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Archive for February, 2018

Why Olympus Mirrorless Cameras are Top Notch for Travel Photography

14 Feb

From entry-level to pro, the Olympus Mirrorless Four Thirds OM camera series has something for every aspirational travel photographer.

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Camera – Olympus Mirrorless E-M1 with kit lens at 38mm, 1/250th, f/14, ISO 400.

Are you looking to get serious about your digital photography and move up to an interchangeable lens system? Or maybe you are looking to upgrade to a pro level weatherproof transportable system?

Are you off on a journey of a lifetime and looking to record every moment? You want to be sure there’s no danger the camera won’t be up to the task – so which will you take along?

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Camera – Olympus mirrorless E-M10 Mark II, Lumix G 20mm lens, 1/125th, f/2.2, ISO 200.

The Olympus OM Micro Four Thirds system could be heaven sent. In this article, we’ll look at the OM-D E-M10 entry-level camera and the top of the range OM-D E-M1 through almost 12 months of use.

Why Olympus mirrorless systems are phenomenal travel cameras

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Olympus EM1, kit lens at 14mm, 1/5th of a second, f/22, ISO 3200.

This was taken handheld, showing just how good the image stabilization is on these cameras.

The important considerations for travel cameras are size and weight, versatility, durability, performance, and picture quality. Ideally, you want a light-weight system that will easily move between landscape, street, and portrait photography.

Let’s look at each of these considerations in turn.

Size and weight

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

The flagship model Olympus EM-1 weighs in at just under 500g (1.1 pounds), the smaller and lighter EM-10 at an incredible 342g (0.75 pounds). Both are smaller in size than my hand.

Incredibly, they both fit in a parka-style coat pocket when fitted with a 14-42mm kit lens. Look at the size of my Sony DSLR in this picture below to see just how much of a space saving there is comparatively.

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

There are obvious advantages to the smaller cameras in regards to luggage on a plane, and carrying gear around all day. But the small size is also non-threatening if your shots include passers-by. Plus you can take it places where professional style cameras are not allowed.

The Micro Four Thirds System also means lenses are much more compact. For instance, the Olympus 75-300mm zoom lens measures 130mm and weighs in at 430g (just under a pound). The equivalent focal range for a full frame camera is 150-600mm. That kind of glass for a DSLR would weigh in at about 3kg (6.5 pounds)!

Versatility

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

There is a good range of lenses available for the Micro Four Thirds mount including ranges by Lumix and Panasonic, as well as Olympus. The range will take you from a fish-eye pancake lens, through wide-angle primes to long zooms. The image stabilization system built into the camera means the lenses are both light and affordable.

Extension rings with electronic connections to allow your lens and camera talk to each other are also available allowing you to make the best use of your available lenses. Two lenses and one converter will take you from wide-angle to macro to long zoom without missing a beat.

Durability

Both these cameras look and feel solid and durable. Having used them both for almost a year in sometimes inhospitable conditions and on long hikes, I have had no issues with these cameras or the lenses I use.

If you look at the pictures the condition is still like new. They even get taken along on motorbike and camping trips in the winter!

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Olympus E-M10, 40-150mm zoom at 150mm, 1/400th, f/7.1, ISO 200. Despite the dark and overcast day, the camera produced good detail straight out of the camera in this JPEG image.

Performance and Picture Quality

Firstly, I should mention I am using systems that were current when they were purchased at the beginning of 2017. They have both been upgraded since with some notable improvements. The EM-1 now has a Mark II version with a 20MP sensor rather than 16MP chip, and improved AF tracking. The EM-10 moves up from Mark II to Mark III with more minor improvements.

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

The camera has a fantastic viewfinder with 100% picture coverage as well as a touch-control rear screen, a feature that will feel familiar if you use a smartphone. A massive range of buttons allows you to set up the camera to suit your style with several where you can assign the functions. The menu system will feel familiar if you’re a DSLR user. It has a very useful one-click user “Myset” comprising four customizable options for configurations that you use frequently.

My set screen - Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

The 5-axis stabilization is excellent, making handheld shooting easy and rewarding. The AF system has 81 points and is surprisingly good though tracking is not up to that of the weightier and roomier APS-C cameras. This is one of the trade-offs for having the compact size.

As the cameras use electronic viewfinders or the rear LCD screen, batteries get used up quickly. Battery packs are available, but this adds to the size. So if you attach one the camera won’t fit in a pocket anymore.

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Olympus E-M1, kit lens at 35mm, 16mm extension tube, 0.3-second exposure, f/7.1, ISO 400. I adjusted levels in post-processing to lighten the image and create a fine art feel.

All the photographs in the article are taken with either one or the other of these two cameras, so you can judge for yourself the quality of the results. The newer versions of these cameras can only be even better.

The cameras provide great results for landscape photography, handling a range of tones well, especially with the added use of the HDR function to bring out details at both ends of the scale.

At lower ISO levels, up to 1600, there is little evidence of noise, although it increases in the dark areas as you approach that mark. Quality is acceptable up to ISO 6400, in my opinion.

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Olympus E-M1, 82mm, 1/200th, f/9, ISO 1600. Look, I’m Pinnochio! Grab shot – love the skin tones and the AF got the near eye, spot on.

Skin tones are good, producing great portraits and color handling is great. Low light shooting isn’t a problem for this camera, especially at the lowest ISO.

Millstone beach - Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Olympus E-M10, Lumix 20mm, 1/80th, f/1.8, ISO 200. Fabulous colors despite the overhead canopy and reduced light.

CONCLUSION

Both of these Olympus mirrorless cameras are fantastic pieces of kit for almost every situation. Picture quality is good, handling with the stabilization is awesome, AF and exposure are solid. With an entry-price of about $ 500 for the EM-10, the value is terrific.

The pricier EM-1 is also a good value, especially when considering the price of additional lenses. A Mark I at less than $ 1100 represents astonishing value. However, I do aim to upgrade to the EM-1 Mark II when finances allow, knowing I already have a decent range of accessories for it.

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Olympus E-M1, 75-300mm lens at 270mm, 1/40th, f/6.7, ISO 400. The quality of this shot is fantastic, just look at that tail!

