ZY Optics has announced the release of its latest lens, the Mitakon Speedmaster 17mm F0.95 for Micro Four Thirds (MFT) camera systems.
The 17mm manual focus lens is constructed of 12 elements in 9 groups and offers a 34mm full-frame equivalent focal length when attached to a MFT camera (63º angle of view). It features an aperture range of F0.95-F16, uses a nine-blade aperture diaphragm, has a 58mm front filter thread and has a minimum focusing distance of 30cm (11.8”). The aperture ring is stepless for quiet adjustment during video shooting.
Below are a selection of sample photos provided by ZY Optics:
The GoPro HERO9 Black is here, with a tweaked design and improved specifications for getting more out of your action photos and video.
The new device retains an overall design similar to its HERO8 predecessor, but has a few new tricks up its sleeve. First off, the HERO9 Black is slightly wider — 4.7mm to be precise — than its HERO8 Black predecessor, likely due to the new front-facing live-view screen on the front of the action cam.
The HERO9 Black also features a removable wider-angle lens that can be swapped out for the new ‘Max Lens Mod’ that makes the field-of-view even wider for photos and videos (155º). When attached, the Max Lens Mod also offers GoPro’s Max Hypersmooth stabilization (limited to 2.7K60p), Max SuperView and Max Timewarp, which appear to be tweaked versions of the more standard versions, designed specifically with the wider-angle lens in mind.
Moving to the inside of the action cam, the HERO9 Black features a 20MP sensor that can video at 5K30p and 4K60p. GoPro is using its third-generation Hypersmooth 3.0 technology as well as improved versions of its Superphoto and HDR technology. Raw photo capture is still possible, as well as 1080p livestreaming, inclusion of data overlays in footage and plenty of slow-motion modes (1080p at 240 frames per second).
GoPro says the HERO9 Black will have 30% better battery life than the HERO8 Black and is waterproof down to 10m (33ft). The HERO9 Black is also compatible with over 40 of GoPro’s mods and accessories for decking out the camera to fit your photo and video needs.
The GoPro HERO9 Black is available today for $ 450 as a standalone purchase. If you purchase a year’s subscription to GoPro though — a subscription from GoPro that offers total camera replacement, unlimited cloud storage and discounts on gear — you can snag a HERO9 Black for $ 350.
The Max Lens Mod isn’t yet available for purchase, but the GoPro website says it will retail for $ 100 and offers an option to submit your email on the product page for more information when it becomes available.
Adobe has announced an update for Adobe Premiere Pro and released a new beta for After Effects. In Premiere Pro, which is now at version 14.4, Adobe has added Scene Edit Detection, HDR for broadcasters, exporting with proxies and more. The beta update for After Effects includes a new 3D Gizmo and new camera navigation tools. Both the new Premiere Pro release and the beta update for After Effects include improved performance.
The new Scene Edit Detection feature, powered by Adobe Sensei artificial intelligence, allows you to add edit points in any footage as you import it into Premiere Pro. When using Scene Edit Detection is used, Premiere Pro analyzes imported video, detects original edit points and adds cuts or markets at edit points. You can learn more about the feature in the video below and by clicking here.
Premiere Pro 14.4 includes a new Rec.2100 color space, allowing broadcasters to work with more dynamic HDR content. Additional HDR features include fully color managed and GPU accelerated workflows for Apple ProRes and Sony XAVC-I formats, color space overrides and the ability to set scopes for Rec2100 HLG. Additional information about HDR for broadcasters can be found here.
The next new feature for Premiere Pro, exporting with proxies, allows users to select to use proxies while exporting, such as when you want a quick export that doesn’t require full-resolution media. There is also a new export feature, Quick Export, currently in a public beta. This feature allows easier access to popular and frequently used export settings from the menu bar in Premiere Pro. You can see a preview of this feature below.
Premiere Pro and After Effects (beta) have both received improvements to overall performance. Premiere Pro’s improved performance results in third-party audio plugins now scanning up to 10-15 times faster than before. ProRes multi-cam performance has been doubled as well. After Effects’s channel effects incorporate GPU acceleration, which results in performance improvements ranging from about 1.5 to 3 times.
After Effects’s new beta includes a new 3D Gizmo. This feature allows for faster motion graphics work and improved speed for scene navigation. There are also new camera navigation tools, including support for multiple virtual cameras.
Product designer Ethan Moses of CAMERADACTYL has launched a new film scanning product on Kickstarter called Mongoose. This device can be used with ‘just about any camera’ that has cable release support, according to Moses; it has three scanning modes, including a Fast Mode that can scan a roll of standard-sized exposures in less than one minute.
Mongoose is an automated 35mm film carrier that can be used with most cameras to digitize black & white and color negatives, as well as slide film. The Mongoose features a 27mm x 68mm film gate, enabling it to scan anywhere from half-frame images at 24mm x 20mm up to Hasselblad Xpan-sized panoramic images at 24mm x 65mm. Each scanned image includes a ‘full black border,’ but Mongoose doesn’t support scanning the film’s sprocket holes.
