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Archive for June, 2019

Canon patent details triple image stabilization system for low-light video recording

28 Jun
A diagram from the patent that details the process of integrating multiple image stabilization systems together.

Canon has patented a new image stabilization system that utilizes three different technologies to prevent blurry images: lens stabilization, image sensor stabilization and electronic image stabilization. The system would add another layer of movement prevention over Canon’s existing dual image stabilization option that uses both lens and digital stabilization when shooting in video mode.

The patent was first posted on the United States Patent and Trademark Office’s website (USPTO) on June 27. According to the document, Canon’s triple image stabilization system, which uses a combination of lens, sensor and electronic image stabilization technologies, kicks in to prevent slow shutter speed blurs that may otherwise exceed the capabilities of the current Dual IS system.

Canon splits camera shakes into two different categories: low-frequency for slight movements that can be corrected using electronic stabilization and high-frequency for stronger shakes like the vibration from a moving vehicle that can be corrected using optical stabilization.

The patent details a third type of movement Canon called ’accumulated shake’ resulting from low shutter speeds experienced in dim environments. In the case of recording in low-light situations, Canon explains:

…so-called ‘accumulated shake’ may occur, which is a blur occurring in a subject image due to the position at which an optical image is formed being displaced during exposure, and therefore, it may be impossible to acquire a favorable image even if a region that is to be cut out is adjusted.

It appears Canon patented this new system as a potential solution for this problem; the patent explains the system offers ‘favorable shake correction corresponding to the shutter speed.’ Based on the details provided in the patent, Canon may envision future cameras that utilize a detection method for determining when accumulated shake is a problem in order to utilize the triple image stabilization system.

The feature may be used to reduce blurs in videos recorded in low-light settings, but only speculation about Canon’s intentions is possible at this time. As with any patent, Canon may never bring this technology to the consumer market.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram is rolling out photo and video advertisements in Explore tab

28 Jun

Instagram rolled out its redesigned Explore tab in May, introducing topic shortcuts, direct access to IGTV, and more. In an update today, the company has revealed another addition to Explore: advertisements. Instagram users will begin seeing sponsored posts in the app’s Explore tab over the ‘next few months,’ the company announced this week.

According to Instagram, more than half of the accounts on its platform use the Explore tab every month to discover new content and 80% of accounts follow at least one business in the app. The company plans to bring these two realities together by introducing sponsored posts in Explore.

When an advertisement is encountered, users will see a direct link to purchase items from the company that paid for the ad, as well as a ‘Sponsored’ label below the brand’s name. Instagram presents the new addition as a way for advertisers ‘to be part of what’s culturally relevant and trending while reaching new audiences who are looking to discover something new.’

It’s unclear how many users currently see the advertisements, which Instagram says it plans to introduce ‘slowly and thoughtfully in the coming months.’ Users will simply start to see ads at some point over the next few months ‘as part of their browsing experience,’ the company said this week.

It’s unclear how often users can expect to see advertisements in Explore once they are fully deployed on the platform. The first advertisements will arrive today and direct users to Instagram’s own IGTV, The Verge reports. In the future, ads will include both images and videos. This marks an expansion of advertisements on the platform, where they can already be found in Stories and the regular user feed.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron 17-28mm F2.8 for Sony E-mount available in July for $900

28 Jun

Tamron has announced pricing for its 17-28mm F2.8 Di III RXD lens for full-frame Sony mirrorless cameras.

The 17-28 is marketed as the ideal companion to Tamron’s excellent 28-75mm lens, adding a useful wideangle range. The 17-28 is 9cm (3.9″) long and weighs in at 420g (14.8oz.). And, since the zoom and focus are internal, it never gets any longer. The lens is sealed against dust and moisture.

The lens has a total of 13 elements, including two low-dispersion and one extra-low-dispersion element. It has a BBAR coating to reduce ghosting and flare and a fluorine coating to resist fingerprints and moisture. It has a minimum working distance of 19cm (7.5″) and maximum magnification of 0.19x. The lens is threaded for 67mm filters, just like the 28-75.