As a travel camera, I don’t think these two Olympus mirrorless cameras can be beaten at their respective price points. If you are new to system cameras, the EM-10 would be a fantastic introduction, with its straight-forward layout. A more seasoned photographer may prefer the customizable options and total control of the EM-1

Why Olympus Mirrorless Four Thirds Camera Systems are Top Notch for Travel Photography

Olympus E-M1, kit lens at 22mm, 1/60th, f/22, ISO 2000 using Aperture Priority. Straight out of the camera JPEG file. Great results even if you’re not a Photoshop fan.

Either way, you won’t be disappointed with the results. You can take that once in a lifetime trip knowing you’ll bring back images of your travels to be extremely proud to show off to friends.

The post Why Olympus Mirrorless Cameras are Top Notch for Travel Photography by Janice Gill appeared first on Digital Photography School.


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Panasonic Lumix ZS200 offers 1″ sensor and 24-360mm equiv. zoom in a pocketable form factor

13 Feb

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Panasonic has announced the ZS200/TZ200, a 20MP 1″-sensor compact that updates the existing ZS100 and its 25-250mm equiv. zoom with a 24-360mm equiv. F3.3-6.4 lens that’s both slightly wider and much longer (though a bit slower).

Like its predecessor the ZS200 offers a 3″ touchscreen, accompanied by an upgraded 2.3 million-dot EVF with 0.53x magnification. Contrast detect autofocus is aided by Panasonic’s very good Depth from Defocus technology, and up to 10 fps burst shooting is available with AF-S (6 fps in AF-C). Rounding out a travel-friendly feature set are 4K video, Wi-Fi with Bluetooth, 5-axis image stabilization and a new L.Monochrome Photo Style for a black-and-white film look.

The ZS200’s 3840 x 2160 4K recording is offered at 30p and 24p. Familiar 4K Photo features like Post Focus are available, in addition to a couple of new modes. Auto Marking analyzes a 4K video clip and automatically marks points at which it detects action. Sequence Composition allows you to composite multiple frames of a moving subject in front of a static background into a single image – think of the images you see of a snowboarder frozen mid-flight in the various stages of a jump.

The Panasonic ZS200 boasts an improved battery life of 370 shots per charge (the ZS200 claimed 300) thanks to a new eco-friendly mode. It will ship in mid-March for $ 799 in your choice of gunmetal silver or black.

Press release:

LUMIX DMC-ZS200 Travel Zoom Camera

Powerful 15x Optical Zoom with 1-in. 20.1-MP High Sensitivity MOS Sensor for 4K Video/ 4K PHOTO Capability

Newark, NJ (February 13, 2018) –Panasonic is proud to introduce the LUMIX DMC-ZS200, the new flagship camera of the popular Travel Zoom series. The compact LUMIX ZS200 comes with a 24mm ultra-wide angle LEICA DC VARIO-ELMAR lens and enhanced 15x optical zoom (35mm camera equivalent: 24-360mm). The camera also includes 5-Axis HYBRID Optical Image Stabilizer Plus*1 to suppress hand-shake in both photo and video recording. For added creativity the LUMIX ZS200 integrates a new L.Monochrome mode in Photo Style for monochrome images with rich B/W film gradation.

The camera’s 1-inch MOS sensor produces high-quality images with stunning details. The combination of a High Sensitivity MOS Sensor and Venus Engine delivers up to ISO 12,800 for high sensitivity quality beyond the reach of most other digital compacts. And an upgraded Live View Finder (LVF) integrates a new 0.21-in. 2,330K-dot equivalent LVF to provide a high magnification ratio of approx. 1.45x/0.53x (35mm camera equivalent). Both LVF and a 3-in. touchscreen display provide approx. 100% field of view. The LUMIX ZS200 boasts exceptional optical performance with stunning clarity with minimum distortion and flare. This new lens system also enables stunning close-up shots with its 3cm macro capability.

With the LUMIX ZS200, 4K video recording is every bit as stunning with high-resolution QFHD 4K video in 3840×2160 at 30p or 24p in MP4. And 4K PHOTO lets LUMIX ZS200 users capture memorable moments by extracting single frames from 4K burst files shot at 30 fps to save as 8-megapixel equivalent images. Auto Marking and Sequence Composition, included in addition to Post Focus and Focus Stacking, make 4K PHOTO even easier to use.

A Contrast AF System features DFD (Depth From Defocus) technology*2 and excels in both speed and accuracy for ultra-fast auto focusing in approx. 0.1 sec*3. The LUMIX ZS200 includes Bluetooth and Wi-Fi® connectivity for a more flexible shooting experience and instant image sharing. Compatibility with Bluetooth 4.2 (Bluetooth Low Energy) enables a consistent connection with a smartphone or tablet with minimum power consumption.

The independent dials and Control Ring located on the lens barrel provide an intuitive way to capture creative vision. Smoother control of exposure and zoom allows users to concentrate on framing the perfect picture and press the shutter at the perfect moment. It also provides easier access to frequently-used settings such as aperture, shutter speed, focus, filter effect and scene mode. For even more precise control over focusing, the LUMIX ZS200 also boasts a Focus Peaking function that shows the peak of focus in manual focus mode to ensure users know exactly where the focus is.

The LUMIX ZS200 will be available in stores on March 20, 2018. Suggested retail price is $ 799.99. Available in Black and Silver.

Additional features

Bluetooth 4.2 and Wi-Fi 2.4GHz (IEEE802.11b/g/n)
The LUMIX ZS200 integrates Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Once the camera is connected to a smartphone or tablet installed with the Panasonic Image App for iOS / Android, users can shoot, browse and share images remotely. They can also choose the quality of images to transfer using the Image App. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables a constant connection with a smartphone/tablet with minimum power consumption. This activates the camera by simply using a smartphone/tablet or to automatically add GPS geotags on the photos.

