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Panasonic announces Lumix S 20-60mm F3.5-5.6 lens for L-mount

27 May

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Panasonic has announced its new Lumix S 20-60mm F3.5-5.6 lens for L-mount bodies. Its 20-60mm focal length is shorter but significantly wider than most variable aperture standard zooms, which are typically around the 28-80mm range.

Of the 11 elements on this unstabilized lens, two are aspherical, three are extra-low dispersion and one is ultra-high refractive index. The lens has a minimum focus distance of 15cm (just under 6″) with a maximum magnification of 0.43x.

Panasonic says the lens has been designed to suppress focus breathing (the change of effective focal length at different focus distances) for video shooters, who are likely to appreciate its wide-angle capabilities.

The lens weighs in at just 350 grams (12 ounces) and is dust and splash resistant, and functional down to –10°C (14°F). A fluorine coating on the front element repels water and oil.

The Lumix S 20-60mm F3.5-5.6mm lens will ship in late July for $ 599.

Press release

Panasonic Launches a New L-Mount Interchangeable Lens for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

LUMIX S 20-60mm F3.5-5.6 (S-R2060)

Newark, NJ (May 27, 2020) – Panasonic is proud to introduce a new interchangeable standard zoom lens, the LUMIX S 20-60mm F3.5-5.6 (S-R2060) based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera. Designed for professional use, the LUMIX S Series pursues uncompromising photographic expression with its high-quality cameras and lenses.

The new LUMIX S 20-60mm F3.5-5.6 is a compact, lightweight standard zoom lens that covers from ultra-wide 20mm to standard 60mm focal length for versatile use including landscape photography. The wide viewing angle makes it easier to shoot indoors where space is limited and stunning close-up capability of 5.9 inches / 0.15m (maximum magnification 0.43x) supports still life photography. The new LUMIX S 20-60mm F3.5-5.6 also ensures smooth, high quality video recording because of a mechanism that suppresses focus breathing, which can an issue in interchangeable lenses designed for still image photography.

With 11 elements in 9 groups, the use of 2 aspherical lenses and 3 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with these aspherical lenses, achieving high resolving performance. Furthermore, a UHR (Ultra-High Refractive Index) lens achieves uniform image quality from the center to edges of the image while contributing to downsizing of the lens unit.

With its compact, approximately 12.3 oz / 350g of light weight, the LUMIX S 20-60mm F3.5-5.6 features stunning mobility. The rugged dust/splash-resistant* design withstands use under harsh conditions even at 14°F / -10°C for high mobility. In addition, a fluorine coating on the front element repels water and oil and prevents them from attaching. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm.

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 end users .

The LUMIX S 20-60mm lens will be available at the end of July for $ 599.99.

*Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
•Design and specifications are subject to change without notice.

Panasonic Lumix S 20-60mm F3.5-5.6 specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 20–60 mm
Image stabilization No
Lens mount Leica SL
Aperture
Maximum aperture F3.5–5.6
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 11
Groups 9
Special elements / coatings 3 ED + 2 aspherical + 1 UHR element
Focus
Minimum focus 0.15 m (5.91″)
Maximum magnification 0.43×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 350 g (0.77 lb)
Diameter 77 mm (3.03″)
Length 87 mm (3.43″)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 67 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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Nikon announces new Z50 ‘Creator’s Kit’ with a slew of accessories at a discount

13 May

Nikon has announced a new ‘Creator’s Kit’ for its Nikon Z50 camera system that’s designed to create an all-in-one solution to get shooting, streaming and recording right out of the box at a price less than the sum of its parts.

The Nikon Z50 Creator’s Kit includes the Z50 camera body, the Nikkor Z DX 16–50mm F3.5–6.3 VR lens, a SmallRig Vlogging Mounting Plate, a Joby GorillaPod 3K and a Rode VideoMicro microphone, all of which comes in a Nikon-branded travel bag. Along with the hardware, Nikon includes free access to its ‘Creator’s Mindset: Creating Video Content with the Z 50’ online class.

If all of the items were purchased individually (not including the bag or course), the total would add up to roughly $ 1,400, give or take for taxes and other additional costs. The Nikon Z50 Creator’s Kit costs $ 1,149.95 and is currently available to pre-order on Nikon’s store, with an estimated shipping date of Thursday, May 21.

Nikon also notes this kit (alongside its other camera systems) can be used as a webcam setup with various third-party hardware and software. To help get you started, Nikon has created a dedicated page to using your Nikon camera system as a webcam rig.

Press release:

Nikon Inc. Announces New Z 50 Creator’s Kit

Today, Nikon Inc. announced the new Nikon Z 50 Creator’s Kit – an essential toolkit for creators, bloggers, vloggers, DIYers and travelers who want to explore the limits of their creativity and share their stories in a unique way.

