Tokina has announced the release of two new prime lenses for Fujifilm X-mount camera systems: the atx-m 23mm F1.4 and the atx-m 33mm F1.4.
The 23mm F1.4 and 33mm F1.4 feature 35mm and 50mm full-frame equivalent focal lengths, respectively, and both feature near-silent autofocus thanks to their ST-M motors. Both lenses feature clickless aperture rings, nine-blade aperture diaphragms, aperture ranges of F1.4 through F16, have 52mm front filter threads and are the same size: 72mm (2.83”) long and 65mm (2.56”) in diameter. The 23mm F1.4 weighs 276g (9.74oz), while the 33mm F1.4 weighs 285g (10.5oz).
The Tokina 23mm F1.4 and 33mm F1.4 lenses will retail for $ 479 and $ 429, respectively, when they become available to purchase on December 11.
It’s worth noting both of these lenses appear to be identical in aesthetics and specifications to the Viltrox 23mm F1.4 and 33mm F1.4 lenses that retail for $ 325 and $ 279, respectively.
Press release:
Tokina announces release of new Fuji X-mount prime lenses
23mm and 33mm atx-m series f/1.4 lenses for Fuji X-mount cameras offer versatility for amateurs and professionals.
Huntington Beach, CA, November 20, 2020: Tokina introduces compact, lightweight prime lenses for Fuji X-mount cameras.
The Tokina atx-m 23mm f/1.4 prime lens features an angle of view equivalent to 35mm in full frame cameras. It is an ideal tool for street scenes, environmental portraits and landscapes. The atx-m 33mm features an angle of view equivalent to 50mm in full frame cameras. This standard angle lens is highly versatile for amateurs and professionals. The ultra-fast f/1.4 aperture is excellent for low-light situations and the minimum focal distance allows beautiful, creamy front and back bokeh. Both lenses feature color balance tuning to match film simulation modes within Fujifilm cameras. The silent autofocus is realized by the ST-M focus motor for easy and reliable focus.
The ATX-M 23mm and 33mm prime lenses feature:
Compact and lightweight – compatible with Fujifilm X-mount mirrorless cameras
f/1.4 aperture – creamy front and back bokeh, exceptional in low light conditions
fast, silent autofocus
communicable with camera body to support 5-axis in-body image stabilization
click-less aperture ring to smoothly control aperture in video mode
color balance tuning to fit film simulation modes of Fujifilm camera
Chroma Cameras has unveiled a modular medium format camera for shooting 120 film. The new 679 camera system allows customers to custom build a camera for their specific needs.
Speaking to Kosmo Foto, Chroma Cameras founder Steve Lloyd says, ‘The Chroma 679 is a brand new, modular, medium format camera system. Like my other Chroma cameras, it’s been designed around the idea of flexibility and ‘uniqueness’, along with being an affordable, and enjoyable, way to combine existing lenses and film holders.’
The Chroma 679 system comprises four standard components. All 679 cameras use a laser cut acrylic front plate with integrated metal helicoid. The next item is a custom threaded lens board constructed using anodized aluminum. This screws into the front of the 679 helicoid to create a secure mount. There are two styles of lens board available, a standard Copal and a 0.4mm brass pinhole.
Image credit: Chroma Cameras
The third component is the mid-body. This is the primary body section of a constructed 679 camera. It creates a spacer to mount the lens the correct distance from the film for obtaining infinity focus and it includes a pair of cold shoes. You can use cold shoes for accessories such as a light meter or a viewfinder. The mid-body is also the mounting point for optional accessories such as a tripod mount or full grip. The mid-body is available in any depth from 10mm up to 120mm. If you need help determining which mid-body depth you require, refer to this page.
Chroma Cameras 679 system mid-body component. Image credit: Chroma Cameras
The final component is the film back. There are four mounts available: Kiev88, Mamiya Press, Mamiya RB Pro S and Hasselblad V Series (early version only, which allows manual winding of film without a Hasselblad body). There is also an available plain ground glass film back.
