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Archive for January, 2018

Western Digital reveals world’s smallest 1TB USB-C flash drive at CES

10 Jan

At CES 2018, Western Digital has introduced what it calls the world’s smallest 1TB flash drive, a tiny USB-C model sporting the SanDisk brand. This flash drive isn’t yet available on the market; instead, it’s acting as a demonstration of Western Digital’s latest advances in storage innovation.

The SanDisk 1TB USB-C model has a “classic” long flash drive form factor—not the newer form factor that fits almost entirely within a USB port—but the company managed to squeeze a full terabyte of storage into this still-tiny size, though it hasn’t provided additional details such as speed, cost, or anticipated launch date.

In addition to showcasing the 1TB USB-C drive, Western Digital has launched the SanDisk Ultra Fit USB 3.1 Flash Drive, a model it calls the smallest 256GB USB drive in the world. This drive features a low-profile form factor and a read speed up to 130MB/s.

The flash drive is currently listed on the SanDisk website for $ 150 USD, but is still shown as not-in-stock.

Articles: Digital Photography Review (dpreview.com)

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YI’s Horizon VR180 captures stereoscopic 3D stills and videos at 5.7K

10 Jan

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YI Technology, in partnership with Google’s VR team, has announced its Horizon VR180 stereoscopic 3D camera. The VR180 takes advantage of Google’s format of the same name, which allows for viewing of 180° material on popular VR headsets, such as the Daydream, Cardboard and Playstation VR.

The VR180 can capture video and stills at 5.7K/30p with the push of its single record button, with instant stitching and live streaming capability. It has a 2.2″ LCD touchscreen, Type-C USB port, and 4 microphones with noise reduction. The VR180 can be accessed using Google’s VR180 app.

Pricing and availability have not been announced.

Press Release

YI Technology and Google Unveil YI Horizon VR180 Camera at CES 2018

Users and Viewers Can Easily Make and View More Immersive Videos Using 3D Camera for Google’s VR180 Format

CES, LAS VEGAS – January 9th, 2018 – YI Technology (YI), the leading provider of advanced, intelligent imaging technologies, in collaboration with Google’s Virtual Reality (VR) team, announced details of its YI Horizon VR180 Camera. Developed to leverage Google’s new VR180 format, the stereoscopic, 3-D camera gives users an easy way to capture high-resolution, immersive video that lets anyone who views it immediately transport to new and amazing places.

YI Horizon VR180 seamlessly integrates with YouTube and Google Photos so viewers can easily activate a VR experience when viewed with Google Cardboard, Daydream, PSVR, and a number of other certified VR viewers. Viewers can also easily view the content in 2D. With an intuitive and sleek design, the YI Horizon VR180 Camera captures 3D video in 5.7K resolution at 30 frames per second (fps) and video looks great on desktop or mobile. The camera also features instant in-device stitching and supports live streaming so creators and fans can be together in real time.

“We truly believe that it should be easy for everyone to create and share virtual reality experiences,” said Sean Da, CEO of YI Technology. “Whether it is to demonstrate a makeup tutorial or share rich experiences from a recent trip with friends and loved ones, the YI Horizon VR180 Camera provides an easy and deeply engaging way to capture many of life’s most special moments. When the opportunity to work closely with Google’s VR team on this initiative presented itself, it was a no-brainer given the team’s extraordinary commitment to defining the future of VR experiences and extensive investment in the YouTube VR180 format. We believe the YI Horizon VR180 Camera will bring endless amounts of joy to all that use the device.”

“We introduced VR180 as a way to make capturing high quality, immersive photos and video easy for consumers and professional creators” said Clay Bavor, VP of VR at Google. “YI’s camera has amazing image quality, as well as features that we think will be compelling for creators like livestreaming and a preview display. We’re excited to see what consumers and creators are able to capture and bring to virtual reality.”

Key YI Horizon VR180 Camera Features:
? Capture stunning 5.7k resolution photos and video
? One-button live video streaming
? 2.2 inch, 640×360 retina touch screen
? Features Type-C USB port with HD speed data transmission
? Professional-grade 4 microphone design with outdoor noise reduction
? Easily manage photos and videos by using the VR180 app by Google
? Compatible with YouTube and Google Photos

To learn more, please visit www.yitechnology.com/180-vr-camera, and to learn more about YI Technology’s other VR offerings go to yitechnology.com/yi-360-vr-camera and yitechnology.com/yi-halo-vr-camera. To learn more about Daydream’s VR180 program visit vr.google.com/vr180.

Articles: Digital Photography Review (dpreview.com)

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Enter to Win One of Three Lenses from Tamron!