• Long battery life and AC/USB Power Charging
Thanks to a newly adopted eco30fps mode, the LUMIX ZS200 provides long battery life for approx. 370 pictures (when using a rear monitor) per charge. The battery is recharged via AC or USB according to user convenience.
• Exposure / WB / Focus / Aperture Bracket
Focus Bracket and Aperture Bracket are new additions to the conventional Exposure Bracket and WB Bracket to let users choose their best shots later. In Focus Bracket, a maximum 999 images can be shot with different focus points. The Aperture Bracket enables multiple shots with different depths of field.
• In-Camera RAW Data Development
• The LUMIX ZS200 can shoot images in RAW and develop them in-camera.
• LEICA is a registered trademark of Leica Microsystems IR GmbH. • LEICA DC VARIO-ELMAR lenses are manufactured using measurement instruments and quality assurance systems certified by Leica Camera AG according to the company’s quality standards.
• “AVCHD Progressive”, “AVCHD”, the “AVCHD Progressive” Logo and the “AVCHD” Logo are trademarks of Panasonic Corporation and Sony Corporation.
• Manufactured under license from Dolby Laboratories. Dolby and the double-D symbol are trademarks of Dolby Laboratories.
• All other company and product names are trademarks of their respective corporations.
• The LUMIX ZS200 is compatible with both SD/SDHC/SDXC Memory Cards. Use SDHC/SDXC Memory Cards on compatible devices only. SDHC/SDXC Memory Cards cannot be used with devices compatible only with SD Memory Cards. (Before using an SDHC/SDXC Memory Card in another device, read the operating instructions for that device.)
• Some accessories are not available in some countries.
• Design and specifications are subject to change without notice.

*1 5-axis compensation works in video recording except for 4K video recording.
*2 Works for still image recording.
*3 Based on the CIPA standard.

Panasonic Lumix DC-ZS200 specifications

Price
MSRP $ 799
Body type
Body type Large sensor compact
Body material Metal
Sensor
Max resolution 5472 x 3648
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 21 megapixels
Sensor size 1″ (13.2 x 8.8 mm)
Sensor type CMOS
Processor Venus Engine
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 125-12800 (expands to 80-25600)
Boosted ISO (minimum) 80
Boosted ISO (maximum) 25600
White balance presets 5
Custom white balance Yes (4 slots)
Image stabilization Optical
Image stabilization notes Hybrid 5-axis available in movie mode
Uncompressed format RAW
JPEG quality levels Fine, standard
File format
  • JPEG (Exif v2.31)
  • Raw (Panasonic RW2 format)
Optics & Focus
Focal length (equiv.) 24–360 mm
Optical zoom 15×
Maximum aperture F3.3–6.4
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)
Manual focus Yes
Normal focus range 50 cm (19.69)
Macro focus range 5 cm (1.97)
Number of focus points 49
Screen / viewfinder
Articulated LCD Fixed
Screen size 3
Screen dots 1,240,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.53×
Viewfinder resolution 2,330,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/2000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program
  • Aperture Priority
  • Shutter Priority
  • Manual
Scene modes
  • Clear Portrait
  • Silky Skin
  • Backlit Softness
  • Clear in Backlight
  • Relaxing Tone
  • Sweet Child's Face
  • Distinct Scenery
  • Bright Blue Sky
  • Romantic Sunset Glow
  • Vivid Sunset Glow
  • Glistening Water*
  • Clear Nightscape
  • Cool Night Sky
  • Warm Glowing Nightscape
  • Artistic Nightscape
  • Glittering Illuminations
  • Handheld Night Shot
  • Clear Night Portrait
  • Soft Image of a Flower
  • Appetizing Food
  • Cute Dessert
  • Freeze Animal Motion
  • Clear Sports Shot
  • Monochrome
Built-in flash Yes
Flash range 6.80 m (at Auto ISO)
External flash No
Flash modes Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off
Continuous drive 10.0 fps
Self-timer Yes (2 or 10 secs, 3 shots @ 10 sec)
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, 1/2 EV, 1 EV steps)
Videography features
Format MPEG-4, AVCHD, H.264
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, AAC
  • 3840 x 2160 @ 24p / 100 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 30p / 20 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 30p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1280 x 720 @ 30p / 10 Mbps, MOV, H.264, AAC
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-I compatible)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (microHDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.2 LE
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description Lithium-ion battery & charger
Battery Life (CIPA) 370
Weight (inc. batteries) 340 g (0.75 lb / 11.99 oz)
Dimensions 111 x 66 x 45 mm (4.37 x 2.6 x 1.77)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix GX9 offers 20MP with no low-pass filter, improved shutter mechanism

13 Feb

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Panasonic is taking the wraps off the GX9, a 20MP Micro Four Thirds camera. Its sensor does not use a low-pass filter in an effort to maximize sharpness, and a new L/Monochrome D Photo Style is on board for fans of black-and-white film. The GX9 does not offer weather-sealing, unlike the GX8 and G9.

The GX9 offers a 2.7 million-dot (equiv.) EVF that tilts 90° upward, and a 1.2 million-dot touchscreen that tilts up 80° and down by 45° – a departure from the G9 and GX8’s fully articulated screens. An electromagnetic drive claims to reduce shutter shock by 90%, an attempt to mitigate the shutter-induced softness we saw in previous GX- models.

The camera relies on contrast detect autofocus with the help of Panasonic’s Depth from Defocus technology when Panasonic lenses are used. Naturally 4K/30p/24p video is present with all of the affiliated 4K Photo Modes, including two new ones: Auto Marking and Sequence Composition. Auto Marking allows the camera to identify movement in a 4K clip and set a marker to quickly jump to the action, and Sequence Composition makes it easy to create composite images of action in-camera.

In-body 5-axis stabilization combines with dual-axis optical stabilization, resulting in a claimed 4-stop reduction in shake. Wi-Fi and Bluetooth are available for quick image sharing.

The Panasonic Lumix DC-GX9 will ship in the beginning of March with a new 12-60mm F3.5-5.6 kit lens for $ 999. An optional wide eyecup ($ 19) and grip ($ 59) will also be available.

Press release

LUMIX GX9

The Ultimate Compact Single Lens Mirrorless Digital Camera Capture High Quality Images in Your Own Creative Way

Newark, NJ (February 13, 2018) – Panasonic is proud to introduce the LUMIX GX9, a sleek, compact new Digital Single Lens Mirrorless camera for everyone who wants to shoot vibrant, true-to-life, high quality images in their own creative way with excellent resolution, high contrast and impressive color reproduction.

The LUMIX GX9’s 20.3-megapixel Digital Live MOS Sensor without a low-pass filter and Venus Engine combine to drive maximum lens performance while rendering natural, high-precision images. The L.Monochrome D mode is newly added to Photo Style, making it easy to shoot detailed dynamic monochrome photos with emphasized highlights and shadows. Plus, Grain Effect can also be adjusted in all monochrome modes with Photo Style.

A 5-axis Dual I.S. (Image Stabilizer) in the LUMIX GX9 effectively suppresses blur. Combining an O.I.S. (Optical Image Stabilizer, 2-axis) and a B.I.S. (Body Image Stabilizer, 5-axis), the Dual I.S. compensates for a wider range of movement to enable blur-free photo/video shooting from wide to tele, even in low-light conditions.

