Dave Etchells, founder and Editor-in-Chief of Imaging Resource, has shared a video and accompanying blog post that dives into the topic of weather-resistance in cameras. In both the video and blog post, Etchells shows off the bespoke system he’s built for testing the claims of manufacturers and chats with a leader at Olympus to get an inside look at what goes into the manufacturing process behind weathersealing a camera.
A close-up shot of the dripper used in Etchells’ current testing rig.
Etchells’ bespoke system, which he says it’s taken him ‘literally hundreds of hours’ to build over the past three years, was conceived after the weather-resistance of the Nikon D850 and Sony a7r III proved to be the tie-breaker for Imaging Resource’s 2017 Camera of the Year Award. In his own words, he wanted to build a ‘test system that would let me rigorously control all the variables, built around an array of timers, pumps, custom-made drippers (coming in what I’ve been calling version 1.5 of the system) and other components.’
His desire for all of this work is explained in two parts:
‘First, to give manufacturers a way to meaningfully market and compete with each other on the basis weather sealing. More than just that though, I want to push them to up their game across the board, making good weathersealing more common for consumers and pros alike.’
To see what goes into the process of weathersealing a camera, Etchells partnered up with Olympus and took a trip to Olympus’s R&D headquarters in Hachioji, Japan, where he met with Takao Takasu, the Imaging Product Development manager for Olympus Corp.’s Research and Development department.
A screenshot from a promotional video showing how Olympus tests its cameras for water-resistance.
After a brief intro, the 12-minute video starts with an interview with Takasu-san, who provides a history of weathersealing inside Olympus camera systems. After that, the video transitions into a walkthrough that shows nearly every weathersealing component inside Olympus cameras, from small gaskets around buttons and dials to protective meshing used throughout lenses.
Both the video and article are a wealth of knowledge on the matter and go to show the lengths to which Etchells will dive into the details to share his knowledge and the insight of his industry contacts with the photography community.
We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing an article from our film friends over at 35mmc on Fridays. This week’s article addresses the ever-inflating second-hand film camera market and the realities of what you get for your hard-earned cash. So don’t drop $ 300 on an Olympus MJU II before reading this first!
Thinking about spending a stack of cash on a film camera? Read this!
Photography gear company Fotodiox has published a new video showing viewers how to turn a portable scanner into a 4×5 digital scanner back for use with large format cameras. The video tutorial is based on a concept published by Randy Sarafan on Instructables.
In Fotodiox’s version of the project, the team uses a Flip-Pal Mobile Scanner, which costs around $ 180 on Amazon; other models could also be used, video host Sean notes in the tutorial. The scanner is paired with a CameraDactyl 4×5 camera ($ 200) and a 5×7 Fresnel sheet ($ 5).
Sean notes that the digital back cannot provide the same level of quality as 4×5 film, but he says that it’s ‘such a cool idea, I had to try it.’
The project kicks off with Sean grinding the scanner’s glass using 600 grit silicon carbide and a small piece of glass. This transforms the panel into ground glass, which is then paired with the sheet of Fresnel glass for more even light distribution. The ground glass is reattached to the projector and the Fresnel is attached to it using ordinary duct tape.
The camera was then duct-taped to the projector, as well, with Sean noting that he used the CameraDactyl model partly because it is very lightweight.
After opening the aperture and focusing the image, Sean covered the back of the camera with a dark object to keep light out, then hit the ‘scan’ button on the digital back. The scanning process took about 20 seconds and the result was a ‘4×5 film look’ from a digital scanner.
As far as downsides go, Sean notes that this scanner arrangement can’t capture color images and that the image is captured off the ground glass, which means the texture from the glass results in grainy images. Photographers may also have to deal with scan lines in some images.
Ultimately, though, Sean explains: ‘I get a really shallow depth of field. It just has this really nice vintage 4×5 film look.’
Ricoh has announced it’s spinning off its 360-degree camera division into a new startup called Vecnos and simultaneously releasing the first product from the Ricoh-backed venture.
The Vecnos venture started back in 2018 when Ricoh decided, as part of its new business development initiatives, to create a team tasked with creating ‘specialized cameras for a new generation of consumers.’ This new team, led by Shu Ubukata (now Vecnos’ CEO), proved entrepreneurial enough to Ricoh that it decided to turn it into a separate startup, with Ricoh as the investor.
