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.
Metabones has announced the release of the EF-GFX Smart Expander, a new adapter that makes it possible to use every Canon EF mount lens on Fujifilm GFX camera systems.
The adapter uses an optical design consisting of five elements in three groups to multiply the focal length and F-stop of Canon EF-mount lenses by 1.26x to match the image circle of EF lenses to Fujifilm’s GFX cameras while retaining the same diagonal field-of-view.
A front and back view of the EF-GFX 1.26x Smart Expander adapter.
The EF-GFX Smart Expander offers electronic integration, including support for phase-detection autofocus (PDAF), in-body image stabilization (IBIS), optical image stabilization on stabilized lenses and smooth iris on lenses that support it. The adapter features a physical toggle that can switch between auto aperture (for use with Program and shutter priority shooting modes) and manual aperture (for use with aperture priority or manual exposure). If an entirely manual lens is attached, the button will bring up the manual lens selection option on the GFX camera system being used so you can manually enter the focal length to account for IBIS operation and EXIF data.
As you would expect for such an all-encompassing adapter, there are some limitations in place. Below are a number of issues Metabones is aware of as of the initial release of the adapter:
In some rare cases lens hoods designed for 3:2 may need to be removed for 4:3 use with Smart Expander.
Each lens needs to go through a calibration procedure when first used. Refer to the online user manual on Metabones’ web site for instructions.
Autofocus may have unsatisfactory performance and may not work at all with some lenses
For video autofocus, increasing FOCUS SENSITIVITY and decreasing AF SPEED are required under the AF-C CUSTOM SETTING (MOVIE) menu.
AF+MF and lens aberration correction are not supported.
Some film-era lenses may not be able to achieve the sufficient AF accuracy required for digital cameras. Worn lenses with faulty sensors may lead to AF problems on a mirrorless camera even though the lens may appear to function normally on a DSLR.
Aperture diaphragm makes frequent noises with older lenses. Use aperture priority and manual exposure modes, or use a lens which supports smooth iris.
With IS/OS/VC lenses the IS MODE setting is ignored and both SHOOTING ONLY and CONTINUOUS modes behave in the same way which is similar to a Canon camera but different from what Fujifilm OIS lenses do. This is done to maximize IS effectiveness. A negative consequence of this is that there may be no OIS during focus check.
MF Distance Display does not work (although AF Distance Display does if the lens transmits distance information).
Metabones has included a Micro USB port on the adapter so future firmware updates, some of which may address the above issues, can be installed via its macOS and Windows Metabones app.
A front and back view of the optics-free version of the EF-GFX Smart Expander adapter.
The Metabones EF-GFX Smart Expander 1.26x is available now for $ 729 through its online shop and authorized Metabones retailers. An optics-free version of the EF-GFX Smart Adapter is also available for $ 439.
Nikon has released financial results for the second quarter (Q2) of its 2021 fiscal year, which starts April 1 (2020) and ends March 31 (2021), revealing a larger operating loss than forecasted despite higher-than-expected revenue.
As tends to be the case with financial results, there are plenty of nuances hidden within the broader numbers, but what is clear is Nikon’s Imaging Products Business is going through changes, not unlike Canon, which is also transitioning its product line and production facilities away from DSLRs and towards mirrorless.
Q2 Financial Highlights by segment. We have highlighted the Imaging Products Business, with the last column being the Q2 FY2021 results.
Starting with the Q2 results for Nikon’s Imaging Products Business, Nikon reports operating revenue of ¥39.3B ($ 372M) and an operating loss of ¥19.3B ($ 184.3M), down ¥12.4B and ¥17.8B, respectfully year-over-year (YoY) for Q2. Nikon further breaks down unit sales in the Imaging Products Business division, noting it sold 240K interchangeable lens cameras (ILC), 70K compact cameras and 390K interchangeable lenses. These numbers are down 31%, 73% and 29%, respectively, YoY for Q2.
An overview of the revenue and operating profit/loss for H1 FY2021 by segment.
Looking at the first half (H1) of Nikon’s Imaging Products Business’ FY2021, the company reported revenue of ¥64.4B ($ 615M) and an operating loss of ¥27.4B ($ 261M). This puts revenue above Nikon’s ¥55B forecast, but it seems expenses outpaced gains, as the company had previously forecast an operating loss of only ¥20B. Unit sales for H1 were also down across the board, with 380K ILC, 120K compact cameras and 610K interchangeable lenses being sold. That’s down 52.5%, 76% and 53%, respectively, compared to H1 FY2020.
A breakdown of camera unit sales per quarter going back to FY2018.