The Nikon Z 50 Creator’s Kit pairs the versatile Z 50 mirrorless camera with must-have video accessories to create an all-in-one bundle to match user’s creative potential:

  • Nikon Z 50 Camera Body – offers 4K Ultra HD capture, slow-motion recording, time-lapses and in-camera creative filters, plus a 3.2” flip-down LCD screen, great for capturing selfies and vlogging, and built-in Bluetooth and Wi-Fi connectivity to help creators quickly share their content
  • NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens – the smallest and lightest NIKKOR Z lens, great for capturing street photography, candid portraits, landscapes, and close-ups
  • SmallRig Vlogging Mounting Plate– allows users to attach multiple accessories to the camera when using the flip-down LCD for vlogging
  • Joby GorillaPod 3K – adds extended reach for selfies and vlogging, plus can be used as a compact tripod for steady shooting
  • RØDE VideoMicro microphone – captures pristine audio that complements the camera’s outstanding video quality
  • Pack up equipment in style with the Nikon Travel Kit Bag
  • Free access to the Nikon School Online Class “Creator’s Mindset: Creating Video Content with the Z 50 and sharpen their skills by using the voucher for the Nikon School Online Class, Creator’s Mindset: Creating Video Content with the Z 50 (with camera registration)

The Nikon Z 50 Creator’s Kit will be available starting on Thursday, May 21 for $ 1,149.95.

  • Please refer full press release below and click the link here for products images of the new kit.

Additionally, the Z 50 Creator’s Kit can be used as a webcam using optional third-party video capture software. For more information and to learn how to do this, please visit here. For those looking to explore the endless possibilities of what they can create with the Nikon Z 50 Creator’s Kit, check out Nikon’s selection of ever-changing and inspiring content on NikonUSA.com/CreatorsHour.

If you have any questions or need more information, please let us know.

Sincerely,

Your Friends at Nikon Inc.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Announces $1M Community Fund to Aid Artists During Pandemic

05 May

The post Adobe Announces $ 1M Community Fund to Aid Artists During Pandemic appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Adobe community fund creative residency

In response to the COVID-19 crisis, Adobe has announced a new Creative Residency Community Fund, designed to “help visual creators stay on track and achieve their dreams.”

The Fund is an offshoot of Adobe’s annual Creative Residency program, which supports several artists over the course of a year. But creatives have been hit hard by the coronavirus pandemic, leading Adobe to look for additional ways to support artists in need.

And so the Creative Residency Community Fund was born. With the support of the Fund, artists can undertake a project of their own or complete a project commissioned by Adobe.

Adobe Community Fund

The Fund has been given $ 1 million USD to offer creatives support through mid-2021. Several application deadlines have been established over the next year, and artists will be notified on a rolling basis of their acceptance into the program.

Successful applicants will receive a sum between $ 500 USD and $ 5000 USD to support the project. Applicants will also receive a Creative Cloud membership, in addition to “career guidance workshops.”

For those who are interested in applying, the details can be found on the Adobe website. Note that you must specify up-front whether you’d like to be considered for the personal project or the commissioned project. Your application will ultimately go before a selection committee, which will determine both the success of your application and the funds you’ll be allotted.

Creatives can apply from all over the world, though Adobe does require English proficiency (excepting Japanese applicants). Applicants must also be 18 years or older.

As for the type of project that will be successfully funded:

Adobe explains that they “always consider great projects of all types if they showcase Creative Cloud capabilities,” but will focus on:

  • Video
  • Photography
  • Photo art
  • Graphic design
  • Illustration
  • 3D
  • Motion design
  • Product or interface design

So if you’re a creative that’s looking to complete a new project, go ahead and apply! The first application deadline is June 1st, though you’ll also have an opportunity to apply in September 2020, December 2020, and March 2021.

The post Adobe Announces $ 1M Community Fund to Aid Artists During Pandemic appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Facebook Announces Secure Transfer of Photos/Videos from Facebook to Google Photos

01 May

The post Facebook Announces Secure Transfer of Photos/Videos from Facebook to Google Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Google Photos

If you need a way to quickly move all your media from Facebook to Google Photos, then you’re in luck.

As of this past Thursday, you can transfer photos and videos from Facebook straight over to Google Photos.

For those who are unfamiliar:

Google Photos is the default photo application on Android devices, but it’s also available for Apple users. It’s a great way to store photos of all types, including smartphone shots, personal snaps, portfolio images, and more.

In fact, the app features essentially unlimited storage capacity (though there are caps on file sizes). Since Google Photos uses cloud storage, you can view stored images from all of your devices, as well as on the web (at photos.google.com).

As for the Facebook integration:

In just a few clicks, you’ll be able to take photos you’ve uploaded to Facebook and copy them on over to Google Photos.

Why is this so useful?

For one, Google Photos packs an excellent search function. So you’ll be able to navigate through your photos more quickly on Google Photos versus Facebook.

Google Photos also includes advanced photo organization capabilities that Facebook lacks, so you can carefully catalog and curate thousands of images with ease.

Now, if you’re interested in using this transfer function, just follow a few simple steps.

(Note that the process is slightly different on desktop versus mobile, but the general path is the same.)

First, head over to your Facebook “Settings.”

tap settings

On mobile, scroll down until you find “Transfer a Copy of Your Photos or Videos,” and select this option. On a desktop, you’ll need to click on “Your Facebook Information.”

your facebook information

Then select “Transfer a Copy of Your Photos or Videos.”

select transfer a copy of your photos or videos

Facebook will prompt you to enter your password. Then you’ll be asked to select a destination for your photos; right now, Google Photos is the only choice, but Facebook has indicated an interest in adding additional options in the future.

