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Posts Tagged ‘Camera’

Xiaomi Mi Mix Alpha 5G will pack a 108MP camera and wrap-around ‘Surround Screen’

25 Sep

Xiaomi has officially introduced its Mi Mix Alpha, a 5G concept phone featuring a ‘true’ bezel-free experience. The phone has a massive 180.6% screen-to-body ratio, meaning the display wraps around the edges of the phone and covers the majority of the device’s rear panel. Similarly impressive is the device’s 108MP camera with its 12032 x 9024 pixel resolution.

Xiaomi teased the Mi Mix Alpha’s existence in early August at its Future Image Technology Communications Conference in Beijing. At the time, the company said it would be the first company to pack Samsung’s 108MP ISOCELL sensor into a smartphone, though it didn’t provide any other details at the time.

During its latest event today, Xiaomi introduced the camera that packs that sensor, its new Mix Mix Alpha with Surround Screen. This phone features aerospace titanium, a single power button on the top, pressure-sensitive sides, and a fingerprint sensor hidden underneath the display.

The Mi Mix Alpha is powered by a Qualcomm Snapdragon 855+ chipset alongside 512GB of storage and 12GB of RAM. Joining the 108MP sensor is a secondary rear 12MP telephoto camera with dual PD focus and 2x optical zoom. The phone doesn’t feature a traditional front ‘selfie’ camera due also having a display on the back of the handset — the rear camera is, technically speaking, a front camera as well.

Xiaomi describes the Mi Mix Alpha as a ‘5G concept smartphone.’ According to Engadget, the company plans to produce a small number of units for sale in China at 19,999 yuan (approx. $ 2800 / €2,550) starting in December, but the company’s broader plans for the model, including international availability, are unclear at this time.

Articles: Digital Photography Review (dpreview.com)

 
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DULENS APO 85mm F2 is a new manual prime lens for Canon EF, Nikon F camera systems

25 Sep

A new Chinese optics manufacturer has released the DULENS APO 85mm F2, a manual medium telephoto prime for Canon EF and Nikon F camera systems.

Although not much is known about DULENS itself, Newsshooter is reporting it’s been told that the optical engineer behind DULENS is the same who helped bring the NiSI F3 and MAVO prime lenses to life.

The lens, which is inspired by the Zeiss Sonnar series, is constructed of seven elements in six groups and includes an Apochromatic element to reduce chromatic aberration. It measures 5.8cm (2.28in) long, weighs 350g (12.35oz), features a 29-degree field-of-view, uses a 55mm front filter thread and has a minimum focusing distance of 90cm (35.43in).

Below are a number of high-resolution sample images shared on the product listing. These were shot with the lens on a Lumix S1 using an EF adapter:

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The lens is available to pre-order in black and silver varieties for Canon EF and Nikon F camera systems. It’s currently listed for ¥2999 (approximately $ 420) on Chinese retailer Taobao, but Newsshooter says the company intends to release the lens in the United States and Europe market for $ 599.

We have contacted the retailer for more information on the lens and availability and will update this article if and when we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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The ultra-wide camera in the iPhone 11 models is fixed-focus, doesn’t support Raw capture

24 Sep

Last week, Apple debuted its new iPhone 11 devices, all three of which feature an ultra-wide camera module. This marks the first time Apple has put an ultra-wide camera in an iOS device and with the new camera comes all-new capabilities and shooting modes.

Not all of the cameras are made equal though. In addition to not having optical image stabilization, it’s been revealed the ultra-wide camera unit on all three models isn’t yet capable of capturing Raw image data or manual focus, unlike the wide-angle camera (and telephoto camera on the iPhone 11 Pro models).

Revealed by Halide developer Ben Sandofsky, the ultra-wide camera has a fixed-focus lens and doesn’t offer any Raw photo output. The reasoning isn’t yet known, but as noted by a number of responses to Sandofsky’s tweet, it’s possible the reason for not offering Raw output from the ultra-wide camera is due to the barrel distortion present in the uncorrected images from the ultra-wide camera. If not corrected, the distortion would be dramatic considering the 13mm (35mm equivalent) focal length, and without having iOS apps with that correction built-in it would result in rather distorted images.

It’s possible Apple could turn on Raw support in a later iOS update, but for now, Raw capture is limited to the other two camera modules.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Camera Raw, Lightroom add support for newer Sony, Panasonic and Fujifilm cameras

24 Sep

Adobe recently released the September update for its Camera Raw plugin, the software that enables users to import and edit Raw images in the company’s creative software applications like Photoshop and Bridge.