There’s not much information about Vecnos, aside from a bare Twitter account, but to drum up some interest, Vecnos has announced its first product, a 360-degree ultra-compact camera that’s designed to ‘reinvent the selfie for social media natives.’
Specifications are scarce for the prototype camera, but Vecnos does say it will feature a proprietary four-lens optical system with a single lens on the top and three lenses around the perimeter of the wand-like device. Vecnos says the camera will work with an upcoming mobile app that will allow users to ‘users can easily enhance and share their images and videos on social media platforms.’
Based on the above promotional video, the camera appears to function almost identical to the Ricoh Theta cameras, with the ability to capture 360-degree photos and video and recompose the content as you see fit using the accompanying mobile app. The device itself features a power button, a shutter button, a dedicated button for switching between still and video mode and a what appears to be a pair of holes for an internal stereo microphone.
No pricing information has been shared, but Vecnos says the camera will be available in 2020.
Ricoh spins out Vecnos to focus on consumer 360-degree camera segment
First product aims to reinvent the selfie for social media natives
MARCH 10, 2020, YOKOHAMA, Japan – Vecnos Inc., the visual revolution company, today unveiled its vision to be a leader in the consumer 360-degree camera market and announced its first product, an ultra-compact camera that aims to reinvent the selfie for social media natives. Vecnos is a new startup venture spun out of and funded by Ricoh Company, Ltd.
Vecnos was founded by the core team that designed and launched the pioneering Ricoh Theta 360 camera in 2013. At Vecnos, the team—led by CEO Shu Ubukata—will leverage its expertise in optical and artificial intelligence (AI) technologies to develop new approaches to 360-degree and other specialized cameras, software and apps with a goal of making advanced imaging accessible to and enjoyable for broad consumer audiences.
“Enabled by advances in technology, combined with new social networking platforms, we are building a new generation of cameras, with our first product designed to reinvent the selfie and be used by a younger consumer,” explained Ubukata. “Our objectives are to combine ease of use with advanced capabilities for shooting, enhancing and sharing images, in beautiful and elegantly designed products that people will want to use. We aim to inspire a new generation.”
Vecnos’ first product will be a 360-degree camera that achieves new levels of miniaturization in a sleek and sophisticated design. A proprietary four-lens optical system, with three lenses on the side, and one on the top, enables the camera to be ultra-slim and pen-shaped. Using the Vecnos app, users can easily enhance and share their images and videos on social media platforms. The 360-degree camera and app will be available in 2020.
Emerging from Ricoh’s new business development initiatives, Vecnos was founded on the principles of open innovation and leveraging third-party knowledge, said Ricoh Company, Ltd. President and CEO Yoshinori “Jake” Yamashita. He explained: “Ricoh has always been committed to supporting innovation in visual communications. As part of our new business development initiatives, a team led by Shu Ubukata was formed in 2018 to create specialized cameras for a new generation of consumers. Ultimately, we all realized that it made sense for this highly entrepreneurial team to be spun out into its own venture. And with that, Vecnos was born. Ricoh is proud to be the lead investor in a young company with a Ricoh pedigree and a vision to build revolutionary products.”
The post Camera Industry Hit Hard by Coronavirus, Causing Production Delays appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Over the past month, the coronavirus outbreak has rocked the world.
And now it’s making its way into the camera industry.
The three biggest imaging companies, Canon, Nikon, and Sony, have found themselves affected by coronavirus outbreaks.
First, Sony Alpha Rumors published a tip from an unnamed source, which said:
“We can expect product [launches] to be very delayed along with much lower capacity in production volumes for many of [Sony’s] current imaging products.”
While we can’t know exactly what product launches Sony Alpha is referring to, fans have been eagerly anticipating the announcement of the Sony a7s III, as well as the Sony a7 IV.
Around the same time, the CP+2020 expo, which was due to be hosted in Japan, was canceled, with the organizers citing “no effective treatment or containment measures to deal with the novel coronavirus.” Organizers went on to explain that the “event attracts around 70,000 unspecified visitors and therefore we cannot completely eliminate the risk of infection.”
Then, only weeks later, Canon Rumors says this:
“Canon…will suspend operations at its five offices in Kyushu, which produce cameras and related products, for about two weeks from March 2 to 13. The supply of parts from China may become unstable due to the effects of the new coronavirus.”