You’ll also need to indicate whether you want to transfer your photos or your videos. Note that you can always start with photos but come back and transfer videos later.

select your destination and what you want to transfer

Hit “Next.” You may be asked to enter your Google Photos password and, once done, you’ll need to confirm that you wish to transfer your media.

hit next

Finally, click “Confirm Transfer”, and you’re done!

select confirm transfer

So for anyone looking to add Facebook images to Google Photos, go ahead and try this function out!

But, as always, also read the fine print and see if there are any privacies or image rights you may be giving when integrating these options.

The post Facebook Announces Secure Transfer of Photos/Videos from Facebook to Google Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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ON1 announces 360° cross-device sync service for editing and managing images remotely

29 Apr

Software developer ON1 has released details of a new service it claims will allow photographers to synchronize the editing and organizing of images across computers and mobile devices no matter where they are stored. The ON1 360° application will connect up to five computers and five mobile devices so that images stored on any one of them, or on attached external hard drives and NAS systems, can be accessed and edited from any of them – with changes synced across them all.

The software relies on a cloud storage service and a newly developed compressed RAW file format. Photographers select which files, folders or albums they would like to have access to and compressed versions are sent to the cloud. Connected devices, including smartphones, can then access those compressed files so they can be edited locally and the changes saved to all synchronized versions of that picture. A new free mobile app will be available for Android and iOS devices that will have the same RAW processing engine as its ON1 Photo RAW 2020 application so adjustments can match those made in the full desktop version of the software.

ON1 says the compressed RAW files that will pass between the devices will be 75% smaller than the original files, but we are told they will retain the same tonal and color range as the originals. Users also have the choice to store their full-sized originals in the cloud so they can be shared between devices as well.

ON1 claims its new program will offer ten times the amount of storage as competitors, but its application will cost 20% less. The high compression of the new RAW file format all also mean that more pictures will be able to be stored in the same space.

The company says it will retain its perpetual license options alongside subscription services with monthly or annual payment plans. The ON1 Photo RAW 2020.1 desktop application costs a one-off $ 49.99 at the moment, while the ON1 360° starts at $ 59.99 per year with 200GB of storage, or $ 109.99 per year with 1TB if you already own Photo RAW. If you want to buy Photo RAW and the 360° service together it will cost $ 89.99 for 200GB and $ 179.99 1TB per year. The monthly prices will be $ 5.99 and $ 9.99 for those who own Photo RAW, and $ 7.99 and $ 15.99 for those who don’t. Pre-ordering the 360° plan will also get you a training course and a pack of extra pre-sets.

For more information on ON1 360° go to the ON1 website.

Press release:

ON1, creators of ON1 Photo RAW, announces ON1 360° will be available in late June.

ON1 360° is a new end-to-end photography workflow solution for capturing, editing, and accessing photos seamlessly between multiple computers and mobile devices. ON1 360° connects ON1 Photo RAW 2020 on macOS and Windows computers with the new free ON1 Photo Mobile on iOS and Android devices. ON1 360° is the complete photography ecosystem that photographers have been waiting for; giving them more choice and more control. Multiple options for syncing files, control in file storage methods, and new capabilities for managing and editing across devices no matter where files are stored are available in ON1 360°.

At the core of ON1 360° is ON1’s new cloud storage service and sync technology, which allows photographers to sync photos, metadata, and edits, as well as albums, cataloged folders, and more between all their computers and devices, external hard drives, or even network drives. Unlike other cloud service offerings, ON1 360° will allow customers to choose which files or folders to sync, where the files live, as well as their preferred storage format.

“Our focus is on giving photographers control. Control of where they store their photos, what they want to sync and how they want to edit. There isn’t another solution out there providing this flexibility or functionality. We are still going to offer customers perpetual license options where they keep the software, even if they choose not to continue with this service. Of course, the subscription plan will be a good option as well and is ultra-competitive when it comes to price and features. The ON1 360° subscription plan includes 10x the storage at 20% less cost compared to other plans. Plus, the optional ON1 compressed-raw file format requires significantly less storage to have access to all your photos from all devices,” says Dan Harlacher, VP of Product.

With ON1 360°, customers can choose between syncing their original raw files or syncing their photos using ON1’s compressed-raw file format, which is 75% smaller than the original RAW file while maintaining the same tonal and color range. They are perfect for remote editing, sharing, and even printing common sizes, without noticeable loss in quality, saving the customer additional storage costs.

“Some people like using external drives, and some people like storing photos in the cloud. And some like both. The great part about ON1 360° is that you get to choose where photos get stored while still having access to them on all of your devices so you can share from anywhere,” add Matt Kloskowski, ON1 Educator and Guru.

“These all-new technologies that are the foundation of ON1 360° have been under development for some time and we are very excited to deliver them in June. This complete photography solution allows our customers to incorporate ON1 in every stage of their photography. With the technical foundation in place, we will start integrating new AI tools and features into all our products. There has never been a more exciting time at ON1.,” President and CEO, Craig Keudell adds.