According to Moses, Mongoose was designed in such a way that it only touches the portion of the film where the sprocket holes are located, ensuring the film lies flat for scanning even if it is a cupped or curly film.
Mongoose is designed to be used with a third-party lightbox or some other source of light, such as a strobe with a diffuser, as well as a stand for holding the camera above the film and a lens that can focus close enough to digitize the content.
The film scanner is fully automated with a number of features that give users a fair amount of control over the process, including offering Fast and Manual modes in addition to the Automatic mode. Manual mode gives users full control over the process, including enabling them to manually advance and retract the film strips and to manually trigger the camera using Mongoose’s control box.
Automatic mode is more accurate than Fast mode, according to Moses, who explains on Kickstarter that Automatic can be used with rolls of film that have unevenly spaced frames because it uses edge detection to capture each image. ‘This mode has very high positional accuracy, and can scan a full roll of 36 frames in under a minute and a half,’ he says.
That’s nearly double the 40-second capture time of Fast mode, which can only be used with film that has evenly spaced frames. The big advantage of Fast mode is that it can rapidly scan a roll of film, but the downside is that it has less positional accuracy when compared to Automatic mode.
Users are able to adjust Mongoose’s edge detection sensitivity for use with underdeveloped/exposed film. Likewise, users are able to adjust the delay between each film frame; it can be turned off so that the scanning takes place very quickly or it can be slowed down so that the scanner accommodates other aspects of the overall setup, such as strobe light recycling time.
Finally, Moses notes that Mongoose can be used with strips of film that have as few as four frames, though it’s better when used with an entire roll. Likewise, Mongoose was designed with a separate control box so that users who are manually triggering shots aren’t at risk of bumping the scan module. Moses also says that Mongoose is not a silent device, and that it is, in fact, quite loud when in use.
Moses is seeking funding for his latest CAMERADACTYL product on Kickstarter, where Mongoose has already exceeded the funding goal. The product will ship to backers with the scan module and control box, connection cord, power supply, and an electronic shutter release cable. Kickstarter users have the option of backing the campaign at $ 500 or more with estimated delivery of this third batch (the first two are sold out) starting in February 2021.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
The post Take Control of Color Adjustments in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
With all the sliders, options, and numerical values to tweak in Lightroom, there is no end to the editing possibilities at your disposal. Sometimes, you just want an easy way to make your images stand out and shine without all the hassle of adjusting dozens of individual options.
Fortunately, you don’t need to go overboard with editing to do some really incredible color adjustments in Lightroom. Three basic parameters can work wonders for your images: the Hue filter adjustment, as well as the Saturation and Vibrance sliders.
Along with White Balance, Hue is one of the most basic color adjustments you can make to a photo. Strictly speaking, Hue refers to the actual color of an image or a part of the image. It’s one of the building blocks of a photo that, along with Saturation and Luminance, affects your pictures on a foundational level.
The HSL panel in the Develop module lets you adjust the Hue of various colors. Essentially, you can make the reds shift from purple-ish to orange-ish. Or change your greens to be more yellow or teal.
Hue allows you to precisely control the overall appearance of your image, but the HSL panel works on an all-or-nothing basis. Moving the sliders affects the hue of every red, orange, yellow, and so on across the entire photograph.
Nikon D500 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/500 sec | f/4 | ISO 3600
Hue works well in a picture like the red cardinal above because the colors are clearly distinct and separate. Adjusting the Hue slider for the color red will affect the bird but nothing else because there are no other reds in the picture.
A recent update to Lightroom turbocharges the Hue editing tool by also allowing it to be used with filter adjustments. You can make precise Hue adjustments using the Radial and Graduated filters as well as the Adjustment Brush. These are incredibly powerful tools that help you get the precise color adjustments in Lightroom that you were never able to get before.
Hue can now be edited using the Adjustment Brush, Radial Filter, and the Graduated Filter.
The usefulness of this new approach to Hue adjustment is amazing, and using it could hardly be simpler. Just create a new filter or Adjustment Brush, then click and drag the Hue slider to change the colors of the portion of your image affected by the filter or the brush.
The top of the color rainbow stays locked in place while the bottom shows you the degree to which your colors are being changed. For precise control, check the Use Fine Adjustment box or hold down the Alt key (or the Option key on a Mac), which reduces the effect of your left-to-right dragging to give you finely-tuned adjustments.
To illustrate how this works, here is a picture of two yellow flowers. Adjusting the Hue using the HSL panel would allow me to change the yellow of both flowers. Using a Hue Adjustment Brush lets me change the color of one single flower. This is a maneuver that used to require jumping over to Photoshop and using multiple layers and tools, but can now be accomplished in mere seconds in Lightroom.
