RSS
 

Posts Tagged ‘Announces’

Vazen announces the 65mm T2 1.8x anamorphic lens for MFT camera systems, rounding out the 3 lens lineup

01 Dec

Anamorphic lens specialist Vazen has announced its new 65mm T2 1.8x anamorphic lens for the Micro Four Thirds (MFT) system will cost $ 3,250 and is ready to ship immediately. The new lens completes the 1.8x MFT lens lineup, according to the company, alongside its 28mm T2.2 and 40mm T2 counterparts.

When used with the full 4:3 MFT sensor, the lens will produce a 2.39:1 ratio aspect image once the footage is desqueezed. Shooting in the 16:9 ratio, frames will end up 3.2:1 and will probably need cropping, so cameras that can record from the whole sensor work best. On a MFT camera, the horizontal angle of view will give users the width we’d expect using a 72mm lens on a full frame system, so this is the lens to use for portraits and moderately distant subjects.

In common with the other lenses in the series the 65mm T2 uses a front anamorphic design to make the most of oval out-of-focus highlights and the characteristic flare from point light sources. Vazen, however, claims the flare isn’t too saturated or over-powering. Like the 28mm, the 65mm lens does have a thread for filters, and accepts 86mm screw-in sizes or 95mm using the Vazen adapter. As you would expect, the focus and aperture rings are equipped with 0.8mod cine gears for focus pullers, and the focus throw is 300° from the closest position of 1.09m/3.6ft to infinity. The lens weighs 1.68kg/3.7lbs and measures 105x185mm.

These lenses are a good deal less money than models from most other anamorphic producers, such as Cooke, but are also bigger, heavier and more expensive than those offered by Sirui — though the Sirui lenses have a 1.33x squeeze rather than the 1.8x of these Vazen models.

Owners of the existing 28mm or 40mm lenses will be able to get a discount of $ 400 when they buy this new 65mm lens, and those wanting the whole set of three can buy a kit for $ 8950 instead of the $ 9750 cost of buying them individually. For more information see the Vazen website.

Press release:

Vazen launches the 65mm T2 1.8x Anamorphic Lens for Micro Four Thirds cameras

Shenyang China, Nov 30, 2020 – Vazen, a new Chinese cinema lens brand, has announced the pricing and shipping availability of the Vazen 65mm T2 1.8x Anamorphic Lens for Micro Four Thirds (M43) cameras. In addition to the previously launched 28mm and 40mm, the whole Micro Four Thirds 1.8x Anamorphic lens set is now completed.

All the Vazen 1.8x anamorphic lenses feature a front anamorphic design. It delivers a buttery smooth oval bokeh, signature blue but not overly saturated, horizontal flare and the widescreen cinematic look. The lens delivered an outstanding sharpness, even at wide open, which is unmatched by other anamorphic lenses with similar squeeze ratio. Vazen chose to adopt a 1.8x squeeze design to balance the anamorphic characters as well as the resolution of the image. The 1.8x produces a stronger anamorphic character than 1.33x / 1.5x anamorphic lenses. And when it’s paired up with 16:9 sensors, much less data (vs 2X anamorphic lens) is needed to be cropped away to create the desired 2.39:1 ratio.

The Vazen 1.8x works best with 4:3 ratio sensors like Panasonic GH5, Z-CAM E2, Panasonic BGH1 to produce the cinematic 2.39:1 ratio. It also works well with Blackmagic Pocket 4k cinema cameras.

The lens is designed with a 86mm filter thread and 95mm front diameter. Both aperture and focus rings are built with 0.8 mod gears.

Pricing & Availability

The lens is currently available to order from authorized resellers and in Vazen website (http://www.vzlens.com/). It is available to ship immediately.

The retail price in US is USD 3,250/pc. USD 400 discount will be offered to any existing Vazen 40mm / 28mm owners.

Specifications

  • Focal Length 65mm
  • T-stop range T/2 – T/16
  • Angle of View Around 33°
  • Format Compatibility Micro Four Thirds
  • Filter Thread 86mm
  • Front Diameter 95mm
  • Min. Focusing Distance 1.09 m (3.6 feet)
  • Dimensions ? 105 x 185 mm
  • Weight 1.68 kg (3.70 lbs)
  • Mounts Micro Four Thirds

For more information about Vazen, please visit http://www.vzlens.com/

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Vazen announces the 65mm T2 1.8x anamorphic lens for MFT camera systems, rounding out the 3 lens lineup

Posted in Uncategorized

 

Sony announces its new FX6 full-frame cinema camera with 10-bit 4:2:2 4K/120p internal recording

22 Nov

Sony has announced the launch of its new FX6 full-frame 4K cinema camera, which merges Sony’s cinema technology and form factor with advanced imaging technologies taken from its Alpha mirrorless camera systems.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8582380549″,”galleryId”:”8582380549″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

At the core of the camera is a 4K 10.2-megapixel full-frame backside-illuminated CMOS Exmor R sensor powered by a Sony Bionz XR image processing engine — likely the same setup used in the Sony a7S III. Sony notes the sensor offers 15+ stops of dynamic range and has a maximum ISO of 409,600 for ultra-low-light shooting.

