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Archive for January, 2017

Public Wattway: France Activates World’s First Solar-Paneled Roadway

18 Jan

[ By WebUrbanist in Architecture & Cities & Urbanism. ]

solar-roadway

Developed by Wattway and deployed on the streets of Tourouvre-au-Perche, a 1,000-meter-long solar-paneled roadway in France is the first stretch of a 1,000-kilometer endeavor.

The technology along this initial pathway is designed to generate enough energy to light up the streets of a 3,400-person town, and it is just the first step in a five-year plan.

wattway-paths

France ultimately aims to pave 1,000 kilometers of solar roads over the next half-decade, supplying renewable energy to 5 million people (close to 10% of the population).

The flat and smooth surfaces of existing streets are perfect places to serve a double function and harvest clean energy as long as the issue of durability is taken into account.

The solar brick-like sheets are covered in multiple layers of silicon resign designed to allow light to pass through while protecting the panels from damage. The panels are engineered to withstand the weight of six-axle trucks and to stick directly onto existing road surfaces.

wattway-panels

The goal for this first phase is to produce 280 megwatt hours of power per year and to test the durability of the tech under real-world experimental conditions. Under controlled conditions, the panels survive a “cycle of one million vehicles, or 20 years of normal traffic a road, and the surface does not move.”

solar-path

“We are still on an experimental phase,” says the company. “Building a trial site of this scale is a real opportunity for our innovation. This trial site has enabled us to improve our photovoltaic panel installing process as well as their manufacturing, in order to keep on optimizing our innovation.”

[ By WebUrbanist in Architecture & Cities & Urbanism. ]

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Flashing a peace sign in a photo could lead to identity theft

18 Jan

The National Institute of Informatics (NII) in Japan claims that taking and publishing photos of subjects who are flashing the popular two-fingered ‘V’ or peace sign could lead to identify theft. It warns that fingerprint recognition technology is now so advanced that even casual snapshots can be used to retrieve fingerprint information. The report also says the technology is widely available and easy to use.

According to the NII, the danger lies in a combination of widely available smartphones with high-resolution cameras and the rising popularity of posting images on social websites. In an experiment the researchers were able to copy fingerprints from photos that were captured 3 meters (9 feet) away from the subject. That said, the fingers in question have to be in focus and the scene has to be well illuminated as presumably noise reduction at higher ISOs would destroy the fine low-contrast fingerprint lines. We would also assume that the experiment only works with high-resolution out-of-camera images. Many social media websites reduce the size and increase compression of posted images which should, with current technology, make it pretty much impossible to extract any fingerprint information.

However, if you frequently flash a peace sign in photos and are worried about the possibility of identity theft, the NII also has a solution to the problem: it has developed a transparent film that can be attached to your fingers. It contains titanium oxide and makes it impossible to scan your fingerprints from a photo but doesn’t interfere with identity verification. Unfortunately, the technology won’t be ready for another two years. For now, think twice about showing your fingertips in a photograph.

(Photo: ‘Comic Fiesta 2014’ by Vernon Chan / Wikimedia Commons. Used under CC license)

Articles: Digital Photography Review (dpreview.com)

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Capture One Pro 10.0.1 released with new lens support and bug fixes

18 Jan

Phase One has released an update for its Capture One Pro software, bringing it up to version 10.0.1. The update implements numerous bug fixes for both Windows and macOS, as well as support for eleven new lenses, including eight Sony lenses, two aerial Schneider Kreuznach lenses, and the aerial Rodenstock RS 32mm The bug fixes are extensive and unique to each platform’s needs. The Windows update includes fixes for a couple crashing issues, a fix for the Tangent Knobs brush size issue, and more. The macOS update, meanwhile, fixes crash report issues, problems related to presets, and CMYK readouts troubles, among other things. The full list of bug fixes is below.

Bug fixes, aside, Phase One has added support for the following lenses:

Schneider Kreuznach RS 110mm (Aerial)
Schneider Kreuznach RS 150mm (Aerial)
Rodenstock RS 32mm (Aerial)
Sony FE 50mm F2.8 Macro Lens profile
Sony 28–75mm F2.8 SAM Lens profile
Sony 135mm F2.8 [T4.5] STF Lens profile
Sony Ultra Wide Converter Lens profile
Sony Fisheye Converter Lens profile
Sony 300mm F2.8 G SSM II Lens profile
Sony 70–300mm F4.5–5.6 G SSM II Lens profile
Sony FE 24-240mm F3.5-6.3 OSS Lens profile