To change the color of the flower in the foreground from yellow to red, all I have to do is click the Adjustment Brush and paint in a new adjustment over the yellow flower. Then click and drag the Hue slider to the left, and you have an instant red flower.
The Auto Mask option helps ensure that my edits stay within the yellow flower. I can also hold the Alt key (or the Option key on a Mac) to erase parts of the adjustment that I don’t want.
Transforming the flower from yellow to red took me less than 15 seconds in Lightroom. All I did was use an Adjustment Brush and change the Hue.
Using the Hue adjustment with a Radial Filter or Graduated Filter follows much of the same process as the Adjustment Brush. Apply a filter and adjust the Hue accordingly to change the colors of a portion of your image. These additions to Hue options in Lightroom are a bit like selective color editing, where most of a picture is black and white with one portion displayed with color.
Hue adjustments for the filters and Adjustment Brush go one step further by giving you total control over individual colors in specific parts of your pictures. If you haven’t yet tried it, I recommend checking it out and seeing how easy it really is! And if you want even more control over your color adjustments in Lightroom, there are the Saturation and Vibrance sliders to look at.
Saturation and Vibrance
These two sliders can go a long way towards giving your photos an extra degree of refinement. However, they are often misunderstood and misused. They both complete the same basic function, in that they make the colors of a photo punchier or more exaggerated. Where they differ is in the method used to adjust the images and the way the colors are adjusted.
Saturation is kind of a blunt instrument, like editing your image with a hammer. It allows you to adjust the intensity of all the colors in a photo equally, which isn’t necessarily a bad thing if it gets you the result you are aiming for. It’s easy to overdo it with saturation, though, so adjust carefully.
Vibrance takes a more intelligent and subtle approach. This slider analyzes the colors of an image that are already saturated and, therefore, don’t need much adjustment. When you move the slider to the right those colors are generally left alone, as are common skin tones. The result is an image that feels punchier without being overwhelmed with color.
Adjustments with portraits
The image series below shows the difference between these two sliders. The first is an unedited RAW straight out of camera.
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 180mm | 1/500 sec | f/2.8 | ISO 1600. Original unedited RAW photo, no color adjustments.
Adjusting Vibrance up to a value of +60 makes the background colors more noticeable and also punches up the blue clothing. Faces and hands are relatively untouched, as are some of the clothing colors like orange and green that don’t need much adjustment.
Same photo, but with Vibrance +60. The image feels more lively and dramatic without being overbearing.
In contrast, the Saturation color adjustment in Lightroom ramps up every color indiscriminately. The final image looks like it was run through a series of poorly-implemented social media filters and is a little jarring and unpleasant to look at.
This is the original image, but with the Saturation increased to +60. This picture feels overprocessed and unpleasant.
This example is a bit of an exaggeration, though! Saturation is a perfectly acceptable adjustment, as long as you use it carefully. Generally speaking, ramping up Saturation to such extreme values will not yield the best results. I like to keep it around the +5 to +15 range, which gives a more subtle effect and makes all the colors pop just enough to stand out while not being overbearing.
Another way to take control of color adjustments in Lightroom without getting too complicated is to lower Saturation and Vibrance.
Nikon D750 | 70-200 f/2.8G ED VR II | 200mm | 1/250 sec | f/2.8 | ISO 220. Original unedited RAW, no color adjustments.
Lowering the value of Saturation and/or Vibrance can give your images a subdued look, almost like a sepia filter. I like this effect on portraits, and if you shoot for clients you might find this to be a useful adjustment to keep in your back pocket when editing. Many people like a desaturated look, because it can feel comforting and a bit nostalgic.
This is the same image, but with Saturation decreased to -45. Lots of clients like this type of appearance for portraits.
When working with portraits, I find that little Vibrance and Saturation adjustments in Lightroom go quite a long way. Generally, I do just a little bit of one or both and don’t exceed a value of +10. It might not seem like much, but those small edits can give your images that little extra push to really stand out.
Working with nature images
Vibrance and Saturation color adjustments in Lightroom really come in handy when working with landscapes, flowers, animals, or anything else in nature. Here’s where I like to put my foot on the throttle and really push the sliders a lot more than I would with portraits. Rather than jarring and unpleasant, the results are often dramatic and even captivating.
I shot the photo below in Minnesota just south of the Canadian border, just as the sun was coming up. The image looks fine, but it’s a little bland and doesn’t quite convey the emotion I want the viewer to experience. Thankfully, a little Saturation and Vibrance can fix it.
Fuji X100F | 23mm | 1/125 sec | f/8 | ISO 5000. Original unedited RAW, no color adjustments.
Bumping Saturation up to +55 yields a much-improved image, albeit with a few tweaks that still need to be implemented. Colors are richer, contrast is greater, and the scene is much more similar to how it was when I was standing among the trees listening to the birds chirp overhead.
