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Archive for June, 2019

MS Optics unveils new Vario Prasma 50mm F1.5 and ISM 50mm F1.0 Leica M lenses

13 Jun
MS Optics Vario Prasma 50mm F1.5 lens

MS Optics, the niche lens manufacturer based in Japan, has released two new lenses for Leica M-mount cameras: the Vario Prasma 50mm F1.5 and the ISM 50mm F1.0. The new Vario Prasma lens is described as ‘a modern interpretation’ of the Kino-Plasmat, whereas the ISM 50mm F1.0 is an ultra-fast lens that’s also exceedingly small and light.

The MS Optics Vario Prasma 50mm F1.5 lens is based on the Plasmat lenses designed in 1918 by Paul Rudolph. In what is referred to as a modern interpretation, Miyazaki san’s rendition includes ‘unique improvements,’ including improved focus dampening, separate aperture, and the inclusion of an adjustable spherical aberration ring.

Below are a few sample images captured with the MS Optics Vario Prasma 50mm F1.5 lens:

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The lens features 6 elements in 4 groups, 0.8m to infinity focus, multi-coating on all surfaces, a 52mm focal length, and both Silver Chrome and Black Chrome finishes. According to Japan Camera Hunter, the lenses are currently in production with anticipated shipping in ‘weeks.’ The model can be pre-ordered now for $ 1,200 USD.

MS Optics ISM 50mm F1.0 lens

‘Miyazaki wanted to challenge himself to make an ultra fast lens in the same range as the greats such as the Noct, Xenon and Angenieux,’ Japan Camera Hunter explains. The result is the new ISM 50mm F1.0 lens for Leica M-mount, the creator’s fastest lens to date.

The ISM 50mm F1.0 lens is small and lightweight with a length of 40mm, diameter of 50mm, and a 178g (6.2oz) weight. The lens features 7 elements in 5 groups, 16 rounded aperture blades, 55mm filter size, and a reversible hood with an O-ring for storage.

Below are a few sample images captured with the ISM 50mm F1.0 lens:

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In describing the lens’ performance, JCH explains:

At full aperture there is a drop in contrast due to flare, but resolution is high. At f1.25 flare in the center goes away, and at f1.4 contrast out to midframe increases dramatically. At f2-f2.8 coma flare quickly decreases, and apart from the corners you can expect high imaging performance with sufficient contrast. While spherical aberration of 0.15 is a bit high, the S-M astigmatic planes line up perfectly resulting in very good image quality. From f4 onward both contrast and sharpness need no excuses.

The MS Optics ISM 50mm F1.0 M-mount lens can be ordered in Black Chrome and Silver Chrome for $ 1,700 USD.

Articles: Digital Photography Review (dpreview.com)

 
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Video: A BTS look at how Fujifilm’s GFX 100 was brought to life, from concept to reality

12 Jun

In September 2018, Fujifilm made the official announcements that it was working on a 100-megapixel medium format mirrorless camera—the Fujifilm GFX 100. Since then, we’ve had exclusive hands-on time with the behemoth, published our first-impression video review and shared pre-production photo samples.

We’re yet to get our hands on a fully-reviewable version of the GFX 100, but to tide you over in the meantime, we’re sharing a little documentary from Cinema5D that takes a behind-the-scenes look at the development process of Fujifilm’s latest medium-format mirrorless camera system.

A screenshot from the mini-doc showing how the IBIS is pieced together in the factory.

Titled ‘Birth of a Camera: Fujifilm GFX 100,’ this 17-minute video is part one of a two-part series that takes an exclusive inside look at the development process of the GFX 100. Throughout the video, Cinema5D co-founder Johnnie Behiri travels to various Fujifilm locations in Japan to talk with the executives, engineers and designers that had a part in bringing the GFX 100 to life.

The video addresses how the development process took place, from the initial conception to the final mock-up. Little by little, Behiri follows the vague chronological timeline of the creation process, from talking with the initial Fujifilm ‘CLAY’ designers who sketched up the original form of the camera to the engineers who created countless mock-ups to ensure the required components could fit inside the frame of the camera.

A screenshot from the mini-doc that shows how testing is done on the face-detection autofocus.

It’s a bit of a long watch, but well worth it if you have some free time over your lunch break or before bed.