10 Jan

Enter to win a Tamron 100-400mm Di VC USD (in winner’s choice of Canon or Nikon mount), a Tamron SP 35mm F/1.8 Di VC USD (choice of Canon, Nikon or Sony-A mount) or a Tamron SP 70-300mm Di VC USD (choice of Canon, Nikon or Sony-A mount)!

Over the last several years, here at dPS, we’ve run very some very popular competitions with our partners to give away some of their great photographic products to lucky dPS readers.

We are fortunate enough to be able to do it again this month. For this competition, Tamron is giving away THREE lenses.

Win one of three Tamron lenses

These three unique prizes are designed to help every level of photographer create BETTER pictures. Tamron is the world’s most awarded photographic lens line. Each prize will be won by a different dPS reader. Here’s what you could win:

Grand Prize

Our Grand Prize winner will receive a Tamron 100-400mm Di VC USD Ultra-Telephoto Zoom Lens.

100-400mm Di VC USD Ultra-Telephoto Zoom – Value $ 799. Winner’s choice of Canon, Nikon or Sony-A mount. No Substitutions.

Tamron 100-400mm Di VC USD

Second Prize

The second prize winner will receive a Tamron SP 35mm F/1.8 Di VC USD with Hi-Resolution across a wide range of focusing distances.

Tamron SP 35mm F/1.8 Di VC USD – Value $ 599. Winner’s choice of Canon, Nikon or Sony-A mount. No substitutions.

Tamron SP 35mm F/1.8 Di VC USD

Third Prize

The third prize winner will receive a Tamron SP 70-300mm Di VC USD with Hi-Resolution for fast focus.

Tamron SP 70-300mm Di VC USD – Value $ 449. Winner’s choice of Canon, Nikon or Sony-A mount. No substitutions.

Tamron SP 70-300mm Di VC USD

Learn a little more about Tamron here:

How to win:

To win this competition you’ll need to:

Visit the above lenses’ information pages and learn more about the lenses and their core use.
Leave a comment below and tell us why you’d like to win and HOW you would you utilize your chosen lens. Please note: there is a limit of ONE entry per person.
Deadline to enter is January 30th, 2018 11:59 p.m. PST (UTC-8). Comments left after the deadline will not be considered. Do this in the next 21 days, and on February 8th, 2018, the team at Tamron will choose the best three answers and we will announce the winners in the following days.

By “best” – we’re looking for you to show an understanding of the lenses and how they will best suit your needs. So, you’ll need to check out the product pages to put yourself in the best position to win. There’s no need to write essay length comments – but we’re looking to hear what you like about the lens and how it would help your development as a photographer.

This contest is open to everyone, no matter where you live – but there is only one entry per person. To enter – simply leave your comment below.

Photo by Zvardon Frantisek

About Tamron

Disclaimer: Tamron is a paid partner of dPS.

The post Enter to Win One of Three Lenses from Tamron! by Darlene Hildebrandt appeared first on Digital Photography School.

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Ricoh courts developers with plug-in program for the Theta V 360 camera

10 Jan

DPReview Ricoh Theta V hands-on photo. Credit: Jeff Keller.

Ricoh has just announced a so-called Partner Program for the 360° Ricoh Theta V. Taking advantage of the fact that the Theta V runs the Android operating system, Ricoh is setting up a program that will allow developers to create plug-ins specifically tailored to the camera.

The idea is actually kind of brilliant, as DPReview’s own Dale Baskin explains:

This is interesting because most consumer-grade 360° cameras really don’t do anything unique. What makes them useful is the software (which is why I really liked the Rylo). I think Ricoh is smart to open their platform up to developers as someone may come up with a really interesting feature that could potentially drive sales of the hardware.

What we’re not clear on is to what degree developers will be able to create features from scratch, given that Ricoh uses the word “plug-in” to describe what they’ll be creating. The Partner Program graphic Ricoh released isn’t much help in that department either:

“Based on the Android operating system, the RICOH THETA V provides a user-friendly way for third-parties to not only create apps and software that extend and enhance the capabilities of 360-degree imaging but also new features and functionality for the camera itself,” reads Ricoh’s announcement. “These can include customized capabilities that enhance the RICOH THETA V’s use for specialty applications and in vertical markets.”

The first step is to give developers access to the Theta V API and SDK. And once the apps and plug-ins start flowing, Ricoh will make them available for download through “an online RICOH THETA V partner marketplace where plug-ins can be uploaded and shared.”

We consider this a step in the right direction for Ricoh, and a good reason to keep an eye on the Theta V in the weeks and months to come. The Partner Program is set to launch in Spring of 2018, at which point Ricoh hopes the Theta V will become “a constantly evolving product.”

Press Release

Ricoh announces Plug-in Partner Program for RICOH THETA V

Launching spring 2018, initiative includes an online marketplace where third parties can upload and share their Android-based plug-ins for the popular consumer 360-degree camera

LAS VEGAS (CES 2018, South Plaza, Booth #64704), January 8, 2018 – Ricoh today announced the RICOH THETA V Partner Program, which will launch in spring 2018.