Key Features
One Workflow — A complete end-to-end workflow between desktop and mobile with just one desktop application in ON1 Photo RAW 2020. No bouncing between organizers, raw processors, and layered pixel-editors. ON1 Photo RAW 2020 is a modern photo organizer, raw processor, layered editor, and effects app, all-in-one well thought out and affordable application.

Value — ON1 360° plan options start out at 10x the storage amount for 20% less cost compared to competitive plans available today.

Complete Control of Photos — Photographers can organize how they choose, where they store photos, and how they back up their photos. Whether photos are on local drives, upload some or all of them to the ON1 360° cloud storage, it’s their choice. All metadata and edits will back up automatically with ON1 360°.

High Quality with Less Space — ON1’s unique compressed-raw file format will also allow photographers to store more photos in the same amount of space without noticeable loss in image quality when processing. The new file format will also let photographers view, edit, and share their photos without having to store the original photo in the cloud.

ON1 Photo Mobile — The new free ON1 Photo Mobile will be a single app for capturing, editing, and syncing photos back to desktop computers, where each photo will also be re-editable. More than a basic raw processor, ON1 Photo Mobile uses the same RAW processing engine developed for ON1 Photo RAW. Adjustments will include Exposure, Contrast, Shadows, Mid-tones, Highlights, Whites, Blacks, White Balance, Noise, and Sharpening. Built-in filters will start with, black and white, adding film grain, darkening the edges with a vignette, and enhancing local contrast. ON1 Photo Mobile will be available for both iOS and Android devices and is free for anyone.

Capture and Create Anywhere — The new free ON1 Photo Mobile’s camera mode works like your device’s camera app but with many more advanced features. Capture raw photos on your smartphone with all the tonal range and details you expect from an interchangeable lens camera. The pro-level manual controls include the ability to adjust exposure, shutter speed, depth, and white balance.

Photos Stay in Sync — Automatically or selectively sync photos and edits from ON1 Photo RAW 2020 on desktop or laptop computers back to the free ON1 Photo Mobile using ON1 360°, providing a complete, photo editing and organizing system. ON1 360° will allow photographers to wirelessly send photos between desktop and mobile devices. Photos can be viewed, edited or downloaded directly to ON1 Photo RAW 2020 on both desktop or laptop computers with the non-destructive editing settings intact. You can also push edits from ON1 Photo RAW 2020 on desktop or laptop computers and automatically or selectively sync them back to ON1 Photo Mobile.

Privacy — Privacy is most important, and with ON1 360°, all photos will be kept private. ON1 will never analyze any photos using ON1 360° to build ways to market to photographers.

Availability and Pricing
ON1 360° subscription plans will be rolled out gradually starting today and continuing to the full release in late June 2020 when the ON1 360° service officially begins and all purchasing options become available. Today, owners of Photo RAW 2020 can take advantage of special introductory pricing on a 1-year prepaid subscription for ON1 360° (service only edition) with reduced pricing and pre-order bonuses including a new ON1 Pro pack with 360 custom presets ($ 100 value) delivered today, and a new ON1 360° Training Course delivered in June when the ON1 360° service begins. New customers can purchase a perpetual license for ON1 Photo RAW 2020 at a reduced price and the ON1 360° Service Add-on or the ON1 360° Software & Service subscription which includes everything. For a limited time, ON1 is cutting the price of ON1 Photo RAW 2020 by 50% during the lead up to ON1 360° availability in late June.

In June 2020, ON1 will roll out all ON1 360° plans including monthly subscription plans which include ON1 Photo RAW 2020, the ON1 Photo Mobile connectivity, and the 360° syncing service. As always, ON1 will continue offering Photo RAW as a perpetual-license product separate from ON1 360°, for those who prefer to own their software. This allows customers to upgrade to future versions at a time of their choosing, and it allows them to add or cancel any ON1 360° subscription without losing access to ON1 Photo RAW or their photos.

Articles: Digital Photography Review (dpreview.com)

 
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DJI announces the Mavic Air 2 with 4K/60p capture, ActiveTrack 3.0 and more

28 Apr

DJI has announced the Mavic Air 2, the newest compact, folding drone in DJI’s growing lineup. In addition to new hardware, both inside and out, the drone also features new fly modes for simplifying the flight process.

At the heart of the Mavic Air 2 is a 48MP 1/2” Quad Bayer CMOS sensor that’s capable of recording 4K video at up to 60 frames per second (fps) with a 120Mbps data rate. When dropped down to 4K/30p, the Mavic Air 2 can record HDR video while a slow-motion mode can max out at 240 fps when shooting at 1080p. DJI has also included a new Hyperlapse feature that will result in 8K video using one of four flight modes: Free Movement, Circle, CourseLock and WayPoints. This isn’t the true 8K capture the Autel EVO II drone has promised, but it is 8K and we’re still yet to see the EVO II hit the market.

On the stills front, the Mavic Air 2 can capture 12MP stills with a special 48MP supersampling option that uses the drone’s three-axis gimbal to help compensate for movement in-between frames. A new ‘SmartPhoto’ capture mode will also snap 12MP stills using one of three image capture options that DJI says uses ‘advanced scene analysis and deep learning to automatically choose one of [the shooting modes].’