A new wide screen LVF (Live View Finder) in the LUMIX GX9 tilts up approx. 90 degrees. With its high, approx. 2760k-dot equivalent, resolution and 100% color reproduction, this 16:9 LVF provides approx. 1.39x / 0.7x (35mm camera equivalent.) magnification and 100% field of view. Plus, the camera’s large 3.0-in., approx. 1240k-dot high resolution static-type touch monitor provides nearly 100% of field of view tilts up approx. 80 degrees and down 45-degrees to enable shooting in high or low angle even easier.

The Contrast AF System in the LUMIX GX9 features DFD (Depth From Defocus) technology and excels in both speed and accuracy by exchanging digital signals between the camera and the lens at max. 240 fps*1, for ultra-fast auto focusing in approx. 0.07 sec*2. A range of extensive AF functions include Face/Eye Detection AF, Pinpoint AF, One-shot AF and advanced Low Light AF to enhance usability to comply with various shooting situations. Live View Boost makes it possible to check composition even in total darkness by boosting sensitivity just for live view.

The LUMIX GX9 records smooth, high-resolution 4K video in 3840×2160 at 30p or 24p in MP4. 4K PHOTO is easier to use in more creative ways with Auto Marking and Sequence Composition, two new additions to Post Focus, Focus Stacking, Light Composition and 4K Live Cropping.

Ultra HD 4K video and 4K PHOTO

With a high-speed sensor signal readout and engine processor, the LUMIX GX9 records smooth, high-resolution 4K videos in 3840×2160 resolution at 30p or 24p in addition to the Full-HD 1,920×1,080 60p videos with practical full-time AF. With this technology, LUMIX 4K PHOTO lets users capture perfect moments by extracting single frames from 4K burst files shot at 30 fps to save as 8-megapixel equivalent photos.

Choosing the best shots out of hundreds of 4K video frames is now easier with a newly added Auto Marking function. Auto Marking identifies the frame most different from others in the file to help minimize the time it takes to choose the best individual shot. A Sequence Composition function creates a stromotion image in-camera by synthesizing multiple images shot at fixed frame to produce a unique image of a subject’s motion without special retouching.

The LUMIX GX9 also includes Post Focus, a function selects an in-focus area even after shooting. Post Focus is helpful in situations such as macro shooting where strict focusing is required or for changing expressions by changing the focused subject. This capability combines high-speed, high-precision DFD (Depth From Defocus) auto focus technology and 4K technology. A Focus Stacking function adjusts depth of field after shooting by combining multiple images shot with Post Focus in the camera. Now users don’t need to focus strictly while shooting because they can create images with the defocus level they want or pan-focus simply by selecting the focus area after shooting — beneficial when shooting macro images of insects, small accessories and so on.

LUMIX GX9 also incorporates a Light Composition function, a new 4K PHOTO option. The camera synthesizes images by choosing and saving a brighter pixel to easily produce more dramatic images of fireworks or night scenery in-camera. What’s more, the LUMIX GX9 also enables 4K Live Cropping in video recording to realize stable panning or zooming. In panning shots, users just set the viewing angle to begin and end with for smooth panning imagery without using special equipment like a slider. And in zooming, users can set the after-zoomed viewing angle firs to ensure the subject is perfectly in the frame. The imagery of zooming is smooth because it does not move the zoom lens physically.

The LUMIX GX9 includes Bluetooth and Wi-Fi® connectivity for a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (Bluetooth Low Energy) enables consistent connection with a smartphone or tablet with minimum power consumption.

About motion picture recording / 4K Photo recording
– Use a card with SD Speed Class with “Class 4” or higher when recording motion pictures.
– Use a card with SD Speed Class with “UHS-I UHS Speed Class 3 (U3)” when recording motion pictures with [MP4] in [4K] or [4K PHOTO]. (SD speed class is the speed standard regarding continuous writing.)
– MP4 motion pictures with [MP4] in [FHD/30p] [FHD] [HD]: You can continue recording without interruption even if the file size exceeds 4 GB or 30 minutes in length, but the motion picture file will be divided and recorded/played back separately. – MP4 motion pictures with [MP4] in [4K]:
– When using an SDHC memory card: You can continue recording without interruption even if the file size exceeds 4 GB, but the motion picture file will be divided and recorded/played back separately.
– When using an SDXC memory card: You can record a motion picture in a single file. – When the ambient temperature is high or continuous recording is performed, the camera may stop the recording to protect itself. Wait until the camera cools down.

For [4K] video output, use an HDMI cable that has the HDMI logo on it, and that is described as “4K compatible.”

*1 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses. *2 In AFS, at wide-end with H-FS14140 (CIPA).

Panasonic Lumix DC-GX9

Price
MSRP $ 999 (w/12-60mm F3.5-5.6 lens)
Body type
Body type Rangefinder-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 5184 x 3888
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 22 megapixels
Sensor size Four Thirds (17.3 x 13 mm)
Sensor type CMOS
Processor Venus Engine
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 200-25600 (expands down to 100)
Boosted ISO (minimum) 100
White balance presets 5
Custom white balance Yes (4 slots)
Image stabilization Sensor-shift
Image stabilization notes Dual IS uses sensor and lens-shift (when available)
CIPA image stabilization rating 4 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, standard
File format
  • JPEG (Exif v2.31)
  • Raw (Panasonic RW2)
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 49
Lens mount Micro Four Thirds
Focal length multiplier 2×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 1,240,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 1.39× (0.7× 35mm equiv.)
Viewfinder resolution 2,760,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash Yes
Flash range 6.00 m (at ISO 200)
External flash Yes (via hot shoe)
Flash modes Auto, auto w/redeye reduction, forced on, forced on w/redeye reduction, slow sync, slow sync w/redeye reduction, forced off
Flash X sync speed 1/200 sec
Drive modes
  • Single
  • Burst
  • 4K Photo
  • Post Focus
  • Self-timer
Continuous drive 9.0 fps
Self-timer Yes (2 or 10 secs, 3 photos over 10 secs)
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, AVCHD, H.264
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, AAC
  • 3840 x 2160 @ 24p / 100 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 30p / 20 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 30p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1280 x 720 @ 30p / 10 Mbps, MOV, H.264, AAC
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro-HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n with Bluetooth 4.2 LE
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description Lithium-ion battery & charger
Battery Life (CIPA) 260
Weight (inc. batteries) 407 g (0.90 lb / 14.36 oz)
Dimensions 124 x 72 x 47 mm (4.88 x 2.83 x 1.85)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix DC-ZS200/TZ200: First Impressions Review

13 Feb

Meet the Panasonic Lumix DC-ZS200 / TZ200: the world’s furthest reaching pocketable 1″ -type camera. It sits beside the near-identical-looking ZS100 as the longer reaching model, providing a 24-360mm equiv. F3.3-6.4 zoom range compared to the 25-250mm equiv. F2.8-5.9 lens of the ZS100.