Behiri notes in the accompanying blog post for this video that while Fujifilm does run a paid banner campaign on its website, the project was initiated and its production costs entirely self-funded by Cinema5D.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS Rebel SL3 review

12 Jun

Introduction

Silver Award

79%
Overall score

The Canon EOS Rebel SL3 (also known as the EOS 250D) is the the latest in the company’s lineup of ultra-compact DSLR cameras, and comes with a 24MP APS-C sensor that has accurate and easy-to-use Dual Pixel autofocus.

Not only does the SL3 have one of the best beginner-friendly ‘guide’ modes we’ve seen on a camera (the same as Canon’s very similar, but bigger Rebel T7i), but it’s capable of taking great images under a wide range of circumstances. It’s also fun to use, comfortable to hold, and has insane battery life: provided you use the optical viewfinder.

Key specifications:

  • 24MP APS-C sensor with Dual Pixel on-sensor Autofocus
  • Optical viewfinder with secondary 9-point autofocus system
  • 4K video recording (with 1.7x crop)
  • Fully articulating rear touchscreen
  • Excellent ‘guide’ mode for beginners
  • Wi-Fi with Bluetooth for image transfer and remote camera control
  • Impressive 1,070 shot battery life (CIPA rating) using optical viewfinder
  • Passable 320-shot battery life (CIPA rating) in live view with Dual Pixel AF

Even as the ‘compact’ DSLR model, the Rebel SL3 shares its sensor, processor and much of its feature set with Canon’s existing (and much smaller) EOS M series of mirrorless cameras. So why would you opt for the SL3 over, say, the Canon EOS M50, which will offer almost identical image quality? It comes down to a handful of personal preferences, particularly when it comes to viewfinders. The SL3 has an optical viewfinder, compared to mirrorless cameras’ electronic ones.

Put simply, an electronic viewfinder allows you to easily preview your exposure settings, but some people prefer the more ‘natural’ and immediate view of the world that an optical viewfinder provides. We’ll look at the differences in more depth in just a bit.


Features that matter

Why should you buy the Rebel SL3 over so many other options? Well, let’s take a look.

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Using the Rebel SL3 on vacation

Turns out the SL3 makes for a pretty great vacation camera – provided you can look past a few caveats.

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Conclusion

The Rebel SL3 is a fine photographic companion, if not an absolute standout in today’s marketplace.

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Sample gallery, image quality, lens quality

Click through to look at some pretty pictures from New Orleans, or get the details on the SL3’s image quality in our studio test scene.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Sony FE 600mm F4 GM OSS sample gallery

12 Jun

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It’s no secret that Sony aspires to dominate in the pro sports photography market, and this new stabilized 600mm F4 is about as professional as it gets. It’s well-built, fast-to-focus, weather-sealed and lighter than any other 600mm in its class (albeit barely).

While 600mm may not be a focal length we shoot at very often, we definitely walked away impressed after putting it through its paces at a Sony-sponsored event.

See our Sony 600mm F4 GM FE OSS gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sony FE 200-600mm F5.6-6.3 G OSS sample gallery

12 Jun

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If Sony’s new 600mm F4 is a bit too much lens/cash for you, not to worry, the FE 200-600mm F5.6-6.3 G OSS is here for all your tele needs. We recently tested it out at a Sony-sponsored event during some high-speed, high-adrenaline activities. Check out the samples.

View Sony FE 200-600 F5.6-6.3 G OSS gallery

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with new Sony FE 600mm F4 GM OSS and FE 200-600mm F5.6-6.3 G OSS

12 Jun

Hands-on with new Sony telephoto lenses

Sony has just released two new lenses, aimed at sports and wildlife photographers. The FE 200-600mm F5.6-6.3 G OSS is aimed squarely at enthusiast and semi-pro users, while the FE 600mm F4 GM OSS joins the FE 400mm F2.8 GM at the top of Sony’s professional lens lineup. We were given the opportunity to shoot with both lenses recently at a Sony event in New Jersey – click through for some initial impressions, and more information.

Sony FE 200-600mm F5.6-6.3 G OSS

The FE 200-600mm F5.6-6.3 G OSS is aimed at enthusiast and semi-professional photographers, especially fans of wildlife and sports shooting. As well as full-frame cameras, Sony expects some buyers to pair this lens with the company’s range of APS-C models, at which point it covers an equivalent focal range of 300-900mm.

