a powerful stark image of something ugly. There is a huge fascination in current society with photographing abandoned spaces, and areas that have been forgotten. These images resonate within people. Alternately, there is a hope that occurs when you see a small bloom emerging from a pile of rubble. Remember the power of a simple visual.

Sprouted pod

Remember the ultimate subject in photography – light.

Ordinary objects can be transformed through your use of light. When you find an object to shoot, circle around it and look to see if you have shafts of light streaming in, or if there’s misty diffused light to add a mood. Just remember that if you’re shooting at noon with a harsh direct sun, it’s a good time to head for the shaded areas.

Condensation

In the end, you’ll find that by concentrating on finding interesting images in the weeds and gutters, it will actually help you in your other photography projects as well. By only documenting the ideal, perfect moments in life, you miss out on the whole story. Next time you’re shooting a wedding, or a child’s birthday party, you’ll be better prepared to capture the unplanned, imperfect moments. Those shots will be the ones that get talked about, and laughed over, for years to come.

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7 Common Mistakes That Newbie Street Photographers Make

26 Feb

Over the last few years I have worked with enough budding new street photography enthusiasts, to notice a common thread of early mistakes that many of them make. A lot of these are very simple tendencies and changes, that can make a vast difference to the final output. It’s for this reason that I try to teach these 7 tips from the very start. Follow along so you can avoid the seven common mistakes that newbie street photographers make:

Grand Central, NYC Street Photography

Grand Central, NYC.

1. Thinking too much while shooting

If you are reading this article, you are on the right back. You should read about photography to teach yourself, and study the work of great photographers. However, when you are out there, in the process of shooting, try to not over-think things too much. There are so many tips and tricks, and you may worry a lot about capturing bad images, but that can all get in the way sometimes.

Instead of worrying about the results, get lost in the process. You can assess your results during the editing phase. When you are out there shooting, have fun. Explore, take your time, relax, and just watch everything go by. This is a type of photography that you really have to enjoy to do well, and the best part about it is that you can go out and do it nearly anywhere and at any time. You can do it in 10 minute spurts, or during your lunch hour. You can even do it with your iPhone if you don’t have your camera. The more fun you have with the process of being out there, getting lost, and exploring, the more dedicated you will become, and the better street photographer you will become.

2. Traveling too heavy

There are many great videos of the old masters shooting street photography. You know what is the one common thread between many of them? It’s that they had manageable sized cameras, that they could easily take anywhere, and they more often than not they used small prime lenses. You can certainly shoot street with an SLR, and do it very well. There are top photographers that do just that, but at the same time are you really going to want to carry that tank of a camera around on a daily basis? That’s the big advantage of a smaller camera, and the technology is catching up quickly with the large bodies. A small Fuji camera, or a Ricoh, will do wonders, and you can even get an older used version for much cheaper than the new ones. There are many iPhone street shooters as well.

Astor Place, NYC Street Photography

Astor Place, NYC.

Likewise, you do not need a big bag of lenses and filters. If you haven’t tried it, I can’t stress enough, how freeing going out for a day with a single small camera body, and a single prime lens, can make you feel. Leave the rest behind. Yes, you will miss out on that 200mm zoomed shot of the water tower, but you will come back in the long run, with so many more good photos, and you will have a lot of fun doing it.

3. Trying to get somewhere too quickly

We’re all in a rush these days, running from place to place. Luckily, that is one of the worst ways to do street photography. To do street photography well, you need to slow down, and take your time. You can’t always be in a rush. Look around, and wait for things to happen. Wait with your camera, and let the subjects come to you. The slower you go, the more aware you will be of your surroundings, and the more able you will be to capture those extraordinary fleeting moments. Use photography as a way to break out of the rushed lifestyle, and to get lost and slow down for awhile.

4. Not standing in the middle of the action

Broadway, SoHo, New York Street Photography

Broadway, SoHo, NYC.

It is so easy to get intimidated when you are first learning. Many people start by photographing from a distance, and they never really push themselves to get right in the middle of what’s happening. Carry your camera proudly, put a smile on your face, and get involved in the action. Get in the middle of the street.

You might notice that if you are standing too far away and shooting, then people will actually think you are up to no good. But, if you are directly in the middle of the action, people will walk right by thinking that you are doing nothing wrong. Sometimes you’ll even blend in more being in the middle. How could you possibly be doing something wrong if you are right there in the middle? Nobody that obvious would be doing anything bad, but that photographer creeping around over there in the corner, just has to be a stalker. Stop and wait right in the middle of an area where things are happening, and just let everything happen around you. Engulf yourself in the experience.