What’s cool about the ZS200 is its greater zoom range is achieved while barely increasing the size of the body (it’s 1mm thicker and 1mm taller than the ZS100), though the lens is nearly a half stop slower at the wide end, compared to its older sibling.

Both cameras use a 20.1MP 1″ -type sensor but the ZS200 gains a higher resolution 2.33M dot equiv. electronic viewfinder compared to the 1.7M dot LVF on the ZS100 (still field sequential, more on that later). Panasonic has also added low power Bluetooth connectivity, in addition to Wi-Fi. It also gains a 3cm macro mode (available on the wide end only), Panasonic’s L. Monochrome Photo Style, and a new highspeed 1080/120p video mode.

Key Features:

  • 20.1MP 1″-type BSI CMOS sensor
  • F3.3-6.4 24-360mm equiv. zoom lens
  • 2.33M dot LVF with 0.53x equiv. magnification
  • 10 fps burst (AF-S), 6 fps burst (AF-C)
  • 5-axis in-body stablization
  • UHD 4K/24/25/30p video
  • 3″ touch LCD
  • Depth from Defocus AF
  • Wi-Fi and low power Bluetooth
  • 4K Photo
  • USB charging

To put it simply the ZS200 seems to take the excellent pedigree of the ZS100 (one of our picks for best travel camera), makes some slight improvements and adds a longer, slightly slower lens. Combined, these two cameras fill a gap in the 1″ -type compact camera market, providing significant telephoto reach beyond that of other pocket friendly models, such as the Sony RX100 series.

Compared to its peers

Speaking of the RX100 series, here’s how the ZS200 stacks up in terms of specification to its peers.

Panasonic DC-ZS200 Panasonic DMC-ZS100 Sony DSC- RX100 V Sony DSC-RX100 IV Canon G7 X Mark II
MSRP $ 800 $ 700 $ 999 $ 899 $ 699
Lens range (equiv.) 24-360mm 25-350mm 24-70mm 24-70mm 24-100mm
Aperture range F3.3-6.4 F2.8-5.9 F1.8-2.8 F1.8-2.8 F1.8-2.8
Autofocus Contrast detection Contrast detection Phase detection Contrast detection Contrast detection
Viewfinder 2.3M-dot (field sequential) 1.7M-dot (field sequential) 2.36M-dot 2.36M-dot No
Rear screen Fixed Fixed Tilt up/down Tilt up/down Tilt up/down
Touch sensitive? Yes Yes No No Yes
Video capability

4K/30p
1080/120p

4K/30p
1080/60p
4K/30p
1080/120p
4K/30p
1080/120p
1080/60p
Burst Shooting 10 fps 10 fps 24 fps 16 fps 8 fps
Wifi, Bluetooth, NFC Yes, Yes, No Yes, No, No Yes, No, Yes Yes, No, Yes Yes, No, Yes
Battery life (CIPA) 370 300 220 280 265

As you can see, the ZS200 matches up or beats its peers in some areas, like offering touch sensitivity and ample video capture options. But it also gets beat in others areas like maximum aperture range and burst speed. Though one thing worth calling out is the ZS200 features the best battery life of the bunch, something we look forward to confirming in real world testing.

We’ll also include an equivalent aperture vs equivalent focal length graph, comparing the ZS200 to its peers, as soon as we get a final version of the camera back in our office.

Pricing and availability

Available mid-March, the ZS200 can be yours for $ 800 in either black, or silver/gunmetal, shown here.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create a Retro Look for Your Images with Luminar

13 Feb

Over the past few months, I’ve been testing out the features of Luminar. I’ve looked at the time-saving features that can help reduce your editing headaches. I’ve also played around with the AI filter to see how it holds up in quickly editing holiday photos and now it’s time to check Luminar’s capabilities when it comes to creating a retro look for your photos.

I wanted to know if Luminar would be quick, easy to use and create a look that tastefully gave my photos the look and feel of shooting with film.

Retro Look #1

To embark on this experiment, I studied some famous older photographs. My goal was to shoot a few images that paid tribute to the look and feel of old-school Hollywood. I saw this first image of Sophia Loren from the 1960’s and knew it was perfect. I love the style of dress from past eras and thought this would be a suitable project.

Sophia Loren Image

The goal was to create an image with a similar look and feel. I borrowed my friend Nahleen, she has some similar features to Sophia Loren. Once she agreed we set out to capture an image and then process for that 1960’s film look. Here’s the original image we took.

How to Create a Retro Look for Your Images with Luminar

This is the original unedited photo.

It was shot outdoors on a cold and frosty December afternoon. Nahleen has some similar features to Sophia Loren but is by no means a carbon copy. Instead, I was more interested in attaining a photo in which the fur hood framed her face.

So now that we had captured the image, it was time to bring it into Luminar. I tried to make to make the conversion as simple and quick to complete as possible. I will admit that I tried several times with different settings, etc. until I found a look that I felt was similar to the Sophia Loren image.

The AI Filter was used to bring out some contrast in the image. The photo of Sophia Loren was quite sharp and also had a fairly contrasty look, so my first goal was to pull out the dark tones and brighten my lighter tones to match more closely.

How to Create a Retro Look for Your Images with Luminar

The Accent slider made adjustments quickly and easily.

The B&W Workspace

I then used the B&W Workspace to guide my editing of the photo. I adjusted several sliders. The intention was to increase the contrast and create some fairly strong blacks.

How to Create a Retro Look for Your Images with Luminar

The B&W Workspace comes equipped with a variety of filters all designed to help with black and white conversions.

How to Create a Retro Look for Your Images with Luminar

Here are the settings I used.

Adding Film Grain

My final step was to add film grain. At first, I cranked up the amount of film grain. In this screenshot, you can see how strongly I adjusted it. I always like to adjust a setting by purposely using too much. Then I back off the amount until I find a nice balance.

