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Tamron announces 17-70mm F2.8 for Sony APS-C cameras

03 Dec

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Tamron has introduced the 17-70mm F2.8 Di III-A VC RXD lens for Sony APS-C bodies. The lens has a 35mm-equivalent focal length of 25.5-105mm and uses the company’s ‘Vibration Compensation’ image stabilizer (no word on its performance).

The 17-70 F2.8 has a total of 16 elements, including one hybrid aspherical and two glass-molded aspherical elements. The focus unit is driving by a ‘Rapid eXtra-silent stepping drive’ (RXD) stepper motor.

The minimum focus distance is 19cm (7.5″) and the maximum magnification is 0.21x. The lens is 12cm (4.7″) long and weighs in at 524g (1.2lbs). It’s weather-sealed, and its front element has a fluorine coating to repel water and oil.

The 17-70mm F2.8 Di III-A VC RXD will be available in mid-January for $ 799.

Press release

Tamron Announces World’s First[1] 17-70mm F2.8 Wide Range 4.1x Standard Zoom Lens with VC For APS-C Mirrorless Cameras

17-70mm F/2.8 Di III-A[2] VC RXD (Model B070)

December 2, 2020, Commack, NY – Tamron announces the launch of the 17-70mm F/2.8 Di III-A VC RXD (Model B070), a high-speed standard zoom lens for Sony E-mount APS-C mirrorless cameras on January 14, 2021 at approximately $ 799. Due to the current global health crisis, the release date or product supply schedule could change.

The new 17-70mm F2.8 is Tamron’s first high-speed zoom lens for mirrorless cameras with APS-C size sensors. It features a maximum aperture of F2.8 across the entire 4.1x zoom ratio covering a focal length of 17-70mm (a full-frame equivalent of 25.5-105mm) ideal for everyday use, and superb optical performance. It is a small, lightweight lens that is also equipped with Tamron’s VC (Vibration Compensation) mechanism to minimize camera shake. This VC mechanism leverages AI technology when shooting video.

[1] Among interchangeable F2.8 standard zoom lenses for APS-C mirrorless cameras (As of November 2020: Tamron)

2 Di III-A: For APS-C format mirrorless interchangeable-lens cameras

The lens features Moisture-Resistant Construction, Fluorine Coating and a Ø67mm filter size – the same as the Tamron series of lenses for full-frame mirrorless cameras. Compatible with many of the features that Sony builds into its cameras, including Fast Hybrid AF and Eye AF, the lens is the ideal everyday zoom for a multitude of situations. It is a highly practical lens that enables photographers to attain high image quality while enjoying the benefits of the large F2.8 aperture.

PRODUCT HIGHLIGHTS

World’s first high-speed standard zoom lens for APS-C cameras with the focal length range of 17-70mm 4.1x zoom ratio

The Model B070 has a focal length range of 17-70mm, equivalent to 25.5-105mm on full-frame cameras. It is the first F2.8 high-speed zoom lens in the world for APS-C mirrorless cameras to achieve a 4.1x zoom ratio.

Outstanding optical performance

The optical construction of the new 17-70mm F2.8 features 16 elements in 12 groups. Two GM (Glass Molded Aspherical) lens elements and one hybrid aspherical lens element are precisely arranged to maintain high-resolution performance from edge to edge.

Upgraded VC effective in combination with Sony APS-C mirrorless cameras, leveraging AI for video shooting

The 17-70mm F2.8 features Tamron’s proprietary VC mechanism. Additional sophisticated algorithms optimized for this model and a dedicated, independently operating MPU all combine to superbly compensate for vibration. This feature is available when the lens is used with cameras with or without in-body image stabilization. When shooting video, by leveraging AI technology, image stabilization performance improves compared to conventional models.

Close focusing?MOD is just 7.5” at the wide-angle end

The 17-70mm F2.8 zoom focuses close, down to 7.5” MOD (Minimum Object Distance). This is far superior to the performance achieved by conventional high-speed zoom lenses for APS-C cameras. In addition, the 15.4” MOD at the 70mm telephoto end ensures good close-range shooting performance allowing photographers to enjoy compelling close-up shots.

A highly portable compact design

The 17-70mm F2.8 zoom measures a scant 4.7” in length and 74.6mm in maximum diameter and weighs only 18.5 oz. The lens also maintains the same small Ø67mm filter size of each lens in the Tamron mirrorless lens line-up. This is remarkable for a lens with built-in VC image stabilization. When used with Sony’s APS-C mirrorless cameras, this zoom is nicely balanced and provides a comfortable user experience.