The FX6 captures 10-bit 4:2:2 full-frame footage at 120 frames per second (fps) at 4K and 240 fps in 1080. If you use the onboard 12G-SDI port, the FX6 can output 16-bit SDI Raw 4K/60p video. Sony has also added its S-Cinetone look profile, which is inspired by its Venice colorimetry and also found in the company’s FX9 cinema camera.

Footage is stored to one or both of the camera’s dual CFexpress Type A card slots, which are also backwards compatible with SD UHS-II cards. It’s worth noting though that any recording over 100 fps will require the use of the faster CFExpress Type A cards, as even UHS-II SD cards won’t have the bandwidth to get the job done.

Below are still frames pulled from footage captured with the FX6:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6490417008″,”galleryId”:”6490417008″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The FX6 uses Sony’s E-mount for attaching lenses, making it compatible with more than 50 native lenses and countless dozens third-party lenses. The FX6 features the same 627-point Fast Hybrid AF system found in the FX9 and Sony’s Alpha mirrorless cameras, including advanced Face Detection and Real-time Eye AF. The FX6 also has internal electronic variable ND filters, which can be manually adjusted ‘in smooth increments from 1/4 to 1/128.’ Below is a video demonstration of the FX6’s electronic ND filter at work:

The FX6 is constructed of a magnesium alloy chassis that measures 11.6cm (4.6”) x 15.3cm (6”) x 11.4cm (4.5”) and weighs 890g (1.96lbs). The included 3.5” LCD viewfinder can be attached to various locations on the body, thanks to its modular design.

Other features include built-in Wi-Fi, four-channel audio recording and compatibility with Sony’s Catalyst Browse/Prepare software as well as Sony’s Content Browser mobile app that can be used to monitor video and control focus, iris and even zoom remotely.

The FX6 full-frame cinema camera from Sony will be available for $ 6,000 in December through Sony and authorized retailers. It will also be available as a kit with Sony’s FE 24–105mm F4 G E-mount lens for $ 7,200. Sony is also releasing a new FE C 16–35mm T3.1 G lens in December that will retail for $ 5,500.

Press release:

Sony Electronics Launches FX6 Full-frame Professional Camera to Expand its Cinema Line

FX6 Combines the Best of Sony’s Industry-leading Digital Cinema Technology with Advanced Imaging Features from Alpha™ Mirrorless Cameras

FX6 Product Highlights:

  • 4K 10.2 megapixel full-frame back-illuminated CMOS Exmor R™ sensor
  • Compact and lightweight body design for on-the-go shooting
  • Ultra-high sensitivity with ISO expandable up to 409,600 for very low light conditions
  • 15+ stops of dynamic range[i]
  • S-CinetoneTM look profile, also used in FX9 and inspired by VENICE colorimetry
  • BIONZ XR™ image processing engine, first used in Alpha 7S III
  • Fast Hybrid Auto Focus, also used in Alpha cameras and FX9
  • Recording up to 4K 120p / HD 240p, 10-bit 4:2:2 color depth in full-frame[ii]
  • Support for up to 12G-SDI and 4K at up to 60p 16-bit SDI RAW output
  • Compatible with more than 50 native E-mount lenses

SAN DIEGO – November 17, 2020 – Sony Electronics Inc. today officially announced the FX6 (model ILME-FX6V) camera, the latest addition to Sony’s Cinema Line, a series of products that brings the company’s expertise in imaging technology to a broad range of filmmakers and content creators.

Sony’s Cinema Line, which also includes the VENICE and FX9 cameras, delivers a coveted filmic look cultivated from extensive experience in digital cinema production, as well as enhanced operability thanks to an innovative body design, extensive durability and intuitive customizability.

As part of the Cinema Line, the all-new FX6 incorporates Sony’s core technologies of image sensor, processing engine, and AF (autofocus) performance. FX6 is also compatible with the wide range of Sony E-mount lenses for creative flexibility.

“The new FX6 is the latest example of Sony’s drive to continuously push the boundaries of imaging technology based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “With the advancement of our Cinema Line, we are dedicated to enabling the extraordinary skills and talent of today’s content creators and cinematographers. The FX6 leverages technology from Sony’s industry-leading VENICE cinema camera and marries it with the best of Sony’s innovative Alpha mirrorless camera technology.”