These standard components connect using a physical interlock and four ‘very strong neodymium rare-earth magnets’ in each section. Additional accessories can also be attached using integrated mounting points on each side of the mid-body. Photographers can purchase an additional cold shoe plate and a basic tripod mount to add to their 679 camera system. Further, there’s an available full grip with an integrated tripod thread, internal storage for a roll of 120 film, and a passthrough mount for a cable release. The grip is available in black and wooden printed materials for either left- or right-handed photographers.
679 camera system with Kiev88 film back and optional full grip (wood). Image credit: Chroma Cameras
Lloyd says that ‘Whilst it’s not the first modular medium format camera system, [the 679 system] is the first system that allows the photographer to combine large format lenses with rollfilm backs from three different manufacturers in the same camera! At the same time, the lens board used for the 679 system are the same as those used on the SnapShot, allowing the photographer to seamlessly move lenses between both systems.’ Lloyd continues to say that the 679 system is lighter than ‘even the lightest large format systems’.
The 679 system and its components can be ordered here. The front plate costs £45, the lens board is £25 (pinhole is £30), the mid-body component is £40, and the film back is £40. A ground-glass back is also available for £30. Optional components range in price from £15 to £45. The most expensive add-on is the full grip with a wood finish.
Lloyd says, ‘I designed the 679 system for photographers who want to shoot a range of formats, without having to carry large heavy systems.’ It looks to be a well-designed product and it fills a unique niche. You can check out additional Chroma Cameras at the following links: Snapshot Handheld Multi-Format System and Carbon Adventurer – Ultrawide Field Camera.
A camera that knows what it’s looking at would have seemed like a farfetched pipe dream not long ago. These days, however, you can even build such a camera in the comfort of your own home. Adafruit has shared a project that allows you to build a camera around Adafruit’s own BrainCraft HAT system, which is itself an AI Machine Learning addition to the Raspberry Pi 4. Plus, it even tells you what it sees.
As DIY Photography observes, the Raspberry Pi Machine Learning camera uses TensorFlow Lite object recognition software to figure out what it is looking at. The project works with either the 8MP Pi Camera Module or the 12.3MP module that includes interchangeable lens support. The enclosure is 3D printed.
So what is a camera that can determine what it’s seeing be used for? As John Aldred points out at DIY Photography, ‘…it opens up a lot of options for connecting the Pi to a ‘real camera’ for shooting photos or video. You could connect a DSLR or mirrorless camera from its trigger port into the Pi’s GPIO pins, or even use a USB connection with something like gPhoto, to have it shoot a photo or start recording a video when it detects a specific thing enter the frame.’
Imagine a scenario in which you want to remotely photograph a specific animal. Perhaps you don’t want to have a camera constantly capturing images or shooting whenever it detects motion, but instead want something more precise and fine-tuned. Maybe a sports photograph could utilize object recognition to capture a specific moment during a game with one camera while manually shooting with another. Aldred also notes that you could potentially have the object recognition software place object keywords into image metadata, which could make organizing large batches of images a much more streamlined process.
Image credit: Adafruit
The technology is still developing, and machine learning takes time, but there’s a lot of interesting potential here and talented, creative individuals often find ways to push new gear and tech to the limits. At the very least, it seems like a fun project. If you’d like to learn more and view the complete parts list, click here. In total, you’ll need the Adafruit BrainCraft HAT (around $ 40), Raspberry Pi 4 ($ 35), a camera ($ 30 and up) a 3D printed case, and a few more odds and ends. Click the following links for helpful user guides: ‘Easy Machine Learning for Raspberry Pi’ and ‘Running TensorFlow Lite on Raspberry Pi 4’.
Our ‘$ 20 film camera challenge’ is partly an acknowledgment that the universe is well-stocked with affordable analog cameras, and you don’t necessarily need to spend an arm and a leg on something trendy to get great shots. But it’s also a fun excuse to reassess the cool and often quirky camera designs of the not-too-distant past.