The first of the three shooting modes is HDR, which will snap seven photos at various exposures and merge them together to optimize the dynamic range in an image; the second mode is Hyperlight, which is a low-light mode that will take multiple photos and merge them together to create a single image with less noise than would be possible with a single image; the third and final mode is the ‘Scene Recognition’ mode that will automatically analyze the scene and select from one of five presets (sunsets, blue skies, grass, snow, and trees) to apply to the image to bring out the best of the scenery.

DJI is using new motors and electronic speed controllers (ESCs) in combination with improved battery technology to offer up a maximum flight time of 34 minutes on a single charge. This benchmark is also helped by a more aerodynamic design and lighter weight, with the device weighing just 570g (1.26lbs).

Transmitting live video from the drone to a mobile device is done with DJI’s OcuSync 2.0 protocol, which has been updated to support both 2.4GHz and 5.8GHz frequency bands, as well as an auto-switching feature, to offer a maximum range of 10km (6.21 miles) when unobstructed. Also included in the Mavic Air 2 is Advanced Pilot Assistance System (APAS) 3.0, which is a new obstacle avoidance technology that will recognize when an object is in the drone’s flight path and reroute the drone accordingly. DJI says this new version uses 3D mapping to ‘[aid] in smooth transitions and more fluid movements around objects even in highly complex environments.’

A sample photo captured with the Mavic Air 2, provided by DJI.

AirSense technology has also been included, which uses ADS-B aviation technology to help warn drone pilots of other nearby aircraft by displaying messages on the pilot’s screen, making sounds and vibrating with compatible mobile devices. DJI does note though that due to supply chain shortages caused by the COVID-19 pandemic, only Mavic Air 2 units sold in North America will feature the ADS-B transponder; units sold in other regions will be identical in every other regard. No timeframe is given as to when this discrepancy between units could change.

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The Mavic Air 2 also features a number of AI-powered features, including ActiveTrack 3.0, Point of Interest 3.0 and Spotlight 2.0. Below is a breakdown from DJI explaining each of the three modes:

  • ActiveTrack 3.0: Select a subject for Mavic Air 2 to automatically follow. The third iteration of ActiveTrack uses state-of-the-art mapping technology and new flight path algorithms to offer improved subject tracking and obstacle avoidance, along with the ability to quickly re-engage the subject if it temporarily moves behind an object.
  • Point of Interest 3.0: Set an automated flight path around a specific subject. The updated iteration improves surface recognition to better dynamically track subjects.
  • Spotlight 2.0: Found in professional DJI drones, Spotlight locks a subject in the frame while the user has free operation of the drone’s movement.

The Mavic Air 2 will be made available in China starting today, while other regions should see the first units hitting store shelves in mid-May for $ 799. This ‘standard’ kit will include the Mavic Air 2, one battery, the remote controller and all necessary cables. A new Fly More option, which will include everything in the standard version as well as a shoulder bag, ND filters, a charging hub and three additional batteries, will retail for $ 988. Other optional accessories include propeller guards, protective cases and a tablet holder. You can find out more information about the Mavic Air 2 on DJI’s product page.

Articles: Digital Photography Review (dpreview.com)

 
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Epson announces new and improved 13″ SureColor P700, 17″ P900 photo printers

22 Apr

Epson has announced a pair of new SureColor photo printers, the SureColor P700 and the SureColor P900. These printers print up to 13″ and 17″ wide respectively and are replacing the SureColor P600 and P800 printers in Epson’s lineup.

The P700 and P900 introduce a variety of new features, some of which were introduced in the large format SureColor P7570 and P9570 printers Epson announced last October. Like these larger printers, the P700 and P900 include a new internal light for checking on your prints as they’re being made and a 4.3″ touch screen control panel. While the P700 and P900 do not have the 12 channel print head of their larger siblings, they do include a new 10 channel MicroPiezo AMC Print Head which features dedicated channels for Matte Black and Photo Black ink. This is a big deal for Epson printers as previous generations of printers required time-consuming (and ink-consuming) black ink switching when moving from glossy to matte photo paper.

Shown here is the ink set for the Epson SureColor P700 printer. These cartridges are 25mL each. The cartridges for the P900 are larger and are 50mL each. Image credit: Epson

The SureColor P700 and P900 printers include a new set of Epson UltraChrome PRO10 inks. Epson states that the new inks deliver up to a 6 percent wider color gamut than the P600 and P800 printers. Further, they include a new violet ink channel, which will improve the appearance of blues, violets and purples in your prints. Epson is known for their industry-leading print permanence, and the new ink set continues this trend, promising longevity up to 200 years for color prints and 400 years for black and white prints.

Speaking of black and white prints, the Epson P700 and P900 include a new Carbon Black printing mode, which increases the DMAX by up to 11 percent versus the SureColor P800. The special driver mode is optimized for glossy and metallic glossy media and produces what Epson calls a “rich, ‘wet’ looking black.” This mode uses the existing Light Gray ink channel and does not require a dedicated ink channel, such as Canon’s Chroma Optimizer.