Full-frame Cinematic Image Quality

The new camera features a 10.2 MP[iii] full-frame back-illuminated Exmor R™ CMOS sensor that delivers a 15+ stop wide dynamic range[iv] with high sensitivity and low noise. FX6’s base sensitivity is ISO 800 with an enhanced sensitivity setting of ISO 12,800[v] – expandable up to 409,600[vi] – for shooting in low and very low light conditions. It is capable of recording in XAVC All Intra 4:2:2 10-bit depth with stunning image quality in DCI 4K (4096 x 2160 – up to 60p), QFHD 4K (3840 x 2160 – up to 120p[vii]) and FHD (1920×1080 – up to 240p) for incredibly detailed slow motion. When more convenient file sizes are needed, FX6 can record in XAVC Long GOP 4:2:0 8-bit QFHD 4K (3840 x 2160 – up to 120pvii) and 4:2:2 10-bit FHD (1920×1080 – up to 240p). FX6 also includes a BIONZ XR™ image processing engine, first used in the new Sony Alpha 7S III camera, providing up to four times faster processing performance compared to the FS5 II.

Developed with the same expertise as Sony’s world-leading VENICE cinema camera, FX6 offers advanced cinematic color science including S-CinetoneTM for richer tonal reproduction right out of the box as well as S-Log3, S-Gamut3 and S-Gamut3.Cine for post-production flexibility. FX6’s cinematic color science is optimized for premium applications by capturing the maximum dynamic range from the sensor and providing creative freedom. Leveraging the color science of VENICE, FX6 also allows productions to easily match footage with other cameras in the Cinema Line.

Advanced Video Features

Pulling from Sony Alpha’s impressive AF features, FX6 offers Fast Hybrid AF by combining 627-point[viii] focal plane phase-detection AF with advanced Face Detection and Real-time Eye AF in high frame rates with continuous AF, allowing camera operators to effortlessly and precisely track fast-moving subjects in slow motion without losing focus. Fast Hybrid AF works with over 50 native E-mount lenses. The camera can also capture up to five times slow-motion with 4K (QFHD) 120fps.

The new FX6 also offers internal electronic variable ND filters for easy and seamless control of the camera’s filter density. Users can set variable ND to auto or adjust the filter density manually in smooth increments from 1/4 to 1/128 for perfectly exposed images without affecting the depth of field or shutter angle, even during changing lighting conditions. Combined with the camera’s ultra-high sensitivity, the electronic variable ND filter provides users with outstanding creative control in almost any shooting environment.

Made for Content Creators on the Go

Outstanding Mobility and Operability

Built with a durable magnesium alloy chassis, measuring just 4.6 inches x 6 inches x 4.5 inches (116 millimeters x 153 millimeters x 114 millimeters) and weighing just 1.96 pounds (0.89 kilograms), FX6 has a compact and lightweight design making it easy for users to grab and shoot at any time. The new camera includes a heat dissipating structure to keep the camera’s components within their normal operating ranges to prevent overheating, even during extended recording times. FX6 also features a modular design allowing users to easily pair accessories, such as grips and viewfinders, or attach the camera to other mechanisms, such as gimbals and drones.

FX6’s 3.5-inch LCD Viewfinder can be attached on multiple locations of the camera body for added freedom and easy menu control with touch operation. Using a quick access control menu for commonly accessed features, camera operators can change key settings with a single touch – including Codec, Imager Scan Mode, Picture Size and Frequency, Base ISO and Sensitivity, Shooting Mode and Audio Levels.

Professional-level Reliability

In line with professional workflows, FX6 includes a 12G-SDI output that also supports 16-bit RAW, HDMI output, timecode in/out, built-in Wi-Fi and four channel audio recording (via XLR Interface, Multi-Interface Shoe and built-in Stereo Mic). The new camera also features two media slots compatible with CFexpress Type A cards[ix] for higher overall capacity and faster read and write speeds in addition to SDXC UHS-II/UHS-I cards.

Additionally, Sony’s Catalyst Browse/Prepare[x] software facilitates fast and easy editing. Users can import FX6’s image stabilization metadata into Catalyst Browse/Prepare to transform handheld footage into incredibly smooth and stable visuals. FX6 also has a dedicated Clip Flag button to easily filter and locate preferred takes using Catalyst Browse/Prepare. This software also reflects metadata indicating when FX6 is rotated or in its normal position, eliminating the need to rotate footage beforehand. FX6 is also compatible with Sony’s Content Browser Mobile App to easily monitor and control focus, iris, and zoom remotely[xi].

About Cinema Line

Cinema Line is series of professional cameras that have a filmic look, cultivated from Sony’s long experience in digital cinema production, and enhanced operability and reliability that responds to the wide variety of creator’s high demands.

Cinema Line includes the digital cinema camera VENICE, which is highly acclaimed in the feature and episodic production industry, and the professional camera FX9, which is has been popular for documentary and drama production. With the new FX6, Sony brings versatile creative tools to all types of visual storytellers.