5. Not putting the camera to your eye enough

I hip shoot a decent portion of the time, particularly when things are happening incredibly fast, but I also try to look through the viewfinder as often as possible. A lot of new photographers only hip shoot, and it quickly becomes a crutch. After a while, they become even more afraid to put the camera to their eye, than when they started. Force yourself to get comfortable shooting through the viewfinder. Just stand in a busy place, with the camera to your eye for a while, until you feel comfortable. After that you can add in the hip shooting. There will be situations where a hip shot is beneficial, but you will get better shots, and better framing, when you look through the viewfinder. Take pride in seeing it all coming together, and capturing that split second moment where it does.

Fire Hydrant, SoHo, NYC

SoHo, NYC.

A tip that helps with this, is to not take the camera away from your eye right after you take a shot of someone. It’s a natural habit to remove the camera from your eye briefly when you take an image. Instead, get in position, and wait for a person to be in the right spot, Then, take the image, but continue to keep the camera to your eye as they walk through the scene and past you, as if they got in your way and you are trying to photograph what is behind them. This trick works incredibly well in areas with quite a few people walking around.

6. Rapid firing with the camera

Turn the machine gun setting on the camera off. A lot of people think that if they take 10 photos of the same scene, they will be guaranteed to get a good one. Where’s the art in that? I actually find that holding down the shutter button, and taking a stream of shots, is a way to guarantee that you will screw up the shot. You need to be able to visualize what you are getting. See the moment as it happens, then capture the elements as they all fall into place. That only takes one shot. Then, as a scene further develops, you can take more, but see the moment and grab it. If you miss it, and you will miss some, there’s always next time. Let go of the fear of missing a shot.

In addition, with rapid fire you will end up taking 10 times the number the photos, over the course of the day. How are you going to find the perfect moment in all of that? Nobody has the time, or the hard drive space. With less, and more purposeful photographs, comes a much more enjoyable editing session.

7. Under and over-editing

East Village, New York Street Photography

East Village, NYC.

A lot of new street photographers will both under, and over-edit their photos. What I mean is that they will show too many photos, and they will over-process them. Be ruthless with narrowing your photos down to the best ones. You want people to actually give your work attention, and if you show too many photographs at one time, they will tune out. By showing too many photos you are relying on the viewer to do the editing in their heads about what they like. That’s not fair to them, do that work yourself. Spend that extra time organizing. Use a starring system to give your photographs ratings and make sure that there are not too many five star images. Spend the time after each shoot to narrow it down to just the cream of the crop. If you don’t do this consistently, you will allow your archive to pile up into an unorganized mess.

When you do the actual editing to your photos, keep a light touch. You can, and should fix the exposure, blacks and whites, vignettes, color temperature or black and white tones, contrast, and all that other good stuff. However, a lot of new street photographers go way too far. Part of the extraordinary nature of street photography is that it was actually captured in the real world. It was not made up. If your photos are too edited, and lose that real feeling to them, it kills the thing that makes them special.

Are you guilty of any of these mistakes? How have you overcome them? Do you have any others you’d like to share? Please do so in the comments below.

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CP+ 2016: Hands-on with Tamron’s new SP prime lenses

26 Feb

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Tamron is showing off two brand new lenses at CP+ this year – the SP 85mm F1.8 Di VC USD (shown here) and SP 90mm F2.8 Di VC USD 1:1 Macro. The ‘SP’ in the model names stands for ‘Super Performance’ – a designation that Tamron reserves for its high-end optics. We headed to the Tamron booth today and got our hands on the new lenses, and Tamron’s upcoming TAP-in Console.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

First up is the SP 85mm F1.8 Di VC USD, which slots right alongside the previously-announced 35mm and 45mm F1.8 primes that Tamron released last year. Like those lenses it is relatively compact, but feels extremely solid and has a nice weight to it, balancing well on a Canon EOS 5D Mark III (provided by Tamron to get a feel for the how the lens handles). 