Epson SureColor P900 printer. Image credit: Epson

Considering the printers themselves, let’s look at the new 4.3″ touchscreen user interface. This new control panel is user customizable, including in terms of color and the information displayed. The panel can also show a live preview of the image you are printing. Settings shown on the touchscreen panel include the internal light option, network settings, errors and warnings, print job status and remaining time, media type and loading options, ink levels and more. Regarding network settings, the SureColor P700 and P900 printers include new 2.4 and 5 GHz wireless functionality.

The SureColor P700 and P900 printers are also much more compact than their predecessors. They are up to 30 percent smaller than the printers they are replacing. In fact, the new SureColor P900, despite printing up to 17″ wide rather than 13″ wide, is the same size as the outgoing SureColor P600. Specifically, the P700 is 20″ wide and the P900 is 24″ wide. They have respective minimum depths of 20.8″ and 23.1″.

Epson SureColor P700 and P900 printer dimensions. Click to enlarge the image. Image credit: Epson

As mentioned, the SureColor P700 supports 13″ wide media. Core media up to 2″ is supported. The P700 includes an include rear roll media feed, allowing for roll printing up to 10 ft. long. When loading sheet media from the top, the P700 can hold between 10 and 30 sheets at a time. There is also no need for a second Fine Art tray anymore; you can load all accepted paper via the single top load tray. The printer can accept media up to 1.5mm thick.

The SureColor P900 accepts 17″ wide media and supports both 2″ and 3″ cored roll media via an optional enclosed roll media adapter. Like the P700, there is a single top lead sheet tray now, which can accept between 10 and 30 sheets of paper and papers up to 1.5mm thick. In the case of both the P700 and P900, there is no built-in cutter.

To summarize, the key features of the new Epson SureColor P700 and P900 printers are as follows:

  • UltraChrome PRO10 10-color ink technology with up to a 6 percent wider color gamut than the SureColor P600 and P800 printers.
  • New MicroPiezo AMC print head with dedicated channels for photo black and matte black. This means no more black ink switching when changing paper types.
  • Carbon Black Overcoat technology results in improved black density on glossy media.
  • Dramatically smaller physical size compared to the P600 and P800 printers.
  • New 4.3″ touchscreen control panel.
  • Improved media feeding options.

The Epson SureColor P700 and P900 printers are now available to order with shipment expected to begin in early May. The estimated MSRP for the new P700 and P900 printers are $ 799 and $ 1,195 respectively.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic announces 5.9K ProRes Raw video for Lumix DC-S1H

21 Apr

Panasonic has announced firmware V2.0 for the Lumix S1H that, alongside the usual bug fixes, adds the ability to output 5.9K or 4K Raw video data that can be captured as ProRes Raw when connected to an Atomos Ninja V recorder.

Raw video provides editors with more post processing flexibility than Log-encoded footage, including Panasonic’s own V-Log, and provides similar capabilities to Raw photo editing, such as the ability to set a new white balance after footage is shot.

Apple recently released a version 1.0 beta of ProRes Raw for Windows that added support to Adobe apps running on the Windows platform, including Adobe Premiere Pro and After Effects. Availability on both Apple and Windows systems should make it easier for video shooters to adopt the codec.

Firmware V2.0 for the Panasonic S1H adds ProRes Raw video capture capability when paired with an Atomos Ninja V recorder.

The firmware, which doesn’t require a paid upgrade, adds 5.9K 16:9 capture from the full width of the sensor at up to 30p or 4K 17:9 capture from a Super 35 region at up to 60p. There’s also a 4:3 option for anamorphic Super 35 shooting. All modes are based on 12-bit output.

Unlike ProRes Raw capture on Nikon’s Z6, the Panasonic does not pixel skip to produce its Raw video data stream. Its viewfinder also continues to function when Raw data is being output, which is likely to be a benefit for anyone shooting hand-held footage.

A full suite of exposure support tools, including Wave Form Monitor, Vector Scope, Luminance Spot Meter, Zebra Pattern remains available.

Alongside Raw video options, a series of minor UI and handling improvements have been added, and a series of minor bugs fixed. The firmware will be available from May 25th.

Press Release:

Panasonic Releases Firmware Update Program for LUMIX S1H RAW Video Data Output over HDMI

Newark, NJ (April 20, 2020) – Panasonic has announced that the company will release the firmware update program for the LUMIX S1H Full-Frame mirrorless camera to enhance its performance and usability, as stated last September. Working together with Atomos, a global company that creates video equipment for professional film creators, the new firmware enables the output of maximum 5.9K/29.97p and 59.94p 4K* RAW video data over HDMI to save it as Apple ProRes RAW on the Atomos Ninja V 4K HDR monitor-recorder. In addition, it further complies with 3.5K Anamorphic 4:3. Panasonic commits to provide innovative solutions for professional film creation by enabling all S1H users to receive this firmware for free of charge.

The program will be available at LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ on May 25, 2020.

* 4128×2176(17:9), announced as “C4K” at IBC2019. Corresponding to C4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).