FE C 16-35mm T3.1 G E-mount Cinema Lens

The FE C 16-35mm T3.1 G (model SELC1635G) lens, announced at IBC 2019, will be available in December 2020 to pair with FX6, FX9 and other full-frame Sony cameras. This new lens supports intelligent shooting functions unique to E-mount cameras – such as fast and accurate AF within shallow depth of field – while also offering manual focus options in a form factor familiar to professional cinema creators.

The FE C 16-35mm T3.1 G delivers stunning bokeh and corner-to-corner resolution thanks to two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, circular 11-blade apertures in addition to three aspheric lenses that are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glass elements, reduces color distortion. Additionally, floating focus provides outstanding resolution at every zoom position. The new lens also features Nano AR (Anti Reflection) coating, to reduce flare.

The focus ring offers a 140-degree large angle of rotation for fine control, with distance scale markers for consistent focus reset during multiple takes. Linear Response MF enables smooth manual focus, allowing users to adjust focus accurately and intuitively. Three independent rings for focus, iris and zoom enable users to get the exact creative results they desire. Each ring has the industry standard 0.8mm pitch gear for use of follow focus accessories, and the 114mm barrel diameter is compatible with industry standard matte box accessories. A two-speed servo provides smooth, accurate control of focal length and can be activated from a switch on the lens or a lever on the FX6 Smart Grip.

Pricing and Availability

The new FX6 full-frame Cinema Line camera will be available in December and will be sold for approximately $ 5,999.99 USD and $ 8,048.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

A new kit featuring the FX6 full-frame Cinema Line camera and FE 24-105mm F4 G E-mount Lens will also be available in December and will be sold for approximately $ 7,199.99 USD and $ 9,658.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE C 16-35mm T3.1 G lens will be available in December and will be sold for approximately $ 5,499.99 USD and $ 7,199.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories about Cinema Line, FX6, FE C 16-35mm T3.1 G and Sony’s other imaging products can be found at www.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire all fans of Sony’s technology for content creation and photography.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sony announces its new FX6 full-frame cinema camera with 10-bit 4:2:2 4K/120p internal recording

Posted in Uncategorized

 

ON1 announces ON1 Professional Plugin Series, including new versions of 4 plugins

21 Nov

ON1 has announced its all-new ON1 Professional Plugin Series. The suite includes new versions of ON1 HDR, ON1 Effects, ON1 Resize and ON1 Portrait AI. ON1 states, ‘The ON1 Professional Plugin Series is a new product line focusing on bringing ON1’s editing technologies into existing professional photo workflows with a more integrated experience.’

The ON1 plugins work with an expanded set of host applications, including Adobe Lightroom Classic, Adobe Photoshop, Affinity Photo, Corel Paintshop Pro, Apple Photos and Capture One (coming soon). ON1 says, ‘We were founded on creating plugins for Adobe Photoshop and later the Lightroom workflow. Back then, it was all about saving photographers time by making things easier to do in our plugins, which would make their workflows much faster. Today, it’s about how ON1 software can tightly integrate our newest technologies from ON1 Photo Raw into more workflows to produce better results.’

ON1 HDR 2021 includes improved performance and control over your images. Image credit: ON1

ON1 HDR 2021 promises ‘natural HDR photos’ that combine highlight and shadow details from bracketed exposures. It includes de-ghosting controls for reducing movement in a scene, such as clouds in the sky or moving water, and promises fast previews. ON1 says the software is up to 7x faster than ‘leading HDR apps.’ You can also adjust tone and color while working with layers and applying special effects. ON1 HDR includes noise reduction and lens corrections as well.

ON1 Effects 2021 features filters and presets crafted by ON1’s team of experts. New features in the 2021 version include a replace color filter, non-destructive Spot Healing Brush and Color-Sensitive Gradient Masks. ON1 states that the new custom brush shapes ‘give customers a quantum-leap in new ways to add creative edits.’ Further, the latest version includes a new full-screen preview option.

ON1 Effects 2021 features filters and presets designed by ON1’s team of experts. The plugin includes a non-destructive spot healing brush, among other features. Image credit: ON1

When you need to enlarge your images, ON1 Resize 2021 delivers ‘industry-leading Genuine Fractals technology’ to make it simpler and quicker to enlarge image files without sacrificing sharpness and detail.

Finally, ON1 Portrait AI 2021 relies upon machine learning to automatically find and retouch each face in an image. The plugin analyzes the image, locates the faces and adds ‘just the right amount’ of retouching to each person’s skin, eyes and mouth. The plugin includes a spot healing brush, custom brush shapes and full-screen preview as well.