The RXD (Rapid eXtra-silent stepping Drive) stepping motor unit is exceptionally quiet and perfect for video use

Moisture-Resistant Construction and Fluorine Coating provide extra protection

Compatible with many camera-specific features and functions, including Fast Hybrid AF and Eye AF

SPECIFICATIONS

Model	B070
Focal Length	17-70mm (for APS-C frame mirrorless format) (25.5-105mm full-frame equivalent field-of-view)
Maximum Aperture	F2.8
Angle of View (diagonal)	79° 55′-23° 00′?(for APS-C frame mirrorless format)
Optical Construction	16 elements in 12 groups
Minimum Object Distance	7.5“ (WIDE), 15.4“ (TELE)
Maximum Magnification Ratio	1:4.8 (WIDE) / 1:5.2 (TELE)
Filter Size	Ø67mm
Maximum Diameter	Ø74.6mm
Length*	4.7“
Weight	18.5 oz
Aperture Blades	9 (circular diaphragm)**
Minimum Aperture	F22
Standard Accessories	Flower-shaped hood, Lens caps
Compatible Mounts	Sony E-mount

* Length is the distance from the front tip of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

Specifications, appearance, functionality, etc. are subject to change without prior notice.

Articles: Digital Photography Review (dpreview.com)

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Sigma 65mm F2 DG DN sample gallery (DPReview TV)

03 Dec

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Earlier this week we published our samples from the new Sigma 65mm F2 DG DN when mounted on a Sony body. Chris and Jordan from DPReview TV also shot a gallery with the lens, but on Panasonic bodies. Have a look.

Articles: Digital Photography Review (dpreview.com)

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CIPA’s October report shows camera market has mostly recovered from its COVID-19 downturn

03 Dec

Top: Panasonic S1 (left) Canon EOS R (right) Bottom: Sony a7 III (left), Nikon Z6 (right)

It’s been a rather tumultuous year for camera sales atop a market already in decline, but the latest report from Camera & Imaging Products Association (CIPA) shows the market is back in business and nearly recovered from the COVID-19 downturn.

CIPA, an industry association that aggregates shipment and sales information from the leading camera manufacturers, has shared its October numbers, which show the September recovery of shipments wasn’t a fluke. According to the October report, total digital camera sales – which include both fixed-lens cameras and interchangeable lens cameras – saw a total of 1.13 million units shipped. That’s still 22.8% fewer units shipped compared to October 2019, but that’s a far better shipment rate than the past six months, which have seen shipments hover around 50% of what they were in 2019 in the same months.

A line graph showing the month-by-month shipment numbers of digital cameras — including compact, fixed-lens, DSLR and mirrorless — for the past three years. Click to enlarge.

And the numbers look even better for interchangeable lens cameras. CIPA’s report says a total of 754K units were shipped, a decrease of just 13.6% compared to October 2019. Despite shipping fewer units, the monetary value of those shipments is up half a percentage point year-over-year (YoY) as well, showing the cameras being sold are more expensive models.

Interestingly, the increase in value from those shipments can be attributed only to mirrorless cameras. Globally, the monetary value of DSLR sales is down 22% YoY for October, aligned with overall unit shipments, while the monetary value of mirrorless shipments is up 11.9% YoY for October. In other words, the average revenue from global DSLR sales has more or less stayed the same while increasing for mirrorless camera sales. This backs up statements from multiple manufacturers – most notably Canon and Nikon in their investor reports – that higher-end, full-frame mirrorless models are selling better and will be the focus of their product lines.

A line graph showing the month-by-month shipment numbers of interchangeable lens cameras for the past three years. Click to enlarge.

The October report also confirms DSLR camera sales are on a far faster decline than mirrorless cameras, at least in most regions. Global DSLR shipments were at 338K units, down 21% YoY for October, while mirrorless camera shipments were 416K units, down just 6.4% YoY for October.

Where it gets interesting is when you look at shipments by region. The increase in monetary value of mirrorless camera shipments comes almost entirely down to China, which saw a 53.8% increase in value YoY for October. Also, Europe stands as an outlier in the DSLR market; according to CIPA’s report, while DSLR sales are down in volume and value to the United States, they’re only slightly down in volume and up substantially (30.5% YoY for October) in Europe. This could simply be due to the stock being sent to the respective regions (budget DSLRs vs higher-end DSLRs), but it’s an interesting discrepancy nonetheless.

A full breakdown of production and shipments of cameras aggregated by CIPA. Click to enlarge and click here for the PDF version.

The ratio between DSLR and mirrorless shipments to different region varies quite a bit as well. In Europe, DSLR and mirrorless shipments in terms of volume are roughly even, but in terms of value, mirrorless is nearly double. The United States, on the other hand, saw roughly 35K more DSLRs shipped to its shores compared to mirrorless cameras, but mirrorless still has double the value of those DSLRs.

It remains to be seen if volume and value return to their 2019 numbers over the holiday seasons, but things are looking up for an industry that’s seen a devastating decline.

Articles: Digital Photography Review (dpreview.com)

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Slideshow: People’s Choice Award finalists for Wildlife Photographer of the Year

03 Dec

People’s Choice Award finalists for Wildlife Photographer of the Year

Natural History Museum’s Wildlife Photographer of the Year competition has selected 25 finalist photos for its People’s Choice Award. Now it’s up to the public to vote for the overall winner. Anyone can participate in the process until February 2nd at 14:00 GMT.