While the operating loss looks grim, it needs to be placed in context. Nikon cites ‘impairment losses on production equipment at production sites in Thailand, etc.’ as the reason for over half of this loss (¥15.6B, to be precise). These ‘impairment losses’ suggest Nikon is depreciating or downright writing-off the value of manufacturing equipment at its Thailand factories. Given the transition to new lines for mirrorless products, this isn’t a huge surprise. It’s likely the equipment Nikon is depreciating is that it used to produce its DSLRs (we know that Nikon is using new, more automated assembly lines for at least some of its Z series mirrorless cameras).
Note the additional comments in the yellow box at the bottom of this presentation slide.
Nikon notes its mirrorless camera sales volumes increased year-over-year, the percentage of revenue from its pro and hobbyist cameras increased ‘steadily’ and even says it saw a ‘better-than-expected market recovery from the impact of COVID-19.’
For its full FY2021 forecast, Nikon says it expects its Imaging Products Business to show ¥140B in revenue and an operating loss of ¥45B.
Moving forward, Nikon makes its plan for its Imaging Products Business clear: reduce business costs faster than the rate of shrinkage the camera market is experiencing and ‘Shift to a structure that secures profits constantly even when revenue drops.’ It hopes to reduce costs by more than ¥80B by the end of its FY2022 through ‘substantially lowering the breakeven point through improving productivity, production consolidation, headcount optimization and impairment losses of equipment.’ It also states it will be focusing on its pro and hobbyist products, which it wants to see as the bedrock of its Imaging Products Business. This assessment and approach is similar to the one Olympus has been taking for a few years now—downsize the business to match the market size, which is shrinking across the board.
Nikon also says it wants its Imaging Products Business to enter new fields, including more business-to-business deals. What exactly this looks like remains to be seen, as no details are given, but Nikon says it intends to ‘actively leverage [its] image processing, sensing technology’ and more.
If we’re to summarize this Q2 financial report into a single sentence, it’s this: Nikon plans to cut costs as much as possible to account for a clearly shrinking camera market while also focusing on its higher-end cameras and lenses, which are steadily increasing as a percentage of Nikon’s sales. This should come as good news to experienced Nikon shooters, particularly those who have already or are looking to dive into Nikon’s Z series mirrorless cameras and lenses; more cameras and lenses are on the way.
The post NiSi Filter System Review (For Fujifilm X100 Cameras) appeared first on Digital Photography School. It was authored by Matt Murray.
The Fujifilm X100 camera line has consistently appeared in lists of the best compact cameras over the last decade. This is not surprising; the series boasts a sharp 23mm f/2 Fujinon lens, great ergonomics, and a ton of cool features.
The series started with the original X100 in 2010, but is now in its fifth iteration with the launch of the Fujifilm X100V in February 2020.
One of the best compact camera options of the last decade: the Fujifilm X100 series.
As a “take everywhere” camera, the X100 line has many advantages. But perhaps one of the drawbacks is that there isn’t a lot you can add to it to increase its versatility.
Or is there?
In this article, I take a look at the NiSi filter system for Fujifilm X100-series cameras.
So if you’re ready for a thorough NiSi filter system review, let’s get started.
Fujifilm X100-series accessories
Until recently, the only thing you could add to an X100-series camera that truly added to its versatility was one of Fujifilm’s teleconverters.
The fixed 23mm lens has a 35mm full-frame equivalent field of view. Adding the TCL-X100 teleconverter, this changes to a 50mm equivalent, whereas the WCL-X100 widens your field of view to 28mm.
Although the optical quality is excellent, the teleconverters are relatively heavy and quite pricey. If only there was something lighter and cheaper yet with excellent optical quality that would add to the X100 camera experience…
Enter the NiSi filter system for X100-series cameras.
The Fujifilm X100F shown alongside the NiSi filter system.
NiSi filters
As a long-time user of the X100 series, I was excited to see NiSi recently launch a filter system for this camera lineup.
NiSi has a great reputation among landscape and cityscape photographers, because their filters are made from high-definition optical glass and offer true-to-life color reproduction.
The waves were gently lapping against this old jetty, but with the NiSi ND8 filter attached to my Fujifilm X100F, a 5-second exposure was enough to smooth the ripples out.
I’ve been using the NiSi 100mm system for the last few years with my Fujifilm X-T3 and Fujifilm X-T2. And I have been impressed with the results.
So, as a long-time user of the X100 series, I couldn’t wait to try out this new NiSi filter system.
NiSi filter system for Fujifilm X100-series cameras
For this NiSi filter system review, I tested the filters designed for Fujifilm X100-series cameras on my Fujifilm X100F.
Here’s what’s included in the kit:
NiSi 3-stop medium-edge graduated filter
NiSi HD polarizer filter
NiSi ND8 3-stop neutral density filter
NiSi Natural Night filter
NiSi X100 filter holder
Filter carrying case
There is also a slightly cheaper starter kit that contains only two filters: the medium-edge graduated ND filter and the polarizer. I’m not sure why you would opt for the starter kit when, for a small additional cost, you can get two extra, very useful filters.