ON1 Portrait AI 2021 uses machine learning to automatically retouch each face in a portrait. Image credit: ON1

ON1 is looking forward as well, promising that the company is working hard to introduce better integration with each host application. Future updates will also include better options for non-destructive workflows between plugins and host applications, such that your photos will remain re-editable.

Dan Harlacher, VP of Product, says, ‘One of the biggest challenges plugins face today is the walled gardens created by host applications. It makes it very difficult to re-edit your adjustments. We have a powerful solution for this common complaint that will maintain flexibility and your creativity on both sides, and we can’t wait to unveil this in the coming months.’

‘We have a powerful solution for this common complaint that will maintain flexibility and your creativity on both sides, and we can’t wait to unveil this in the coming months.’ -ON1’s Dan Harlacher

ON1 is also working ‘to improve on working with multiple photos between plugin and host application and quick access to features and functionality from ON1 within the host application itself.’ As part of the ongoing development, ON1 is investing in new AI technologies and solutions, with the goal of removing repetitive manual tasks. Improved AI-based solutions will result in faster culling of images, improved noise reduction and better batch image processing.

ON1 has also announced a partnership with photo and software educator, Matt Kloskowski. Matt K’s Corner is a new resource center for photographers using ON1 alongside Adobe products. Kloskowski will provide tutorial videos and articles each month and recommend workflows for users.

Click to enlarge

You can try each of the new plugins with a free 14-day trial. Each plugin is available for $ 59.99 USD each (regularly $ 69.99), or you can purchase the bundle of ON1 HDR 2021, ON1 Effects 2021, ON1 Resize 2021 and ON1 Portrait AI 2021 for $ 89.99 (regularly $ 99.99). For additional information and to download trials, visit On1’s website.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on ON1 announces ON1 Professional Plugin Series, including new versions of 4 plugins

Posted in Uncategorized

 

Tokina announces 17–35mm F4 lens for Canon EF, Nikon F camera systems

20 Nov

In addition to releasing its 23mm and 33mm F1.4 atx-m lenses for Fujifilm camera systems, Tokina has also revealed its latest lens for Canon EF and Nikon F mount DSLR cameras, the atx-i 17–35mm F4.

If the specs of this lens look familiar, it’s because it appears to be a successor to the Tokina 17–35mm F4 AT-X Pro FX lens (also available for Canon EF and Nikon F mounts). The new lens is constrcuted of 13 elements in 12 groups, features an aperture range of F4 through F22 and has a minimum focusing distance of 28cm (.9ft).

The lens features Tokina’s exclusive One-Touch Focus Clutch Mechanism, which makes it easy to switch between autofocus and manual focus by pushing and pulling the lens barrel. On the topic of autofocus, the lens uses Tokina’s GMR sensor and Silent Drive-Module (SD-M) motor.

Other features include a 1:4.82 macro ratio, an 82mm front filter thread and ‘moisture protection,’ although Tokina doesn’t elaborate on the extensiveness of its weathersealing specifications.

The Tokina 17–35mm F4 atx-i lens will be available for Canon EF and Nikon F mounts and available to pre-order for $ 600 (Adorama). The first units are expected to ship on December 11.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Tokina announces 17–35mm F4 lens for Canon EF, Nikon F camera systems

Posted in Uncategorized

 

Sony announces it’s getting into the drone game with its new ‘Airpeak’ brand

10 Nov

Watch out, DJI. Sony Corporation announced today it is getting into the drone market under the brand name ‘Airpeak.’

I a short press release, accompanied by the above teaser video, Sony says the Airpeak brand will ‘reflect its aspiration to contribute to the further evolvement and the creation of the unprecedented value through its imaging and sensing technology.’

While Sony does hint at industrial purposes for its drones, the company specifically says the Airpeak brand ‘will support the creativity of video creators to the fullest extent possible.’

An illustration from a patent application Sony was granted back in January 2020.

Sony says the project will launch in spring of 2021. In the meantime, it will share information along the way and work on partnerships to test their products and get feedback from drone users. You can keep up with the latest updates on Sony’s new Airpeak website.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sony announces it’s getting into the drone game with its new ‘Airpeak’ brand

Posted in Uncategorized

 

Xiaomi announces retractable lens technology for future smartphones

06 Nov
Xiaomi has introduced its self-developed Retractable Wide-aperture Lens Technology at its annual developer conference. Image credit: Xiaomi

Chinese technology company Xiaomi has officially kicked off its annual Mi Developer Conference (MIDC 2020) in Beijing. During the conference, Xiaomi has showcased numerous new technologies and breakthroughs, including retractable wide-aperture lens technology for smartphone devices.

If you have been following along with new smartphone announcements over the last few years, you’ll have noticed a strong emphasis on improvements in image quality, camera performance and lens quality. Drawing inspiration from traditional camera and lens design, Xiaomi has developed new Retractable Wide-aperture Lens Technology. This advancement in design lodges a compact optical structure in the smartphone, which can be extended when necessary.