+55 Saturation has improved the photo quite a lot.
Even though the picture is better with increased overall Saturation, adding some Vibrance gives it just the final touch it needs. I would never add this much Vibrance and Saturation to a portrait or street photograph. When working with shots of nature, these adjustments can make a huge difference without feeling ostentatious or overbearing.
Adding +30 Saturation brings out the colors in the background trees while keeping the foreground intact.
The best of both worlds
If you really want to get creative with Vibrance and Saturation, you can use a combination of both adjustments, but not in the way you might thing. Color adjustments in Lightroom are all a matter of personal preference, but one trick I like to use, especially with people in everyday life and not necessarily formal portraits, is to raise the vibrance while lowering the saturation.
Nikon D750 | Sigma 40mm f/1.4 Art | 40mm | 1/180 sec | f/1.4 | ISO 360. Original RAW with no color adjustments.
Some of the best editing can be almost invisible. I lowered Saturation while raising Vibrance, which shifted everything just enough to give the picture a low-key-but-slightly-enhanced look. It’s a small but noticeable edit when compared to the original, and shows how using both adjustments together can yield impressive results.
+57 Vibrance combined with -22 Saturation gave me just the look I was aiming for.
This technique combines Saturation and Vibrance for a result that is more than the sum of its parts. The entire image feels a little more subdued and welcoming, while important colors are emphasized just a little more. The end result is, like a lot of good adjustments, subtle but effective.
Image editing doesn’t have to be complicated. While there are many tools and options for color adjustments in Lightroom, often just these simple basic features will get the job done just fine. I particularly like the new Hue tools and the unparalleled freedom they offer photographers.
If you have not yet tried this, or if it has been a while since you played around with simple Saturation and Vibrance, you might be surprised at how much these can do to make your images go from just okay to absolutely astonishing.
The post Take Control of Color Adjustments in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Nikon has officially announced two more lenses for its Z-mount, full-frame mirrorless system: the Nikkor Z 14-24mm F2.8 S and 50mm F1.2 S. Both are slated to arrive by the end of 2020.
Nikkor Z 14-24mm F2.8 S
The 14-24mm is almost 35% lighter than its AF-S 14-24mm F2.8 G predecessor for DSLRs, and thanks to a nearly-flat front element it accepts conventional threaded filters (albeit very large 112mm ones) via the included HB-97 lens hood. That’s unusual for a lens of this type, and a rear filter holder also accepts trimmed gel filters.
Overall the lens measures a relatively compact 88.5mm (3.5in) x 124.5mm (5in), and weighs 650g (1.4lb). It includes a nine-blade aperture and features Nano Crystal and ARNEO anti-reflective coatings to control ghosting, flare and coma. Like the recent Z 24-70mm and 70-200mm F2.8 zooms that this lens complements, the 14-24mm offers ‘extensive’ weather sealing and includes a small OLED display panel on the lens barrel itself.
Nikkor Z 50mm F1.2 S
The Z 14-24mm may be relatively compact for its class, but the Z 50mm F1.2 S is decidedly not. With optics one and a half times bigger than those used by the Z 50mm F1.8, it weighs in at 1090g (2.4lb) and measures 89.5mm (3.6in) x 150m (6in).
It features a ‘symmetrical’ optical design, which Nikon says improves its ability to provide edge-to-edge sharpness. The lens features two focusing groups, each with its own STM stepping motor, and its optical formula includes three aspherical elements to boost resolution and reduce distortion. Nano Crystal and ARNEO coatings are also used, and like 50mm F1.2 also includes weather-sealing and lens barrel display.
The Nikkor Z 14-24mm S F2.8 will go on sale in November for $ 2400; the Nikkor Z 50mm F1.2 arrives in December for $ 2100.
Z 14-24mm F2.8 and 50mm F1.2 official sample images
NIKKOR Z INNOVATION CONTINUES: NIKON INTRODUCES TWO ESSENTIAL NIKKOR Z LENSES EQUIPPED WITH INCREDIBLE OPTICS TO DELIVER UNRIVALED IMAGE QUALITY
The Ultra-Wide NIKKOR Z 14-24mm f/2.8 S and Powerful NIKKOR Z 50mm f/1.2 S Lenses Bring Groundbreaking Advancements in Optical Performance and Design to the Nikon Z Series
MELVILLE, NY (September 16, 2020) – Today, Nikon Inc. unveiled two exciting additions to the rapidly expanding NIKKOR Z lens lineup, demonstrating the brand’s commitment to the evolving Nikon Z series. These new full-frame S-Line1 lenses showcase the superior optical performance and capabilities of the Nikon Z mount for photographers and creators. The ultra-wide angle NIKKOR Z 14-24mm f/2.8 S is the world’s shortest2 and lightest2 full-frame f/2.8 zoom lens with a 14mm field of view, enabling a versatile range to capture expansive views including cityscapes, landscapes, astrophotography and more. Meanwhile, the NIKKOR Z 50mm f/1.2 S is the paramount fast-aperture prime lens engineered for optical excellence to help Z series users achieve unrivaled power, exceptional sharpness and show-stopping bokeh.