10.0.1 Windows Bug Fixes

Changing brush size with Tangent Knobs does not work
Large TIFF crashes
Crash when .NET installation is older than 4.6.2
The readouts won’t show when the window is small
Cannot Click Between Thumbnails when Loupe Is Selected
Express and DB version can not check for software updates
Deactivating DB version thinks it is Express For Sony
Localization Issue: German. There is no Capture One 10 Engine, There are two Capture
One 9 Engines.
“Show Mask Always” doesn’t show adjustments when changing exposure
Delete file from session does not refocus browser window on next selection
Brush tool does not display right physical size in brush settings
Multiple Card readers not displayed in CO import window
Lens EF-S 18-55mm f/3.5-5.6 IS is not recognized automatically

10.0.1 Mac Bug Fixes

Lagging while quickly browsing through images by holding the arrow key down
The Mac crash reporter does not find a crash report when Capture One is force quit
Crash if no collection selected and we select next collection
The Mac crash reporter often fails to find the correct crash report for Capture One
Decreasing Target Highlight Value via keyboard shortcut does not work
Wrong naming for custom ICC profiles that are not in library in catalogs
Crash when entering “/” in the Format field in the Next Capture Naming tool
Cannot apply preset/style with custom ICC if the ICC is not in the library
The “Applied Styles and Presets” section is missing in the “Styles and Presets” tool
Changing library in full screen mode causes CO to crash
Crash when closing the Import Window while it is populating with images
Crash when moving smart albums in a catalog
Magenta color cast before style applying
Loupe will not work on thumbnails
Iris GPU on new MBP causing artifact in fit-view
Crash when exporting variants with Open CL enabled on MBP2015
Crash when selecting an image in the browser on Mac Pro with non-OEM Nvidia card
CMYK readouts give wildly different values in Capture One 10

Visit Phase One’s website to download Capture One Pro 10.

Articles: Digital Photography Review (dpreview.com)

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Charge your devices with a USB station shaped like a Sony mirrorless camera

18 Jan

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6412910342″,”galleryId”:”6412910342″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

If you’ve searched high and low for the perfect USB charging station but come up empty handed, Fotodiox might have your number. It’s offering the Mirage Trio USB Charging Station, which is fashioned to look like a Sony a7-series mirrorless camera for no discernible reason. It offers charging for an Apple or Android phone, a USB port for another device and a compartment for an Apple Watch magnetic charging cable.

Here’s the kicker – the replica lens sold with the station can be removed and swapped out for any E-mount lens of your choice. And as Fotodiox points out, you can simply add an adapter (see what they did there?) to attach a beloved vintage lens so you can gaze upon it as you wait for your GoPro to charge.

Head to Fotodiox’s site to pick one up for $ 75.

Articles: Digital Photography Review (dpreview.com)

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Fixed-lens filmmaking: Panasonic Lumix DMC-FZ2500/FZ2000 Review

17 Jan

Key Features

20MP 1″-type BSI-CMOS sensor
24-480mm equiv. F2.8-4.5 lens
Depth from Defocus AF
Large electronic viewfinder
Fully articulating LCD
Built-in variable ND filter
4K video capture (DCI/UHD)
10-bit, 4:2:2 output over HDMI

At Photokina 2016, Panasonic released its high-end 1″-type superzoom, known as the DMC-FZ2500 (FZ2000 in some regions). It retains the same sensor as the excellent FZ1000 that came before it, while gaining a totally new lens, larger EVF, easy-to-adjust ND filter and even more customizable buttons.

While offering several new stills-related features (such as focus stacking), the FZ2500 is really all about video. It shoots both Cinema and UHD 4K, can output 4:2:2 10-bit video over its HDMI port, supports V-Log L recording (for an extra $ 99) and much, much more. In essence, the FZ2500 is the little brother to the DMC-GH4 ILC, which is one of the most capable video capture cameras on the market.

At this point in time, the only other fixed-lens cameras that truly competes with the FZ2500 is the Sony Cyber-shot RX10 III. The Sony has many features in common with the FZ2500, such as 4K capture, zebra pattern and a flat picture profile (S-Log2), but boasts a longer, faster lens and high speed recording at up to 960 fps.

Compared to Panasonic DMC-FZ1000 and Sony DSC-RX10 III

Speaking of specs, let’s take a look at how the FZ2500 compares to its predecessor as well as Sony’s Cyber-shot DSC-RX10 III, which we consider its closest competitor.