The Tamron 17-28mm F2.8 Di III RXD will ship in late July for $ 900.

Tamron Announces Launch of Large Aperture, Ultra Wide-Angle Zoom Lens for Sony E-Mount Cameras that is Extremely Compact and Lightweight with a Filter Diameter of 67mm

June 28, 2019, Commack, NY – Tamron announces the launch of the 17-28mm F/2.8 Di III RXD (Model A046), a large aperture, ultra-wide-angle lens for Sony E-mount full-frame mirrorless cameras. The Model A046 features a filter diameter of Ø67mm (astonishingly small for a full-frame, large aperture, ultra-wide-angle zoom lens) as well as an unprecedented light weight of 14.8 oz. and diminutive length of 3.9 in. The compact size provides excellent balance on the small profile mirrorless cameras and is easy to carry. The lens will be available July 25 at approximately $ 899 at authorized Tamron USA retailers.

The Model A046 offers a large F/2.8 aperture throughout the entire zoom range and delivers high-resolution and contrast edge-to-edge. The combination of ultra-wide-angle focal length, large constant F/2.8 aperture and an MOD (Minimum Object Distance) of 7.5 in. at the wide-angle end encourages richly expressive and creative photography in a multitude of scenarios.

The new 17-28mm zoom’s AF drive system is powered by the RXD (Rapid eXtra-silent stepping Drive) stepping motor unit that enables it to deliver high-speed, high-precision and superbly quiet operation, making it suitable for shooting virtually noise-free video as well as still photographs.

In addition, the new zoom lens features Moisture-Resistant Construction and a hydrophobic Fluorine Coating that repels fingerprints and dirt. Plus, the Model A046 is fully compatible with various camera-specific features including Fast Hybrid AF and Eye AF. High performance, combined with exceptional portability, make the 17-28mm zoom ideal for daily use.

PRODUCT HIGHLIGHTS

  1. Companion model to the compact, popular Tamron 28-75mm F/2.8 Di III RXD (Model A036) zoom

Sharing the same development concept as the highly esteemed Model A036 that launched in May 2018, the 17-28mm zoom (Model A046) was designed with the top priority of high optical performance in a form factor that is light and compact. Tamron engineers have achieved an unrivaled small size (3.9 in) and light weight (14.8 oz) for a zoom range of 17-28mm. The overall length does not change when zoomed or during focus, thereby creating stable, well balanced operation and excellent mobility. In addition, Model A046 features a filter diameter of just 67mm, very small for an ultra-wide-angle zoom lens. It has the same filter size as its sister lens the Model A036 allowing the use of the same lens cap and filters. The two zooms together create an extremely compact system that covers 17 to 75mm and weighs less than 35.3 oz.

  1. Superb high-resolution performance

The 17-28mm zoom’s optical design consists of 13 lenses in 11 groups, including three aspherical lens elements, two LD (Low Dispersion) lens elements and one XLD (eXtra Low Dispersion) lens element that has properties close to those of fluorite. Together they efficiently suppress chromatic and other aberrations. Additionally, Tamron’s legendary BBAR (Broad-Brand Anti-Reflection) Coating effectively reduces ghosting and flare. Leveraging camera functions*, it provides excellent optical performance matching the latest high-resolution image sensors from edge-to-edge throughout the entire zoom range. The combination of compact size and light weight plus high-resolution performance lets users capture a wide variety of genre including landscapes, architecture and casual snapshot photography.

*When shooting with the camera’s lens correction function enabled.

  1. Extreme close-up capability enables versatile creative expression with ultra-wide-angle zoom

The 17-28mm zoom focuses close. The MOD at the 17mm wide position is 7.5 in (same as Model A036) and the maximum magnification ratio is 1?5.2. At the 28mm end, it achieves the maximum magnification ratio of 1:6 while reaching the MOD of 10.2 in This remarkable performance allows users to create compositions that emphasize perspective (the closer subject is larger and the more distant one is smaller) and that are unique to wide-angle lenses.