While Canon Rumors goes on to say that, “At the moment, no employees have been infected,” the message is clear: Coronavirus, directly or indirectly, is taking its toll on Canon’s camera business.
And finally, a report by Nikon Rumors, and further corroborated by PetaPixel, indicates that Nikon’s new AF-S 120-300mm f/2.8 lens would not ship as initially announced. Instead, you can expect the lens in late March, at least according to Amazon’s shipping date.
As explained in a statement from Nikon, “The U.S. availability for the AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR will be announced at a later date as we determine the global impact of the novel coronavirus outbreak. We will communicate updates on timing as they become available.”
At present, it’s difficult to say what all this means; will Canon, Sony, and Nikon recover swiftly from the effects of the coronavirus? Or will the virus’s impact be more long-lasting? These closures may be just the beginning.
Here’s one concern: Nikon hasn’t reported good financial numbers in recent months. If the coronavirus continues to affect production, Nikon may see a significant drop in sales, something that could further impact the imaging company over the next year (and beyond).
And similar worries are undoubtedly plaguing companies such as Olympus, which recently weathered rumors of a camera division shutdown.
What do you think? How will things play out regarding the coronavirus and the camera industry? Is this as bad as it will get, or will things become worse?
Let me know in the comments!
The post Camera Industry Hit Hard by Coronavirus, Causing Production Delays appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post How to Use the Photoshop Camera Raw Filter for Better Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.
Inside Photoshop, there are an awful lot of tools for you to use to get the very most out of your images. Some of these tools (while not simple) have very specific functions that you use for specific tasks (Unsharp Mask for example). The Photoshop Camera Raw Filter is different.
This filter opens up the use of the (almost) full functionality of Adobe Camera Raw (ACR) anywhere in your Photoshop workflow. If you’ve ever used ACR (or Lightroom) to process a raw file, you know exactly how feature-packed this tool is.
The Camera Raw Filter is a powerful tool that allows you access to the features of ACR anytime in your workflow.
In normal cases, you would use ACR to process your photos at the beginning of your workflow during raw processing, but the Camera Raw Filter opens up these tools to you anytime you may want them.
This article will outline how to use the Photoshop Camera Raw Filter, show you some instances where you might want to use it, and give you some tips to get the most out of it.
What is the Photoshop Camera Raw Filter?
Lightroom is great for processing your raw files (so is ACR), but what if you could use these tools inside Photoshop?
At its most basic, the Photoshop Camera Raw filter allows you to use the functions of the ACR interface at any time within Photoshop. This allows you to make any adjustments within ACR at any time during your workflow instead of just limiting its usage to the raw processing stage.
While it would be possible to import your working file into Lightroom to make the same sets of adjustments, doing this in Photoshop saves you from that cumbersome step. It allows you the use of these tools without any extra effort.
You can find the Camera Raw Filter under the filter menu.
To find the Photoshop Camera Raw Filter, simply choose Filter->Camera Raw Filter and the dialog box will pop up.
Before you do this, you may want to stamp all layers by pressing Ctrl+Shift+Alt+e (Cmd+Shift+Alt+e). This will combine all of your layers into a new layer from which you can work.
The top layer here is stamped from the two layers below it.
What it doesn’t allow
White Balance – Because you are not working from a raw file, you lose a lot of the functionality of the white balance setting in ACR. You will still be able to make drastic changes to the coloring of your images with this tool. It will be the same, for example, as adjusting a JPG in Lightroom.
Crop tool – You also lose the crop and rotate tools that you would have access to when working on RAW files.
There are others, but these are the most important to take note of.
In the various menus of the Photoshop Camera Raw Filter, you will find there are a few options missing that you would see in ACR.
It’s also important to realize that because you are not working with a raw file at this stage, you won’t have the same versatility that you would with a raw file in ACR.
Instead, the process will be more akin to working on a JPG file in Lightroom or ACR. This means you will have less information to work with, such as, dynamic range.
This is all fine and to be expected. However, it illustrates the importance of getting things as close to right as possible while in the raw stage of post-processing.
How can it be used?
With all of the power of ACR behind the Photoshop Camera Raw filter, there is no way to make anything resembling a complete list of what you could do with it. But here are a few potential uses that I find myself using often.