	Panasonic FZ2500	Panasonic FZ1000	Sony RX10 III
MSRP	$ 1199	$ 799	$ 1599
Sensor	20MP 1″ BSI-CMOS	20MP 1″ BSI-CMOS	20MP 1″ Stacked CMOS
Lens focal range	24-480mm equiv.	25-400mm equiv.	24-600mm equiv.
Lens max aperture	F2.8-4.5	F2.8-4.0	F2.4-4.0
ND filter	Variable	No	No
ISO range (expanded)	80-25600	80-25600	64-25600
Top shutter speed (mech/elec)	1/4000 sec, 1/16000 sec	1/4000 sec, 1/16000 sec	1/2000 sec, 1/32000 sec
LCD size/type	3″ 1.04M-dot fully articulating	3″ 921k-dot fully articulating	3″ 1.3M-dot tilting
LCD touchscreen	Yes	Yes	No
EVF resolution/type	2.36M-dot OLED	2.36M-dot OLED	2.36M-dot OLED
EVF magnification	0.74x	0.7x	0.7x
Top burst speed (S-AF)	12 fps	12 fps	14 fps
4K video capture	Cine/UHD 4K @ 30p/24p	UHD 4K @ 30p/24p	UHD 4K @ 30p/24p
High speed video	120 fps @ 1920 x 1080	120 fps @ 1920 x 1080	960 fps @ 800 x 270 480 fps @ 1136 x 384 240 fps @ 1824 x 1026 120 fps @ 1920 x 1080
Top bitrates	4K: 100MBps Full HD: 200Mbps	4K: 100Mbps Full HD: 28Mbps	4K: 100Mbps Full HD: 50Mbps
Flat profile	V-Log L ($ 99 extra)	No	S-Log2
Live HDMI output	4:2:2, 10-bit	4:2:2, 8-bit	4:2:2, 8-bit
Mic/phone jacks	Yes / Yes	Yes / No	Yes / Yes
Wi-Fi	Yes, without NFC	Yes, with NFC	Yes, with NFC
Battery life (CIPA)	350 shots	360 shots	420 shots
Dimensions	138 x 102 x 135 mm	137 x 99 x 131 mm	133 x 94 x 127 mm
Weight (CIPA)	966 g	831 g	1095 g

In most respects, the FZ2500 comes out on top – and that’s without including the myriad of video features that just don’t fit in the table. The RX10 III does have a longer, faster lens and the ability to shoot at very fast frame rates, but it also costs a lot more. It’s battery life is also considerably better. That said, it costs $ 400 more than the FZ2500, which is nothing to sneeze at.

Lens Comparison

The chart below breaks down the equivalent aperture for each camera, as you work your way through the zoom range. Our article here explains the concept of equivalence, but at a high level all you need to know is that the lower the line is on the graph below, the blurrier the backgrounds you’ll be able to get and, typically, the better the overall low-light performance.