“This is an exciting time for Nikon lens technology as we lead the way in providing the most incredible optics available today,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The highly anticipated NIKKOR Z 14-24mm f/2.8 and the powerful NIKKOR Z 50mm f/1.2 lenses demonstrate the incredible innovation behind the Z series and the limitless possibilities of what our engineers are capable of achieving.”
NIKKOR Z 14-24mm f/2.8 S: Broaden Your Horizons with the Essential Ultra-Wide Angle Zoom Lens The much anticipated NIKKOR Z 14-24mm f/2.8 S is the shortest and lightest full-frame zoom lens of its kind, offering unique user benefits and incredible rendering capabilities across the wide zoom range. Joining the previously announced NIKKOR Z 24-70mm f/2.8 S and NIKKOR Z 70-200mm f/2.8 VR S lenses, this lens completes the trinity of coveted fast aperture Z series zooms. The 14-24mm is a versatile lens that proves the optical superiority of the Nikon Z mount, producing excellent edge-to-edge sharpness, minimal distortion and exceptional photo and video capabilities for creators. The new optical design allows for a significantly shorter lens that is nearly 35 percent lighter than its predecessor, the popular AF-S NIKKOR 14-24mm f/2.8, making this lightweight lens ideal for a trek into the field. Meanwhile, its wide-angle zoom range offers video content creators a new option for capturing tack-sharp establishing shots, interiors or POV angles.
The NIKKOR Z 14-24mm f/2.8 S lens is engineered to deliver unrivaled optical excellence and maximum usability. This thoroughly modernized lens design features a nearly flat front lens element, which allows the attachment of a threaded filter to the included additional lens hood (HB-97). This design provides users the ability to attach a Neutral density (ND) filter, as well as the new Neutral Color NC Filter 112mm or Circular Polarizing Filter II 112mm3, while a rear filter holder also accepts a trimmable filter gel. With the option to easily use multiple filter types, users can capture epic landscapes with greater versatility and flexibility in more lighting conditions than ever before. An excellent choice for photographing stunning night-time views, the 14-24mm lens delivers amazing low-light performance with a constant f/2.8 aperture and stellar point light reproduction capabilities that suppress sagittal coma and flare for tack-sharp stars and city lights.
The NIKKOR Z 14-24mm combines a robust design and reliable performance with custom controls, including a customizable one-touch shortcut button, EL Display panel and custom control ring, making controls and settings convenient and accessible. The optical formula includes four ED lens elements, helping to control chromatic aberrations, and capture fine details, including colors and lines, with consistent accuracy – a true benefit to those shooting interiors and architecture. Additionally, flare, ghosting and coma are suppressed, even with harsh backlight, thanks to the lens’ Nano Crystal Coat (N) and anti-reflective ARNEO Coat, while its robust fluorine coating and extensive weather sealing allow Nikon Z series users to shoot confidently in rugged and unpredictable environments. As an added benefit to videographers, the lens also features an electro-magnetic diaphragm, to help maintain smooth exposures as light changes.
NIKKOR Z 50mm f/1.2 S: Immense Details. Exceptional Sharpness. The new NIKKOR Z 50mm f/1.2 S is Nikon’s fastest and most optically impressive AF prime lens yet, effortlessly balancing the combination of intense sharpness and dreamy bokeh. For pro-level creators that need powerful performance and versatility, the 50mm f/1.2 delivers a standard focal length with unrivaled sharpness, speed, and life-like clarity. With a bright f/1.2 aperture and premium S-Line engineering, the NIKKOR Z 50mm lens is the definitive and versatile prime for a range of photography styles including portraiture, street photography, landscapes, nightscapes and more.
The NIKKOR Z 50mm f/1.2 S lens effortlessly achieves a soft and enchanting bokeh, with a circular background blur that is smooth and gradual when focusing for a natural “fall-off”. The bright f/1.2 aperture affords a dramatically shallow depth of field with beautiful subject isolation for stunning portraiture, while it also offers exceptional low-light performance. Maximizing the capabilities of Z series’ technology, the 50mm f/1.2 lens adopts stepping motors (STM) as well as a multi-focusing system4, enabling multiple lens elements to focus simultaneously for fast and precise autofocusing, even when shooting close-up or wide open. Furthermore, the lens’ ability to maintain stable exposure in changing lighting conditions, combined with its quiet operation and minimal focus breathing, establishes the lens as an appealing tool for video creators.