The rules are simple: Find a film camera for under $ 20, shoot a roll or two with it, and describe the experience. Film and developing costs do not count toward the $ 20, otherwise you’d have no money left to spend. But shipping and/or tax do count.
In our very first challenge, DPR writer Aaron Gold ended up falling in love with the surprisingly feature-rich Minolta Maxxum 5. In the second edition, DPR editor Dan Bracaglia pulls the trigger on another Minolta camera…
Read the first installment of the $ 20 film camera challenge here
I’ve been considering purchasing an inexpensive 35mm pocket zoom camera for some time now – something I can toss in my bike frame bag and bring along on adventures. As a kid, I remember shooting with our family’s Olympus Stylus Zoom and recall enjoying the experience and the photographs immensely. And so I figured the $ 20 film camera challenge was the perfect excuse to take to eBay and do a little shopping.
I also picked up an Olympus Stylus Zoom 105, as a sort of consolation if the Minolta didn’t work
The camera industry pumped out a ton of these autofocus-enabled ‘compact’ zoom cameras during the 1990’s. And I had no shortage of well-priced options from every major manufacturer. I’d never shot with a Minolta compact camera before, only an SLR, but a recent, glowing article about the Minolta Riva 110 over on 35mmc.com had me intrigued.
Priced at $ 15, the Minolta Riva 90EX (aka Minolta Freedom 9T) was my camera of choice.
I couldn’t find a Riva 110 for under $ 20, despite a strong desire for as much zoom as possible, but did I track down the a slightly-older Minolta Riva Zoom 90EX, priced to fit the rules of the challenge. Note: The North American version (which I picked up) is called the ‘Freedom Zoom 9T,’ which doesn’t sound as cool, so we’re going with Riva 90EX.
It had originally been listed at $ 20, but was subsequently lowered to $ 15 with free shipping. The seller noted it was in mint condition, minus a cracked hinge on the film door, which they were confident was a non-issue. I figured ‘what the heck’ and bought it for the asking price. Grand total: $ 16.52.
Full disclosure: I also picked up an Olympus Stylus Zoom 105, as a sort of consolation if the Minolta didn’t work. That one I splurged on and spent $ 49.10 with tax and shipping.
The ‘pick’
The Riva 90EX has a nice selection of features including a double exposure mode, landscape mode and even a continuous drive mode.
The Riva 90EX debuted in the early 90’s at a time when the ‘compact’ AF zoom camera market was blowing up and brands were churning out new models, with each generation offering more and more reach.
A mostly automatic camera, the Riva 90EX is built around a 35-90mm F3.5-5.7 lens and includes a nice selection of modes and features, some more useful than others. For instance, ‘Landscape mode’ locks focus at infinity and disengages the flash, something I found useful when shooting street photos on a sunny day toward the tele-end of the focal length. There’s also also a double exposure mode and even a continuous drive mode which, from my testing (without film), shoots at a zippy 1 fps.
In use
You ain’t a beauty but hey, you’re alright.
Upon unboxing my new/old Minolta Riva Freedom 90EX, I popped the film door to see how weak the cracked hinge really was: it fell off in my hands, with only the date cable keeping it attached.
“The first time the date imprint function was ever actually useful,” I thought as I grabbed some gaffers tape.
After loading in a battery I checked to make sure the flash, zoom and shutter worked, and all seemed to be functioning as intended. I then went to set the date on the back because why the heck not? It’s there. Much to my dismay, the year only goes until 2019, something that is actually mentioned in the instructions. Was Minolta foreshadowing a lack of faith and/or the ultimate demise of their camera business all the way back in the early 90s?