The new program will support third-party developers interested in creating their own Android™-based plug-ins for the RICOH THETA V, the top-of-the-line Ricoh 360-degree camera capable of capturing fully-spherical photos and 4K video. The program will be featured at CES 2018, where attendees will be able to get a hands on experience creating their own plug-in, resulting in the creation of a new feature for the RICOH THETA V camera.

Based on the Android operating system, the RICOH THETA V provides a user-friendly way for third-parties to not only create apps and software that extend and enhance the capabilities of 360-degree imaging but also new features and functionality for the camera itself. These can include customized capabilities that enhance the RICOH THETA V’s use for specialty applications and in vertical markets. As part of the program, Ricoh is making available the RICOH THETA V’s application program interface (API) and software development kit (SDK) and will provide tools and guidance to support plug-in development. It will also open an online RICOH THETA V partner marketplace, where plug-ins can be uploaded and shared.

A unique plug-in preinstalled in the RICOH THETA V enables “Remote Playback,”^*1 which makes it possible, using a compatible wireless display adapter, to mirror playback of 360-degree still images and video data stored on the camera on a large screen monitor.

“By opening the platform for application development, we are enabling the RICOH THETA V to be a constantly evolving product. For this reason, we are very excited about the new partner program,” said Wataru Ohtani, Corporate Associate Vice President and General Manager of Smart Vision Business Group, Ricoh Company Ltd. “The RICOH THETA V Plug-in Partner Program will enable third-party companies and developers to create custom features and services. Our goal is for consumers and businesses alike to benefit from RICOH THETA V and to become a standard platform for the 360-degree imagery.”

When launched in 2013, the RICOH THETA was the world’s first 360-degree^*2, single-shot camera, enabling users to express themselves in new and unique ways. 360-degree still photos and videos redefined photography by giving the viewer the ability to control what he or she sees in a scene. In addition, the resulting 360-degree images were easily shared with others, allowing them to virtually experience a scene as if they were there.

Today, the RICOH THETA cameras are being used for a broad range of consumer and business applications, ranging from documenting vacation memories to photojournalism, law enforcement, real estate listings and virtual tours, and much more.

*1. Other devices are required, including the separate wireless display adapter.
*2. In the consumer products category, a camera capable of capturing fully spherical scenes surrounding the user in one shot. (as of October, 2013 investigated by Ricoh)

Articles: Digital Photography Review (dpreview.com)

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Review – Shimoda Explore 40 Camera Adventure Bag

10 Jan

I love to hike. I love to head out into the backcountry, and I regularly take my camera gear with me. Funnily enough, my first article here on dPS discussed just this fact. So it seems rather fitting that I got to review the Shimoda Explore 40 Camera Adventure Bag.

The opportunity to review the bag was also timely because I’m currently in the market for a new backpack and had been looking at several brands before the arrival of this Shimoda pack.

Review - Shimoda Explore 40 Camera Adventure Bag

The view from my hike. I love this area of Ontario, Canada.

The Shimoda Explore 40 pack is designed to be used as a daypack. It’s not meant to be used for weeklong treks into the wilderness with your camera gear.

If you’re looking for a pack to suit those needs, Shimoda makes the Explore 60 which more resembles a trekking bag. It’s similar to my 55 L Vaude Bag but it’s designed to hold camera gear whereas my Vaude bag was designed solely to carry backpacking gear. That doesn’t mean I haven’t adapted the bag to carry my camera gear, but it’s nice to have something designed specifically for photographers.

Here’s the complete Shimoda Explore 40 kit.

The Material

Here’s a close up of the material. It’s smooth, not rough like my other bags.

The first thing I noticed about the pack was the material. It is distinctly different from the material of my other bags. I took the Shimoda Explore 40 out of the packaging and was surprised by the feel and texture. It’s a smoother surface that is deceptive at first.

I am used to a bag that has a sort of canvas type material that feels rough like an old tent. At first touch, I was a bit sceptical about the durability of this material. I needed time to get used to the differences. The material is, in fact, double-resin coated nylon. It does not feel like the material of my Vaude hiking pack or my Lowepro Backpack.

I tested it in my kitchen sink. The water easily beaded on the material and rolled off without soaking through. The zippers are also water-resistant. The Explore 40 does not come with a rain cover, though. Most of the time you won’t need one but to be on the safe side, there’s plenty of room to pack a generic rain cover, just in case.

Here’s a close-up of the zippers with leather pulls. You’ll notice they are heavy-duty, not likely to break.

The Structure

The Shimoda Explore 40 is very well constructed of a heavy-duty material and also comes with a reinforced frame. Shimoda has inserted aluminum rods into the frame of the pack to help it maintain its shape and durability. I like the structure of the bag and how truly sturdy it feels.