Over 49,000 images were submitted to this year’s Wildlife Photographer of the Year competition. 100 images were chosen as winners or finalists by the panel of judges. An additional 25 photos have been set aside for this latest shortlist. Make sure you view the gallery, read the rules, and cast a vote for your favorite image before the deadline.

The winner and top 4 highly commended images will be revealed on February 9th. An exhibit of all shortlisted images across the entire Wildlife Photographer of the Year competition will be on display through July 4th.

Shortlisted Photograph: ‘The Alpha’ by Mogens Trolle

About this Photo: Of all the different primate species Mogens has photographed, the mandrill has proved the most difficult to reach, preferring to hide in tropical forests in remote parts of Central Africa.

This made the experience of sitting next to this impressive alpha, as he observed his troop above, even more special. When a male becomes alpha, he undergoes physical changes that accompany a rise in testosterone levels, and this results in the colors on his snout becoming much brighter. With the loss of status, the colors fade. Mogens used a flash to enhance the vivid colors and textures against the dark forest background.

Shortlisted Photograph: ‘Life Saver’ by Sergio Marijuán Campuzano

About this Photo: As urban areas grow, like Jaen in Spain, threats to wildlife increase, and Iberian lynx have become a casualty of traffic accidents as they too seek to expand their own territories.

In 2019, over 34 lynx were run over, and three days before Sergio took this photo a two-year-old female lost her life not far from this spot. To combat mortality on the roads, improvements in the fencing and the construction of under-road tunnels are two proven solutions, and they are a lifeline for many other creatures as well as lynx.

Shortlisted Photograph: ‘Shut the Front Door’ by Sam Sloss

About this Photo: This coconut octopus was spotted walking around the black sand of the Lembeh Strait, Sulawesi carrying its house made of shells.

Remarkably, this small octopus constructs its own protective shelter using clam shells, coconuts, and even glass bottles! These intelligent creatures are very picky when it comes to choosing the perfect tools. They know that certain types and sizes of shell have their advantages, whether they be for shelter, camouflage, or concealing themselves from both prey and predator alike. It is safe to say that the coconut octopus is certainly one of the most scrappy, resourceful, and brainy creatures in the ocean.

Shortlisted Photograph: ‘Backstage at the Circus’ by Kirsten Luce

About this Photo: At the Saint Petersburg State Circus, bear trainer Grant Ibragimov performs his daily act with three Siberian brown bears.

The animals rehearse and then perform under the lights each evening. In order to train a bear to walk on two feet, Kirsten was told that they are chained by the neck to the wall when they are young to strengthen their leg muscles. Russia and Eastern Europe have a long history of training bears to dance or perform, and hundreds of bears continue to do so as part of the circus industry in this part of the world.

Shortlisted Photograph: ‘Drawn and Quartered’ by Laurent Ballesta

About this Photo: Scraps of grouper flesh fall from the jaws of two grey reef sharks as they tear the fish apart.

The sharks of Fakarava Atoll, French Polynesia, hunt in packs, but do not share their prey. A single shark is too clumsy to catch even a drowsy grouper. After hunting together to roust the grouper from its hiding place in the reef, the sharks encircle it, but then compete for the spoils – only a few sharks will have a part of the catch and most of them will remain unfed for several nights.

Shortlisted Photograph: ‘Coexistence’ by Pallavi Prasad Laveti

About this Photo: A cheeky Asian palm civet kitten peeps from a bag in a small remote village in India, curiosity and playfulness shining in its eyes.

This baby was orphaned and has lived its short life in the village backyard – comfortable in the company of locals, who have adopted the philosophy of ‘live and let live.’ Pallavi sees the image as one of hope, for in other parts of the world the civets are trapped for Kopi Luwak coffee production (coffee made from coffee beans that are partially digested and then pooped out by the civet) – where they are contained in tiny, unsanitary battery cages and force fed a restricted diet of coffee beans. She feels this image portrays a true essence of cohabitation.

Shortlisted Photograph: ‘Border Refuge’ by Joseph Dominic Anthony

About this Photo: Joseph formed the idea for this photograph in 2016 on a visit to Mai Po Nature Reserve in Hong Kong.

Taken within the Frontier Closed Area on the Chinese border, strictly timed access rules meant years of studying tide tables and waiting for the perfect weather. Joseph wanted to convey the story and mood of Mai Po in a single balanced photograph, combining individuals and the behavior of multiple species in the context of their wider environment, particularly to juxtapose the proximity of the ever encroaching urban development.

Shortlisted Photograph: ‘White Danger’ by Petri Pietiläinen

About this Photo: While on a photography trip to the Norwegian archipelago, Svalbard, Petri had hoped to spot polar bears.

When one was sighted in the distance on a glacier, he switched from the main ship to a smaller rubber boat to get a closer look. The bear was making its way towards a steep cliff and the birds that were nesting there. It tried and failed several routes to reach them, but perseverance, and probably hunger, paid off as it found its way to a barnacle goose nest. Panic ensued as the adults and some of the chicks jumped off the cliff, leaving the bear to feed on what remained.