The NiSi filter system for the X100 series.
First impressions
My first impression of the kit was very positive: the quality and design of both the packaging and the filters is impressive.
The filters come in a light gray filter case, which has a tough shell and looks to be hard-wearing. Inside, each filter is wrapped individually in tissue paper. The filter case has several divider tabs inside, one for each filter as well as the filter holder.
The filters come wrapped in tissue paper.
My next thought was to marvel at how tiny the kit was, so much smaller than my 100mm NiSi filters. Of course, when you think about how big the lens is on the X100, it makes perfect sense for the set to be so small.
The filter set is as light as a feather and very compact. If weight matters to you, you’ll barely notice this new bit of kit in your bag.
Build quality
The build quality of the kit is excellent. The filter holder is constructed with aluminum alloy (the same material used in the popular NiSi V6 100mm filter kit). The filters themselves are made of high quality, precision-annealed optical glass, which is a point of difference as some other companies use resin.
Installation and usability
Getting your X100-series camera ready to use the filters is super easy.
First, unscrew the front ring on your camera’s lens. If you’ve never used a lens hood or teleconverter on your X100-series camera before, you may even be surprised to know there is a ring that comes off the front of the camera.
When this ring is taken off, it reveals a thread mount. The next step is to screw the NiSi filter holder onto the lens. Now you’re all ready to go!
For this image of Brisbane at night, I stacked the NiSi ND8 filter along with the NiSi Natural Night filter.
Using the filters
Once the filter holder is in place, take a filter out of the pouch and slide it carefully into the filter slot closest to the lens.
Note that the holder has two slots so you can add another filter to the holder if you wish.
Quite often, I found myself using filters in combination; for example, at dusk I was using the 3-stop ND filter to get longer exposure times for ferry trails on the Brisbane River, along with the Natural Night filter to correct the color of the light. In very bright conditions, I often used the graduated ND filter along with the polarizer filter.
My X100F with two Nisi filters attached, mounted on my rather large Manfrotto tripod.
The filter holder rotates 360 degrees, which is very handy for when you need to use the graduated ND filter in either horizontal or vertical orientation. Of course, for the other three filters, the orientation doesn’t matter.
NiSi 3-stop medium-edge graduated ND filter
The NiSi 3-stop medium-edge graduated ND filter is a fantastic piece of kit to have in your camera bag.
As with all graduated neutral density filters, it helps to darken specific areas of an image such as bright skies. But as a graduated filter, it allows normal exposure in other parts of the image.
The filter is quite long in comparison to the length of the filter holder, allowing you to move the filter up and down in the holder to control its exact placement.
An early morning scene with a bright, overexposed sky. For this image, I positioned the dark part of the graduated ND filter at the top of the image to darken the bright sky.
NiSi HD Polarizer
The NiSi HD Polarizer reduces reflections and glare by filtering out light that has become polarized due to reflection from non-metallic surfaces.
This comes in handy when you want to remove glare on the water or reflections when shooting through glass. The filter provides good color and saturation in scenes.
I enjoyed using the polarizer, though the effect is less noticeable compared to the other filters.
Early morning in Queensland; no polarizing filter. The same scene with the NiSi Polarizing filter. The effect is subtle, but to me the colors look slightly better and less washed out.
ND8 filter
The NiSi ND8 filter is a neutral density filter that gives a 3-stop exposure reduction. This allows you to photograph with slower shutter speeds or wider apertures than would usually be possible.
A neutral density filter is perfect for being able to show movement in your images. For example, you can use the NiSi ND8 to shoot traffic trails or flowing water.
This filter is probably the most fun and most dramatic filter to use in the kit. It’s fantastic to create long exposures using this filter; you can then see the effect it has on moving elements in your photos.
Here’s an extreme example of the ND8 filter in use. The longer exposure time makes the sea looks perfectly smooth!
Natural Night filter
The NiSi Natural Night filter is the perfect companion for night photography. When shooting cityscapes, many factors affect the color of the light; these include mercury vapor, sodium, and low-CRI streetlights. The glow from these light sources prevents your camera from seeing the sky properly and can negatively affect your images.
The NiSi Natural Night filter blocks out the most common wavelengths of light pollution, leaving you with a more natural-looking night image.
Here’s an image taken without the NiSi Natural Night filter:
Story Bridge and Howard Smith Wharves in Brisbane without the NiSi Natural Night filter.
And here’s the same composition, captured once the NiSi Natural Night filter had been added:
What a difference! Story Bridge and Howard Smith Wharves in Brisbane with the NiSi Natural Night filter.