Fine-tune adjustments after raw
Make certain adjustments easier than in Photoshop
Make quick, extreme adjustments for certain parts of your image
Quick and easy vignetting
Final tweaks before finishing your image
1. Fine-tuning adjustments after raw
Once in Photoshop, and after a bit of healing work, I decided that I wanted to make the image a touch cooler and reduce the vibrancy as well. To not lose the healing work, I used the Photoshop Camera Raw Filter to make a quick adjustment.
If you’re like me, you mostly make decisions about adjustments on the spot. This is fine when you process your raw file and move it into Photoshop immediately. However, if you leave it for a day or two before you come to it, you might find that you no longer like the decisions you made.
Of course, you could always go back into Lightroom and start again, but what happens if you have already started making adjustments to your image?
Chances are, you don’t want to lose those. A quick and easy solution is to stamp the layers to a new layer and run the Camera Raw Filter. Once there, you can make any adjustments you might want and click Okay.
This works great if you want to make quick adjustments to things like the overall exposure, contrast or vibrancy in an image. I will often come back to a file after a few days to find that I want to reduce the highlights and whites before I get started properly.
2. Make trickier adjustments
I find the Clarity tool in ACR tricky to replicate in Photoshop. Here, I darkened the background and cranked up the clarity with the Camera Raw Filter. I also used a Layer Mask to keep the changes off of the subject.
Photoshop might be all-powerful on its own, but ACR (and Lightroom by extension) do make a few things easier. For example, the Clarity slider is a tricky tool to replicate in Photoshop. Using the Photoshop camera raw filter to make these adjustments is easier and can save you a lot of time.
Another example is the use of the Highlights, Whites, Darks, and Blacks sliders to make quick, intuitive global contrast adjustments. Using these tools in this way is useful if you’re not yet fully familiar or comfortable with options like curves adjustments.
3. Local adjustments
Here, the shirt sleeve was still to bright for my taste, so I used the radial filter as a local adjustment to bring it down a bit
A common way I use the Photoshop camera raw filter is to make adjustments specific to a target area (such as a background).
After the adjustments are made, you can then use a layer mask to ensure that the adjustments are only affecting the areas that you want.
This method suits textured backdrops well because you can adjust the clarity and contrast to your heart’s content knowing that your subject won’t be affected once you make the layer mask.
4. Vignettes
ACR’s vignette tool is easy, fast and intuitive and hard to beat in Photoshop unless you need absolute control.
There are tonnes of ways to create a vignette in Photoshop, but in my opinion, the vignette tool within the ACR is by far the easiest, fastest and most intuitive to use. By doing it this way, you can create a subtle (or extreme if you prefer) vignette in just a few seconds. It is also easy to mask out (as per the previous section) any part of the vignette that might be interfering with your subject.
5. Final tweaks
With a finished image, you can always load up the Camera Raw Filter and see if there’s any small tweaks (like the ones here) to help the image.
Another useful trick for the Photoshop Camera Raw Filter is to use it to make a set of final tweaks to your finished images.
Once you’ve completed your image, you can run the filter and see if there’s any further small adjustments you’d like to make. Tiny adjustments to exposure, contrast (via all the sliders) clarity and vibrance can all help to give your finished images just a little more polish.
At this point, your images should be good to go, so do try to keep any adjustments at this stage small and subtle.
Just the beginning
With the exception of a bit of skin work (maybe five minutes) and some sharpening at the end, this image’s Photoshop workflow was completed otherwise entirely with the Camera Raw Filter. Hopefully you can see just how useful a tool it is.
With a tool like the Photoshop camera raw filter, there are so, so many options for you to use in your images.
If you can do it in ACR (with a few minor exceptions), you can do it with this filter inside Photoshop. Feel free to use it in any way that you need to that gets the results that you want.
Side-by-side comparison of the starting image and the final image.
Smart objects
Depending on your workflow and your style of post-processing, using the Photoshop Camera Raw Filter as a Smart Object might be a good choice for you.
Smart Objects allow you to come back to any adjustment you have made (with certain tools) and tweak them.
To setup a Smart Object, right click the layer that you want to use and choose Convert to Smart Object.
To work with Smart Objects, right-click the layer that you will run the Camera Raw Filter on and click Convert to Smart Object.
Now run the Camera Raw Filter and make any adjustments that you want to and press okay.