One of the selling points of the 200-600mm compared to other lenses of its kind is an internal zoom design, which means that the lens doesn’t get any larger when zoomed through its focal length range. This has advantages when it comes to balancing the lens for handheld shooting, and also reduces the risk of dust and grit being sucked in during zooming.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

The G 200-600mm is equipped with optical stabilization, controllable in 3 modes. Mode 1 is standard, suitable for general photography. Mode 2 is specifically for panning, and according to Sony, Mode 3 provides ‘optimum stabilization for dynamic sports action’.

This shot also shows the main OSS on/off switch, and the 3-position focus limiter, which helps reduce unwanted lens hunting in situations where you can safely keep the lens within a certain focus range (i.e., capturing birds at a feeder, or aircraft at close to infinity).

The 200-600mm’s minimum focus distance is 2.4m (~8 feet). This might not seem impressive, but it’s in the same ballpark as other lenses of this type from competitive manufacturers. Autofocus is driven by a linear direct drive SSM motor, which in our time with the lens provides very fast and near-silent AF in normal lighting situations (tested on an a9).

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

Optical construction of the 200-600mm comprises 24 elements in 17 groups, with one aspherical lens and five ED elements. An 11-bladed aperture ensures circular bokeh even as you stop down modestly, an advantage this lens has over its 9-blade counterparts from competitors. Without the tripod foot attached, the lens weighs 2.1 kg (4.6 lb) which is very slightly heavier than competitive lenses from the likes of Nikon, Sigma and Tamron.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

Here’s that tripod foot, which can be quickly unscrewed and detached for handheld shooting, or stowage.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

A large, deep hood is provided to help protect the front element from flare (and rain). While the G-series aren’t guaranteed to offer quite the same resistance to the elements as the more expensive G Master lenses, the 200-600mm is extensively weather sealed.

The G 200-600mm F5.6-6.3 will be available in August, for $ 2,000.

Sony FE 600mm F4 GM OSS

The FE 600mm F4 GM OSS is aimed at professional photographers, and joins the FE 400mm F2.8 GM OSS at the very top of Sony’s lens lineup, offering the best optical technologies that the company is capable of creating. Sony’s G Master series is designed according to the principle of ‘no compromise’ and we’re told that when it comes to autofocus speed, the FE 600mm F4 should be able to keep up with the autofocus speeds of future generations of Alpha-series interchangeable lens cameras. Put simply, the lens is capable of even faster autofocus communications and speeds than are currently possible with the company’s flagship a9 camera.

Offering an equivalent focal length of 900mm on APS-C, the 600mm F4 can be used on all Sony E-mount cameras, and has been designed to work with Sony’s 1.4X and 2X teleconverters without a significant penalty to either AF speed or sharpness.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

The GM 600mm F4 is the smallest and lightest lens of its kind currently on the market – just edging out the Canon EF 600mm F4 III at 3,040g (6.7 lb) compared to 3,050g. Like the GM 400mm F2.8, the weight of the lens is mostly concentrated towards the rear, which means that despite its size, the lens can be hand-held for short periods of time without being unmanageable. The lightweight construction is partly achieved thanks to the extensive use of magnesium alloy in the body shell.

Despite its relatively light weight, the 600mm F4 has a complex optical construction, made up of 24 elements in 18 groups, including a 40.5mm drop-in filter. This is compared to 17 elements in 13 groups from Canon’s EF 600mm F4 III. Of these 24 elements, three are fluorite, and two are ED glass. Just like the 200-600mm, the 600mm F4 features an 11-bladed aperture, meaning it can retain circular bokeh as you stop down better than its 9-bladed competitors.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

The GM 600mm F4 is intended to be used alongside the GM 400mm F2.8. As such, all of the major controls are identical, and can be found in the same places. This is to ensure that life is as easy as possible for a photographer swapping between them at (say) a sporting event. Even the focus rings of the two lenses are the same size and the same distance away from the camera body.