Shortlisted Photograph: ‘Resting Dragon’ by Gary Meredith

About this Photo: The Great Sandy Desert in Western Australia is home to a wide variety of wildlife, which exists alongside man-made mining operations.

The wildlife found in this environment needs to adapt to the harsh, hostile living conditions. When the opportunity arises, the long-nosed dragon makes use of human structures. This individual positioned itself on a piece of wire mesh outside a workshop, waiting for the sun’s rays. The artificial light source outside the building attracts moths and insects, easy prey for a hungry lizard.

Shortlisted Photograph: ‘Close Encounter’ by Guillermo Esteves

About this Photo: The worried looking expression on this dog’s face speaks volumes and is a reminder that moose are large, unpredictable, wild animals.

Guillermo was photographing moose on the side of the road at Antelope Flats in Grand Teton National Park, Wyoming, USA, when this large bull took an interest in the furry visitor – the driver of the car unable to move it before the moose made its approach. Luckily, the moose lost interest and went on its way after a few moments.

Shortlisted Photograph: ‘Licence to Kill’ by Britta Jaschinski

About this Photo: Britta’s photographs of items seized at airports and borders across the globe are a quest to understand why some individuals continue to demand wildlife products, even if this causes suffering and, in some cases, pushes species to the brink of extinction.

This zebra head was confiscated at a border point in the USA. Most likely, the hunter was not able to show proof that the zebra was killed with a license. Britta found the use of a shopping trolley to move the confiscated item ironic, posing the question: wildlife or commodity?

Shortlisted Photograph: ‘Turtle Time Machine’ by Thomas Peschak

About this Photo: During Christopher Columbus’s Caribbean voyage of 1494, green sea turtles were said to be so numerous that his ships almost ran aground on them.

Today the species is classified as endangered. However, at locations like Little Farmer’s Cay in the Bahamas, green turtles can be observed with ease. An ecotourism project run by fishermen (some who used to hunt turtles) uses shellfish scraps to attract the turtles to the dock. Without a time machine it is impossible to see the pristine turtle population, but Thomas hopes that this image provides just a glimpse of the bounty our seas once held.

Shortlisted Photograph: ‘Bushfire’ by Robert Irwin

About this Photo: A fire line leaves a trail of destruction through woodland near the border of the Steve Irwin Wildlife Reserve in Cape York, Queensland, Australia.

The area is of high conservation significance, with over 30 different ecosystems found there, and is home to many endangered species. The fires are one of the biggest threats to this precious habitat. Although natural fires or managed burns can be quite important in an ecosystem, when they are lit deliberately and without consideration, often to flush out feral pigs to hunt, they can rage out of control and have the potential to devastate huge areas.

Articles: Digital Photography Review (dpreview.com)

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Apple releases Pro Display XDR Calibrator for its $5,000-plus monitor

03 Dec

Apple Pro Display XDR users can now perform in-field recalibration of their monitors. Apple has released the Pro Display XDR Calibrator, allowing users to recalibrate their displays for the first time since the display’s release last December.

Every Pro Display XDR comes calibrated from the factory; however, the new free-to-download Calibrator software allows for in-field recalibration for specific workflows ‘that may require custom calibration’.

To perform calibration, you must use one of the following spectroradiometers: Photo Research SpectraScan PR-740, PR-745 or PR-788 or the Colorimetry Research CR-300. Additionally, users must be using macOS 10.15.6 or later and their Pro Display XDR must have display firmware v.4.2.30 installed. This firmware version was released alongside the Calibrator software download and includes minor stability improvements.

The Pro Display XDR includes incredible technology and performance. Granted, you’d expect an incredible display given its starting price of $ 5,000 USD ($ 1,000 Pro Stand not included). Nonetheless, the reference-quality display offers a peak brightness of 1600 nits, a 1,000,000:1 contrast ratio and 6K resolution. The 32-inch display has a P3 wide color gamut and 10-bit color depth.

The display ships with industry-standard reference mode presets, including HDR, HDTV, NTSC video, digital cinema and more. Per Apple, the Pro Display XDR can display over a billion colors at a per-pixel level. Further, compared to a typical LCD display, the display’s compensation polarizer reduces off-axis light leakage by 25x, resulting in an accurate image even from off-axis viewing angles.

Click to enlarge

According to an Apple technology white paper about the display, ‘Every Pro Display XDR undergoes a state-of-the-art factory display calibration process on the assembly line to ensure accuracy of individual backlight LEDs and tight calibration control relative to key industry specifications.’ Further, ‘In addition, the factory calibration process enables Pro Display XDR to accurately reproduce a variety of color spaces used by media today, including BT.709, BT. 601, and even sRGB.’ You can view detailed specifications for each of the available reference modes in the paper as well.

Click to enlarge

While the Apple Pro Display XDR is itself expensive, and the compatible spectroradiometers required to calibrate the display are also expensive, it’s an undeniably good move for Apple to provide its customers more ways to use an Apple product and take full advantage of the display’s performance.