The Core Units

I packed the core unit just to see how everything fit. Later, I changed the configuration for my hike as I didn’t take my extension tubes or the flash components.

The Shimoda Explore 40 is designed for lighter travel. It comes with two small core units as well as a medium sized one. The units are strong and durable. The dividers are easy to use and configure to the needs of your camera gear. I was able to remove pieces and reposition them quickly and easily without the Velcro becoming stuck to the sides and annoying me.

The camera gear is quite safe within the core units. They are designed to protect the gear and cushion items from the bumps and bangs that often occur when out on the trail. On my hike, I slipped down a rocky section of the trail and landed at the bottom of a steep hill. My gear was safe and secure within the core unit.

This is the interior of the small core unit.

The two smaller core units come with a very basic strap that allows you to turn the unit into a shoulder bag for carrying around one or two lenses and a camera body. But the strap isn’t designed for all day walking through a city.

I could see the bag possibly digging into my shoulder if I were to use it to peruse a city with my camera for 8 hours. The unit is designed more for quick jaunts around the campsite or for short walks.

The inserts are very sturdy and I found the tapered edges made it easier to configure the unit for my camera gear.

Storage within the Bag

Here’s a shot of the front compartment. I stuffed a trail guide in here.

The Shimoda Explore 40 is designed to hold more than just camera gear. I was able to pack food items as well as a water bottle. If need be the Explore 40 is equipped to carry a water bladder and hose. For this trip, I chose to take a small mug and water purifying drops, so I didn’t test out the water bladder compartment.

The bag comes equipped with tons of pockets. I was able to store my lunch, extra socks, my phone, a map, a rain cover, mug, and extra mittens within the pack. There was certainly room for more gear inside the pack.

The outer straps allow you to attach items to the exterior of the pack. You could choose to carry a small tent at the bottom of the bag.

The bag is pretty spacious when opened.

The bag also comes equipped with a sleeve in which you can fit a 13” laptop. The padding of the back panel would protect the laptop from any bumps or bangs that might cause possible damage to the gear.

The Shoulder Straps

The pack comes with several different adjustable should heights. I put the bag on the smallest setting. To give you an idea I am 165cm (5’5″) tall.

The pack fit nicely on my torso at the smallest setting. The hip belt rested just above my hip bones, and the adjustable straps allowed me to set the shoulders comfortably so that I felt no strain and carried the majority of the weight on my waist.

The last thing you want is a bag that places most of the stress on your shoulders, and by the end of the day, you’re regretting your decision to take your gear.

There are four different settings for the height of the torso.

My one complaint about the strap configuration has to do with the chest strap. It comes across the front and helps to keep the shoulder straps in place. This takes some strain off the top of the shoulders.

The issue is pretty much based on anatomy. The bag is designed as a unisex item. It does not take into consideration the female chest. Many women’s bags are designed so that this strap sits above the bust. I was able to slide the strap up somewhat but not enough to keep it from resting on the bust.

It’s a minor complaint that only female photographers will struggle to overcome. Believe me, we are used to this. It would be nice one day for someone to take the risk and design a camera bag specifically for the shape of a woman (hint, hint, Shimoda).

The bag sits comfortably on the body, even when you’re wearing a thick sweater.

Accessing Camera Gear

The Explore 40 comes equipped with both side and rear access to your camera gear. For my test hike, I used the medium core unit and tested out the rear access. It was easy to get to my camera and to switch lenses when needed.

The core unit easily held my 5D Mark III, a 70-200mm, a 16- 35mm and a 50mm prime lens. The side access works quite well also. At home, I inserted the small core unit and stuffed the bag with towels to hold it in place. It was easy to sling the bag sideways and remove my 70-200mm while it was attached to my camera body.

In Conclusion

Overall the bag is beautifully designed. I tested it on the Bruce Trail. It was a cold and rainy day. I completed a 15km hike over rough terrain. The design of the bag ensured it fit snuggly to my body. I didn’t ever feel burdened by the gear I was carrying.

The hard frame of the core unit did slightly dig into my lower back, but I was able to make a few adjustments to the straps and solved the issue. Over time I can see myself breaking some of the plastic clips, but this is pretty common in most bags. I have replaced the clips on my Vaude trekking bag on several occasions.

At the start of the trail with the Shimoda Explore 40 pack.

I wouldn’t use the Shimoda Explore 40 for long overnight hikes. The shoulder straps are not designed to carry the weight of camera gear plus all of the items necessary for a backcountry trip. Shimoda recommends their Explore 60 for those types of activities.