This view also shows the tripod foot tensioning screw, and a dedicated strap lug. While the weight of the 600mm F4 can probably be supported by the lens-mount of an Alpha-series camera for short periods of time, this is not advisable. The rotating tripod ring can be ‘declicked’ if required, and a security wire can be connected to a dedicated socket in the foot (not pictured) to secure it against theft.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

The GM 600mm F4 has a minimum focus distance of 4.5m (14.7 ft) which is slightly longer than the 4.2m (13.7 ft) minimum focus of its nearest competitor, Canon’s EF 600mm F4 III.

Autofocus throughout the 600mm F4’s focus range is swift and accurate (tested on an a9), thanks to dual XD linear motors, similar to the ones found in the 400mm F2.8. These provide the power required to drive the relatively large, heavy focusing group across its range extremely quickly. In the relatively low light of an artificially-lit sports arena, the 600mm performed very well in our limited testing, even when paired with a 1.4X teleconverter.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

Here’s the 40.5mm drop-in filter, which is an integral part of the lens’ optical makeup. The filter size is the same in both the GM 600mm F4 and the GM 400mm F2.8.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

This view shows (R-L) the wide and deep focus ring, the ‘adjustment ring’ and one of the four focus hold buttons which are standard on professional lenses of this kind. The adjustment ring is effectively a ‘nudge’ control which can be customized to perform various actions, one of the most useful for sports photographers being a ‘focus position recall’, to quickly jump to a preset ‘home’ focus position of your choosing.

Hands-on with new Sony GM 600mm F4 and G 200-600mm F5.6-6.3

The Sony FE 600mm F4 GM OSS will be available in August for $ 13,000.

Sony FE 600mm F4 GM OSS sample gallery

Sony FE 200-600mm F5.6-6.3 G OSS sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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7Artisans 60mm F2.8 APS-C macro lens for mirrorless cameras now available

12 Jun

Chinese company 7Artisans has launched the 60mm F2.8 APS-C macro lens that first appeared earlier this year. The new manual focus lens features a minimum 26cm (10in) focusing distance, F2.8 to F16 aperture, 8 elements in 7 groups, a 39mm filter size, de-clicked aperture ring, and 550g (19.4oz) weight.

The new 7Artisans macro lens is made from aluminum alloy and supports extension attachments for shooting 2:1 and 3:1 macro images. 7Artisans says its new lens offers ‘excellent image quality at infinity and 1:1 macro conditions.’ Below is a collection of sample images provided by 7Artisans:

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The new 7Artisans model is available for Canon EOS M, Canon EOS RF, Fujifilm X, MFT, Nikon Z and Sony E mounts.

Articles: Digital Photography Review (dpreview.com)

 
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Why You Need a Digital Photo Frame

12 Jun

The post Why You Need a Digital Photo Frame appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

One of the unsung heroes of modern photography is the tried-and-true digital photo frame. These simple devices have been around for years, and yet they are rarely discussed in photography circles. With huge televisions adorning our walls, and smartphones stuffed into our pockets, one might wonder why there is any reason to own a digital photo frame. In the past few years, I have grown to greatly appreciate these devices, and I have realized how valuable, useful, and downright practical they are. If you or someone you know needs a good solution to viewing photos, a digital frame might be just what you’re looking for.

When digital frames first came on the market back in the mid-2000s, they were a great idea severely hampered by bad technology. Bezels were huge, the screens were small, and the images were dim and blurry. Setting up frames required toiling through a myriad of menus with nonsensical buttons and on-screen context clues.

Adding images to a digital frame was an exercise in frustration and required many steps on the part of the user. Plus, transitions between pictures were garish and often unbecoming of the memories on display.

It’s no wonder most people have stopped thinking about digital frames!

If this sounds like you, you’re not alone.

I was in the same boat until recently. However, the more I investigated what modern technology offers, the more impressed I became. In contrast to their counterparts from a decade ago, today’s digital frames have bright displays, show large high-resolution photos, are thin and sleek, and cost less than you might think. They often have cloud-based interfaces, offer companion smartphone apps, and can even show video clips.

The Nixplay Seed Wave has a large screen and wi-fi connectivity.

One-Trick Pony

One of the best reasons to get a digital frame isn’t because of what they can do, but what they can’t do. It seems silly to have yet another device in a world where screens already surround us, but the digital frames eschew the traditional idea of a computer screen by turning it on its head. They follow the adage of doing one thing and doing it well.