LensEquivalentApertures([“Equivalent focal length (mm)”,”Panasonic FZ1000″,”Sony RX10 II”,”Panasonic ZS100″,”Sony RX10 III”,”Panasonic FZ2500″], [[24,null,””,7.6363636363636367,”Sony RX10 II at 24mm: F7.6″,null,””,6.5454545454545459,”Sony RX10 III at 24mm: F6.5″,7.6363636363636367,”Panasonic FZ2500 at 24mm: F7.6″],[25,7.6363636363636367,”Panasonic FZ1000 at 25mm: F7.6″,null,””,7.6363636363636367,”Panasonic ZS100 at 25mm: F7.6″,6.8181818181818183,”Sony RX10 III at 25mm: F6.8″,7.9090909090909092,”Panasonic FZ2500 at 25mm: F7.9″],[26,7.9090909090909092,”Panasonic FZ1000 at 26mm: F7.9″,null,””,7.9090909090909092,”Panasonic ZS100 at 26mm: F7.9″,null,””,null,””],[27,null,””,null,””,8.1818181818181834,”Panasonic ZS100 at 27mm: F8.2″,null,””,null,””],[28,null,””,null,””,null,””,7.6363636363636367,”Sony RX10 III at 28mm: F7.6″,8.1818181818181834,”Panasonic FZ2500 at 28mm: F8.2″],[30,8.1818181818181834,”Panasonic FZ1000 at 30mm: F8.2″,null,””,8.7272727272727284,”Panasonic ZS100 at 30mm: F8.7″,null,””,8.454545454545455,”Panasonic FZ2500 at 30mm: F8.5″],[32,null,””,null,””,9.0,”Panasonic ZS100 at 32mm: F9.0″,null,””,8.7272727272727284,”Panasonic FZ2500 at 32mm: F8.7″],[34,8.454545454545455,”Panasonic FZ1000 at 34mm: F8.5″,null,””,9.2727272727272734,”Panasonic ZS100 at 34mm: F9.3″,null,””,null,””],[35,null,””,null,””,null,””,8.7272727272727284,”Sony RX10 III at 35mm: F8.7″,9.0,”Panasonic FZ2500 at 35mm: F9.0″],[36,null,””,null,””,9.5454545454545467,”Panasonic ZS100 at 36mm: F9.5″,null,””,null,””],[39,null,””,null,””,null,””,null,””,9.2727272727272734,”Panasonic FZ2500 at 39mm: F9.3″],[41,8.7272727272727284,”Panasonic FZ1000 at 41mm: F8.7″,null,””,null,””,null,””,null,””],[43,null,””,null,””,null,””,null,””,9.5454545454545467,”Panasonic FZ2500 at 43mm: F9.5″],[47,9.0,”Panasonic FZ1000 at 47mm: F9.0″,null,””,null,””,null,””,null,””],[49,null,””,null,””,null,””,null,””,9.81818181818182,”Panasonic FZ2500 at 49mm: F9.8″],[51,9.2727272727272734,”Panasonic FZ1000 at 51mm: F9.3″,null,””,null,””,null,””,null,””],[56,null,””,null,””,null,””,9.5454545454545467,”Sony RX10 III at 56mm: F9.5″,10.090909090909092,”Panasonic FZ2500 at 56mm: F10.1″],[58,9.5454545454545467,”Panasonic FZ1000 at 58mm: F9.5″,null,””,null,””,null,””,null,””],[63,9.81818181818182,”Panasonic FZ1000 at 63mm: F9.8″,null,””,null,””,null,””,null,””],[69,null,””,null,””,null,””,null,””,10.363636363636363,”Panasonic FZ2500 at 69mm: F10.4″],[70,10.090909090909092,”Panasonic FZ1000 at 70mm: F10.1″,null,””,null,””,null,””,10.636363636363637,”Panasonic FZ2500 at 70mm: F10.6″],[79,null,””,null,””,null,””,null,””,10.90909090909091,”Panasonic FZ2500 at 79mm: F10.9″],[84,10.363636363636363,”Panasonic FZ1000 at 84mm: F10.4″,null,””,null,””,null,””,null,””],[91,null,””,null,””,null,””,null,””,11.181818181818182,”Panasonic FZ2500 at 91mm: F11.2″],[100,null,””,null,””,null,””,10.90909090909091,”Sony RX10 III at 100mm: F10.9″,null,””],[102,null,””,null,””,null,””,null,””,11.454545454545457,”Panasonic FZ2500 at 102mm: F11.5″],[105,10.636363636363637,”Panasonic FZ1000 at 105mm: F10.6″,null,””,null,””,null,””,null,””],[144,null,””,null,””,15.818181818181818,”Panasonic ZS100 at 144mm: F15.8″,null,””,null,””],[151,null,””,null,””,null,””,null,””,11.727272727272728,”Panasonic FZ2500 at 151mm: F11.7″],[157,null,””,null,””,16.090909090909093,”Panasonic ZS100 at 157mm: F16.1″,null,””,null,””],[170,10.90909090909091,”Panasonic FZ1000 at 170mm: F10.9″,null,””,null,””,null,””,null,””],[200,null,””,7.6363636363636367,”Sony RX10 II at 200mm: F7.6″,null,””,null,””,null,””],[208,null,””,null,””,null,””,null,””,12.000000000000002,”Panasonic FZ2500 at 208mm: F12.0″],[250,null,””,null,””,16.090909090909093,”Panasonic ZS100 at 250mm: F16.1″,null,””,null,””],[262,null,””,null,””,null,””,null,””,12.272727272727273,”Panasonic FZ2500 at 262mm: F12.3″],[400,10.90909090909091,”Panasonic FZ1000 at 400mm: F10.9″,null,””,null,””,null,””,null,””],[480,null,””,null,””,null,””,null,””,12.272727272727273,”Panasonic FZ2500 at 480mm: F12.3″],[600,null,””,null,””,null,””,10.90909090909091,”Sony RX10 III at 600mm: F10.9″,null,””]])

Focusing just on the FZ2500 vs RX10 III, you’ll see that the latter gets a headstart, as its max aperture starts at F2.4, versus F2.8. The RX10 III is always a tiny bit ahead, until it levels off at F4 for the rest of its focal length. When the FZ2500 reaches its maximum telephoto position it’s equivalent aperture is about 1/3-stop slower than the Sony. The camera with the fastest equivalent aperture in the group is the Sony RX10 II, which has a constant F2.8 aperture throughout its focal range (which ends at 200mm.)