Camera Raw version 11.4.1 adds support for four additional camera models: Fujifilm X-A7, Sony A7R IV (ILCE-7RM4), Panasonic Lumix DC-S1H, and the Sony RX100 VII (DSC-RX100M7). The new camera support is also available in Lightroom and Lightroom Classic starting with versions 2.4.1 and 8.4.1, respectively.

With the updated support, users can edit RAF images from the Fujifilm X-A7, as well as RW2 files from the Lumix DC-S1H and ARW files from the two newly added Sony cameras. Adobe Camera Raw 11.4.1 is available to download for Windows and macOS for free from Adobe’s website. The Lightroom and Lightroom Classic updates should be available through Adobe’s Creative Cloud desktop app.

Articles: Digital Photography Review (dpreview.com)

 
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How To Protect Your Camera Against Lens Fungal Damage

23 Sep

The post How To Protect Your Camera Against Lens Fungal Damage appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Protecting your expensive camera against lens fungal damage is necessary to prevent lasting damage. Left unchecked, fungal growth can damage the glass elements in lenses forever.

Fungus is a living, growing microorganism which can form on camera lenses. This type of mold is most common in humid climates. Often the damage it causes is only minor, but a rampant fungal growth can ruin a lens.

How To Protect Your Camera Against Lens Fungal Damage

Cleaning fungus on exterior elements of lenses can be relatively easy. However, you need to catch it before it becomes too advanced. Growth of mold on interior lens elements is more difficult to detect and it requires a skilled technician to be able to remove it. The lens must be stripped down, cleaned and then rebuilt – which is a costly process.

Prevention of fungal growth on lenses is far more preferable than having to remove mold. If left unrestrained, fungus can permanently damage a lens because it eats into the glass. Once cleaned, furrows remain in the lens and affects the way light refracts through it.

Methods for preventing lens fungus

Taking proper care of your camera equipment is always good practice. Well-kept equipment will last longer and retain higher used resale value.

Here are some ideas to help you avoid encountering the problem of fungal growth in your lenses.

How To Protect Your Camera Against Lens Fungal Damage

Clean your lenses often

Many photographers are in the habit of cleaning only the front element of their lenses, or the filters that screw on to cover them.

Wiping down your whole lenses with a damp microfiber cloth from time to time is good for them. Particularly if you’ve been photographing in a hot, humid climate. The atmosphere and sweat from your hands can affect your lens.

Using a microfibre cloth helps to avoid leaving unwanted lint deposits on the lens. Once you’ve wiped your lens down with a damp cloth, have a dry one on hand to wipe it down once more. Using a hairdryer on a low heat will also help any moisture evaporate from your lens.

Don’t leave your lenses in the sun to dry them. This can cause other problems.

Store your lenses in a dry box with silica gel

An airtight box is a good place to store your lenses. It’s convenient to leave all your gear in your camera bag, but left there it’s susceptible to affect by moisture.

Including a quantity of silica gel in the box helps to absorb any residual moisture. Small packets of silica gel often come with consumer goods. These do not contain enough to make a significant difference.

Silica gel can be purchased at a store or online, in larger quantities. I prefer the type of gel that can be used more than once. It changes color from blue to an orange color once it’s absorbed moisture. It can then be dried out by placing it in a microwave oven for a few minutes at medium power setting.

lens-fungal-damage-protection

Moist and Dry Silica Gel

A cup full of silica gel placed in an old or stray sock with a knot tied in it will help keep your gear dry in a box. You’ll want to make sure the sock has no holes worn in it.

lens-fungal-damage-protection

Sealed Storage Box

Food storage boxes with good seals are useful. I use this type of box to store my film cameras and older lenses I don’t use often. Every so often I dry out the silica gel in the microwave oven.

A more expensive and robust option is a Pelican case. These rugged camera cases are completely airtight when closed. Depending on the size of the case you may need to add more than one sock of silica gel.

lens-fungal-damage-protection

Pelican Case

Keep your lenses in an air-conditioned room

If you have an air-conditioned room, this is also a good location to store your lenses and other camera gear.

Air conditioning not only keeps the air in a room cooler, but it lowers the humidity. Ideally, you do not want the temperature of the room to be too cold. If you live in a hot climate, this can be problematic when you take the lenses outside. They will fog up.

When a lens is very cold and then taken into a very warm environment, condensation can form quickly. You’ll have to wait for it to clear before you’re able to take any photos.

Use a dehumidifier

This is the type of household appliance which sucks water from the air. It will not cool the room, but it will draw out any moisture in the air.

Running a dehumidifier for a few hours a day in a small room in wet weather is usually enough to dry the air.

They are often portable and cheaper than an air conditioning unit. They also consume less electricity.

lens-fungal-damage-protection

Buy a dehumidifier dry cabinet

This appliance is a dedicated piece of equipment. It’s designed for the task of helping prevent lens fungal damage in your camera equipment.