  1. The RXD stepping motor unit is exceptionally quiet

The AF drive incorporates a sensor that accurately detects the position of the lens while the RXD motor unit delivers optimized AF control. This achieves very fast and accurate autofocus operation, allowing users to maintain pin-sharp focus on continually moving subjects or when filming video. The exceedingly quiet operation is an important advantage because it virtually eliminates extraneous sounds during video recording. In addition, the compact configuration of the RXD AF drive system contributes to the unprecedented size and weight reduction.

  1. Moisture-Resistant Construction and Fluorine Coating

Environmental seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops and afford Moisture-Resistant construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions. Also, the front surface of the lens element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, moisture or oily fingerprints, allowing for much easier maintenance.

  1. Consistent design and operation throughout all Tamron lenses for full-frame mirrorless cameras

Similar to the 28-75mm (Model A036), the 17-28mm (Model A046) has a zoom ring at the front and a focus ring at the rear. Zooming, focusing and other functions are identical in this series to ensure consistent operation. The design is not only beautiful, it is functional as well and features an outer housing hugging the smooth contours of the lens body, deftly worked Luminous Gold brand ring and the precise, rigid metal lens mount. The Luminous Gold brand ring solidifies the characteristic look of a Tamron-branded lens whether on its own or attached to a camera body.

  1. Versatile, exciting combination when paired with the 28-75mm F/2.8 Di III RXD (Model A036)

Two high-performance partners, the 17-28mm combined with the 28-75mm, cover the super-broad range from 17mm ultra wide-angle to 75mm medium telephoto, and maintain excellent speed with an open aperture of F/2.8. The total weight of the two lenses is 34.2 oz, less than 1kg. This compact but potent combo makes the most of the mobility of mirrorless cameras. In addition, both models have a filter diameter of 67mm, so the same filters such as PL (Polarizer) and ND (Neutral Density) may be used with both models, and lens caps are interchangeable.

  1. Compatible with main camera-specific features and functions

Tamron’s new 17-28mm zoom is compatible with many of the advanced features that are specific to certain mirrorless cameras. This includes the following:

– Fast Hybrid AF

– Eye AF

– Direct Manual Focus (DMF)

– In-camera lens correction (shading, chromatic aberration, distortion)

– Camera-based lens unit firmware updates

* Features vary by camera. Please consult your camera’s instruction manual for details.

* As of May, 2019.

Tamron 17-28mm F2.8 Di III RXD specifications

Articles: Digital Photography Review (dpreview.com)

 
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How To Use Lightroom Classic With Two Monitors

28 Jun

The post How To Use Lightroom Classic With Two Monitors appeared first on Digital Photography School. It was authored by Darina Kopcok.

how to use lightroom classic with two monitors

One of the best ways to enhance your workflow in Lightroom is to use two monitors.

Utilizing two monitors in Lightroom helps you work faster. You can also sort through your images more quickly. You can work with your thumbnails on one screen, and the full-sized image on another.

If you’re a high-volume shooter, such as a wedding photographer, you should seriously consider working with two monitors. You’ll find that it can make your workflow a lot more streamlined and productive.

Your second monitor doesn’t have to be as big or as high quality as your primary one. In fact, you can even connect a laptop to your monitor.

A two monitor set-up is great to have if you shoot tethered or travel with a laptop.

Alternatively, you can have two stand-alone monitors, depending on what kind of operating system you have, or a computer with a built in monitor, like an iMac.

For example, in my own workflow, I use a 27-inch iMac and a separate monitor in a similar size.

How to set up two monitors in Lightroom

To set up a two-monitor display, you first need to connect your second monitor and then get Lightroom to recognize the secondary display.

To do this, go to Window -> Secondary Display -> Show.

Then go to the monitor icons on the left side of the Filmstrip -> click the monitor icon labeled “2” to activate the secondary display.

The default for the secondary display is Loupe View, but you can change it.

The other options are Grid View, Compare View, Survey View, or People View. Click and hold the monitor icon marked “1” to see these options.

People is where Lightroom identifies faces in images, including new ones you add to your library. That way, you don’t have to assign keywords to tag people in your photos manually.