It’s worth noting the Nikon version of this lens uses an electromagnetic aperture control, rather than the traditional aperture lever.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

The 85mm features LD (low dispersion) and XLD (extra low dispersion) elements to reduce flare and ghosting and a fluorine coating on the front element to keep moisture and fingerprints at bay. Nine aperture blades ensure circular out-of-focus highlights. MTF (theoretical) curves suggest outstanding resolution and contrast. The VC system offers up to 3.5 stops of shake reduction (tested to CIPA standards) and its ring-type ultrasonic motor provides fast and near-silent autofocus when we tested this pre-production sample.

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

It’s hard to see in this photo, but the lens mount of the new 85mm and 90mm SP primes is protected by a rubber gasket, to protect against dust and moisture incursion into the lens throat. Expected to be available in April in Canon and Nikon mount versions, a Sony A-mount version will follow later. Pricing is still TBC. 

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Next up is the SP 90mm F2.8 Di VC USD 1:1 Macro, which offers true macro 1:1 reproduction at a focusing distance of 13.9cm/5.5in. A 9-blade aperture ensures circular out-of-focus highlights. Tamron has been making a 90mm macro lens of some or other kind for a very very long time, and all of them have been extremely well-regarded. Our first impressions of the new 90mm are that in terms of handling, this might be the best yet. 

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Like the other recently-announced SP primes, build quality is very high, and just in terms of aesthetics, the new 90mm looks great. It seems that Tamron has been looking over its shoulder at Sigma’s ‘Art’ range and this is no bad thing. Like those lenses, all of Tamron’s new SP primes look more expensive than they are. The 90mm macro will be available next month for a very reasonable $ 649.

Again, we’ve only handled a pre-production sample but just from first impressions we’re excited to get it into our studio as soon as possible. 

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Tamron’s new ‘TAP-in Console’ is also distinctly Sigma-esque. (An early engineering sample is shown here). Available for Nikon and Canon-mount versions of the SP 85mm F1.8, SP 90mm F2.8 Macro, SP 45mm F1.8, SP 35mm F1.8 lenses (the older 35mm and 45mm primes will need updating at a Tamron service center) the TAP-in Console will allow users to calibrate their lenses for precise AF, at either end of a zoom and at three different subject distance ranges (near, mid, far), as well as adjust VC performance parameters. 

CP+ 2016: Hands-on with Tamron’s new SP prime lenses

Projected to be available next month, Tamron has not yet announced pricing information for the TAP-in console but after seeing coming to appreciate the value of Sigma’s dock, we’re very pleased to see this kind of solution being introduced by another manufacturer. Canon and Nikon take note…

Articles: Digital Photography Review (dpreview.com)

 
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Video: Hands-on with the Nikon DL trio at CP+ 2016 in Japan

26 Feb

It’s all well and good to imagine what Nikon’s trio of 1″-type sensor compacts might be like based on spec, but there’s nothing like getting them in your hands. See what the buzz is all about – straight from the show floor of CP+ in Yokohama, Japan.

Articles: Digital Photography Review (dpreview.com)

 
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Tether Tools’ Case Relay provides continuous power for many DSLR and mirrorless cameras

26 Feb

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The Case Relay Camera Power System from Tether Tools offers ‘infinite camera power’ for most DSLR and mirrorless cameras from Canon, Nikon, Sony and Panasonic. The system works via a DC coupler that plugs into both the camera’s battery port and the Case Relay. The Relay plugs into either a 5V USB external battery or a wall outlet.

Tether Tools says Case Relay, which includes a secondary 1200mAh battery, is a solution for time-lapse photography and other tasks that require uninterrupted, long-lasting power. External battery packs can be swapped without interrupting power, as the Relay’s battery will continue to power the camera while the external source is unplugged. 

The Relay Camera Coupler is available from $ 29.99 to $ 34.99, depending on camera, and the Case Relay is available now for $ 99.99. Tether Tools also offers an external 5V USB battery for $ 49.99 USD. Many Nikon and Canon DSLRs are compatible, as well as mirrorless models from Fujifilm, Sony, Olympus and Panasonic. For a full list of compatible cameras check tethertools.com/relay.