After looking on their website I discovered that they also offer a carry-on unit for planes as well as several accessory packs that can help make packing your gear easier to manage. I’ll be honest, I’m considering the carry-on the unit. The core units fit into this bag, so it’s easy to transfer items from carry-on to your pack once you arrive at your destination. I like this feature an awful lot. It would have helped me out a great deal last year during my trips.

The straps are comfortable and durable but definitely designed as a daypack. I’m told the Explore 60 has much heftier straps for longer hikes.

See the bag overview in this video:
?

Shimoda recently completely a Kickstarter campaign. Check them out and see what you think of their products.

The post Review – Shimoda Explore 40 Camera Adventure Bag by Erin Fitzgibbon appeared first on Digital Photography School.

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WD launches two new portable SSDs designed for photographers and drone users

10 Jan

In addition to revealing the world’s smallest 1TB USB-C flash drive, Western Digital has launched two new portable SSDs specifically designed for “avid photographers and drone enthusiasts” at this year’s Consumer Electronics Show (CES) in Las Vegas.

The SanDisk Extreme Portable SSD offers both high performance and durability in an extremely portable package, while the My Passport Wireless SSD gives photographers a solid state version of WD’s popular My Wireless Pro, which features built-in WiFi, an SD card slot, and other convenient features for photographers on-the-go.

SanDisk Extreme Portable SSD

The SanDisk Extreme Portable SSD is a lightweight (79g / .17lbs) pocket-sized USB-C drive encased in a durable housing with an IP55 dust- and water-resistant rating. Thanks to the housing, the drive can withstand operating temperatures ranging from 0°C to 45°C (32°F to 113°F), as well as storage temperatures ranging from -20°C to 70°C (-4°F to 158°F).

The Extreme Portable SSD drive has a USB 3.1 Gen 2 interface, read speeds up to 550MB/s, and out-of-the-box compatibility with Windows and macOS.

The drives are currently listed on SanDisk’s website as “not in stock” at the following capacities and price points: 250GB for $ 100, 500GB for $ 170, 1TB for $ 350, and 2TB for $ 700.

WD My Passport Wireless SSD

The My Passport Wireless SSD, as the name suggests, is a solid state version/update to the original My Passport Wireless Pro that we reviewed and actually quite liked.

Housed in an enclosure with an integrated 802.11ac wireless connection, this drive allows users to access content on the drive over WiFi, including streaming 4K videos to a computer or mobile device. The wireless feature works with the My Cloud mobile app, as well as some third-party apps including LumaFusion and FiLMiC Pro.

In addition to wireless access, this My Passport product also has an integrated SD card reader so that photos and videos can be copied onto the SSD directly from the media card at speeds up to 65MB/s. For other types of media cards, the Wireless SSD supports direct transfers via a cable and connected media card adapter. Finally, the drive also features a USB port for transferring content to a computer via USB 3.0 at speeds up to 390MB/s.

Because this model has built-in wireless, Western Digital has packed a 6700mAh battery into the drive case, enabling the WiFi feature to be used for up to 10 hours before it needs to be recharged. And for convenience’ sake, the device’s built-in battery doubles as a power bank for charging other USB devices, such as a smartphone.

The My Passport Wireless SSD will be available in 250GB ($ 230), 500GB ($ 300), 1TB ($ 500), and 2TB ($ 800) capacities. Pre-orders are available now, with shipping estimated to start on February 15th.

Articles: Digital Photography Review (dpreview.com)

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Kodak launches KODAKCoin ‘photo-centric cryptocurrency’ and KODAKOne platform

10 Jan

Amidst all of the CES 2018 news big and small, Kodak managed to drop what might be the most shocking announcement of the week: together with WENN Digital, Kodak will be launching its own “photo-centric cryptocurrency” called KODAKCoin alongside a blockchain-powered image rights platform called KODAKOne.

The cryptocurrency and platform are meant to “empower photographers and agencies to take greater control in image rights management.”

The KODAKOne platform does this the same way Binded (formerly Blokai) does: by using blockchain technology to create an “encrypted, digital ledger of rights ownership” where photographers can simply and securely register their new and old work. The difference being, of course, that Kodak is setting up its OWN blockchain and cryptocurrency rather than piggybacking upon an existing one.

Once registered, photographers can license their work through the KODAKOne platform, and the platform will continually crawl the web and monitor for infringement of registered images.

The KODAKCoin cryptocurrency, meanwhile, is meant to create a “new economy for photography.” Images licensed through KODAKOne will be paid for in KODAKCoin, which Wenn and Kodak both promise is “subject to the highest standards of compliance.” A cryptocurrency for photographers, with digital rights management built right in.

For now, if you visit the KODAKCoin website, you’ll be greeted by the splash screen below, but that should be gone with the day:

“For many in the tech industry, ‘blockchain’ and ‘cryptocurrency’ are hot buzzwords, but for photographers who’ve long struggled to assert control over their work and how it’s used, these buzzwords are the keys to solving what felt like an unsolvable problem,” says Kodak CEO Jeff Clarke. “Kodak has always sought to democratize photography and make licensing fair to artists. These technologies give the photography community an innovative and easy way to do just that.”