Of course, the jury is still out when it comes to the Apple Pro Display XDR besting other, much more expensive, reference monitors. Some have loved the display while others are not convinced that the Pro Display XDR lives up to Apple’s lofty promises. If you’d like to learn more about the Apple Pro Display XDR, visit Apple.

Articles: Digital Photography Review (dpreview.com)

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Qualcomm unveils new Snapdragon 888 SoC with 3 ISPs capable of 8K video, 120fps still shooting, 960fps slo-mo and more

02 Dec

Today, Qualcomm revealed details of the Snapdragon 888, its next-generation flagship mobile chipset, showing what kind of features, functionality and performance we can expect to see in flagship Android mobile devices in the coming year.

The Snapdragon 888 is a System on a Chip (SoC) that consists of multiple processors atop a single substrate. These include multiple CPU and GPU cores, as well as additional mobile and AI components for powering all of the features we’ve come to expect from flagship mobile devices.

At the heart of the Snapdragon 888 is Qualcomm’s Kryo 680 CPU, which is the first to use ARM’s new Cortex-X1 architecture for its 2.84GHz core, alongside three Cortex A78 performance cores (2.4GHz) and four A55 efficiency cores (1.8GHz). Qualcomm claims the Snapdragon 888 performs 25% better while using 25% less power, compared to its predecessor, the Snapdragon 865.

For the GPU, Qualcomm is using its new Adreno 660 GPU, which it says offers 35% faster graphics rendering performance while using 20% less power. This new chip is said to be the best increase in year-over-year performance and should pave the way for better display technology, including better support for 120Hz screens and improved OLED display uniformity.

On the photography front, Qualcommm has made drastic improvements to the image signal processors (ISPs) seen onboard previous Snapdragon chips. The Snapdragon 888 will feature three separate Spectra 580 ISPs. Now, with these three individual ISPs, Android smartphones that offer three cameras — most often a standard, ultra-wide and telephoto — will be able to capture full-resolution photos and video (up to 28MP per camera for stills and 4K HDR video per camera for video), with a maximum bandwidth of 2.7 Gigapixels per second.

Beyond using up to three cameras at the same time, this triple-ISP array also allows for a number of firsts in Android smartphones. If not limited by onboard storage and caching, the Snapdragon 888 technically enables 12MP photo capture at up to 120 fps, as well as a maximum single-image capture of up to 200MP.

The chip can also be able to capture 10-bit HEIF stills, capture 4K HDR10 video (while simultaneously capturing 64MP stills), support 8K video capture and feature no-limit slow-mo video capture at up to 960 fps. 4K video will also be able to be captured and played back at 120 fps on the same device.

Moving onto connectivity, the Snapdragon 888 will feature Wi-Fi 6 speeds up to 3.6Gbps, Bluetooth 5.2 (dual antennas), and Qualcomm’s new X60 5G MOdem-RF system. This new 5G modem supports both sub-6Ghz 5G with carrier aggregation as well as mmWave 5G with speeds up to 7.5Gbps. Battery performance while using its 5G capabilities should also be improved thanks to its new integrated design.

Other features include a new Hexagon 780 processor for AI and computational performance, as well an on-device Qualcomm Secure Processing unit. In addition to improved security within the operating system, this new Secure Processing unit also creates cryptographically sealed photos making it the first Content Authenticity Initiative (CAI) compliant smartphone camera for ensuring image integrity in a world of increasing misinformation and deepfakes. If this sounds familiar, it’s because Qualcomm is working with Truepic, who is a CAI partner alongside Adobe, Twitter The New York Times and others.

You can watch the full Snapdragon 888 unveil on Qualcomm’s Day 2 Keynote from its Snapdragon Tech Summit, below:

Qualcomm hasn’t set a specific date for when the Snapdragon 888 will be available, but it expects the first devices with it at their core to be released in Q1 2021, with commitments from Oppo, Motorola and others having already been made.

As we’ve seen with past Snapdragon SoCs and the smartphones that use them, it’s possible not all of these features will be seen in a single device. Some flagship smartphones that use the new Snapdragon 888 might choose to make the most of certain photo and video features, based on the accompanying hardware they put inside their device. While Snapdragon is offering plenty of computational functionality, it’s ultimately up to the smartphone manufacturers to extract the most from it with equally-capable storage, camera systems and more.

Articles: Digital Photography Review (dpreview.com)

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Bronine Volkit can change four different battery models at the same time

02 Dec

South Korean battery charger manufacturer Lycan has launched a Kickstarter campaign to help it introduce a single device that can simultaneously charge and manage up to four different types of camera battery. The idea of the proposed Bronine Volkit is that users will be able to save space, reduce waste and save money by using a single charger and a series of battery holders to deal with multiple batteries from most popular camera brands.

Up to four individual battery holders connect directly to the main charging station and the station’s screen displays information about the amount of charge in the battery, the voltage of the battery and a graphic that shows how much more power is needed. The station is able to determine the voltage required by each battery and is able to tailor its supply between 1 and 20V through each of the four ports. The charger itself can be powered via a QC or PD high-speed USB charging adapter indoors, via the cigar lighter in a car or when outside by a USB power bank.