In the Layers Palette, and under the layer that you are working on, you will now see the name of the filter below the box titled Smart Filters. If you double click this, you will be taken back to the Camera Raw Filter dialog box where you can adjust any of the settings that you have tweaked.
This is a useful technique for any time you think you might second guess your decisions a bit later on.
With the layer converted to a Smart Object, you can apply your filter. To alter the adjustments, simply double click on the name of the filter in the layers palette.
Having said that, Smart Objects won’t suit every photographer’s workflow.
For example, I like to use a lot of stamped layers in my workflow and by the time I might see something I want to modify, I’ve already created and worked on a new stamped layer above it.
Any adjustments made to a Smart Object in this situation, would not be visible.
Overall
I will admit, that the way that the Camera Raw Filter was used in this example was extreme and bit over the top, but by using it in this manner, I hope you can see just how powerful an option it is for various adjustments in Photoshop.
The Photoshop camera raw filter is a very powerful tool that you can use while post processing your images for a great many different effects. Add to that the fact that anyone who shoots in raw format is already familiar with the interface, it makes using the filter quick and painless to make any number of adjustments. I have discussed only a few ways that you can use this filter in your images, but if you have any other suggestions on how you use it, please leave it in the comments below for other readers to benefit from.
The post How to Use the Photoshop Camera Raw Filter for Better Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.
Almost a year and a half after first teasing it, Leica has announced its S3 medium-format camera is now available to pre-order.
The Leica S3 was originally set for a Spring 2019 release when we first had a hands-on at Photokina 2018, but it was continually delayed for unspecified reasons. Now, it’s alive and well, ready to pre-order for those who have deep wallets.
At the heart of the relatively compact Leica S3 is a 64MP (45 x 30mm) Leica ProFormat CMOS medium-format sensor that features a 2:3 ratio, up to 15 stops of dynamic range and a sensitivity range of ISO 100–50,000. It can capture up to three still frames per second and records DCI 4K (4096 x 2160 pixel) 4:2:2 8-bit internal video at 24 frames per second using the full width of the sensor. All of this is powered by Leica’s Maestro II processor, which offers 2GB buffer memory.
In addition to a Live View mode with a refresh rate up to 60 fps, the S3 also features an optical viewfinder with 0.87x magnification and approximately 98-percent coverage.
The outside of the camera remains largely unchanged from its predecessor, the Leica S (Typ 007), and looks similar to the more recent Leica SL. The back of the camera features a 3” LCD with four programmable buttons, arranged with two on each side.
Also similar to the Leica S (Typ 007) is the S3’s two shutters that can be controlled with a switch on the rear of the camera. The ‘FPS’ mode stands for focal plane shutter, while the ‘CS’ mode stands for center shutter (leaf shutter), which will work with compatible S-Lenses. In our hands-on, the leaf shutter, which has a maximum shutter speed of 1/1000s, did sound noticeably quieter than the focal plane shutter.
As was expected, the Leica S3 doesn’t come cheap. The body-only version is available to pre-order for $ 18,995 (Adorama, B&H), with the first units expected to ship at the end of March 2020.
Repair site iFixit has published its in-depth teardown of Samsung’s new flagship smartphone, the Galaxy S20 Ultra. In addition to the video above, iFixit also shared a detailed account of the autopsy, including close-up shots of the impressive camera array Samsung has packed inside this monster.
The motherboard assembly, which includes the camera array, is carefully removed from the Galaxy S20 Ultra unit.
As a quick refresher, the Galaxy S20 Ultra features a camera array consisting of three individual modules: a 12-megapixel F2.2 ultra-wide camera module, a 108-megapixel F1.8 wide-angle camera module and a 48-megapixel F3.5 telephoto camera module, the last of which offers up to 100x zoom through a combination of optical and digital zoom with a little AI and software trickery for good measure. On the front of the S20 Ultra is a ridiculous 40-megapixel front-facing camera as well.
The 108-megapixel sensor inside the Galaxy S20 Ultra (top) shown alongside the 12-megapixel primary sensor inside Apple’s iPhone 11 Pro.