If you click and hold the icon labeled “1,” you’ll see a similar list of options for your primary monitor.

You can zoom and filter photos in Loupe View.

Loupe View on the second monitor allows you to zoom into the photo by clicking on the image. You can also right-click your mouse and change the color of your workspace background.

Note that Loupe View has three different modes: Normal, Live, and Locked.

  • In Normal, if you click on a thumbnail in Grid View on monitor 1, you’ll see a large version displayed in Loupe View on monitor 2.
  • In Live, the photo displayed in Loupe View changes as you move the cursor over the thumbnails in Grid View.
  • With Locked, the last photo viewed in Loupe View stays on the screen until you select one of the other modes.

To access Normal View, click on a thumbnail in Grid View on monitor 1 to see a large version displayed in Loupe View on monitor 2.

While in Live View, the photo displayed in Loupe View changes as you move the cursor over the thumbnails in Grid View.

In Locked View, the last photo viewed in Loupe View stays on the screen until you select one of the other modes.

Compare View in the secondary window offers the same functionality as the Compare View in the primary window.

Survey in the secondary display offers the same functionality as the Survey view in the primary window.

Options for display with two monitors

You can customize your workspace on two monitors in the following ways:

  • Use the Develop module on your first monitor and enable Loupe View on the second monitor. This will allow you to zoom in on the second monitor to check finer details such as noise, focus, or for chromatic aberration.
  • Set Grid View on the first monitor and Loupe View on the second monitor. You can look at one photo on one screen and thumbnails on the other.
  • Use Grid View on the first monitor and Survey or Compare View on the second monitor. This is recommended when you want to quickly cull images.
  • Alternately, you can have Grid View on your second monitor and Loupe View on the first monitor.

To hide the top or bottom panels in the secondary display, click the grey arrows, the same way you hide panels in Lightroom’s main window. Click them again to unhide them.

The “Full Screen” option in Lightroom is enabled by default. When you click on it, the window on your second monitor is taken out of full-screen mode, giving you a re-sizeable window that can be moved around the screen.

You can swap the displays around in Normal Screen Mode. In this mode, you can drag and drop the window over to the second display, automatically changing their positions.

You can also display the second window as a floating window by clicking the Second Monitor button in the main window and deselecting Full Screen.

To close the second window, –> click the Second Window button, or click it and deselect Show.

To sum up

One last note: be sure that at least the main monitor where you view your final images is calibrated. You want to make sure that the color in your images is technically correct, especially if your images will be printed.

If you have been doing your Lightroom post-processing on one monitor, you’ll find that getting a second monitor will change your editing life.

Do you use two monitors? What are your thoughts? Share with us in the comments below.

how to use lightroom classic with two monitors

 

 

The post How To Use Lightroom Classic With Two Monitors appeared first on Digital Photography School. It was authored by Darina Kopcok.


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TurtleRig launches latest versions of its Bulb Extensions for Flashpoint/Godox strobes

28 Jun

Lighting accessory manufacturer TurtleRig has announced the launch of its latest Bulb Extensions for Flashpoint and Godox strobes.

As explained in the three-minute promotional video above, the third-generation Bulb Extension units move the flashbulb forward 32mm (1.25in) so less light is wasted when used with certain speed-rings and light modifiers. The result is not only more light per flash (TurtlRig claims between 1/3rd to one stop of additional light) but also more even light, since modifiers like beauty dishes and parabolics benefit from having the light project more evenly than would be possible with the standard flashbulb position.

At the time, TurtleRig offers its Bulb Extensions for four different Flashpoint/Godox units, including the AD200, AD400, AD600 and AD600 Pro. Prices start at $ 20.95 and go up to $ 22.95 depending on the model.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix DC-S1R review in progress

27 Jun

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The Panasonic Lumix DC-S1R is the company’s high-end, high-resolution full-frame mirrorless camera. It uses a 47MP sensor and is built around the ‘L’ lens mount developed by Leica and now adopted by both Panasonic and Sigma.