Along with the charging unit Lycan has introduced what it calls Camera Kits which are holders for specific batteries. The company says it will have holders for Canon, Nikon, Sony, Olympus, Panasonic, Fujifilm and GoPro cameras as well as the ability to charge batteries from DJI drones and the sort of cylindrical lithium-ion batteries used in some gimbals. It is recommended that those thinking of backing the campaign check to ensure batteries from their camera are compatible, as not all models from all manufacturers are covered.

The Bronine Volkit chargers will come in two or four battery capacity options and will cost from $ 69 including two battery holders. The company says it already has working prototypes and it aims to begin shipping in March 2021. For more information see the Bronine Volkit Kickstarter page, or visit the Lycan website.

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.

Articles: Digital Photography Review (dpreview.com)

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Sigma introduces 24mm F3.5, 35mm F2 and 65mm F2 lenses for E and L mounts

02 Dec

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Sigma has introduced its new I-series of compact, premium full-frame lenses for Sony E-mount and Leica/Panasonic/Sigma’s L-mount. The 24mm F3.5, 35mm F2 and 65mm F2 DG DN | Contemporary lenses share similar designs and have weather-sealed metal bodies. All three lenses have aperture rings and by-wire manual focus dials, and are driven by stepping motors.

The 24mm F3.5 DG DN has a total of 10 elements, which include both SLD and aspherical glass. The special elements, along with Sigma’s ‘Super Multi-Layer coating’ help to reduce ghosting and flare. The 24mm F3.5 has a minimum focus distance of 11cm (4.3″) and a max magnification of 1:2 (0.5x). The lens weighs in at just 225 grams (7.9 ounces) and includes a petal-type lens hood.

Next up is the 35mm F2 DG DN. It too has 10 elements and uses SLD and aspherical glass as well as the Super Multi-Layer coating. The minimum focus distance is 27cm (11″) with the max magnification coming in at 0.18x. The lens is slightly heavier at 325g (11.5oz).

Lastly we have the 65mm F2 DG DN, which bumps the number of elements up to 12, and uses the same special elements and coatings as its shorter siblings. It has a minimum focus distance of 55cm (22″) and a maximum magnification of 0.15x. The 65mm weighs in at 405 grams (14.3oz). It comes with a metal tube-style hood.

All three lenses come with both metal lens caps that attach magnetically and with conventional plastic pinch-type lens caps. Sigma will offer a magnetic lens cap holder that’s attached to a carabiner.

The 24mm F3.5, 35mm F2 and 65mm F lenses will be available in mid-January for $ 549, $ 639 and $ 699, respectively.

Press release

SIGMA Introduces Full-Frame Mirrorless I series Premium Compact Prime Lenses

New Lenses Offer Outstanding Performance, Superior Build Quality and Elegant Design

Ronkonkoma, NY – December 1, 2020 – Today, SIGMA Corporation introduces the I series of lenses for full-frame mirrorless cameras. Pairing both for exceptional optical performance and stylish, compact design, the three new lenses – the 24mm F3.5 DG DN | Contemporary, 35mm F2 DG DN | Contemporary, and 65mm DG DN | Contemporary – join the previously released 45mm F2.8 DG DN | Contemporary to establish a new benchmark in compact performance lenses. Featuring all-metal construction for durability and cutting-edge optical designs, the I series lenses are available in L-Mount and Sony E-mount.

“When it comes to mirrorless cameras, striking the proper balance between performance and size is even more crucial. We believe there is a growing demand for compact, high-performance, high-quality lenses,” reports SIGMA America President Mark Amir-Hamzeh. “The introduction of the I series of full-frame mirrorless-exclusive lenses answers this call. The I series represents a new option: premium compact primes that are stylish in appearance with impressive specifications and optical performance.”

Built to the mechanical and operational standards of SIGMA Cine lenses, in compact mirrorless form, the I series have outstanding feel and touch in the hand. The well-damped manual focus ring, aperture ring, and autofocus switches embody true functional beauty.

The I series is being announced with 3 new lenses:

24mm F3.5 DG DN | Contemporary (MSRP $ 549)
35mm F2 DG DN | Contemporary (MSRP $ 639)
65mm F2 DG DN | Contemporary (MSRP $ 699)

The three new lenses will be available for sale through authorized US retailers in mid-January, 2021.

The 45mm F2.8 DG DN | Contemporary, available now (MSRP $ 549), is also part of this series.

Key I series Lens Features:

All I series lenses feature an all-metal body, with high-precision metal internal parts, and a metal lens hood. The 24mm F3.5 is a petal-type hood.
All I series lenses feature a manual aperture ring and knurled surfaces for an enjoyable tactile experience.
The 35mm F2 and 65mm F2 lenses feature a newly-designed arc-type auto/manual focus mode switch.
The 24mm F3.5, 35mm F2 and 65mm F2 lenses all feature a dust and splash-proof mount
The three new lenses each ship with both a plastic lens cap and a magnetic metallic cap.
An optional magnetic cap holder (model CH-11, MSRP $ 29) features a mini-carabiner for clipping to a camera bag, jacket or belt loop, and has a donut-style center hole to easily remove the cap when it is time to place it back on the lens.