First up on the docket was the 108-megapixel (9.5mm x 7.3mm) wide-angle camera, powered by Samsung’s ISOCELL Bright HM1 ‘Nonacell’ image sensor. As iFixit points out, this massive sensor features roughly double the surface area compared to the iPhone 11 Pro’s 12-megapixel primary sensor and uses Samsung’s Nonacell pixel-binning technology to bring the final image down to approximately 12-megapixels.The 12-megapixel F2.2 ultra-wide camera module was glossed over in the teardown, but given a nod in the video as it’s removed from the main camera assembly.
From there, iFixit took a closer look at the 48-megapixel F3.5 telephoto camera module, which is responsible for the 100x ‘Space Zoom’ advertised on the outside of the camera bump. Similar to other periscope-style zoom lenses seen in past smartphones, Samsung uses an array of zoom lenses behind an optically-stablized prism (which is used to redirect the light 90-degrees) to get up to 4x zoom capability. As noted above, the 100x ‘Space Zoom’ is achieved through a combination of sensor cropping, digital zoom and software.
The prism (top) redirects the light 90-degrees through the lenses housed within the assembly (black box, above where the tweezers are positioned), which slides back and forth within the guides to offer up to 4x optical zoom.
Other components onboard the Galaxy S20 Ultra include the 6.9-inch Quad HD+ Dynamic AMOLED Infinity-O Display (3200 x 1440 pixel, 511ppi, up to 120Hz refresh), a Snapdragon 865 processor, up to 16GB of LPDDR5 RAM and a 5,000mAh battery. As you might expect for a smartphone that manages to pack that much tech inside its frame, the device doesn’t score too well on iFixit’s repairability chart. When all was said and done, iFixit gave the Galaxy S20 Ultra a three out of ten.
You can find more images and read peruse through the entire teardown over on iFixit’s website.
Image credits: Photos via iFixit, used with permission
Capture One has announced an update that adds support for seven new camera bodies from Fujifilm, Nikon, Canon and Olympus as well as six new lenses from Sony, Nikon and Pentax. A handful of bugs have also been squashed along the way.
As for new camera body support, Capture One version 20.0.3 now supports the Fujifilm X-T4, Fujifilm X100V, Nikon D780, Nikon D3500, Canon EOS M100, Canon EOS M200 and the Olympus TG-6. Capture One emphasizes in its press release (embedded below) the new support for the Fujfilm X-T4, saying it is the first company to offer ‘official support’ for Fujifilm’s newest APS-C camera system.
Below is a list of the lenses the update adds support for:
Sony FE 24mm F1.4 GM (SEL24F14GM)
Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
Nikon AF NIKKOR 24mm f/2.8D
Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
Pentax D FA 150–450mm F4.5–5.6 ED DC AW
In addition to new camera and lens support, Capture Pro One 20 also addresses a number of smaller bug fixes across both the macOS and WIndows versions. You can find a full list of the fixes within Capture One’s release notes.
Capture One version 20.0.3 for macOS and Windows is now available in multiple versions. Capture One Pro 20 can be purchased with a perpetual license for $ 299 or as a subscription starting at $ 20.99 per month. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available to purchase with a perpetual license for $ 129 or as a subscription starting at $ 9.99 per month.
Capture One has a complete list of supported cameras and lenses on its website. You can download a free 30-day trial of any version of Capture One Pro if you want to take it for a spin before buying or subscribing.
Capture One update brings first Fujifilm X-T4 support
Fujifilm’s newest flagship APS-C camera is now officially supported by Capture One 20 in a release that also brings further fixes & hardware support
COPENHAGEN, March 3rd, 2020: Capture One, the leading name in photo editing software, celebrates the release of Capture One version 20.0.3 which sees the company offer the first official support to the Fujifilm X-T4 – plus support for additional new cameras and lenses from other brands. Since 2018, Capture One and Fujifilm have enjoyed a unique collaborative relationship; working together to further develop the software, and to enable Fujifilm users to get the most out of the X-Trans sensors. This service release also includes bug fixes for Capture One 20.
Capture One offers Fujifilm photographers a suite of tools unmatched by other photo editing software, including the ability to utilize Fujifilm’s critically acclaimed and globally beloved Film Simulations such as Acros, Provia, and Classic Chrome. With Capture One, these Film Simulations are not restricted to JPEGs, but can be used with RAW files, allowing for the most powerful and flexible image processing ability, and one that is distinctly Fujifilm.