How to Create a Retro Look for Your Images with Luminar

Here you can see that I’ve adjusted the grain to a fairly heavy amount. For the final image, I backed off a bit.

The whole process was pretty quick. Once I found the right settings it didn’t take too long to recreate this retro look. The final photograph is dark and contrasty but also a little different from the original Sophia Loren shot.

How to Create a Retro Look for Your Images with Luminar

The final image is cropped in closer. My use of film grain is also heavier than in the original Sophia Loren shot.

Retro Look #2

In this second shot, I used a photo from a recent photo shoot in which I was working with a young lady to create a portfolio of modeling images. The 10-hour photo session was created using a very basic budget, but we made sure to utilize a retro outfit for this article.

The bell bottoms and the fur jacket were both found at the thrift store, as was the backdrop. We were working a tight space with limited materials.

How to Create a Retro Look for Your Images with Luminar

Here’s the original unedited file. It was shot in my living room. We used a very basic DIY type of set up.

Free Presets

For this shot, I decided to take advantage of Luminar’s free presets. There are lots of free presets available for download, and I was lucky enough to find a set of free analog-film looks.

How to Create a Retro Look for Your Images with Luminar

Here’s a look at all the free presets available on the Luminar website.

Quick Clicks and Some Cloning

The look of this image was very easy to create with just a few simple adjustments. I chose a cross-processing look and then tweaked it to my liking. The accompanying texture was applied pretty heavily. I found that it was overwhelming the image. So I chose to back off the strength of the texture.

I also cropped the image slightly and applied the Orton Effect filter. It quickly smoothed the model’s skin, and I didn’t need to go in and do any retouching on her face. This saved me quite a lot of time.

Finally, I took the image into Photoshop, where I cloned and added a layer to fill in the areas around the outside where you could see my living room in the original shot.

How to Create a Retro Look for Your Images with Luminar

The preset applied without any adjustments to the original settings.

How to Create a Retro Look for Your Images with Luminar

I started to make some minor adjustment to the original settings found in the preset which included adjusting the saturation in cross-processing.

How to Create a Retro Look for Your Images with Luminar

Here’s the split screen of the before and after views. I completed some cropping and clone stamping.

Plug in for Photoshop

Luminar also has the capability to clone and add layers, but I’ll be honest there’s a part of me that will forever remain loyal to Photoshop for completing these parts of the editing process. This is partly why I really like Luminar  – it works as a plug-in for Photoshop as well. I can move back and forth between the two programs pretty seamlessly.

How to Create a Retro Look for Your Images with Luminar

Here’s the final edited image.

Retro look #3

How to Create a Retro Look for Your Images with Luminar

This is the original unedited file.

For this final shot, I decided to edit the image fully in Luminar. I started from scratch with a RAW file. The goal was to experiment with the full editing capabilities of Luminar. The intention was to create a sepia look image that felt like an older faded photograph.

To start, I opened the B&W Workspace. It contains all the tools I needed for this conversion. That means I didn’t have to search through the list of filters to find anything.

Next, I applied the orange filter, cropped the image and adjusted contrast. I also adjusted the black and white sliders and played around with the strength of this first filter. I did consider creating a color image with a faded look but decided to go with full black and white.

How to Create a Retro Look for Your Images with Luminar

Here’s a look at the faded film style.

Split Toning

After making these adjustments, I started to experiment with the Split Toning sliders. I gave the image a more brownish tone. This step took some experimentation with saturation and various colors.

How to Create a Retro Look for Your Images with Luminar

These are the sliders and colors I experimented with during editing.

How to Create a Retro Look for Your Images with Luminar

After adding the split toning, it was time to add a vignette and film grain. Again I adjusted the grain so it was very heavy and then backed it off to a more suitable amount. The longest part of this whole process was finding a texture that I liked which I felt fit with the feel of the image I wanted to create. I tried several. Luminar comes with lots of free textures you can download. They all seemed to work quite nicely.

In the end, I chose a weathered-looking texture and used the brush tool to apply it to the image in varying amounts. I didn’t want a lot of heavy texture over her face. Here are the final results of my editing and experimentation. The image has a heavier texture application along with film grain and a stronger vignette. The B&W Workspace worked perfectly. It placed all the necessary tools right at my fingertips.

Experimenting with Different Textures

How to Create a Retro Look for Your Images with Luminar

I tend to adjust the image quite strongly then slowly back off the effect until I find the treatment I like.

How to Create a Retro Look for Your Images with Luminar

I played around with several different textures to create the old damaged photograph type of look.

How to Create a Retro Look for Your Images with Luminar

Overlay option number two.

How to Create a Retro Look for Your Images with Luminar

Overlay option number three.

The Finished Image

The final image includes the texture you see in the image above, but I backed it off quite a bit. Here are the results of the experiment. The application of the texture was reduced down to about 14. I didn’t want the effect to be as heavy-handed as in the image above.

In this final finished image, you can see the texture is most obvious around the edges. It’s a subtle texture called tattered that was available in the free downloads section of the Luminar webpage.

How to Create a Retro Look for Your Images with Luminar

Your turn

Luminar comes equipped with a full array of filters that can help you to create a retro look for your images in both black and white and color. Give it a try, they have a 14-day free trial.

Disclaimer: Macphun, soon to be Skylum, is a dPS advertising partner.

The post How to Create a Retro Look for Your Images with Luminar by Erin Fitzgibbon appeared first on Digital Photography School.


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Panasonic Lumix DC-GX9 First Impressions Review and Sample Gallery

13 Feb

The Panasonic Lumix DC-GX9 is a rangefinder-style Micro Four Thirds camera whose most recognizable feature is its tilting electronic viewfinder. The GX9 provides a healthy serving of new features and performance improvements over its predecessor, the GX8.

The most notable changes include the removal of the low-pass filter on the GX9’s 20MP sensor, 5-axis in-body image stabilization (up from 4-axis), slightly faster burst shooting and Bluetooth connectivity. The shutter unit has also been redesigned, with Panasonic claiming a 90% reduction in ‘shutter shock’ compared to the GX8. There’s also a built-in flash – something the GX8 lacked – as well as some tweaks to image processing.