Xiaomi promises that this new design will result in a breakthrough in performance. The company states, ‘This design allows the retractable telescopic camera to have a larger aperture to increase the amount of light input by 300%, as well as showcase better performance in portrait photography and night photography compared to currently-used camera structures.’ Further, the design incorporates a new image stabilization technology which ‘offers a larger anti-shake angle’ and increases sharpness by 20%.

The telescoping design has the primary benefit of allowing a camera not in use to be compact and easy to slip into a pocket, while still offering optical zoom when in use and capturing photos. In the case of a smartphone and its camera design, it’s even more critical to consumers that the device remain thin, compact, and lightweight.

Retractable lens designs have most frequently been seen in fixed-lens compact cameras, such as the Sony ZV-1 seen above. By utilizing a retractable lens design, engineers can strike a balance between performance when the camera is in use and a compact form factor when you aren’t capturing images.

Photography advancements from Xiaomi have been fast and furious this year despite the impact of the pandemic. This August, Xiaomi introduced its 3rd-generation under-display camera, which promised a high-quality, hidden camera under the smartphone’s display. This technology relies upon a revised pixel arrangement solution, allowing light to pass through gaps between the sub-pixels in the display.

Xiaomi’s advancements in camera technology don’t exist solely in the future. To celebrate its 10th anniversary this summer, Xiaomi launched the Mi 10 Ultra smartphone. This device incorporates a quad-camera array, including a long telephoto lens which offers a 120mm equivalent focal length and includes a 48MP image sensor. On the wide end of its camera array, there is a 12mm equivalent focal length and 20MP image sensor.

The Xiaomi Mi 10 Ultra smartphone, introduced this August, highlights the company’s fast-paced camera technology advancements with its 12mm and 120mm cameras. Click to enlarge.

It remains to be seen what the real-world performance of a telescoping lens in a smartphone will be, but Xiaomi intends to utilize its new camera technology in upcoming smartphones. The company’s goal is to deliver ‘professional photography to hundreds of millions of smartphone users around the world’ with its expanding portfolio of image technology improvements.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Xiaomi announces retractable lens technology for future smartphones

Posted in Uncategorized

 

Panasonic announces compact Lumix S 85mm F1.8 prime for L-mount

04 Nov

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1511673939″,”galleryId”:”1511673939″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Panasonic has announced the Lumix S 85mm F1.8 for L-mount. This compact lens has nine elements, two of which are ED glass that help control chromatic aberration, along with a nine-blade aperture for circular out-of-focus highlights. It has a minimum focus distance of 0.8m (2.6ft) and a maximum magnification of 0.13x.

The 85mm F1.8 is just 82mm (3.2″) long and weighs in at 355g (12.5oz). The lens is dust and moisture-resistant and Panasonic claims that it can function down to -10°C/+14°F. It’s designed to have the same size and control placement as Panasonic’s other upcoming L-mount primes (24/35/50mm), for easier use with things like gimbals.

The Lumix S 85mm F1.8 will be available in January for $ 599.

Press release:

A New F1.8 Large-Aperture Fixed Focal Length Lens for the LUMIX S Series

Compact, Lightweight Medium-Telephoto LUMIX S 85mm F1.8 (S-S85)

Newark, NJ (November 4, 2020) – Panasonic is pleased to introduce a new large-aperture medium-telephoto fixed focal length lens, the LUMIX S 85mm F1.8 (S-S85) that enhances portrait photography with its beautiful bokeh effect. Based on the L-Mount system for the LUMIX S Series full-frame mirrorless camera, Panasonic is going to release four F1.8 large-aperture lenses as previously announced, and this 85mm F1.8 is the first one. These four F1.8 lenses feature common size and position of control parts to provide practical advantage in use, for example, when the camera is on a gimbal, it is easy to exchange lenses quickly with minimum adjustment of connected gears. Filters can also be used in common thanks to the same diameter. Boasting high mobility realized by its compact size and light weight, the LUMIX S 85mm F1.8 is also suitable for stills.

Comprising 9 elements in 8 groups, the use of 2 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Panasonic S series lenses even pursue the beauty of bokeh and the LUMIX S 85mm F1.8 provides smooth defocus gradation from the focus peak to the neighboring area of the image as well as smooth, round bokeh of point light source without vignetting. The LUMIX S 85mm F1.8 also excels in video recording performance with a mechanism that suppresses focus breathing, which was a critical problem of all interchangeable lenses designed for still image photography.

With its compact size and approximately 355g weight, the LUMIX S 85mm F1.8 features stunning mobility. The rugged dust/splash-resistant* design withstands use under harsh conditions even at 10 degrees below zero for high mobility. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm.