The NIKKOR Z 50mm f/1.2 S lens tells a story of balance in design and functionality, seamlessly harmonizing intense resolution and velvety bokeh. The symmetrical optical design prevents light from being bent or distorted as it passes through the lens, meaning the purest, sharpest image reaches the camera sensor without any added distortion or aberration for true edge-to-edge sharpness. This innovative lens design also includes three aspherical elements to help virtually eliminate distortion, for superior resolution, point light reproduction and superb three-dimensional clarity. Designed for pro-level reliability, the NIKKOR Z 50mm is a superbly balanced lens constructed with robust weather sealing, a customizable control ring and shortcut button, as well as an EL Display panel to enhance workflow. Meanwhile, the lens is engineered with Nikon’s Nano Crystal and ARNEO Coating to minimize flare, ghosting and coma, allowing Z series users to confidently shoot in a variety of lighting scenarios, including harsh backlighting, to capture any scene with incredible sharpness and clarity.
Pricing and Availability The NIKKOR Z 14-24mm f/2.8 S lens will be available in November 2020 for a suggested retail price (SRP) of $ 2,399.95*, while the NIKKOR Z 50mm f/1.2 S lens will be available in December 2020 for a suggested retail price (SRP) of $ 2,099.95*. For more information on the latest Nikon products, including the new NIKKOR Z 14-24mm f/2.8 S and NIKKOR Z 50mm f/1.2 S lenses and the full Nikon Z series, please visit ?www.nikonusa.com.
Nikkor Z 14-24mm F2.8 S and Z 50mm F1.2 S specifications
With the launch of the SQ1, Fujifilm now has three models that use their square format Instax film. This is the most stripped-down of the three, in terms of operation.
The Fujifilm Instax SQ1 is a stylish and easy-to-operate instant camera that makes use of the brand’s Instax Square format film. This new camera is a lot like shooting with a bulkier version of the Instax Mini 9/10/11, since it lacks many of the advanced features found on earlier Instax square cameras like the SQ6 or the SQ10. But it still manages to produce appealing Instax images, even if the shooter only has a very basic understanding of photography.
Key Specifications
Retractable lens (65.75mm, F12.6)
Full-automatic exposure control (flash always fires)
Variable shutter speeds from 1.6 to 1/400 sec including slow synchro for low light
Selfie mirror on front of lens
Selfie/close-up mode
Auto frame counter
Powered by two CR2 lithium batteries
Available in: Terracotta Orange, Glacier Blue and Chalk White
Operation
The Fujifilm Instax Square SQ1 operates on two CR2 batteries that you load into the back of the camera near the door where you load a pack of Instax Square film. On the back of the camera you’ll also find an automatic film counter showing you how many shots remain in your film pack and the camera’s viewfinder. Turn the camera on by rotating the lens to the ‘on’ position; if you are shooting a selfie or want a macro shot rotate the camera’s lens one more time to put it into ‘selfie’ mode (effective for subjects between 0.3 and 0.5m away).
Shooting with the Instax Square SQ1 is incredibly straightforward. Simply turn the camera on, look through the viewfinder and press the shutter on the front grip of the camera. If you’re shooting a selfie, use the small mirror on the front of the lens to frame the shot.
Usability
The viewfinder on the SQ1 is a tad small.
The SQ1 is bulkier than its Instax Mini counterparts, but that’s to be expected since it’s shooting on a much larger piece of film (Instax Square picture size is 62 x 62mm). The plastic build quality of the camera feels sturdy and the ribbed grip on the right hand side makes it comfortable to hold. Be mindful while handling the grip especially if the camera is turned on – the shutter is located on the grip and you might accidentally press it before you’ve framed the shot. Instax film isn’t exactly cheap and it can be frustrating to waste one of the 10 frames in a pack. That being said, some of my accidental shutter releases ended up creating pictures that I like quite a bit.
The shutter is located on the grip and you might accidentally press it before you’ve framed the shot
The SQ1 lacks some of the advanced features that you will find on the SQ6, like double exposures, landscape mode, lighten and darken modes, and a self-timer. It’s more similar to the entry-level Instax Mini cameras, with the big distinction being that it can shoot bigger pieces of square film.
Although the camera is larger than the varieties that shoot Instax Mini film, the SQ1 does feel more portable than 2018’s SQ6.
You’ll get the best results from this camera when shooting outside in sunny conditions. But it does have a powerful-enough flash to work well once the sun sets. The auto-exposure occasionally did seem to struggle when shooting indoors with mixed lighting situations though. It’s the one time when I wished that the camera at least featured the lighter/darker setting found on some Instax models. Regardless of the lighting conditions, this camera’s simple lens is satisfyingly sharp (enough).
Conclusion
Although the Instax SQ1 lacks some of the features found on the more advanced SQ6 (which has an MSRP of $ 10 more), it’s incredibly easy to operate, has a stylish look, and produces Instax prints with mostly accurate exposures and eye-popping colors. The shutter placement takes some getting used to, but it’s comfortable in hand and not so bulky that you’ll leave it at home – and it’s certainly more fun to shoot with than the hybrid digital/analog SQ10. The simplicity of operating the SQ1 makes this an Instax Square camera that photographers and non-photographers will enjoy shooting with.