Upon unboxing the Minolta Riva Freedom 90EX, I popped the film door to see how weak the cracked hinge really was: it fell off in my hands
In-hand, the Riva 90EX feels large and plasticky, in fact I’d go as far as to say it’s much larger in life than the product photos suggest. But the 1990’s bloat also means there’s lots to hold on to and it’s quite comfortable to grip. The shutter button is nice and clicky, but the zoom toggle has almost no tactile response, which I found odd. The top of the camera offers a nice big (for the era) LCD with setting info. Annoyingly, some settings are saved when the camera is turned off, others are not.
‘Landscape mode’ conveniently sets focus at infinity and disables the flash. Annoyingly though the camera doesn’t save the mode selection when you turn it off and back on again.
I really enjoyed carrying this camera around. Its lightweight design made it easy to sling over a shoulder and its fat grip made it unlikely to slip from hand, though the bloated size meant it just barely fit in my bike frame bag.
Overall, I was pleasantly surprised by its functionality in most shooting scenarios. The little bit of control over the flash, i.e. the ability to turn it off (which can be done independently of ‘Landscape mode’) is much appreciated. And though I didn’t try to shoot any double exposures, it’s certainly a feature I might enjoy messing around with when the moment strikes.
Was Minolta foreshadowing a lack of faith and/or the ultimate demise of their camera business all the way back in the 90s?
The camera offers one central AF point, so focus-and-recompose is the name of the game. I found AF acquisition speed to actually be quite good, given the era. In operation it unsurprisingly sounds like an early 90’s camera, which is to say, it’s noisy. If you’ve ever sharpened a Ticonderoga (pencil) in an electric pencil sharpener, that’s what this camera sounds like when the film is advancing. The zoom action is also audible, though the zoom speed is pretty quick.
There’s really not much else to say about the Riva 90EX; it’s a $ 16 chunk-monster of a camera with just enough controls and some pleasant features to make me happy. And one I enjoyed bringing along on adventures, thanks to its functionality and low cost of replacement, should chaos ensue (I drop it). But how are the photos?
The photos
About a quarter of my images have a pronounced circular flare, a possible sign that optical coatings somewhere in the lens may have degraded.
The Riva 90EX is certainly capable of solid image quality, but my copy has one obvious and unfortunate issue/defect: substantial circular flaring when shooting at the wide end of the focal range. I shot a grand total of 50 images and roughly 1 in 4 shots have this issue. Sure, it looks cool and artsy for some of the more abstract images, but it’s just flat-out annoying in others.
At first I thought the flaring was a result of the flash, but it also appears in images shot in bright sunlight where the flash was disabled. Could a lens hood fix this? Possibly, but it also may just be the result of lens coating degradation. That’s the bad, now for the good:
At the wide end I’d call the lens satisfyingly sharp and at the tele, acceptably sharp; not bad for $ 16
I was pleasantly surprised with the rest of the images, though Kodak Gold 400 seems a bit greener than I remember (I mostly corrected this in Lightroom). The autofocus system proved fairly reliable; very few of my shots had missed focused. The metering also seemed pretty good, especially given some of the more dynamically complex scenes I shot. At the wide end I’d call the lens satisfyingly sharp and at the tele, acceptably sharp; not bad for $ 16.
The takeaway
I really like the versatility of the camera’s 38-90mm focal range, especially for street shooting. I also appreciate the camera’s design, handling and features. But persistent flaring when shooting the wide end of the focal length is a deal-breaker.
Ultimately, I suspected I would love this style of camera, especially the versatility of the focal range, and my time with the Riva 90EX confirmed my suspicions. I’ve long been both a fan of both digital pocket zooms as well as compact 35mm cameras (but with fixed focal lengths), and this feels like a natural category of camera to now explore.
Plus, the sheer number of 90’s pocket zooms available for cheap means you too can explore it, without breaking the bank. Of course, the next model I’ll be trying is my new Olympus Stylus Zoom 105. Here’s hoping for flare-free shooting!
The lens on the Riva 90EX is satisfyingly sharp at the wide end.
Who’s going to take the $ 20 film camera challenge next?