Panasonic appears to have rearranged their lineup a bit, with the GX9 serving more as a midrange model than its predecessors, sitting alongside the DSLR-style DMC-G85. The price has come down to $ 999 with a kit lens, compared to $ 1199 for the GX8’s body alone. Alongside the price drop, some features found on the GX8 are now gone, such as weather-sealing. The EVF is smaller and battery life has dropped by about 25%, as well.

The GX9’s closest peers are the Fujifilm X-E3 and Sony’s a6300, both of which have 24MP APS-C sensors, hybrid autofocus systems (which the GX9 lacks) and 4K video capture.

* The 12-32mm lens pictured above is not the kit lens, which is the Panasonic Lumix G 12-60mm F3.5-5.6 OIS.

Key Specifications

  • 20.3MP Four Thirds sensor with no low-pass filter
  • ‘Dual IS’ 5-axis in-body image stabilization
  • Depth from Defocus contrast-detect AF
  • Tilting 2.76M-dot electronic viewfinder
  • 3″ 1.24M-dot touchscreen display
  • 6 fps burst shooting with continuous AF
  • 4K UHD video capture at 30p
  • Built-in flash
  • Redesigned shutter mechanism with electromagnetic drive
  • New L. Monochrome D and Grain Effect color modes
  • Wi-Fi + Bluetooth

All-in-all that’s a pretty nice feature set, with the removal of the low-pass filter promising better resolution and the new shutter reducing the shutter shock which plagued its predecessor. Panasonic also added some new tricks to its 4K Photo mode that we’ll touch on later.

Compared to…

Now let’s take a look at how the GX9 not only compares to its predecessor but also how it stacks up against Fuji’s X-E3 and Sony’s a6300.

Panasonic GX9 Panasonic GX8 Fujifilm X-E3 Sony a6300
MSRP $ 999 (w/12-60mm lens) $ 1199 (body only) $ 1299 (w/18-55mm lens) $ 999 (w/16-50mm lens)
Sensor 20MP Four Thirds (no OLPF) 20MP Four Thirds 24MP X-Trans APS-C 24MP APS-C
Image stabilization 5-axis (Dual IS) 4-axis (Dual IS) Lens only Lens only
ISO range (full) 100-25600 100-51200
AF system Contrast-detect (DFD) Hybrid Hybrid
AF joystick No Yes No
Burst rate (C-AF) 6 fps 8 fps
LCD 1.24M-dot tilting 3″ touchscreen 1.04M-dot fully articulating 3″ touchscreen 1.04M-dot fixed 3″ touchscreen 921k-dot tilting 3″ touchscreen
Viewfinder 2.76M-dot LCoS (tilting) 2.36M-dot OLED (tilting) 2.36M-dot OLED (fixed)
Viewfinder magnification 0.7x equiv. 0.77x equiv. 0.62x equiv. 0.71x equiv.
Built-in flash Yes No Yes
Video 4K UHD @ 30p
Wi-Fi Yes, w/BT Yes Yes, w/BT Yes, w/NFC
Weather-sealed No Yes No Yes
Battery life 260 shots 340 shots 350 shots
Dimensions 124 x 72 x 47mm 133 x 78 x 63mm 121 x 74 x 43mm 120 x 67 x 49mm
Weight (CIPA) 450 g 487 g 337 g 404 g
The GX9 (left) is noticeably smaller than the GX8.

You can see that the differences between the GX9 and GX8 are a mixed bag. The GX9 loses the low-pass filter, get an extra axis (rotation) of image stabilization and adds Bluetooth and a flash. However, its viewfinder is smaller, body no longer weather-sealed and battery life has taken a turn for the worse. Speaking of viewfinders, Panasonic has gone back to a field sequential panel (a different technology than traditional LCD or OLED,) which some people may find distracting due to ‘color tearing’. The LCD is now tilting versus fully articulating, which some people may find as an upgrade, and others will not.

The 20MP Live MOS sensor on the GX8 is as high resolution as you’ll find on a Micro Four Thirds camera, though larger APS-C sensors perform a bit better at high sensitivities. Both the X-E3 and a6300 have hybrid (contrast + phase detect) autofocus systems, though Panasonic’s DFD system has performed quite well despite lacking phase-detection. The GX8 has higher resolution LCDs and an EVF that’s quite a bit bigger than the X-E3’s. Both the X-E3 and a6300 have faster burst rates and 35% higher battery life.

Accessories

Two accessories for the DC-GX9 really caught our eye, and would likely be placed in the shopping cart next to the camera if we bought one.

The GX9 shown with its optional DMW-HGR2 grip.

The GX9 doesn’t have a huge grip and we found ourselves really liking the available DMW-HGR2 grip. The grip protrudes quite a bit, so smaller hands might find it a bit too substantial, but those of us in the DPReview office who tried it had no complaints. The one downside is that it must be removed in order to access the battery and memory card compartment.

GX9 with optional DMW-EC5 eyecup.

If you find yourself shooting outdoors with the EVF then the DMC-EC5 eyecup is a must. Without the eyecup this reviewer found himself using his left hand to keep light out of the viewfinder, rather than bracing the camera for stability, and for $ 19, buying it is a no-brainer. Getting at the diopter correction knob can be a bit challenging with it attached, though.

Pricing and Availability

The DC-GX9 will begin shipping in early March at a price of $ 999 with the Panasonic Lumix G 12-60mm F3.5-5.6 OIS lens. (Keep in mind that the GX8 launched at $ 1199, body only.) Other regions will likely have other kits available.

Color choices include black or silver.

Articles: Digital Photography Review (dpreview.com)

 
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RED and Foxconn want to produce affordable 8K cameras for the general public

13 Feb
Photo by Jakob Owens

The head of iPhone manufacturer Foxconn has said that the company is working with RED Digital Cinema to build top quality video cameras at a third of current prices. Speaking at a company party at the weekend, Chairman Terry Gou announced that the two companies are already in talks with the aim of producing cameras:

…that will shoot professional-quality films in 8K resolution but at only a third of current prices and a third of current camera sizes.

Foxconn assembles over 70% of Apple’s iPhones, which accounts for 50% of its business, but the company wants to diversify into areas with a better profit margin, according to a report from Nikki Asian Review. Its acquisition of Sharp’s semiconductor business will give Foxconn the chance to manufacture critical components for digital cameras and displays, including chip technologies that go into image sensors.

The company already has a working relationship with RED, and builds and assembles ASIC/front-end LSI circuits for the movie camera maker, according to EOSHD.