A dehumidifier dry cabinet is usually a glass-fronted cabinet. They are available in various sizes to accommodate as much or as little equipment as you have to store.

These units are digitally controlled so you can regulate them.

Conclusion

Taking good care of your precious lenses is well worth it. Finding mold in your favorite lens would be soul-destroying.

Investing in an appropriate storage solution can be far cheaper than having to pay for lens cleaning.

Please let me know in the comments below if you have any other tried-and-true ways of keeping your lenses from becoming mold farms.

 

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The post How To Protect Your Camera Against Lens Fungal Damage appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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GoPro is teasing its upcoming action cam, 360º camera set for an October 1st announcement

23 Sep
This screenshot from the teaser video appears to show off what we presume will be the GoPro HERO8 Black.

GoPro has posted a new teaser on its website showing off a few renderings and clips from what we believe to be its next-generation action cams.

Earlier this month we saw leaked product images, but this is the first official info we’ve seen regarding the impending launch. The announcement reads ‘This is Action’ and notes October 1, 2019, which we presume will be the official announcement. Below is the teaser in its entirety:

Two distinct devices appear to shown in the footage, as noted in the above screenshots, which echoes leaked information and images that in addition to a GoPro HERO8, GoPro will also reveal the GoPro Max, a second-generation 360º cameras that will be the successor to the GoPro Fusion.

A screenshot depicting what we assume, based on leaked images, will be the GoPro Fusion successor, the GoPro Max.

GoPro has also posted a video to YouTube where a livestream will take place for the announcement of what’s anticipated to be two new devices.

Articles: Digital Photography Review (dpreview.com)

 
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Axibo camera slider system uses AI to track faces and objects

21 Sep

Axibo Media has launched a Kickstarter campaign for Axibo, an AI-powered camera slider system with tilt and pan functionalities. The company bills Axibo as a more affordable and simplified professional alternative to existing robotic camera systems. The product features an integrated 6 + 1 AI core CPU, powering its ability to learn faces and track ‘just about any object.’

Axibo is claimed to be the first AI-powered camera slider on the market. The device supports shooting in a variety of modes, including simple to 3-axis multi-point complex time-lapses, face tracking while sliding back and forth, and more.

The system supports payloads up to 20lbs (slider) to 24lbs (Pan & Tilt unit), speeds up to 1m/s (slide) and 300 deg/s (pan/tilt), and it supports voice control. Features include USB-C compatibility, HDMI-in, power for the mounted camera, and a universal app for controlling the device.

The 1m (3.2ft) slider is made from carbon fiber, supports angled and vertical motion, and including dual 1/4″-20 mounts on both ends. The Axibo slider can be used without the companion Axibo Z1 Pan & Tilt unit when applicable. The slider is joined by the companion Axibo controller, which includes WiFi, Bluetooth, USB-C, HMDI, axis inputs for camera control, and a Sony NP-F dual battery receiver.

The aforementioned Pan & Tilt unit features an intreated 4MP camera for 40fps face and object tracking, support for operating in inverted mode, modular mounting options (including support for tripods), and aluminum construction.

The Axibo camera slider system is being offered through Kickstarter, where backers who pledge at least $ 1,192 CAD are offered the slider, controller, z friction mount and cable package. Other pledge options include the Pan & Tilt unit for pledges of at least $ 1,315 CAD and both the slider and Pan & Tilt unit for pledges of at $ 2,105 CAD. Shipments to backers is estimated to start in April 2020


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Canon to Produce an 80-Megapixel Mirrorless Camera

17 Sep

The post Canon to Produce an 80-Megapixel Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

 

canon-80mp-cameraIf you’ve been hoping Canon will produce a high-resolution professional mirrorless camera, then you’re in luck.

Rumors that Canon has been working on a 70 or 80-megapixel mirrorless camera have been swirling for months, but several new pieces of information make it more likely than ever.

First, Canon has filed a patent for an 83-megapixel sensor, which may be at the heart of a new mirrorless camera body.

Second, someone claiming to have a prototype of the new camera has just revealed specs, including:

  • An 80-megapixel full-frame sensor
  • A larger viewfinder than the Canon EOS R
  • Dual SD card slots
  • A new joystick
  • A larger size than the Canon EOS R

If these details are accurate, then the new camera (dubbed the Canon EOS RS by Canon Rumors) will likely be a mirrorless replacement to the Canon 5DS/5DS R duo. The two DSLR cameras debuted in February of 2015, and Canon has failed to update them in the years since. Most notable about the two cameras are their sensors: 50.6 megapixels – the largest full-frame sensors in existence at the time.