What we like
Easy-to-operate
Accurate exposures outdoors
Comfortable to hold and operate
Stylish look
Square format film
What we don’t like
Placement of shutter button
CR2 batteries can be difficult to find
No creative modes like double exposure or lighten/darken
Sony’s just released all the details on its new super compact a7C full-frame mirrorless camera. The a7C is barely bigger than the company’s a6600 APS-C mirrorless camera, and considering how much larger the a7C’s sensor is, that’s quite a feat. This is also the first Sony full-frame mirrorless camera to come in two color schemes – all black, and the silver-accented version you see here.
We’ve had our hands on the a7C for a little while, so follow along with us as we take a look at how it handles and what its controls are like.
Sensor
At its core, the a7C is more or less a refreshed Sony a7 III that includes all of the company’s latest autofocus algorithms. That means it features a familiar 24MP BSI-CMOS sensor, mounted to a miniaturized in-body stabilization system that’s good for the same 5 EV of shake correction as its larger a7 III sibling. That all sits behind a new shutter mechanism that goes up to 1/4000 sec, and can fire off bursts at 10 frames per second. You can also use a silent electronic shutter, but you may get some rolling shutter artifacts.
The Bionz X processor is also borrowed from the a7 III, which unfortunately means that all of the fancy new menus and touch functionality from the a7S III and its updated processor aren’t included here.
In the hand, the a7C feels incredibly solid, thanks to what’s called a magnesium alloy monocoque construction. It’s sort of like what US auto manufacturers call ‘unibody’ construction, and the result is a camera that’s free of creaks and flex and exudes a sense of quality.
From the top
Top plate controls will look pretty familiar to anyone who’s seen a recent Sony APS-C camera, with a few differences. Of greatest importance, perhaps, is the inclusion of a dedicated exposure compensation dial seen on Sony’s other a7-series cameras. The large, red ‘video record’ button is customizable and in a reasonably easy-to-reach spot. We’re pleased to see the inclusion of a hotshoe, as there’s no pop-up flash to be found.
This is also a nice view of the new FE 28-60mm F4-5.6 kit zoom. It’s incredibly lightweight, and has a manual zoom ring that also acts as the retraction mechanism to keep the package as small as possible while traveling.
We tend to like the On/Off switch surrounding the shutter button, but if you were holding out hopes for a front control dial underneath that, well, sorry to disappoint you – just like Sony’s a6x00 series, there is no front control dial for your index finger.
Rear screen
The a7C inherits a similar fully articulating display mechanism as found on the a7S III. The screen itself is bright and clocks in at 921k dots, and it packs Sony’s rather lackluster touch interface. You can basically use the touchscreen to move your AF point around or initiate tracking – manipulating other on-screen functions or menus isn’t possible.
The fully articulating design is generally favored by video shooters, but for a travel camera, it can come in especially handy for…
Rear controls
…folding away for protection. This should provide some peace of mind for those times when you just need to shove the camera in a bag and get moving.
Here, you can also see the rest of the rear controls. There’s no AF joystick (but you can use the screen as a touchpad to drag your thumb on), but there’s a large AF-On button, and a rear dial that doubles as a four-way controller. The directional presses default to activating what’s printed on the camera, i.e. drive mode, ISO and so forth, but they’re all customizable.
We’re not huge fans of the placement of the Menu button. As it’s more or less in the middle of the camera, it’s an inconvenient reach for either hand. If you come in from the left to use it, you will inevitably trip the eye sensor, causing the screen to go blank and then the camera sometimes won’t register that you pressed it in the first place.
Electronic viewfinder
The electronic viewfinder on the a7C is mounted in a ‘rangefinder-esque’ top left position. While any viewfinder is always better than none at all, we have to say we find the view through this one a little constricting. At 0.59X magnification the 1.0cm (0.39″) OLED panel is on the small side, and the glasses-wearers among us found that it was hard to see to the edge of the frame.
On the plus side, though, the resolution is decent at 2.36M dots and you can kick it up to a ‘high FPS’ mode for a faster 120hz refresh rate if you’re shooting fast action.
Card slot
Behind a latched door on the left side of the a7C you’ll find a single, UHS-II compatible card slot. While there will always be those who bemoan the lack of dual slots, we think it makes perfect sense on this camera. After all, the a7C is really aimed at travelers and vloggers and the like, not necessarily wedding shooters who need the constant backup.
Ports
Impressively, the a7C has a full suite of useful ports; headphone and mic jacks, a micro-HDMI port and a USB Type-C port that supports power and charging, data transfer, remote functionality, and more.