In addition to the four F1.8 large-aperture lenses, A 70-300mm telephoto zoom lens is also under development to further enhance LUMIX S Series lens lineup. Panasonic and L-Mount system alliance are committed to the development of L-Mount lenses for the further expansion of its lineup to fulfill the needs of customers.

* Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

Panasonic Lumix S 85mm F1.8 specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 85 mm
Image stabilization No
Lens mount L-Mount
Aperture
Maximum aperture F1.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 9
Groups 8
Special elements / coatings 2 ED elements
Focus
Minimum focus 0.80 m (31.5″)
Maximum magnification 0.13×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 355 g (0.78 lb)
Diameter 74 mm (2.91″)
Length 82 mm (3.23″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 67 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Panasonic announces compact Lumix S 85mm F1.8 prime for L-mount

Posted in Uncategorized

 

Yongnuo announces new 35mm F2 autofocus lens for full-frame Sony cameras

24 Oct
Don’t ask why Yongnuo decided to showcase a full-frame E-mount lens on an APS-C camera body…our guess is as good as yours.

Chinese accessory and lens manufacturer Yongnuo has announced the release of a new 35mm F2 autofocus lens for full-frame Sony cameras.

The new lens is constructed of nine elements in eight groups, including one low-dispersion element and one aspherical element. The lens also features what Yongnuo calls a ‘nano-multilayer coating,’ but doesn’t specify what elements this coating is applied to.

The 35mm F2 has an aperture range of F2-F16, uses a seven-blade aperture diaphragm and has a minimum focusing distance of ‘about’ 35cm (13.7”). Its autofocus is driven by a digitally-controlled stepping motor (DSM) and an onboard USB-C port will allow for firmware updates, should Yongnuo release any to improve function or compatibility.

A diagram of the lens’ optical construction.

While constructed mostly of plastic, the lens features metal bayonet mounts and uses gold-plated contacts, which transmit, in addition to data for autofocus and aperture control, EXIF data. Also present is a switch for turning on and off autofocus, as well as a Function (Fn) button that can be customized to perform a certain action or bring up a certain menu.

There’s no word on when exactly the lens will go live or how much it will retail for, but you can keep an eye out on Yongnuo’s online shop and Amazon shop.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Yongnuo announces new 35mm F2 autofocus lens for full-frame Sony cameras

Posted in Uncategorized

 

Loupedeck announces Adobe collaboration and new Loupedeck plugin at Adobe MAX

22 Oct

Adobe has announced a massive Photoshop update which included, among many other features, the integration of Adobe’s new Unified Extensibility Platform (UXP) for plugins. Shortly after Adobe unveiled the new version of Photoshop, Loupedeck announced its collaboration with Adobe on a new plugin for Photoshop.

The free plugin, which can be downloaded through the new Plugin Marketplace in the Adobe Creative Cloud Desktop application, introduces new features and improvements for owners of the Loupedeck CT and Loupedeck Live. You may recall that we covered the new Loupedeck Live product last month, which you can learn more about here.

Image credit: Loupedeck

In addition to the improve performance and usability offered by Adobe’s UXP architecture, the new Loupedeck Photoshop plugin includes the following features, per Loupedeck:

  • Ability to add adjustment layers and control their corresponding parameters with dials and/or wheel
  • Reset functionality for individual adjustment parameters
  • Intuitive control over Font settings
  • Quickly scroll through and view history panel with dial and/or wheel
  • Increased control over Curves, including the ability to adjust color channel curves separately and control curve points
  • Smoother control over Brush settings and Zoom In/Out functions
  • Streamline workflow by combining Photoshop actions into macros within the Loupedeck software
  • Full control over Layer Properties
  • Ability to control Quick Actions (e.g., select object, remove background) introduced in Photoshop 2020
  • Better performance for Camera Raw

Of the new plugin, Loupedeck’s founder and CEO, Mikko Kesti, says, ‘We collaborated with Adobe to develop the new plugin and to ensure Loupedeck users could easily integrate and maximize their creative potential with the new features offered by Photoshop the moment they are available. Our new plugin for Photoshop incorporates the software’s new features into both the Loupedeck CT and just-launched Loupedeck Live, giving creators the power to further customize their Photoshop experience.’

Image credit: Loupedeck

Vijay Vachani, Adobe’s Senior Director of Product Management and Partner Ecosystem for Adobe Creative Cloud adds, ‘Photoshop users will now have increased functionality when using their Loupedeck devices and the ability to take even more control over a wide variety of Photoshop features, including the newly introduced Quick Actions.’