Of course, all of this is predicated on the idea that the KODAKCoin launch actually goes well. The SEC Regulated Initial Coin Offering for KODAKCoin is scheduled for January 31st, and open to “accredited investors” from the US, UK, Canada and a few other unnamed “select countries.”

To learn more about KODAKOne and KODAKCoin, visit the main Kodak website for now, or check out the official KODAKCoin website when it launches in 24 hours’ time.

Press Release

KODAK and WENN Digital Partner to Launch Major Blockchain Initiative and Cryptocurrency

KODAKOne platform and KODAKCoin cryptocurrency give photographers a new revenue stream and a secure platform for protecting their work

ROCHESTER, N.Y. – Today Kodak and WENN Digital, in a licensing partnership, announced the launch of the KODAKOne image rights management platform and KODAKCoin, a photo-centric cryptocurrency to empower photographers and agencies to take greater control in image rights management.

Utilizing blockchain technology, the KODAKOne platform will create an encrypted, digital ledger of rights ownership for photographers to register both new and archive work that they can then license within the platform. With KODAKCoin, participating photographers are invited to take part in a new economy for photography, receive payment for licensing their work immediately upon sale, and for both professional and amateur photographers, sell their work confidently on a secure blockchain platform. KODAKOne platform provides continual web crawling in order to monitor and protect the IP of the images registered in the KODAKOne system. Where unlicensed usage of images is detected, the KODAKOne platform can efficiently manage the post-licensing process in order to reward photographers.

“For many in the tech industry, ‘blockchain’ and ‘cryptocurrency’ are hot buzzwords, but for photographers who’ve long struggled to assert control over their work and how it’s used, these buzzwords are the keys to solving what felt like an unsolvable problem,” said Kodak CEO Jeff Clarke. “Kodak has always sought to democratize photography and make licensing fair to artists. These technologies give the photography community an innovative and easy way to do just that.”

“Engaging with a new platform, it is critical photographers know their work and their income is handled securely and with trust, which is exactly what we did with KODAKCoin,” said WENN Digital CEO Jan Denecke. “Subject to the highest standards of compliance, KODAKCoin is all about paying photographers fairly and giving them an opportunity to get in on the ground floor of a new economy tailored for them, with secure asset rights management built right in.”

The initial coin offering will open on January 31, 2018 and is open to accredited investors from the U.S., UK, Canada and other select countries. For more information visit www.kodakcoin.com. This initial Coin Offering is issued under SEC guidelines as a security token under Regulation 506 (c) as an exempt offering.

For more information and to sign up for product updates, please visit www.kodak.com/go/kodakone.

Articles: Digital Photography Review (dpreview.com)

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‘Water Torture Test’ compares Canon, Nikon, Sony and Olympus weather sealing

10 Jan

As part of their Camera of the Year comparison between the Nikon D850 and the Sony a7R III, Imaging Resource decided to test the cameras’ weather sealing with their very own “water torture test.” And just to spice things up a bit, they threw in the Canon 5D Mark IV and Olympus OM-D E-M1 Mark II for good measure.

All four cameras were subjected to a “brief, moderately heavy rain shower and misty conditions,” and despite what you may think about all top-tier cameras being more alike than different on the weather sealing front, not all four bodies coped well. You can watch the test above or visit Imaging Resource for an in-depth report on their weather sealing tests, but if you want the TL;DR (or DW), it goes something like this:

The Canon 5D Mark IV and Olympus OM-D E-M1 Mark II both passed without so much as a stutter. No water getting anywhere it shouldn’t have.
The Nikon D850 sprung a small leak into the viewfinder unless the Nikon BS-3 hot shoe cover was used. Everything else stayed dry.
The Sony a7R III performed the worst by far, leaking a significant amount of water into the battery compartment (seemingly from above), and malfunctioning entirely during IR’s 15-minute ‘heavy mist’ test.

Of course, one should be careful making sweeping generalizations based on testing one copy of each camera, but if this test is indicative of all Sony a7R III’s weather sealing, Sony might want to take note of IR’s results as they go about designing the Mark IV.

Check out the in-depth review for more details on how each of the four models performed.

Articles: Digital Photography Review (dpreview.com)

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Panasonic announces Lumix DC-GH5S, an even more video-focused GH5

09 Jan

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Panasonic has unveiled the Lumix DC-GH5S, an even more video-centric variant of the company’s GH5 hybrid stills/video camera. Aside from some minor cosmetic differences the two cameras are identical, however the GH5S has been designed to maximize low-light sensitivity and provides a deep feature set tailored to video shooters’ needs.