Via: PetaPixel

Articles: Digital Photography Review (dpreview.com)

 
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Using Bullet Holes in Beirut’s Brutalist ‘Egg’ as Camera Obscuras

26 Feb

[ By WebUrbanist in Art & Installation & Sound. ]

beirut eggs

An abandoned concrete building in the heart of Beirut, Lebanon (known as The Egg) has been everything from a movie theater to a bomb shelter to a water tank, but this intervention would fill the gaps in its bullet-ridden shell with a series of lenses, reflecting images of the city into its cavernous void.

egg camera obscura

egg exterior view

After a series of unsuccessful attempts to repurpose or restore the structure, photographer Anthony Saroufim came up with this idea to give it a powerful temporary purpose, in part to tell the harrowing history of this war-torn city.

egg lenses views

egg urban view

egg interior images

Scaffolding on the exterior would allow visitors to approach, walk up and around the egg, with circulation routes designed around gaps in the facade as well as civic features and landmarks to be reflected from outside.

beirut city center plan

The Egg was commissioned 1965 and designed by the Lebanese architect Joseph Philippe Karam, but was intended to be part of a larger downtown tower complex: the Beirut City Center. It was to be surrounded with a mixed-use program malls and office spaces, a small piece of a large puzzle. Indeed, now known variously as The Egg or The Dome, the structure was never officially given a proper name independent of the larger development.

abandoned egg

egg interior theater

When civil war broke out a decade later, the plans were put on hold and many of the structures in the complex outside The Egg were destroyed in the conflict, partially or entirely. In the decades that followed, the structure was reused in a variety of ways, but always remained a large and monolithic work, much grander in scale relative to its surroundings than it was ever meant to be.

egg obscura bullet holes

egg conversion project

The camera obscura project proposed by Saroufim would involve inserting custom lenses all around the structure in the voids left from wartime impacts. In turn, these would project city scenes from surrounding architecture into the giant empty interior volume.

egg project proposal

Local residents are conflicted about the role The Egg should play in the next phase of the areas urban development, debating the merits of destroying or restoring it, leaving it to loom large or letting taller structures grow up around it as was the original plan. For now, this project would give the Brutalist building some meaning in relationship to its historical context, bridging its storied past, unused present and uncertain future.

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[ By WebUrbanist in Art & Installation & Sound. ]

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All those moving elements: LensRentals looks inside the Leica SL 24-90mm F2.8-4

25 Feb

LensRentals Leica SL 24-90mm F2.8-4 teardown

The Leica SL 24-90mm F2.8-4 may not break any new technical ground, but when the SL’s ‘kit’ lens made its way to LensRentals headquarters, the team endeavored to take a careful look inside. With the solidly constructed lens partially disassembled, they got a closer look at its impressive number of moving elements. Take a look at some of the highlights here, and for a full look inside the 24-90mm head over to LensRentals.

Weather-sealing

Sliding the rear of the lens off took a little muscle according to LensRentals’ Roger Cicala, ‘as it’s very tightly sealed by the thick, greenish weather gasket underneath.’ Leica promises this keeps the lens protected from dust, moisture and splashes.

The inner barrel assembly

With the zoom key and six screws in the internal chassis removed, the outer assembly of the lens barrel can be removed, and Cicala finds that ‘the zoom and focus rings are one modular assembly connected to the main chassis.’

Not all focusing mechanisms are created equally

With the inner barrel exposed, part of the 24-90mm’s focus-by-wire linkage can be seen. Says Cicala: ‘I won’t argue with those who prefer a mechanical focusing linkage, and I agree that some electric focusing mechanisms feel sloppy and inaccurate. But I’ll add that they aren’t all made equally, and the Leica focus feels quite good and seems very accurate.’

A ‘complex dance’ of moving elements

With the casing and front barrel removed, the lens’ helicoid grooves are visible. These allow the moving elements to travel on their separate paths. ‘This is a really nice example of the mathematical formulas involved when you move elements. Notice none of those grooves are parallel; as you zoom the lens the various elements move in a rather complex dance.’

Focusing assembly up close

Although they’d sworn not to do a full teardown, Roger and company wanted a better look at the focusing group so out it came. And that’s where things got interesting. 

‘You can see the stepper motor (green line) of course. The actual focusing element is what Aaron is holding the group by. The larger group in the center is where the entire assembly is attached to the helicoid. One of the first things we notice (red arrows) is this group has 3 pairs of adjustable eccentric collars. These were thoroughly glued in place so we left them alone, but it seems each pair has one collar for tilt and another for centering of this group. None of the other moving groups had eccentric adjustment collars visible.’

A peek at IS

The teardown stops at this point, but not before a glance up the barrel toward the image stabilization unit. While those screws tempt Cicala and crew, memories of finicky IS systems kept them from going any further.

Articles: Digital Photography Review (dpreview.com)

 
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