You can download the plugin from Adobe’s Plugin Marketplace by clicking here. You can learn more about Loupedeck Live and purchase it directly from Loupedeck. To learn more about Loupedeck CT, click here.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Loupedeck announces Adobe collaboration and new Loupedeck plugin at Adobe MAX

Posted in Uncategorized

 

DxO announces PhotoLab 4 with new DeepPRIME AI technology

22 Oct

It’s been a busy week for photo editing software announcements. The day after Adobe announced the latest versions of Lightroom and Photoshop, DxO has joined the party with its announcement of DxO PhotoLab 4.

PhotoLab 4 includes numerous new features and improvements, but the highlight is DxO’s new DeepPRIME technology. DeepPRIME utilizes artificial intelligence to perform improved demosaicing and denoising in a single step. DxO has used machine learning and millions of images to train the DeepPRIME algorithm. The result is that all images, particularly those captured at high ISO settings or with smaller sensors, will look better than ever before. DxO also states that photos captured with early-generation cameras will experience a pronounced gain in overall quality.

A traditional approach to processing raw images comprises demosaicing and noise reduction separately. However, with DeepPRIME and its deep learning, these two steps are combined into one ‘to deliver exceptional performance.’ Compared to DxO’s previous denoising algorithm, DxO PRIME, DeepPRIME ‘delivers a gain of around two ISO sensitivity values at a comparable level of quality.’

Of DeepPRIME, Jérôme Ménière, DxO’s CEO, says, ‘There are a number of applications for DxO DeepPRIME. [It] creates new creative opportunities by helping expert photographers overcome digital noise or a lack of light. For amateur photographers, DxO DeepPRIME compensates the drawbacks of the smaller sensors on compact and bridge cameras, which can typically only take high-quality images in bright light. Lastly, it can also be used to revamp photos taken by less advanced cameras from the start of the digital era.’ The idea of breathing new life into old images is certainly appealing and it will be interesting to see how much of an improvement DeepPRIME delivers.

DxO’s new DeepPRIME algorithm promises improved performance and image quality compared to the former DxO PRIME tech. DxO states that the most noticeable gains will be experienced when working with high ISO images and photos captured using small or older image sensors. Image credit: DxO

In addition to the new DeepPRIME technology, DxO PhotoLab 4 incorporates a new workspace, dubbed DxO Smart Workspace. The workspace is centered around a system of filters accessible via the toolbar. DxO describes it as follows, ‘It allows users to show tool palettes by correction type, only display their pre-selected favorite palettes, or only show palettes with activated corrections.’ You can also utilize a dedicated search field to locate a specific tool. DxO states that the new workspace will not only allow experienced PhotoLab users to work more efficiently, but it will also allow new users to acclimate to the software and its available tools more quickly.

Another workflow improvement includes the ability to batch rename multiple files at once. This can be achieved via the DxO PhotoLibrary or Photo Browser. You simply select multiple files and then use a dedicated dialog box to rename the files.

The new DxO Smart Workspace promises improved access to image editing tools plus a new search function, allowing experienced and novice users alike to track down a specific tool. Image credit: DxO

There’s a new History palette in DxO PhotoLab 4 as well. This displays all edits in chronological order and shows the specific edits made to an image, allowing you to go back at any time to a specific change you made to your image. For example, if you adjust exposure, it will show this adjustment and the amount that exposure was adjusted. Adjustments can also be grouped by type and then hidden if you don’t need to see the full list.

Similarly, PhotoLab 4 allows the user to selectively copy and paste edits across multiple selected images. DxO states, ‘From the Photo Browser, users can select the specific edits they want to apply to one or several other images by editing type, such as lighting, color, detail, local adjustments, geometry, or watermarking.’

In order to protect your images when sharing them online, PhotoLab 4 includes a new Instant Watermarking feature. You can embed text and/or an image on selected photos simultaneously and get a live preview of the watermarking. You can adjust placement, scale, orientation, opacity, and margins. There are also seven available blend modes, something DxO says is unique to PhotoLab 4.

DxO believes its new Instant Watermarking tool is the best in the business. Image credit: DxO

More than 60,000 camera and lens combinations are supported in PhotoLab 4, including new camera support for the following cameras: Canon EOS R5, EOS R6, and EOS 850D, the Nikon D6 and Z5; the Olympus OM-D E-M10 Mark IV; and the Panasonic Lumix S5 cameras.

DxO PhotoLab 4 is available now from DxO on Windows and macOS. Until November 19, DxO is offering promotional prices. DxO PhotoLab 4 Essential Edition is available for $ 99.99 USD and the Elite Edition is $ 149.99. This represents a savings of around $ 30 and $ 50, respectively. Existing owners of PhotoLab 3 can purchase an upgrade license by signing into their customer account on this webpage. You can also download a fully-functional one-month trial. For more information, visit DxO.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DxO announces PhotoLab 4 with new DeepPRIME AI technology

Posted in Uncategorized

 
« Older Entries
Newer Entries »