The GH5S uses a slightly larger, but lower resolution 12.5MP sensor whose ‘multi-aspect’ design offers a series of ~10.2MP crops with the same angle of view. It gains the ability to shoot the wider-angle DCI 4K format at up to 60p, whereas the GH5 tops out at 24p. Both cameras can shoot UHD 4K at up to 60p.

The sensor features a “dual gain” design that Panasonic calls “Dual Native ISO.” This uses two separate sensor read-out circuits – one that maximizes dynamic range at lower sensitivities, and one that prioritizes noise reduction at a dynamic range cost. Unusually, Panasonic lets you limit its camera to one of these modes.

Despite the outward similarities, the GH5S’ list of changes compared to the GH5 is a long one. Image stabilization has been removed to avoid unwanted interactions between a floating sensor and the dollies and gimbals pro shooters tend to favor. VLog-L, offered as an paid upgrade on the GH5, is included as standard. Autofocus is rated down to –5 EV compared to –4EV in the GH5.

The list of differences also includes up to 240fps framerate in 1080p “Variable Frame Rate” mode, a 120fps refresh rate in the electronic viewfinder, 14-bit Raw stills shooting, time code in/out functionality, and LUT-corrected display in playback as well as capture. For a detailed look at the GH5S’ additional capabilities, head to our first impressions review.

The Panasonic Lumix DC-GH5S will be available February 2nd for $ 2499 body-only.

Panasonic Announces the Ultimate Hybrid DSLM with a newly developed 10.2MP High Sensitivity MOS sensor

Introducing the LUMIX GH5S: Exceptional Mirrorless Videography and Photography, designed and developed for professional filmmakers

Introducing a newly developed 10.2MP High Sensitivity MOS sensor for enhanced image quality in low light: Allowing up to 51,200 ISO recording without extended ISO.
Time Code IN/OUT for easy synchronization of multiple cameras and Dual Native ISO, providing low range (400) and high range (2,500) ISO environments.
True “Multi-Aspect Ratio” Function in Both Photo and Video

Las Vegas, NV (January 8, 2018) – Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations.

Packed with big features to satisfy demanding photographers and videographers alike
The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry about noise which often results from having to use higher ISOs. The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production. The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras. The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions.

The LUMIX GH5 achieved 4KUHD 60p video recording for the first time as a digital mirrorless camera in 2017.2 The new LUMIX GH5S establishes a new milestone by realizing the world’s first 4K 60p video recording in Cinema 4K (4096×2160), 3 capable of internal 4:2:2 10-bit video recording up to Cinema 4K30p and internal 4:2:0 8-bit Cinema 4K60p. subsampling commonly used for film production, for even more faithful color reproduction.4 The LUMIX GH5S also records 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p/25p/24p and 200- Mbps All-Intra in Full-HD.

Continuing the LUMIX GH tradition, there is no time limit for both Full-HD and 4K video recording. The LUMIX GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. A low-bit-rate recording mode, 4K HEVC for HLG, is available. This enables playback on AV equipment compatible with the HLG Display format, such as Panasonic 4K HDR TVs.

The VFR (Variable Frame Rate) function lets users record overcranked (time-lapse) and undercranked (slo-mo) video in C4K/4K (60 fps, maximum 2.5x slower) and FHD (240 fps, maximum 10x slower). A V-LogL and Rec.709 LUT (Look Up Table) are pre-installed in the camera, so users can play videos recorded in V-LogL without having to separately purchase a Software Upgrade Key. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format.

DFD (Depth From Defocus) technology and ultra-high-speed digital signal processing achieve fast auto focusing of approximately 0.07 sec 6 with 12 fps (AFS) / 8 fps (AFC) in 12- bit RAW and 10 (AFS) / 7 (AFC) fps in 14-bit RAW high-speed burst shooting. In addition to a total of 225 focus areas, The options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are available for precise focusing. The 4K PHOTO enables 60 fps high-speed capture in approximately 8-megapixel equivalent resolution.

Achieve outstanding footage in any environment, especially in low light
As a camera that excels in shooting in low light, the LUMIX GH5S boasts -5EV luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Live Boost is another practical feature that makes it possible to check the composition even in total darkness, by boosting the sensitivity just for Live View. The magnification ratio in MF assist is increased from conventional 10x to 20x, which is convenient especially for astronomical photography. An AF Point Scope function, first introduced in the Lumix G9 and Night mode are also integrated.

In order to make the GH5S tough enough to withstand even heavy field use, it is composed of a magnesium alloy full die-cast front, rear and top frame that is not only splashproof7 and dustproof but also freezeproof down to -10 degrees Celsius. The GH5S is equipped with a double SD Memory Card slot, compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording. The HDMI Type A terminal is provided, along with the USB-C Gen1 interface.