The collaboration also allows Capture One and Fujifilm to support the photographic community by providing full tailored support to Fujifilm’s newest cameras upon launch. From the moment it is released, X-T4 owners can rely on Capture One 20’s industry-leading image quality, tethering, and precise lens correction.
Unlike other RAW processors, Capture One’s camera profiles are individually measured, a process that requires the use of the camera in and out of the controlled lab in Copenhagen, where a team of specialists engage the camera in numerous different scenarios. The team then evaluates performance parameters such as color, sharpness, and noise across hundreds of images and uses that data and experience to provide a truly tailored profile, ultimately providing the best post-processing experience possible, and one that is distinctly Fujifilm.
New camera and lens support
New camera support:
Fujifilm X-T4
Fujifilm X100V
Nikon D780
Nikon D3500
Canon EOS M100
Canon EOS M200
Olympus TG-6
New lens support:
Sony FE 24mm F1.4 GM (SEL24F14GM)
Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
Nikon AF NIKKOR 24mm f/2.8D
Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
Pentax D FA 150-450mm F4.5-5.6 ED DC AW
For a complete list supported cameras, please go to: www.captureone.com/features/supported-cameras
Pricing and Availability
Capture One 20.0.3 for Mac and Windows is now available in several versions and free to current Capture One Pro 20 customers.
For new customers Capture One is committed to providing customers a choice when it comes to how they acquire their software, so Capture One Pro 20 is available for purchase, or via subscription. The perpetual license for Capture One Pro 20 is available for $ 299, with upgrade pricing from previous versions starting at [add correct price]. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available for $ 129.
For those who prefer subscription models, Capture One Pro 20 is available for plans as low as $ 20.99 per month, and Capture One Pro (for Sony) and Capture One Pro Fujifilm subscription plans start at $ 9.99 a month.
For a complete list of all products and licensing options, please visit: www.captureone.com/store to learn more.
A 30-day fully-featured free trial of Capture One 20 is available. Download the trial here: www.captureone.com/download
The post Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
According to Canon Watch, a new rumor suggests that Canon may be developing a new R-series camera:
A body with an APS-C sensor.
As Canon fans will know, Canon currently offers two mirrorless camera lines:
The EOS M series, with options such as the Canon EOS M50, the Canon EOS M6 Mark II, and the Canon EOS M5, uses only APS-C sensors;
and the EOS R series, which currently only features the Canon EOS R, the Canon EOS RP, and the Canon EOS Ra, has thus far been composed of full-frame bodies.
Note that a fourth Canon EOS R body, the R5, is also on the way, and will continue the full-frame tradition.
But it seems that Canon’s lineups may be changing.
According to Canon Watch, the rumor indicates that the new APS-C camera (dubbed the EOS R7) will debut in 2021, along with three APS-C RF lenses.
And Canon Watch goes on to discuss the possibility that the EOS R7 will be a successor to the much-loved Canon 7D Mark II, which dropped way back in 2014. Interestingly, the Canon 7D Mark II is only slightly overdue for an upgrade, given that it was announced five years after its predecessor, the Canon 7D.
If the Canon EOS R7 were a spiritual successor to the 7D Mark II, then we could expect a camera designed for sports and wildlife shooters, packing a fast continuous shooting rate and a top-of-the-line AF system.
But the question remains:
Is Canon even interested in creating an APS-C R camera?
There are reasons to think that Canon might be considering this possibility. For one, the success of Fujifilm’s X-series, as well as Sony’s higher-end a6000 offerings, suggests that there’s a real market for higher-level mirrorless APS-C cameras.
That said, you do have to wonder whether a 7D Mark III would make sense as Canon’s first EOS R APS-C camera, especially when plenty of action shooters are going for a Canon 1D X Mark III over alternatives such as the Sony a9 Mark II due to the perceived inadequacy of mirrorless cameras. Sure, the 7D Mark II is due an update, but I’m not sure that mirrorless technology (and viewfinders in particular) have matured enough to fully convert the 7D Mark III’s intended audience.
Regardless, Canon has been focusing heavily on its RF lenses and R-series lineup, and this is a trend that should continue over 2020. It’s plausible that Canon will decide to consolidate its mirrorless systems for the sake of efficient development, especially as Canon also continues to produce DSLR cameras.
So keep an eye out for more news regarding this APS-C camera; if there is any truth to this rumor, there will undoubtedly be more talk down the line.
The post Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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