LUMIX S1H Firmware Version 2.0

1) RAW video data output over HDMI

  • [5.9K] / [4K] / [Anamorphic (4:3) 3.5K] 12-bit RAW video data can be output over HDMI. The Apple ProRes RAW can be recorded on Atomos Ninja V.
Area Resolution Frame Rate Aspect HDMI Output
Full-Frame 5.9K (5888×3312) 29.97p/25p/23.98p 16:9 12-bit
Super 35mm 4K (4128×2176) 59.94p/50p/29.97p/25p/23.98p 17:9 12-bit
Super 35mm Anamorphic 3.5K (3536×2656) 50p/29.97p/25p/23.98p 4:3 12-bit
  • V-Log or Rec.709 is selectable on Live View monitor during RAW output.
  • Shooting assist functions including WFM (Wave Form Monitor), Vector Scope, Luminance Spot Meter, Zebra Pattern can be used during RAW output.

2) Enhanced video functions / improved performance

  • Downconverted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available.
  • In Creative Video mode, it is possible to disable the operation of starting/stopping video recording by pressing a shutter button.
  • In Creative Video mode, it is possible to set [Rec Quality(My List)] from the control panel.
  • The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1]. It suppresses afterimages previously occurred in some situations.
  • It is possible to prevent the enlarged view window of MF Assist to be output over HDMI.
  • There were cases where color banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimized.
  • There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed.

3) Other added functions / improvements

  • It is possible to set [AF+MF] in AFC mode.
  • It is possible to assign functions to the lens’ Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.
  • It is possible to assign function to the Fn buttons of Sigma L-Mount interchangeable lenses.
  • When attaching a lens using the Sigma MC-21 mount converter and [Image Stabilizer] > [Lens] is set to ON , Body I.S.(Image Stabilizer) suppresses roll movement.
  • [Backlight Illumination Period] has been added to the menu of Status LCD. [ON1] prevents the LCD backlight to be turned off.
  • It is possible to select the card slot to save the JPEG images developed by in-camera RAW processing.
  • [0.5 SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
  • [Off (Disable Press and Hold)] can be assigned to the Fn button. It disables operation when the button is long-pressed.
  • Fn button can be used for checking aperture effect while the button is pressed.
  • To prevent improper operation, touch-control is disabled for [Delete All] operation in playback mode. Only cursor buttons can be used for [Delete All] operation.
  • There were rare cases where the camera froze during [Segmented File Recording] or during recording at 400 Mbps under a particular set of conditions including the type of SD Card used. This phenomenon has been improved.
  • Aperture and shutter speed can be controlled using front/rear dials when the rear monitor is set to OFF.
  • There were cases where F value control failed depending on the maximum F value when non-Panasonic L-Mount lens is mounted. This bug has been fixed.

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Canon announces the EOS C300 Mark III with 4K/120p dual gain output sensor, modular design

21 Apr

As part of today’s ‘Imaging Unleashed’ virtual press conference, Canon has announced the Canon C300 Mark III, its latest Super 35mm cinema camera with a new Dual Gain Output (DGO) sensor and a modular design based on the same frame as Canon’s C500 Mark II.

If the outside of the Canon C300 Mark III looks both different and familiar, there’s a reason why: it uses the exact same body as Canon’s C500 Mark II camera. This design not only allows for more modularity within the C300 line but also means all accessories designed for the C500 Mark II will also work with the new C300 Mark III. Canon has also added anamorphic desqueeze support for 2x and 1.3x lenses, as well as a user-swappable lens mount accessory that makes it easy to swap out lens mounts without the need to take it to a service center (it comes with an EF mount, but can also use EF cinema lock and PL mount lenses with the optional kits).

An illustration from Canon’s virtual press conference that shows how each pixel on the sensor is split into two different diodes.

At the heart of the C300 Mark III is a new 4K Super 35mm DGO sensor powered by Canon’s new DIGIC DV7 video imaging processor. The new DGO system allows the sensor to capture up to 16 stops of dynamic range by splitting each pixel into two diodes that simultaneously capture two images at different gain levels. Helpfully, this is a completely different ‘dual gain’ concept to the one used by most other camera makers, in which all the sensor’s pixels use one of two gain modes.

These two diodes within each pixel are also used to power the phase-detection of Canon’s Dual Pixel CMOS AF, which will now work at up to 120 frames per second (fps) with the new C300 Mark III.

Also new is support for Canon’s Cinema RAW Light format, which Canon first announced alongside the EOS C200. The Cinema RAW Light format is a more lightweight version of its Cinema RAW format that captures Raw video data in files as little as 1/5th the size of a standard Cinema RAW file. Canon Europe has a great breakdown of its Cinema RAW Light capture format.

The sensor is capable of recording 4K DCI/UHD video at up to 120fps, as well as 2K at up to 180fps with 4:2:2 10-bit XF-AVC recording. Canon has also included Canon Log 2 and Log 3 support, 12G-SDI output over a single BNC cable, timecode I/O, genlock input BNCs as well as User LUT support for applying custom LUTS in-camera and two CFexpress card slots.