The post Insta360 One R Review: An Action Camera With a Twist appeared first on Digital Photography School. It was authored by Suzi Pratt.
The Insta360 One R debuted in February 2020 and was touted as an all-in-one modular action camera that can transform from a 4K wide-angle camera into a 360 camera – or even into a one-inch camera with an ultra-wide Leica lens.
From left to right: The Insta360 Core Module attached to the 4K Mod, the 360 Mod, and the One-Inch Leica Mod.
The Insta360 One R is supposed to be the ultimate action camera alternative to GoPro models and the DJI Osmo Action. But how does this camera hold up in practice, and does it deliver on its promise of being the ultimate all-in-one action camera?
Read this Insta360 One R review to find out!
Recent firmware updates
When the Insta360 One R first came out, some initial reviewers reported technical problems with the camera, such as bugs and low external microphone sound quality. Fortunately, Insta360 responded very quickly to these problems by issuing several firmware updates. A recent firmware update (version 1.2.13) came out in September 2020 and fixed many of these issues.
So if you read a previous negative review of the Insta360 One R, it’s worth revisiting the camera, since improvements have been made over the past few months.
How the Insta360 One R works
Unlike other action cameras, the Insta360 One R is made of 3 pieces: the Core Module with a touchscreen live view display, the camera module, and an 1190 mAh lithium-ion battery base that holds the two Mods together.
The Camera Module can be swapped out for one of three different options: the 5.7K 360 Mod (7.2mm focal length, f/2.0), a 4K wide-angle Mod (16.4mm focal length, f/2.8), or a One-Inch Mod (14.4mm focal length, f/3.2). The touchscreen block can also be attached to the screen facing forward or backward, which is useful for vlogging situations.
The camera’s battery base can be charged via a USB-C cable. It takes roughly 65 minutes to charge fully. You can also get an optional double battery base hub for faster charging. Battery life is rated at about 70 minutes while shooting at 4K/60p. There’s a single micro-USB card slot, and the camera accepts memory cards up to 256 GB.
Which Mods should you get?
There are several different ways to purchase the Insta360 One R.
The Insta360 One R Twin Edition is the most popular option, as it comes with both the 5.7K 360 Mod and the 4K wide-angle Mod. If you want to add the One-Inch Mod, you can purchase it separately to add to your Twin Edition set.
Alternatively, you can buy the Insta360 One R 1-inch edition if you don’t want the extra two Mods. In practice, I found the 360 Mod and the One-Inch Mod to be the most used of the three.
Photo and video capabilities
Like most action cameras on the market, the Insta360 One R can shoot both videos and photos (JPEG and DNG format). The recent September firmware update introduced PureShot, a new AI-powered shooting mode for creating HDR-like photos when editing images via the Insta360 smartphone app.
But while the photo modes on the Insta360 One R are good, the camera excels at video.
Image taken with the Insta360 One R and the 4K Mod before Pure Shot was added.
Image taken with the Insta360 One R and the 4K mod after Pure Shot was added.
Note that image quality and resolution depend on which Mod you use. The 4K wide-angle Mod is equivalent to 16.4mm at f/2.8. It produces 12-megapixel photos, as well as videos at up to 4K/60p, plus high-definition slow motion at 1080p and 200fps.
The Dual-Lens 360 Mod is equivalent to 7.2mm at f/2.0. It produces 18.4-megapixel photos, as well as videos at up to 5.7K/30p, though it can also shoot 100fps at 3K.
The One-Inch Leica Mod uses a 14.4mm equivalent wide-angle lens. It can shoot at up to 5K/30p, as well as 4K/60p.
Taken with the Insta360 One R using the Leica One-Inch Mod.
Compact size, but…
Despite there being many pieces to this camera, it is very compact when it is assembled. The size and weight of the Insta360 One R is comparable to your average action camera.
However, there are a couple of drawbacks to the modular nature of this camera.