The S1R shares a body with the 24 Megapixel S1, whose size and level of dedicated controls sets it apart from its other full-frame mirrorless rivals. The S1R boasts a very high resolution (5.7M-dot) viewfinder, top plate LCD panel, twin card slots and pro-level build-quality that promises to be weather resistant.

The S1R has a multi-shot high resolution mode, which delivers 187MP Raw files. In addition, it can shoot UHD 4K video at up to 60p. However, this video has a slight crop and is achieved by pixel-binning. Until the video-centric S1H sister model arrives, the less expensive S1 is the stronger video camera.

Panasonic Lumix S1R Key Specifications

  • 47MP full-frame CMOS sensor
  • Depth from Defocus contrast-detect AF system
  • 5-axis in-body ‘Dual IS’ system
  • Fully weather-sealed
  • 187MP ‘High Res’ mode
  • 6 fps bursts with continuous AF
  • 5.76M-dot EVF
  • Dual-hinged 2.1M-dot touchscreen LCD
  • UHD 4K/60p video capture with 1.09x crop and pixel-binning
  • One XQD and one SD card slot
  • 360 shots/charge using LCD
  • USB charging, including from laptop/tablet chargers and portable power banks

The S1R has a list price of $ 3699. Alongside the camera, Panasonic announced 50mm F1.4, 24-105mm F4 and 70-200mm F4 lenses for the L system. They are priced at $ 2299, $ 1299 and $ 1699, respectively. There’s also the option to use existing Leica’s SL lenses, its APS-C ‘TL’ series and a range of Sigma’s ‘Art’ lenses that it has announced for the L mount.

A battery grip (DMW-BGS1) is available for around $ 350.

What’s new and how it compares

The S1R has a range of features, including a multi-shot high resolution mode, an HLG-compatible HDR mode and a 6K Photo system to grab stills from video footage.

Read more

Body and handling

The S1R has a comparatively large body, which provides plenty of room for direct control points.

Read more

Operation and control

In addition to the direct controls, the S1R has a revised menu system and user interface.

Read more

Video specifications

The S1R is the least video centric of its S-series peers, but it’s still capable of capturing some nice clips.

Read more

Studio scene

The Panasonic S1R renders resolution well in its standard mode, but its eight-shot high-res mode extends this into medium format territory (for appropriate subject)

Read more

Sample gallery

We’ve been shooting with the S1R in a variety of situations, to show what the Panasonic flagship can do.

Read mode

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: What is shutter angle, and why is it better than shutter speed when shooting video?

27 Jun

Have you heard video pros talk about using shutter ‘angle’ instead of shutter speed? Chris explains what shutter angle is and why it’s often more useful than shutter speed for video work.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • A bit of history
  • 360-degree shutter
  • 180-degree shutter
  • 90-degree shutter
  • Downsides of using shutter speed
  • Why shutter angle is more useful than shutter speed
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Canon RF 35mm F1.8 IS STM Macro Review

27 Jun
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The RF 35mm F1.8 IS STM is one of four lenses announced alongside the Canon EOS R, the first camera in the company’s new EOS R mirrorless system.

Something of an odd one out in that quartet, it’s the only non L-series lens released for the RF line to date, although that will soon change with the arrival of the RF 24-240mm F4-6.3 IS USM later this year. It’s also around half the price of the next cheapest lens in the system, while its focal length and aperture, combined with the fact that it’s a prime lens, also allow it to be considerably smaller and lighter than every other option so far. All of this should mean it holds particular appeal for EOS RP owners who’d like to start exploring the native lens selection but find their camera bodies – and/or wallets – overwhelmed by the other current native offerings.

A 35mm F1.8 option is a fairly sensible and versatile lens to have at the start of a system, and its broad appeal should pique the interest of street, travel, nature, portraiture and even landscape photographers. The added bonus of image stabilization also makes the absence of sensor-based stabilization from the current bodies less of an issue, while ‘Macro’ in the name indicates a close focusing distance of 17cm / 6.7 in (albeit shy of being truly macro, offering a maximum reproduction ratio of 1:2).