Most digital frames don’t let you do anything but view pictures. And this is precisely what makes them so great. They don’t run thousands of apps, let you surf social networks, or make video calls. They don’t play games, won’t let you binge-watch Netflix or YouTube, and don’t bombard you with notifications.

Digital frames sit there, passively doing only one thing: showing your pictures.

The Aura Digital Photo Frame has facial-recognition built into its companion app and a touchscreen for navigating options.

In an era where every device and gadget continually begs for our attention, digital frames are like an oasis in the middle of the desert. It’s downright refreshing to see a bright digital frame sitting on a shelf, knowing you can’t do anything with it other than look at pictures.

You don’t have to worry about software updates, and your viewing experience isn’t cluttered with dozens of icons and bubbles vying for your attention. In a media-saturated world, digital frames are a great way to slow down and enjoy, appreciate, and reflect on your pictures without distraction.

Some smart appliances like the Amazon Echo Show and Google Nest Hub act as photo frames, but I prefer the simplicity and focus of a dedicated frame. Other devices like that are nice, but the features they offer can often distract you from just enjoying your photos.

Advanced frames like the Google Nest Hub Max do lots of things, but I prefer simpler frames that don’t have built-in cameras, digital assistants, or alert bubbles begging for your attention.

To print or not to print

Like many people, my wife and I have struggled for years with the question of what to do about getting prints made of our pictures. We’ve made yearbooks that adorn our end tables, mounted framed snapshots on dressers, and festooned our walls with large prints and canvases. These are great, and we enjoy them a great deal, but every one of them eventually grows old over time.

When that inevitably happens, we have to consider what to do next. Do we keep the old prints around? Do we put up new images in place of what was once there? There are also practical concerns, like where to get prints made, what size to make them, and what happens when our favorite photo book publisher goes out of business?

We enjoy seeing prints as much as anyone, but the logistical hassles have added layers of stress and indecision onto what should be an enjoyable process.

The Pix-Star 15-inch frame lets you see your photos without printing them.

A digital frame solves almost all of these problems. Our 8×10″ Nixplay Seed sits in our living room showing a massive assortment of images without any effort from us. In the course of a single day, we see photos of family vacations, our kids when they were infants, and old slides that we scanned from negatives. We don’t have to think about switching photos out, spend entire evenings trying to decide which images are worth printing, or wonder whether a particular photo is worthy of being displayed for all to see.

Of course, there are still plenty of reasons to get pictures printed. But if you want a simple way to enjoy your pictures without the hassle of making physical copies, a digital frame might be right for you.

As is the case with most digital gadgets these days, storage space is not the same constraint as it used to be. Many frames have internal storage of at least 8GB, which is enough for almost 10,000 images. If that’s not enough, you can look for one with a removable memory card slot to add even more space.

Modern digital frames have more than enough storage space for your pictures. Unlike your walls and bookshelves, which can quickly fill up with physical prints.

Image quality

If you think that displaying your images on a digital frame means sacrificing overall quality, think again. This might have been true in 2005, but now, frames are leaps and bounds beyond where they used to be. As recently as a few years ago, many frames had resolutions of about 72 or 96dpi – similar to that of older computers.

This resolution is fine if you’re viewing your images from a distance, as often is the case when using frames in a household setting. However, frames today often have much higher pixel densities or anywhere between 150-300dpi that put them on par with most laptop screens and even that of some mobile phones.

This means that your images, even when viewed up close, are as crisp and sharp as you would see if you got them printed and you’ll be able to make out every detail from wisps of hair to blades of grass.

Aura makes a 9.7-inch frame with 2048×1536 resolution, which shows your memories in crisp, clear detail.

Most modern digital frames use bright screens that are now viewable from any angle, unlike older versions which required you to stand in the right spot to see your images. Your pictures appear bright and colorful, and some digital frames even let you show video clips alongside your images.

Worry-free sharing

With all the recent problems regarding data privacy on social network sites like Instagram and Facebook, it’s no wonder so many people are deleting their accounts! If you, or your friends and family, are limiting your social media usage but still want to see pictures of the important things in your life, a digital frame is just the answer. To illustrate this, I’m going to use my in-laws as an example.