Product Specifications:

SIGMA 24mm F3.5 DG DN | Contemporary

Lens Construction:	10 elements in 8 groups (1 SLD, 3 aspherical)
Autofocus Motor:	STM
No. of Diaphragm Blades:	7 rounded
Min. Focus Distance:	4.3 in. (10.8cm)
Max. magnification ratio	1:2 (half macro)
Filter Size:	55mm
Dimensions (DxL):	L-Mount: 2.5 x 1.9 in. (64 x 48.8mm) E-Mount: 2.5 x 2.0 in. (64 x 50.8mm)
Weight:	L-Mount: 7.9 oz. (225g) E-Mount: 8.1 oz. (230g)

SIGMA 35mm F2 DG DN | Contemporary

Outstanding image quality and bokeh, compact size, perfect for everyday use.
Stepping motor | Designed to minimize flare and ghosting | Super Multi-Layer Coating

Lens Construction:	10 elements in 9 groups (1 SLD, 3 aspherical)
Autofocus Motor:	STM
No. of Diaphragm Blades:	9 rounded
Min. Focus Distance:	10.6 in. (27cm)
Max. Magnification Ratio:	1:5.7
Filter Size:	58mm
Dimensions (DxL):	L-Mount: 2.8 x 2.6 in. (70 x 65.4mm) E-Mount: 2.8 x 2.7 in. (70 x 67.4mm)
Weight:	11.5 oz. (325g)

SIGMA 65mm F2 DG DN | Contemporary

Sharp images with beautiful bokeh | High backlight performance with thorough flare & ghosting control | Stepping motor | Designed to minimize flare and ghosting | Super Multi-Layer Coating

Lens Construction:	12 elements in 9 groups (1 SLD, 2 aspherical)
Autofocus Motor:	STM
No. of Diaphragm Blades:	9 rounded
Min. Focus Distance:	21.7 in. (55cm)
Max. Magnification Ratio:	1:6.8
Filter Size:	62mm
Dimensions (DxL):	L-Mount: 2.8 x 2.9 in. (72 x 74.7mm) E-Mount: 2.8 x 3.0 in. (72 x 76.2mm)
Weight:	14.3 oz. (405g)

Sigma 24mm F3.5 | 35mm F2 | 65mm F2 DG DN specifications

	Sigma 24mm F3.5 DG DN	Sigma 35mm F2 DG DN	Sigma 65mm F2 DG DN
Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	24 mm	35 mm	65 mm
Image stabilization	No
Lens mount	L-Mount, Sony FE
Aperture
Maximum aperture	F3.5	F2
Minimum aperture	F22
Aperture ring	Yes
Number of diaphragm blades	7	9
Optics
Elements	10		12
Groups	8	9
Special elements / coatings	1 SLD + 3 aspherical elements, Super Multi-Layer coating		1 SLD + 2 aspherical elements, Super Multi-Layer coating
Focus
Minimum focus	0.11 m (4.33″)	0.27 m (10.63″)	0.55 m (21.65″)
Maximum magnification	0.5×	0.18×	0.15×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Focus distance limiter	No
Physical
Weight	225 g (0.50 lb)	325 g (0.72 lb)	405 g (0.89 lb)
Diameter	64 mm (2.52″)	70 mm (2.76″)	72 mm (2.83″)
Length	49 mm (1.93″)	65 mm (2.56″)	75 mm (2.95″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Filter thread	55 mm	58 mm	62 mm
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

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How to Create a Watermark with the Pen Tool in Photoshop

02 Dec

The post How to Create a Watermark with the Pen Tool in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

Did you know that you can create a watermark with the Pen tool? Watermarking images is one of those issues that sparks strong feelings; some people love it and others hate it.

I think the success of a watermark is a matter of knowing when to use it and how to make it.

This article will show you how to create a watermark – using only the Pen tool in Photoshop!

Watermark your images using the pen tool in Photoshop

What is a watermark?

A watermark is a digital “signature” that you add to your photographs. It doesn’t have to be a literal signature, though – you can use a logo, your name, or just the copyright symbol.

The purpose of the watermark is either to protect your work or to advertise yourself. But you’ll want to make sure that your watermark isn’t too distracting. Otherwise, you are defeating the point of showing your work online.

What is the Photoshop Pen tool?

The Pen tool is one of the most useful features in Photoshop, yet it’s very underused because it’s mostly associated with making selections.

Since there are many selection tools that have easier learning curves, a lot of people don’t really get to know the Pen tool’s full potential.

While the Pen tool is in fact a very precise tool for making selections, the biggest advantage of the Pen tool is that you can work with paths. From a path, you can make vector masks, strokes, shapes, and even fonts.

Why should you create a watermark with the Pen tool?

There are different ways of creating a watermark in Photoshop. I believe that using Pen tool is the most efficient.

For one, a watermark created with the Pen tool will be vector art. You can enlarge it or shrink it many times and never lose quality.