All pictures by Matt Golowczynski unless otherwise noted.

Key Specifications:

  • Focal length: 35mm
  • Aperture range: F1.8-22 (In 1/3EV stops)
  • Filter thread: 52mm
  • Close focus: 0.17m (0.56ft / 6.7in)
  • Maximum magnification: 0.5x
  • Diaphragm blades: 9
  • Hood: EW-52 (optional)
  • Length / Diameter: approx. 74.4 x 62.8mm (2.93 x 2.47in)
  • Weight: approx. 305g (approx. 10.8 oz.)
  • Optical construction: 11 elements in 9 groups

The lens has a new formula that sees 11 elements arranged in nine groups. This includes a single glass moulded aspherical element within the focusing group in the middle of the formula, which is in place both to combat spherical aberration and also to keep image quality consistent over focusing distances.

With the lens mounted on either the EOS R or EOS RP, you have access to Canon’s full suite of aberration-rectifying options that deal with vignetting, lateral chromatic aberration, distortion and diffraction, in addition to the Digital Lens Optimizer that aims to counter the softening effects from diffraction, among other things.

The optical design of the RF 35mm F1.8 Macro is similar to the older EF 35mm F2, but flipped. Whereas the older optic (designed for DSLRs) has a large front element and a small rear element, the RF 35mm F1.8 (designed for mirrorless) has a small front element and a large rear element.

Canon has pointed out how the RF mount’s width and the short flange back distance gives new freedom to lens designers, and the optical design here – or, more specifically, the way in which this differs from existing designs in similar lenses – appears to back that up. The rearmost element sits very close to the back of the lens itself and is the largest in the array. Canon claims that this is one of the key reasons for the high corner-to-corner sharpness, even when the lens is used wide open. A diagram of the optical construction also shows that the aperture diaphragm is positioned relatively close towards the front of the lens, which is said to be one reason why the lens can offer such a wide aperture without compromising on size.

The diaphragm is made up of nine blades, which bodes well for round bokeh, while the minimum focusing distance of 17cm gives a minimum working distance – i.e. the distance from the front of the lens to the subject – of 7cm.

A hood isn’t provided with the lens as standard, and that may well be explained by the likelihood of the average user needing or wanting to use it with such an optic. Still, for this kind of money it’s a bit disappointing not to have a hood included.

Design and Handling

Not only is this is the lightest and most compact RF lens so far, but the roadmap Canon unveiled towards the start of the year suggests that will remain so for a while. It’s 30g lighter than the existing EF 35mm F2 IS USM and just a fraction wider, but 70g lighter and considerably shorter in length than the Nikon Z 35mm F1.8. Unlike the latter lens, however, this one isn’t weather sealed.

The lens balances very nicely on the EOS R body and is light enough to allow for one-handed operation when required. Two large switches on the barrel provide control over focus mode and image stabilization, and these click between positions positively. They also barely protrude from the casing, which makes it difficult to inadvertently knock them out of place.

The outer barrel’s matte gray finish mirrors that of the EOS R body, as does the silvery rear of the inner lens barrel with the host cameras throat. The mount is metal and build quality overall appears to be perfectly good.

The lens is encircled by a Control Ring towards its front and a focusing ring towards the middle of the barrel. While the pair sit close to each other, their different finish, together with the fact that the Control Ring is clickable, mean you’re unlikely to mistake them in use.

You can customize the action performed by the Control Ring to your liking, or even deactivate it completely if that suits you, and it’s also possible to switch the direction of rotation if the default arrangement bothers you. If enabled, you can opt for it adjust aperture, shutter speed, ISO or exposure compensation, and in each case you can select whether the ring adjusts these at all times or only when you have your finger half-pressed on the shutter release button. The setting you select stays the same between exposure modes, which you probably won’t find to be an issue unless you tend to hop between exposure modes with some frequency.

Some predictable limitations occur with some combinations or setting and exposure mode, such as no exposure compensation control in manual mode, and no adjustment of aperture in shutter priority mode (and vice-versa).