First, it takes time to take the camera apart if you ever need to swap out the lens or rearrange the position of the touchscreen.
Second, although there is a nice rubber protective sleeve for the 360 Mod, no carrying case for the camera Mods is included, so you’ll have to come up with your own solution.
Action-ready
Since the Insta360 One R is an action camera, it is waterproof up to five meters and can withstand most rugged conditions, though you’ll want to make sure that your Mods are tightly snapped together and assembled in the included mounting bracket before throwing it in the water.
For those wanting to dive even deeper, there’s an optional Dive Case that lets you submerge the camera at up to 60 meters.
Speaking of the bracket:
You’ll have to use it if you want to add a GoPro-like connection point for sticking the camera on a handle or tripod. No tripod or GoPro mount is built into the camera itself.
Sample image taken with the Insta360 One R and the 4K Mod.
Usability
The Insta360 One R can be controlled via the Core Mod’s touchscreen display, or by connecting to the Insta360 smartphone app via Bluetooth. I found the touchscreen display to be the fastest and easiest way to control the camera.
Touchscreen responsiveness is excellent, but the menu differs from that of other action cameras and is not the most intuitive. That said, it’s easy to use once you learn where all of the features are.
Digital lenses for “zooming”
One of the best features of the Insta360 One R is the ability to use built-in digital lenses. You can choose from ultra-wide, wide, linear, and a narrow field of view when shooting both photos and videos. This adds some flexibility to the otherwise fixed lens on the Camera Mod.
Ability to add an external mic
The internal microphones on the Insta360 One R are okay, but there is a lot of noise when you are moving with the camera. If you plan to vlog with this camera and/or want the very best sound, using an external microphone is your best option.
Like other action cameras on the market, the Insta360 One R does not have a built-in mic jack, but you can add one by purchasing a mic jack adapter. This tiny adapter does not add much bulk or weight to the camera, though it can be easy to misplace. Using an adapter lets you add an external microphone such as a shotgun mic or a wireless mic to enhance sound.
When using an external mic, there’s a handy icon that appears on the camera’s display to verify that the mic is connected. Early reviews reported that external mic levels were too low, but that problem has been corrected as of the September 2020 firmware update.
The Insta360 One R with the optional 3.5mm mic adapter and Joby Wavo Mobile microphone.
Image quality and color
Considering that this is a first-generation camera, the image quality for both videos and photos is impressive.
However, as mentioned previously, the Insta360 One R is a video camera first, and that’s where its strengths are concentrated. You can shoot in a flat video mode and apply your own LUT or color grading in post-production. Or you can choose from a color profile built into the camera. New in the recent firmware update is a Vivid color profile, as well as AquaVision, which uses AI to color-correct video shot underwater.
Related to video quality, the Insta360 One R now records video as a .MP4 file as a default. This makes it easier to edit the videos in your video editing software of choice. Prior to the September firmware update, the camera only recorded in a proprietary .INSV video file, which could only be read by the Insta360 Studio app.
Video stabilization
The Insta360 One R provides silky-smooth video footage via FlowState Stabilization, meaning you don’t need to use a gimbal with this camera.
Just note that the stabilization is added in post-production. This means that you must import the video footage into the Insta360 Studio app to enable stabilization, and then export it into your video editing software of choice. This extra step can be a workflow hurdle if you prefer using a single application to edit your videos.
On the plus side, Insta360 has released updates that allow you to add stabilization via Adobe Premiere or Final Cut X. In my experience with Final Cut X, this integration is laggy and not quite usable, but that will likely be fixed in a future firmware update.
Sample photo taken with the Insta360 One R and the 360 Mod.
Use it as a webcam
Also new as of the September firmware update:
The Insta360 One R can be used as a webcam when connected to a Mac or PC. In this work-from-home age of Zoom calls and FaceTime, this is a pretty cool feature, especially since the webcam can be used with the 360 Mod to show a split-screen effect of your surroundings.