Battery
Even more impressively, Sony has managed to shoehorn the NP-FZ100 battery into the a7C. This gives the camera the best battery life of any full-frame mirrorless camera we’ve yet seen, with a CIPA rating of 680 shots through the viewfinder and 740 using the rear screen. In our experience, you can expect a single charge to easily last a weekend’s worth of pretty heavy usage.
Hands-on with the Sony a7C
And that completes our tour of the Sony a7C! In our time with it so far, we’ve found that it really is remarkably liberating to have a full-frame camera this small, but crucially, with interchangeable lenses and multi-day battery life. If you like to travel light but have a hard time compromising on image quality, this may just be the camera for you.
The a7C will be available in late October at a suggested price, body-only, of $ 1799 USD ($ 2399 CAD). You can get it paired with the FE 28-60mm F4-5.6 lens for $ 2099 USD ($ 2699 CAD).
French company Vaonis unveiled a fully automated camera telescope, Stellina. The product is designed to allow amateur astrophotographers to easily capture beautiful images of the night sky without the need for regular manual control or extensive astrophotography knowledge.
Vaonis is preparing to launch a new feature via software update in 2021 and it recently tested the feature by capturing a massive 546MP panorama of a group of nebulae. The new feature is ‘Automatic Mosaic-ing’ and it will take advantage of Stellina’s image stacking and image stitching technologies. This feature will let you create ultra-high-resolution panoramas of the night sky without you needing to do anything manually.
The image, shown via the screenshot below, was captured with the new feature by Vaonis Technical Director, Gilles Krebs. The image shows, from left to right, the Running Chicken, Statue of Liberty and Carina nebulae. These nebulae are about 7,000 light-years away. The image is comprised of 208,000 total photos, stacked into 168 images and then stitched together into a 546MP panorama. The panorama represents 336 hours of total exposure time. You can explore the full-size image by clicking this link.
Image credit: Vaonis
The Vaonis Stellina is designed to be easy to use and its intelligent, smart design allows the user to easily set up and use the device. DPReview contributor and astronomer Jose Francisco Salgado wrote an excellent review of Stellina. Salgado says, ‘The Stellina is a well-thought out smart telescope. It can easily be transported from one location to another and setting it up cannot be more simple.’ He continues, ‘…if you want a fun-to-use, click-and-shoot device that will work for you while you relax and enjoy the night sky then the Stellina is right for you!’ You can learn some of the basics of Stellina in Vaonis’s video below.
If you’d like to learn more about purchasing the Vaonis Stellina, you can head to Vaonis’s website. Vaonis has also begun teasing a brand new product that they ‘believe will change astronomy.’ The Stellina is already a compact device considering its capabilities, but the new teased product will be even smaller. It will be fully unveiled on Kickstarter on October 1. If you’d like to sign up for alerts or learn more about the new product, click here.
The new iPad Air, seen attached to Apple’s Magic Keyboard.
Today, Apple announced the details of its latest iPad and iPad Air devices. While many had hoped Apple would also announce its next-generation iPhones at today’s virtual event, the Cupertino company didn’t have ‘one more thing’ in store.
Starting with the new 8th-generation iPad, Apple kept the update fairly straightforward. The new entry-level iPad, which starts at $ 329, now uses the A12 chip, a step up from the A10 found in its predecessor.
In addition to improved performance and battery life, this new chipset also means the iPad will feature Apple’s Neural Engine technology for the first time. Aside from the small internal update though, little was changed, as no external design changes were made.
The 8th-generation iPad is available in Space Gray, Silver and Gold. Pricing starts at $ 329 for the 32GB model.
The same can’t be said for Apple’s new iPad Airs though, which feature an entirely new design that clearly takes inspiration from Apple’s recent iPad Pro devices.
The new iPad Air devices now feature a 10.9” Liquid Retina edge-to-edge display and eschew the Touch ID button on the bottom of the front glass in exchange for a new Touch ID button integrated into the power button. The edges of the device have also been squared off, as has been seen with recent iPad Pro devices. The updated 2360x1640px display features P3 wide-gamut color, True Tone and a laminate coating. It does lack the 120Hz functionality of the display found on the iPad Pro devices though.
Performance has also been dramatically improved thanks to the new A14 Bionic processor, the first in the industry to use 5nm construction. Apple says the CPU is 40% faster than the previous-generation, while GPU performance has improved by 30%. An updated Neural engine also improves the machine learning performance of the device.
As for the built-in cameras, there’s a single 12MP rear camera and a 7MP FaceTime HD camera. Apple has also added USB-C to the iPad Air for the first time, which means it will be able to use various adapters and hubs, as well as support 20W charging and 5Gbps data transfers. Wi-Fi 6 is included and the cellular models will feature LTE that Apple claims is 60% faster. The new iPad Airs will work with Apple’s new Apple Pencil as well as the Apple Magic Keyboard.
The new iPad Airs come in five colors: Space Gray, Silver, Rose Gold, Green and Sky Blue. Pricing starts at $ 599 for the 64GB Wi-Fi model.
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