Articles: Digital Photography Review (dpreview.com)

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Got focal range? Canon 24-105mm F4L II Sample Gallery

17 Jan

We took the updated Canon 24-105mm F4L II out into the elements to put the lens to the test. With a wide focal range, this lens has the potential to be the ultimate walk-around workhorse for many photographers. With that said, the real question is does the update warrant an upgrade for current owners of the previous version? Check out our sample gallery to see for yourself.

See our Canon 24-105mm F4L II
sample gallery

Articles: Digital Photography Review (dpreview.com)

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Painting with Light on a Canvas of Night: Alien Blooms by Hannu Huhtamo

17 Jan

[ By SA Rogers in Art & Photography & Video. ]

light-painting-1

The strange glowing figures in these images are so complex, you might think they’re screenshots from a digital animation, or created in Photoshop – but there’s no computer-based trickery here. Just the same long exposure techniques light artists have been using for decades to create and capture ethereal compositions, albeit applied in an unusually creative manner.

light-painting-2

light-painting-3

light-painting-4

Hannu Huhtamo’s bizarre shapes glow against twilight landscapes and abandoned interiors, often looking somewhere between a plant and an alien insect. They sprout up in snowy fields, appear from inside giant teacups at theme parks or take shape in darkened living rooms.

light-painting-5

light-painting-6

light-painting-7

A musician by training and hobbyist photographer, the Finnish artist first experimented with lighting techniques when taking promotional photos for a death metal band and deciding he wanted a long-exposure pentagram made with the flame of a lighter. Years later, when he met light artist Janne Parviainen and got a look at his work, Huhtamo decided to revisit the technique from a new angle.

light-painting-8

light-painting-9

light-painting-10

All of his work is created ‘SOOC’ or straight out of the camera, and he uses no special light equipment other than El-Wire (electroluminescent wire) and modified LED flash lights. “Darkness is my canvas and the light is my brush,” he says in this behind-the-scenes video produced by Great Big Story.

[ By SA Rogers in Art & Photography & Video. ]

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Flying your drone into the Space Needle can land you in jail

17 Jan

A small crew setting up for a fireworks display on top of Seattle’s famed Space Needle received an unexpected visitor on New Year’s Eve: a drone. The vehicle came crashing onto the Needle’s top platform in the afternoon of Saturday, December 31st and luckily, nobody was hurt. The footage above shows the drone hovering around the tower for several minutes before making a beeline toward the platform.

There are no city statutes prohibiting drone use in Seattle. Since nobody was hurt and there was no property damage the drone operator would not be charged on either of those counts. However, the pilot may face a charge of reckless endangerment – a gross misdemeanor that carries up to a year prison sentence and/or a $ 5,000 fine in the state of Washington.

It seems that officials have tracked down the drone’s owner, and Geekwire may have found that person’s (now locked) Twitter account. A cached tweet appears to show the operator blaming DJI’s ‘return to home’ function for the crash.

Articles: Digital Photography Review (dpreview.com)

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MS Optics launches ultra-slim 17mm F4.5 pancake lens for Leica M

17 Jan

Japanese manufacturer of hand-made lenses, MS Optics, has launched a 17mm F4.5 lens for the Leica M system that is just 10.2mm thick. The Perar 17mm F4.5 Retro Focus Ultra Thin lens has an angle of view of 100° and weighs only 60g. The lens has been designed and made by Sadayasu Miyazaki who has made a reputation converting classic lenses for the Leica M system.

The lens uses four elements in four groups and focuses from 0.4m to infinity, while the minimum aperture is F16. A good deal of vignetting is said to be present when the lens is used wide open, but the designer says that when the focus is set to 1.40m everything from 0.8m to infinity will be sharp.

The lens is available in limited numbers from Japan Camera Hunter in Japan or from the European distributor Taos Photographic, priced ¥80,000/€950 (between $ 700 and $ 1000)

Product description

MS Optics Perar Ultra-Wide 17mm f4.5 Retrofocus

Miyazaki San is ready to release the next lens in his new series of lenses. This time entering the ultra-wide category with a tiny 17mm lens. This tiny lens packs a huge punch.