My wife’s parents aren’t on any social media at all, and they prefer to spend their time reading, gardening, walking the dogs, and going out with friends. This means they don’t get to see any pictures of their grandchildren unless we send them physical prints, which they have to find a spot to display. A few months ago, my wife and I bought them a digital photo frame and have since populated it with well over a thousand images of us and our kids.

Do you have friends or family members who aren’t on social media? Get them a digital frame and fill it with photos for them to enjoy.

We shared their frame information with other family members who have also sent pictures to the frame. My wife’s parents love it! The frame sits in their living room, showing photos of the people they love without any effort on their part. And, they didn’t have to join a social network or share any personal data.

If you have people in your life who are concerned about data-mining and privacy, consider a digital frame as a happy medium. It allows you to share pictures on a more limited and intentional basis than sites like Instagram or Flickr. But the tradeoff is, you are in full control of the images, and none of your personal information is sold to third-parties for advertising.

This simple Tenker 7-inch frame, and others like it, won’t send your photos off to be analyzed for advertising.

Tips

Here’s a few more tips that might help you with digital frames.

  • Set your display to change pictures less often. Every hour or less is much better than every 30 seconds. It will seem slow at first, but you’ll get a lot more enjoyment in the long term. You won’t feel like you’re seeing the same images over and over.
  • Export your photos to the resolution of your frame to save on storage space. Sending a 24-megapixel image to a 3-megapixel frame won’t do you any good at all.
  • Set your friends and family up with sharing permissions so they can send you photos. Then make sure to return the favor and send photos to their frames too.
  • You can build your own photo frame with a cheap Android tablet and some software, but I recommend getting an off-the-shelf model. It’s just easier and will probably make your life a lot simpler in the long run.
  • Most modern frames have built-in memory but also sync with cloud storage options like Dropbox and Google Drive. You might have to configure a few settings, but it can make the already-easy process of sending pictures even simpler.

Do you use a digital photo frame? Or, are there reasons why you don’t? Feel free to share with us in the comments below.

 

why you need a digital photo frame

 

The post Why You Need a Digital Photo Frame appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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OPPO patents foldable phone with pop-up camera

12 Jun

Back in February at the 2019 Mobile World Congress, we saw the launch of a new form factor for smartphones: several manufacturers showed phones with folding displays, including Samsung with the Galaxy Fold and Huawei with the Mate X.

OPPO’s foldable prototype got less media coverage but the company had already filed for a foldable-phone-patent with the World Intellectual Property Office (WIPO) back in October 2018. Now the patent has been published, including several design sketches and full color renders.

The new design’s stand-out feature is the pop-up camera that allows for reduced bezel sizes and means that pictures and videos can be recorded in both in the phone’s folded and unfolded states. Additionally, the camera hardware could be used for selfie-shooting although camera control and image processing would likely have to be modified for front camera use.

As this is a design patent no specs are available but, like with the MWC prototype, the screen folds outwards and there’s also a 3.5mm headphone jack.

Samsung’s foldable phone has been delayed indefinitely due to technical issues and the Mate X has not made it into shops yet. This said, it’s likely a temporary delay and it’s only question of time before consumers will hold foldable phones in their hands. We are looking forward to seeing how other manufacturers will design camera implementations for the new form factor and how the design can help take mobile photography to the next step.

Articles: Digital Photography Review (dpreview.com)

 
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Skylum Luminar 3.1.1 update brings speed improvements and new features

12 Jun

Skylum has updated its photo editing software Luminar to version 3.1.1, bringing improvements and new features to both the Windows and Mac versions of the application. The company says the new version of its software improves navigation on Windows and Mac by enabling users to right-click on an image and go straight to the folder in which it is stored.

For Windows users, right-clicking on an image also now presents the option to view other images that were taken on the same day. Skylum presents these two features as a way to easily find other content that may be related to a current project, such as other images taken during the same photo shoot.

For Mac users, Luminar version 3.1.1 can create albums faster and now supports changing the software’s language independent of the operating system’s settings. Both the Windows and Mac versions of the software have received launch time improvements, as well, drastically reducing the software’s startup time.

Luminar version 3.1.1 is available now. Windows users can find the update by clicking ‘Help > Check for update’ in the top toolbar; Mac users can update by clicking ‘Check for updates’ in the Luminar 3 menu option in the system’s top bar.

Articles: Digital Photography Review (dpreview.com)

 
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