The dual card slots will be a particularly welcome addition to the Canon EOS RS. Many professional photographers passed over the EOS R based on its single card slot, and it seems Canon got the message. So for photographers who require redundancy in their work, the Canon EOS RS will be a good choice.

And if the Canon EOS RS is truly 80+ megapixels, commercial photographers will appreciate the opportunity to push resolution to its limits.

Such a high-resolution sensor has its drawbacks, however. The larger the files, the faster you’ll fill up space. Plus, a sensor with 80 megapixels will have high pixel density, leading to small pixels. This can be a problem with regard to noise production: the smaller pixels are more likely to produce noise at high ISOs.

Let’s just hope that Canon puts out a high-quality sensor to complement the megapixel count! If you’re a Canon fan looking to make the change to mirrorless, then keep an eye out for news on the Canon EOS RS, which will likely be announced at the start of 2020.

Would you purchase the Canon EOS RS for its 80+ megapixels? Share your thoughts with us in the comments.

The post Canon to Produce an 80-Megapixel Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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SLR Magic announces 21mm T1.6, 50mm T1.4 ‘MicroPrime’ cine lenses for MFT camera systems

17 Sep

Budget lens manufacturer SLR Magic has added a pair of Micro Four Thirds (MFT) ‘MicroPrime’ lenses to its cinema lineup: the MicroPrime CINE 21mm T1.6 and the MicroPrime CINE 50mm T1.4.

The lenses, designed specifically with the Blackmagic Pocket Cinema Camera 4K and Z Cam E2 in mind, feature full manual control, an 82mm front filter thread, an 85mm front filter diameter for matte boxes and are both geared with 0.8 Mod gears.

The MicroPrime CINE 21mm T1.6 is constructed of 13 elements in 11 groups and weighs 700g (1.57lbs), while the MicroPrime CINE 50mm T1.4 is constructed of 6 elements in 5 groups with a weight of 630g (1.39lbs). The lenses, which will retail for $ 599 a piece at authorized retailers, round out SLR’s MFT lineup alongside the 12mm T2.8 and 18mm T2.8.

SLR MAGIC expands their portfolio at IBC 2019 with additional focal lengths in MFT mount for MicroPrimes – 21mm T1.6 & 50mm T1.4

Hong Kong (13 September 2019) — Following the success of SLR Magic’s venture into affordable yet robust and high-quality cinema and photo lenses, we are pleased to announce new editions to our product range. Based on popular demand and responding to our users, we are now offering a selection of new lenses in the MFT-mount

Given the extreme popularity of our cine lenses in the E-mount range, our engineers and design team logically progressed into the development of extending mounting options.

Taking from our successful formula along with our previous offerings, SLR Magic have now produced 2 additional lengths given the popularity of Blackmagic’s Pocket 4k camera and the Z Cam E2.

Both lenses all feature full manual control, have an 82mm thread front, an 85mm front diameter for clamp-on matte box, are all 0.8 Mod geared and are almost identical in form factor and weight.

A 21mm and 50mm are now added to the MicroPrime range. With a new design, these 2 new focal lengths will now round out the existing range and provide more choice and versatility to all Micro Prime shooters. The range for MFT will now include 12mm T2.8, 18mm T2.8, 21mm T1.6, 25mm T1.5, 50mm T1.4.

SLR Magic has been synonymous with sharp images wide open with smooth roll-off, beautiful bokeh edge to edge and is fast becoming the lens of choice rather than an alternative for the Cine and Photo industry.

MicroPrime CINE 21mm T1.6
Mount: Micro Four Thirds
MSRP: US $ 599
Optical Structure: 13 elements in 11 groups
Image Circle: ?32
Weight: 700g

MicroPrime CINE 50mm T1.4
Mount: Micro Four Thirds
MSRP: US $ 599
Optical Structure: 6 elements in 5 groups
Image Circle: ?32
Weight: 630g

Articles: Digital Photography Review (dpreview.com)

 
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Video: Cinema5D goes hands-on with Sony’s new full-frame cinema camera, the FX9

16 Sep

Last week, Sony unveiled the FX9. While we were able to get a brief look at the camera in the product shots, our friends over at Cinema5D have gone hands-on with the full-frame E-mount camera.

Throughout the 14-minute video, Nino Leitner of Cinema5D covers nearly every component of the camera. He starts by explaining where exactly the FX9 fits into Sony’s lineup and then dives into all of the new features, including the various sensor modes, the new S-Cinetone Picture Profile, the new dual-base ISO and much more.

Leitner also interviewed Yasuo Ueda-san, head camera designer at Sony, if you want even more insight the FX9 and its development process.

Articles: Digital Photography Review (dpreview.com)

 
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