Lens details:
PERAR 17mm F4.5 Full MC – retro focus super wide ultra-thin design only 10.2mm long
This is a slow lens, but it tosses the standard practice for retro focus lens designs in the trash, as it is as small as a body cap, weighs only 70 grams, and is just 10.2mm long, making it easy to use outdoors. Performance is very high from maximum aperture. Due to the four element four group optical design and full multi-coating, the characteristics of this lens are excellent color rendition and high contrast. When the distance scale is set to 1.4m, everything from 0.8m to infinity is in focus. To take good snaps, hold the camera upright against your chest without looking through the viewfinder, approach the subject, and press the shutter while looking at the subject directly, and you can capture dynamic expressions.

A weakness of the lens is the peripheral light fall off, especially at maximum aperture, but this lens is improved compared to the 21mm and 24mm Perars. Distortion is kept to +/-2%, which is about the average for a 28mm lens, but it may stand out in some circumstances. Compared to the Zeiss Distagon 18mm F4, this is neither superior nor inferior, but taking into consideration the fact that the Zeiss lens is a 10 element optical design, 70mm in diameter, 51.5mm long, and weighs 350g, I think the good points of my lens are pretty clear. For a filter, the glass removed from a 34mm filter can be attached inside the hood.

Specifications

ULTRA MINI retro focus 17mm f4.5 (ultra-wide 100 degree coverage)
4 elements in 4 groups, all multi-coated
Leica mount with focus coupling from 0.85m to infinity
Focuses down to 0.3m on mirrorless cameras
Size: 50mm diameter x 10.2mm length
Weight: 60g for lens, 100g for set

@ f4.5 – there is some coma
@ f8 – lens is pretty much at peak performance
@ f11 – corners improve a bit more

Limited stocks are available of this lens and there is a waiting period as they come in trickles.

Articles: Digital Photography Review (dpreview.com)

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Udee universal backpack includes camera compartment, external USB charging and more

17 Jan

A versatile photography backpack called Udee is seeking funding on Kickstarter, offering a design that’s meant to cover many different circumstances and needs. The backpack boasts 19 features, including a dedicated ‘photography bag,’ an external USB charging port, an integrated LED safety light, integrated earphone port, and more. With 39 days to go, the campaign is looking to hit a $ 20,000 funding goal to bring the backpack to production.

Udee is designed for everything from travel to regular daily use, covering most of the bases anyone could need via a combination of security, convenience and comfort features. As far as comfort is concerned, Udee has a weight reduction design that includes an X-shaped back support element combined with an S-shaped belt, memory sponge material and air permeability.

This is complemented by an anti-theft security feature in the form of a coded lock which, when used with a steel cable, can lock the bag in place and keep thieves out. Convenience is also given a strong focus, and includes quick- access zones, a 3M reflective strip, an earphone port for listening to music through headphones connected to an item inside the bag, and an external USB port for charging a phone using a battery stored within the bag.

Udee’s design allows specific categories of items to be stored separately from others. A photography bag section has cushioned spaces for a camera and lenses, for example, while there’s also a pocket for a laptop, sleeves for notebooks or similar items, small pockets, a glass chamber for breakable items, and even a compartment that can be used as a portable cooler. Overall, the bag has a 25 liter capacity.

Meltpartners, the entity behind Udee, is seeking funding for the bag on Kickstarter, where there’s a stated $ 20,000 funding goal. Backers are offered an early bird Udee basic backpack in exchange for a minimum $ 99 pledge, though other more substantial pledge rewards are also listed.

Via: Kickstarter

Articles: Digital Photography Review (dpreview.com)

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360Photography

Archive for January, 2017

Public Wattway: France Activates World’s First Solar-Paneled Roadway

Flashing a peace sign in a photo could lead to identity theft

Capture One Pro 10.0.1 released with new lens support and bug fixes

Charge your devices with a USB station shaped like a Sony mirrorless camera

Fixed-lens filmmaking: Panasonic Lumix DMC-FZ2500/FZ2000 Review

Key Features

Compared to Panasonic DMC-FZ1000 and Sony DSC-RX10 III

Lens Comparison

Got focal range? Canon 24-105mm F4L II Sample Gallery

Painting with Light on a Canvas of Night: Alien Blooms by Hannu Huhtamo

Flying your drone into the Space Needle can land you in jail

MS Optics launches ultra-slim 17mm F4.5 pancake lens for Leica M

MS Optics Perar Ultra-Wide 17mm f4.5 Retrofocus

Udee universal backpack includes camera compartment, external USB charging and more

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