Without the included grip, the modular frame measures in at 183mm (7.2”) for both width and height and 149mm (5.9”) deep with a weight of roughly 1750g (3.9lbs).

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Canon says the camera will be ‘available later in 2020’ with an estimated retail price of $ 10.999. The camera will come with 13 accessories, including a 4.3” LCD monitor, the GR-V1 grip, a BP-A60 battery, a battery charger and more. It is currently available to pre-order on Adorama and B&H.

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Apple announces new $399 iPhone SE model with 4.7-inch display, A13 chip and Portrait mode

16 Apr

Apple has announced a new version of the iPhone SE, its most affordable iPhone model. The new iPhone SE shares many of the features of the now-discontinued iPhone 8 model, including its glass-backed design and single camera.

Looking first at how the new second-generation iPhone SE compares to the original iPhone SE model, the new model is larger and now includes a 4.7″ HDR-capable Retina HD display rather than the 4″ Retina display of the original. Apple has upgraded its processors numerous times since the original iPhone SE launched with an A9 processor, and the new SE model comes with Apple’s A13 Bionic chip. Apple states that this chip results in 2.4 times faster CPU performance and 4 times faster GPU performance when compared to the A9.

Physically, the iPhone SE is very similar to the iPhone 8’s design. It utilizes a glass and aluminum design and is water-resistant to a depth of a meter for up to 30 minutes. The iPhone SE is 138.4mm (5.45″) tall, 67.3mm (2.65″) wide and has a depth of 7.3mm (0.29″). The phone weighs 148 grams (5.2 ounces).

The True Tone 4.7″ display is LCD and features IPS technology. The resolution is 1334 x 750 pixels at 326 ppi. During typical use, the contrast ratio is 1400:1. The phone can display wide color (P3) and has a maximum brightness of 625 nits.

Despite featuring a single camera, the iPhone SE (2nd generation) includes Apple’s Portrait mode (Night Mode is notably absent). The rear camera is a single 12MP wide camera, the same as the iPhone SE (1st generation), but the new phone has a faster F1.8 aperture compared to F2.2. The F1.8 lens includes six elements and features a sapphire crystal cover. Further, the new model now includes optical image stabilization, True Tone flash with slow sync and next-generation Smart HDR when capturing photos.

The iPhone SE (2nd generation) includes six Portrait Lighting effects. In these sample images, we see the Natural, Contour and Stage Mono effects. Image credits: Apple

The Portrait mode in the new iPhone SE includes advanced bokeh and depth control plus six Portrait Lighting effects: natural, studio, contour, stage, stage mono and high-key mono.

Additional camera features include panorama capture (up to 63MP), wide color capture, Live Photos, red-eye correction, auto stabilization, burst mode, photo geotagging and HEIF format image capture.

For video recording, Apple’s latest iPhone SE model can record 4K video at 24 fps, 30 fps or 60 fps, plus Full HD video 30 fps or 60 fps. The phone can also record with an extended dynamic range for video at up to 30 fps and includes optical image stabilization during recording. Full HD video can be recorded at 120 fps or 240 fps. Users can also record QuickTake video and the phone includes stereo recording. If you want to capture time lapse videos, the iPhone SE can do this as well, including with stabilization. Recording is captured in HEVC and H.264 formats.

The new iPhone SE includes a depth slider when using the Portrait mode. Here we see F1.8 (left) versus F16 (right). Image credit: Apple

The front camera is vastly improved in the 2nd generation iPhone SE. The megapixel count is up to 7MP from 1.2MP and the aperture is slightly faster at F2.2 compared to F2.4. The front camera includes Retina Flash, Auto HDR and can capture Portrait mode images with the same six effects as the rear camera. Further, you can record 1080p video at up to 30 fps using the front-facing camera.

In terms of connectivity, the iPhone SE (2nd generation) is much faster than the older iPhone SE. The phone includes Gigabit-class LTE, 802.11ax Wi-Fi 6 with MIMO and Bluetooth 5.0. The new Touch ID should also be faster with the new model. In line with other recent iPhone models, the revised SE forgoes a headphone jack and includes only a Lightning connector.

Users should expect similar battery life as the iPhone 8. This means that the built-in rechargeable lithium-ion battery will offer up to 13 hours of video playback and up to 40 hours of audio playback. The iPhone SE is now capable of wireless charging and includes fast charge with an 18W adapter (sold separately).

Image credit: Apple

Despite sharing many similarities with the iPhone 8, the iPhone SE (2nd generation) does have several differences. In terms of processing power, the iPhone 8 utilized an A11 chip rather than the A13 in the new SE. Further, the iPhone 8 did not include Apple’s Portrait mode or Apple’s latest next-generation Smart HDR image capture. Video features are similar between the two phones, but the iPhone 8 did not include extended dynamic range video capture, QuickTake video nor Stereo recording.

The iPhone SE is available in black, white and (PRODUCT)RED colorways. Available storage capacities are 64, 128 and 256GB. Pricing starts at $ 399 USD for the 64GB model and increases to $ 549 for the 256GB model. Pre-order begins at 5:00 a.m. PDT on April 17 with availability beginning on April 24. For more information, visit Apple’s iPhone SE product page.

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