Exceptional image capture without concern
The GH5S has a large LVF (Live View Finder) with a stunningly high magnification ratio of approximately 1.52x/0.76x (35mm camera equivalent) providing smooth display at 120 fps. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. In addition to dual dials, an omni-directional joystick enables more intuitive and flexible operation.

The GH5S includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. For Wi-Fi, 5 GHz (IEEE802.11ac)8 can be selected in addition to the conventional 2.4 GHz (IEEE 802.11b/g/n) for an even more secure and stable connection.

For extended battery life and a more stable hold, the new Battery Grip DMW-BGGH5 (sold separately) is available. The XLR Microphone Adaptor DMW-XLR1 (sold separately) allows high-res sound recording with an external XLR microphone.9

The Panasonic LUMIX GH5s will be available from end of February 2 and will retail for $ 2499 (body only).

*1 RAW files are in 14-bit even when 12-bit is selected.
*2 4K 60p/50p(for a Digital Single Lens Mirrorless Camera), 4:2:2 10-bit (for a digital interchangeable lens camera) as of 4 January, 2017
*3 As of January 8, 2018 as a Digital Single Lens Mirrorless camera that complies with 4K (4096×2160) resolution defined by Digital Cinema Initiatives(DCI). According to a Panasonic study.
*4 4:2:0 8-bit in C4K 60p and 4K 60p recording on an SD Memory Card.
*5 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses. *6 In AFS, at wide-end with H-ES12060 (CIPA) when LVF display speed is set to 120fps.
*7 Splash Proof is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Proof does not guarantee that damage will not occur if this camera is subjected to direct contact with water.
*8 5GHz Wi-Fi is not available in some countries.
*9 In MOV only

Panasonic Lumix DC-GH5S specifications

Price
MSRP	$ 2499
Body type
Body type	SLR-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	3680 x 2760
Other resolutions	3:2 (3840 x 2560), 16:9 (4016 x 2256), 1:1 (2752 x 2752)
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	10 megapixels
Sensor photo detectors	12 megapixels
Sensor size	Four Thirds (17.3 x 13 mm)
Sensor type	CMOS
Processor	Venus Engine 10
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 160-51200 (expands to 80-204800)
Boosted ISO (minimum)	80
Boosted ISO (maximum)	204800
White balance presets	5
Custom white balance	Yes (4 slots)
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, standard
File format	JPEG (Exif v2.31) Raw (Panasonic ARW, 12/14-bit)
Optics & Focus
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes (2x-4x)
Manual focus	Yes
Number of focus points	225
Lens mount	Micro Four Thirds
Focal length multiplier	2×
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3.2″
Screen dots	1,620,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	1.52× (0.76× 35mm equiv.)
Viewfinder resolution	3,680,000
Photography features
Minimum shutter speed	60 sec
Maximum shutter speed	1/8000 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Built-in flash	No
External flash	Yes (via hot shoe or flash sync port)
Flash modes	Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off
Flash X sync speed	1/250 sec
Drive modes	Single Continuous 4K Photo Focus Stacking Self-timer
Continuous drive	12.0 fps
Self-timer	Yes (2 or 10 secs, 10 secs w/3 images)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±5 (at 1/3 EV steps)
AE Bracketing	±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)
WB Bracketing	Yes
Videography features
Format	MPEG-4, H.264, H.265
Modes	4096 x 2060 @ 60p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 50p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 30p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 30p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 25p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 400 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 400 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 60p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 50p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 30p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 400 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 400 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 60p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 50p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 25p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 24p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 60p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 50p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 30p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 25p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 400 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 60p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 50p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 72 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 72 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 72 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 50p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 30p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC 1920 x 1080 @ 25p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / 20 Mbps, MP4, H.264, AAC 1920 x 1080 @ 24p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 24 Mbps, MP4, H.264, AAC 1920 x 1080 @ 23.98p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 23.98p / 24 Mbps, MP4, H.264, AAC 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 23.98p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
Microphone	Stereo
Speaker	Mono
Storage
Storage types	Dual SD/SDHC/SDXC cards (UHS-II V60 cards supported)
Connectivity
USB	USB 3.1 Gen 1(5 GBit/sec)
USB charging	No
HDMI	Yes (Up to 4:2:2 10-bit output)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11b/g/n + Bluetooth 4.2 LE
Remote control	Yes (wired or smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	DMW-BLF19 lithium-ion battery & charger
Battery Life (CIPA)	440
Weight (inc. batteries)	660 g (1.46 lb / 23.28 oz)
Dimensions	139 x 98 x 87 mm (5.47 x 3.86 x 3.43″)
Other features
Orientation sensor	Yes
Timelapse recording	No
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Panasonic Lumix DC-GH5S specifications

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