When using the 4K wide-angle Mod, the webcam also has an automatic face-tracking effect that can follow you as you move around a room. These features are best demonstrated in video format, but they add an extra layer of fun to otherwise monotonous webcam experiences.
Zero bugs
During my month of vigorously using the Insta360 One R, I was pleased to experience no bugs or glitches when using the camera. It was very responsive and did exactly what I asked it to with no delays or problems. While I might’ve just gotten lucky, this was a welcome seamless experience, given the bugs that tend to be present in other action cameras (e.g., GoPro).
High quality and affordable optional hardware
In addition to the camera Mods, there are lots of useful Insta360 One R accessories that may be worth buying, depending on how you plan to use the camera. The fast-charging hub or boosted battery is a good add-on to ensure that you have enough power for a full day of shooting. Also, the Invisible Selfie Stick is handy, not only for shooting 360 videos, but also for regular use as a handgrip or selfie stick.
There are also dive cases for the 4K Mod and the 360 Mod to dive even deeper (up to 60 meters), rugged lens protectors for the 360 Mod lenses, and an aerial Mod to add the Insta360 One R to a drone.
The Insta360 One R with the Invisible Selfie Stick and Bullet Time tripod.
A few drawbacks
Like any other camera, the Insta360 One R comes with a few drawbacks to consider:
If you need a mount, you must use the Insta360 One R in a case
The Insta360 One R must be placed in a mounting bracket to use it with a tripod. This can be cumbersome when trying to place the One-Inch Mod in the bracket and doing a lens Mod change.
(Here’s a quick tip for working with the One-Inch Mod: Unscrew the lens to get it to fit!)
Certain features are only unlocked when editing in the app
The Insta360 One R can shoot time lapses, star lapses, and can even use a cool feature called Bullet Time that produces a drone-like circling effect on a subject. There are also some creative video editing effects that can be applied to videos in post-production. However, the resulting videos cannot be previewed on the camera. You must use either the Insta360 phone app or the Insta360 Studio app to get the desired effects.
This can be a drawback if you would rather use your own editing software of choice and not deal with an intermediary step.
Insta360 Studio desktop editing program
An uncertain future
Even though the Insta360 One R isn’t even a year old, it’s still fair to question its future. Will this first-generation camera get an update? If so, what’s the timeline, and will the update take full advantage of the modular camera setup?
Ideally, you could reuse certain Mods and not have to buy them again when a newer version comes out. But since this is a first-gen camera, it’s hard to say what direction the company will go in.
Insta360 One R Review: Conclusion
Future speculation aside, the Insta360 One R delivers on its promise of being a unique, all-in-one action camera.
The ability to go from a wide-angle lens to a 360 lens using the same camera is extremely convenient, and other action camera companies should take note.
You can purchase the Insta360 One R here for just under $ 500 USD.
The post Insta360 One R Review: An Action Camera With a Twist appeared first on Digital Photography School. It was authored by Suzi Pratt.
The Canon EOS R6 is the most well-rounded camera in its class, and it’s our top pick if you’re looking to spend around $ 2000. For a budget-friendlier option, the also-excellent Fujifilm X-T4 is our recommendation.
Budget photo accessory manufacturer Pergear has announced the release of its new 12mm F2 wide-angle APS-C lens for Fujifilm X mount, Micro Four Thirds (MFT) mount, Nikon Z mount and Sony E-mount camera systems.
The new manual-focus lens is constructed of 12 elements in 9 groups, including two aspherical and two high-refractive elements. The 12mm focal length offers a full-frame equivalent of 18mm on Fujifilm X mount, Nikon Z mount and Sony E mount cameras and 19mm on MFT mount cameras.
The lens features an aperture range of F2 through F22, a ten-blade aperture diaphragm and a minimum focusing distance of 20cm (.66ft). It measures in at 66mm (2.6”) diameter and 59.5mm (2.34”) long, and weighs only 300g (.66lbs).