That way, you can use it for all your needs. Also, paths remain editable for you to come back to and modify any time you want.

Shapes in Photoshop are also vector-based. But with the Pen tool, you have full creative freedom. You can draw anything you want and convert it into a shape or use it to trace a brushstroke.

As you can see, you can combine a series of elements and techniques that will allow you to create the perfect watermark. In the following guide, I’ll be showing you how to do it.

Let’s get started!

How to create a watermark with the Pen tool

To quickly create a watermark, just follow these simple steps:

Step 1: Open a new document

Open Adobe Photoshop and create a new document. The size and resolution are not important because you’ll be working with vectors, so you can always scale it later.

The only thing that you need to remember is to set the Background Contents option as Transparent.

Step 2: Make a sketch

This step is optional, but I find it very helpful. What I like to do is add a new layer (though it’s important that it’s transparent).

Turn a sketch into a watermark using the pen tool

With the Brush tool set to a bright color, I start by drawing how I want my watermark to look at the end.

Unless you are a very gifted designer, the drawing won’t look very good. This is what always happens to me, and it’s one of the reasons why using the Pen tool is better than using the Brush tool to ultimately create your watermark.

In any case, doing a rough sketch will give you an idea of the size and proportion of the elements you want to include.

Step 3: Trace a path

I’m going to add a black layer to make the work more visible for you. You can do this, too, if it helps you, but remember to delete it at the end.

Grab the Pen tool from the toolbox on the left or activate it with its keyboard shortcut (the “P” key).

At the top of the screen, you’ll see how the options change. Make sure your Pen tool is set to Path. Then just click to add the first anchor point.

Create a watermark using the pen tool in Photoshop — You can move the anchor points to modify the path by holding the Ctrl/Cmd key. You can also adjust the handles by holding the Alt/Option key.

Continue creating anchor points, following the shape that you’d like to create. To curve the path, just drag the anchor point until the handles appear. You can use the handles to adjust the curvature.

If this is your first time using the Pen tool, you can check out this guide. Don’t worry if it doesn’t come out perfect on the first try.

Paths are always editable, so you can correct any mistakes. You can make the entire design in a single path, or make separate ones.

Step 4: Stroke the path

Open the Brush tool and choose the settings that you want for the design that you’re creating. This includes the color, the size, the hardness, and the shape of the brush.

Then open the Paths panel. If it’s not active, you can access it from the menu: Windows > Paths.

Now, right-click on your working path and choose Stroke Path from the menu. Make sure you select Brush in the Tool dropdown menu, then hit OK. This will apply the settings that you have set on your Brush tool.

If you’re not happy with the result, just hit Undo and change the settings on your brush until you’re satisfied.

Disable or lower the opacity of the sketch layer for better visibility.

Step 5: Make shapes

Create shapes using the Pen tool in Photoshop

Sometimes, instead of strokes, you need to make shapes. For that, grab the Pen tool and change it from Path to Shape in the Options bar.

Here, you can change the fill or the stroke as you need. It is also possible to create complex designs with a single path by combining or intersecting multiple shapes. This can also be set up in the Options bar.

Step 6: Convert strokes to shapes

If you go to the Layers panel, you’ll notice that the paths you converted to strokes are now rasterized. This means they are using pixels instead of vectors.

To change that, go back to the Paths panel and click on the corresponding path. Then activate the Pen tool and choose Shape:

how to create a watermark with the Pen tool in Photoshop select make shape

Step 7: Merge shapes and save

Once you’re done, delete all the rasterized layers, including the one with the sketch and the black background.

If you want, you can save a .PSD copy with all the layers before moving on.

Then select all the shapes, right-click, and choose Merge Shapes.

Then save your document as a .PNG, which will preserve transparency. This is important because other formats will fill the background with white.

Step 8: Watermark your photos

Open any image you want to watermark. Then go to File>Place Embedded. If you’re using Photoshop CS6, it will be called Place.

This will open a browser window. Choose your watermark file and click OK. This will open your watermark in Photoshop.

Resize it and position it to your liking. You can also reduce the opacity if you think the watermark is too distracting.

And that’s it! Remember that you can save this step as a Photoshop action to automate the watermarking process.

Other ways to create a watermark in Photoshop

I hope you enjoyed using the Pen tool to create watermarks. However, this is not the only way to do it. If you want to try different methods, check out any of these amazing tutorials:

How to Create Your Own Watermark using a Custom Shape in Photoshop
How to Automate Your Watermarking
How to Watermark Your Images Using Lightroom and Photoshop CC
How to Create Custom Brushes in Photoshop and use them for watermarking

The post How to Create a Watermark with the Pen Tool in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

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Sigma 35mm F2 DG DN sample gallery (DPReview TV)

02 Dec

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5770032666″,”galleryId”:”5770032666″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

While they were out shooting their video about Sigma’s new lenses, Chris and Jordan filled up a memory card with photos from the 35mm F2 DG DN and Panasonic S5/S1H. Have a look.

Articles: Digital Photography Review (dpreview.com)

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