Within a few years we might see this powerful combination challenging Panasonic and Sony for space in the enthusiast-level 8K handheld video camera market. It’s still a ways out, but that would be interesting!

Articles: Digital Photography Review (dpreview.com)

 
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US Navy confirms: Combat camera units will be eliminated over budget issues

13 Feb

The U.S. Navy has confirmed that it will eliminate a pair of combat camera (COMCAM) units. Confirmation was given by the Pentagon’s Navy spokesperson Lt. Lauren Chatmas to the Navy Times, which reported last week about the Navy’s plans to eliminate the units by October 1st.

The U.S. Navy has two COMCAM units, one called Expeditionary Combat Camera, the other called Fleet Combat Camera. Both units will be eliminated because of budget constraints, according to Chatmas’s statement:

…difficult decisions were made in order to ensure the resourcing of critical mission areas that support Navy’s expeditionary operations. Other expeditionary mission areas took precedence over COMCAM. Therefore, as an overall cost savings measure, the decision was made to provide this capability to the fleet from the existing Navy Public Affairs Support Element command.

Sources expanded on that statement to Navy Times, claiming that COMCAM budget cuts in fiscal year 2017 decreased funding by 60%, and was joined by a declining workload. Officials reportedly decided to eliminate the COMCAM units entirely when working out the fiscal year 2019 budget, having failed in 2017 to consolidate the two units into a single COMCAM unit.

Articles: Digital Photography Review (dpreview.com)

 
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Leica unveils limited edition Leica Q ‘Snow’ inspired by an Olympic snowboarder

13 Feb

A new, white version of the Leica Q full-frame compact camera has been announced that was inspired by Olympic snowboarder and photographer Iouri Podladtchikov. The ‘Snow’ edition will be limited to only 300 units worldwide, and will cost $ 5,395/£4300.

As with most Leica special editions, on the inside, this camera will be exactly the same as the standard Q. What differentiates it is the special white leather trim and anodized silver top plate, base plate and control dials.

A white leather case and strap complete the ‘Snow’ theme:

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Speaking about the special edition camera, Podladtchikov says the white finish doesn’t only reflect the snow he is so closely associated with:

‘White, for me, also means ‘carte blanche’ – it’s up to you. It’s time to get creative’.

The Swiss Olympic gold medalist and world champion is also a keen photographer, and intends to open his own photographic studio. He was due to compete in the current Winter Olympics in Korea, but had to pull out after sustaining an injury at the 2018 X Games.

The Leica Q ‘Snow’ will be available starting in March. For more information, read the full press release below, or visit the Leica website.

Press Release

Leica Q ‘Snow’ by Iouri Podladtchikov

The Swiss Olympic gold medallist and dedicated Leica photographer designs a special edition of the iconic Leica Q

Wetzlar, 12 February 2018 – Leica Camera AG presents a new version of its high- performance compact camera with full-frame sensor and fast prime lens: the Leica Q ‘Snow’ by Iouri Podladtchikov. This limited edition has been created in collaboration with Swiss Olympic gold medallist, World Champion snowboarder (halfpipe) Iouri Podladtchikov, whose own ideas inspired the design of the camera.

The Leica Q ‘Snow’ by Iouri Podladtchikov is based on the coloured version of the Leica Q with a silver anodised top deck and baseplate and controls on the top deck in silver. The design concept also features a new accessory shoe cover made from aluminium. The highlights of the special edition include the pure white trim in premium real leather that gives it its name. The edition is also strictly limited to only 300 pieces for the worldwide market, each of which bears a special serial number.

In the words of the dedicated Leica photographer: “As a brand ambassador, it’s a fascinating feeling to have inspired a special edition of a camera, but I also see it as an enormous responsibility”. Interestingly, his choice of the colour white doesn’t just relate to snow – perhaps the obvious choice for a snowboarder: “White, for me, also means ‘carte blanche’ – it’s up to you. It’s time to get creative” explains, Iouri Podladtchikov, who has already published two books of his photography and will soon be opening his own studio.

The Leica Q ‘Snow’ by Iouri Podladtchikov is presented as a set complete with a case in soft white leather and a colour-matched carrying strap and will be available from March 2018 for £4,300 (including VAT).

The technical specifications of the Leica Q ‘Snow’ by Iouri Podladtchikov are identical to those of standard model of the Leica Q. Thanks to its particularly fast Leica Summilux 28 mm f/1.7 ASPH. lens, the camera is perfect for photography in low light, for street photography, architecture and landscapes. To allow for reliable control of subject composition, the Leica Q also features an integrated viewfinder with a resolution of 3.68 MP. Even the finest details of every exposure are displayed without any perceptible lag as soon as the camera is brought up to the user’s eye.

All functions of the camera are clearly laid out and logically placed to guarantee perfect ergonomics. Its clear and logical menu concept provides rapid access to all essential functions and enables users to programme personalised settings.

The Leica Q also delivers video recordings in full-HD quality. Depending on the scene and subject, users can choose between 30 and 60 full frames per second for video recording in MP4 format. The camera also features an integrated Wi-Fi module for wireless transmission of still pictures and video and remote control by WLAN from a smartphone or a tablet with the Leica Q App.

Articles: Digital Photography Review (dpreview.com)

 
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Sony’s huge 400mm F2.8 GM OSS lens spotted at the 2018 Winter Olympics

13 Feb

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The gigantic Sony 400mm F2.8 GM OSS lens announced as ‘in development’ back in October 2017 has allegedly been spotted IRL at the 2018 Winter Olympics.

A photo that claims to show the un-released lens—covered in tape to hide telltale markings, of course—was shared by the Photosthelife blog (here it is translated) and later on Instagram by SonyAlphaRumors. This appears to be the first image of the 400mm lens, whose rumored price tag will very likely tip the scales around ten grand, just like the Canon and Nikon versions of the same lens.

In its announcement last year, Sony explained that the new lens would “deliver a new elevated shooting experience for all professional sports” photographers, among others. The Olympics presents a great opportunity to put the lens to the test in an incredibly challenging environment, so it makes sense that Sony would be testing it out there.

Unfortunately, additional details—such as how many of these lenses are actually being tested in the wild, and by whom—aren’t public.

Sony says it plans to release the 400mm F2.8 GM OSS lens in Summer 2018. Until then, this blurry picture will just have to hold all of those Sony a9 owners over.

Articles: Digital Photography Review (dpreview.com)

 
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