The lens costs $ 165 for all mount options (Fuji X, MFT, Nikon Z and Sony E) and comes with front and rear lens caps, a lens bag and a mini air blower.
Nothing rattles the photography community faster than talking about lens protectors. Some swear by it, while others wouldn’t touch it with a 10-foot pole. What is the rage about, and what is the approach you should take with lens protectors? We will discuss all of them in this article. What is a Lens Protector Lens protectors are pieces of glass Continue Reading
The post This is Why You Need a Camera Lens Protector appeared first on Photodoto.
Frii Designs, a company known for its unconventional photography accessories, has announced a forthcoming campaign to help fund its new Conda Strap, a camera shoulder strap that also doubles as a flexible mount and grip.
Somewhere between a Joby Gorillapod and a shoulder strap, the Conda starts as a flexible shoulder strap that attaches directly to your camera via the tripod mount. When you need to use it as a tripod, simply flip the lever at the top and the Conda stiffens up for moulding into whatever shape you need.
You can even separate the strap, wrap it around objects for further security and lock it back in place with the lever engaged to ensure your gear doesn’t take any unwanted tumbles.
It’s an interesting concept and certainly carves out a niche in a market that’s fairly saturated. Due to the components required to turn it into a mounting solution, it doesn’t necessarily look like the most comfortable shoulder strap — and certainly not the lightest — but if it means you don’t have to carry around even a small tripod or mounting solution, it might be worth the compromise.
The Conda Strap will come in two versions: Conda Strap and Conda Strap Plus. The Conda Strap is the ‘light’ version of the two, designed for mirrorless cameras and light DSLR cameras, while the Conda Strap Plus is the more heavy-duty model for larger mirrorless setups or heavier DSLRs.
The Kickstarter campaign for the Conda Strap and Conda Strap Plus will go live on November 12. Frii Designs notes the Conda Strap be available for a pledge of $ 97. We have inquired about the price of the Conda Strap Plus and will update this article accordingly when we receive a response.
If successfully funded, the first units are expected to ship out in March 2021. You can sign up to be notified as soon as the campaign goes live on Frii Designs’ website.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Hong Kong camera shop owner David Chan has spent the last 60 years collecting vintage camera gear and amassing an impressive collection of vintage photographic equipment. South China Morning Post visited Chan and interviewed him about his impressive collection.
The short film, ‘The Camera Guardian’, was filmed by Chris Chang. Its title is apt, as David Chan views himself as less of a collector and more of a guardian. He is working to preserve vintage camera gear, rather than cultivating a personal collection.
Chan owns David Chan Co., where he has sold cameras since the 1960s. There are some cameras that have come into his shop that he doesn’t want to sell, thus his collection has grown. He enjoys showing off his cameras and helping a new generation of photographers come to learn about and appreciate vintage camera craftsmanship. Any shutterbug would certainly be in gear heaven in Chan’s shop.
David Chan in his Hong Kong camera shop
Chan says, ‘Cameras are complicated to make. Cameras are luxury items.’ Some of his vintage lenses even contain radioactive elements that current regulations ensure are no longer found in modern camera equipment. But without the radioactive elements, Chan believes some newer lenses have lost their ‘flavor.’ He continues, ‘Modern lenses can’t produce the unique texture that vintage lenses could.’
Of digital cameras, Chan argues that while digital is more convenient, some character has been lost. Chan’s passion for photography is readily apparent. When passersby stop to look through the shop windows at the cameras, Chan invites them in and is eager to share his knowledge with visitors.
With respect to his own photography skills, Chan laughingly says, ‘I’m not a good photographer. Photography is an art. But I cherish cameras as works of art. Holding a camera in my hand makes me very happy. Pressing the shutter and listening to the sound also makes me so happy. Having spent so much time around cameras, does Chan have a favorite camera? He loves European cameras, such as ones from Zeiss, Voigtlander and Leica.
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