The Control Ring provides excellent feedback, with increments nice and coarse, and the camera responds without any delay. Those looking to use the lens for video might be disheartened to learn there’s no way to alternate be-tween clicked and de-clicked operation, but if you’re happy with it being permanently de-clicked, Canon can do this for you (for a fee).

Articles: Digital Photography Review (dpreview.com)

 
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This dead Polaroid SX-70 was rebuilt as a fully functional digital camera

27 Jun

Josh Gross, a managing partner at design and development studio Planetary, has published a writeup detailing the conversion of an old defunct Polaroid SX-70 into a fully functional digital camera. The finished product retains the same external design as the original, but the innards have been heavily modified to include a Raspberry Pi Zero W and CCD sensor.

Gross details the rebuild in a blog post on his website, where he explains the project’s trickiest aspect was fitting the CCD and lens camera assembly into the Polaroid’s head. The original focus wheel and exposure wheels stayed intact, as well as most external components.

Moving on from the lens assembly, Gross says he removed the Polaroid camera’s Fresnel mirror and replaced it with a small 6.3cm (2.5in) screen in order to provide a live image preview. The screen assembly and battery were mounted within the camera’s film storage area, and the rest of the components were added.

One of the final images captured with the finished product.

Gross used OpenCV and Python on the software side for processing and displaying images. Size constraints required the use of a fisheye lens, so Gross used software to remove the fisheye effect for more authentic final images. Overall, he explains the project took 8 months of ‘on-and-off’ work to complete. Below is a full gallery of images shared with permission from Gross:

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‘Was there a point to it? Absolutely not,’ Gross says in his writeup. ‘Was it fun? Hell yeah.’

Articles: Digital Photography Review (dpreview.com)

 
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Apple smartwatch patent hints at future Apple Watch models with built-in cameras

27 Jun

The United States Patent and Trademark Office (USPTO) has published an Apple patent detailing a method for adding a camera to future Apple Watch models. Rather than packing the camera module into the smartwatch body like some competing models, Apple’s design embeds the camera into an adjustable strap over the wrist band.

Based on images included with the patent, Apple envisions a smartwatch camera that is hidden out of sight against the wrist band when not in use. To capture images, the user extends the flexible strap in which the camera is embedded, making it possible to capture selfies without contorting one’s wrist at an uncomfortable angle.

Apple explains in its patent:

‘Such functionality can replace or at least meaningfully augment a user’s existing camera or camera-enabled device (e.g., smartphone, tablet). Such a wearable device that captures images and video may do so via an optical lens integrated into a distal end portion of a watch band that retains the device on a user’s wrist.’

Apple’s design involves a ‘core’ in the camera band that enables it to hold its position at whatever angle the user chooses. The patent indicates that some Apple Watch models may feature two cameras on the flexible band, making it possible to capture scenes both facing toward and away from the user.

In its latest iteration, the Apple Watch enables users to leave their iPhone behind by offering built-in cellular capabilities. The newly published patent indicates Apple views the camera as a possible future element for expanding the wearable’s independent functionality — users won’t have to choose between being able to snap images or leaving their iPhone at home.

The patent explains:

‘A smartwatch that has the capability of capturing images and video may provide an opportunity for users to be more reliant on their smartwatch and less reliant on other devices (e.g., smartphones, tablets, digital cameras) to capture images or videos. Thus, a smartwatch with the capability of capturing images or videos may enable a user to forego carrying a smartphone when doing some activities, especially activities or environments where it would be difficult to take a smartphone (e.g., hiking, running, swimming, surfing, snowboarding, and any number of other situations).’

The patent raises questions over whether camera functionality is something consumers truly want from a smartwatch. Though it would be convenient for taking stealthy images (that is, without pulling out a phone), the image quality would likely be considerably lower than what can be captured with the iPhone. As well, a camera positioned at the end of a thin extended band on one’s wrist would likely face blur issues due to slight tremors and other movements.

As with any patent, it’s possible Apple will never bring an Apple Watch with built-in cameras to the market.

Articles: Digital Photography Review (dpreview.com)

 
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