NiSi filter system review: Conclusion
I’ve really enjoyed using the NiSi filter system for the Fujifilm X100 lineup.
The filters are a fantastic addition for anyone shooting with this series of cameras. They add another layer of versatility without compromising the compact nature of your setup.
Until recently, the only way to add to the versatility of the king of compact cameras was by purchasing a pricey (and heavy) teleconverter. But with this kit, you have multiple creative options to use depending on the conditions.
Boasting excellent build quality, the professional kit contains four useful filters. They are small, light, and come beautifully packaged in their own tough case.
The professional filter set is also fantastic value for money, widely available for around $ 65 USD. The starter kit, with two fewer filters, is available for around $ 49 USD.
In fact, I can’t recommend this filter set highly enough.
So now that you’ve finished this NiSi filter system review, the question is not, “Why would you buy the system?”
It’s rather: “Why wouldn’t you buy it?”
You can grab the NiSi filter system here.
The post NiSi Filter System Review (For Fujifilm X100 Cameras) appeared first on Digital Photography School. It was authored by Matt Murray.
Canon has announced the release of the ML-100 and ML-105 Multipurpose Cameras, a pair of industrial-use cameras that offer extremely low light imaging capabilities in small, modular form factors.
Both the ML-100 and ML-105 use a next-generation 19um 35mm full-frame CMOS sensor. The sensor can capture Full HD (1080p) with a subject illumination of less than 0.0005 lux when set to their maximum 75dB gain setting (equivalent to roughly 4.5M ISO).
ML-100
ML-105
The two units are differentiated by lens mounts and video output configurations, resulting in four individual models. The ML-100 uses a CoaXpress terminal that produces 12-bit Raw video with a ‘region of interest’ feature that can bump up the frame rate to 164 frames per second at 720p. The ML-105 uses a 3G/HD-SDI video terminal and is capable of TCC 4:2:2 10-bit output powered by Canon’s Digic DV4 image processor. The two versions can be ordered with either an EF or M58 mount.
Although Canon doesn’t specifically mention it, these cameras appear to be, at least in spirit, the successors to its industrial-use ME20F-SH camera, which currently retails for around $ 20K.
The M58 mount version of the ML-100 multi-purpose camera is set to be released at the end of December 2020, while the three other models are scheduled for an April 2021 release date. No pricing information has been shared at this time.
Hasselblad has announced the XH Converter 0.8, a new Speedbooster-style adapter that makes it possible to use H system lenses on Hasselblad’s mirrorless X system while reducing the focal length by 0.8x and increasing the maximum aperture of the adapted lenses by two-thirds of a stop.
The XH Converter 0.8 works similarly to other focal length reduction adapters, such as Metabones’ popular Speedbooster line of adapters. Thanks to the extra flange distance going from a mirrored body to a mirrorless body, Hasselblad is able to pack not only the adapter components inside the unit, but also five optical elements in three groups. This differentiates the XH Converter 0.8 from Hasselblad’s previously-released XH Lens Adapter, which simply keeps the focal length and apertures the same across the board with adapted lenses.
Hasselblad has created a thorough chart showing what effective aperture and focal length compatible H system lenses would be when using them with this adapter on a Hasselblad X system camera:
Hasselblad has also shared a collection of sample images captured by photographer Tom Oldham on a 907X 50C using the XH Converter 0.8 with various lenses:
As tends to be the case with many adapters, not all lenses can use all of the features. The XH Converter 0.8 requires all HC/HCD lenses with firmware version 18.0.0 or later to be updated to firmware version 19.1.0 if you want autofocus compatibility, with the exception of the HC 120 and HC 120 II, which are limited to manual focus mode.
Likewise, any HC/HCD lenses that weren’t updated to firmware version 18.0.0 can’t be updated to firmware version 19.1.0 due to hardware limitations and will therefore be limited to manual focus. Hasselblad does not that since HCD lenses ‘were originally designed for a smaller format than HC lenses […] some reduction of performance in extreme corners can occur.’
Firmware version 19.1.0 for various lenses can be downloaded on Hasselblad’s website.
Hasselblad cameras must also be updated to the latest firmware, The X1D 50C must be updated to firmware version 1.25.0 or later, while the X1D II 50C, 907X 50C and 907X Special Edition models require firmware version 1.4.0 or later to work with the adapter.
The XH Converter 0.8 is made in Sweden and is available today for $ 950 on Hasselblad’s online store.
Press release:
HASSELBLAD LAUNCHES XH CONVERTER 0,8 UNLOCKING A WHOLE NEW SET OF LENSES
The XH Converter 0,8 brings new opportunities to Hasselblad photographers with the ability to unlock a whole new set of H System lens capabilities. The XH Converter 0,8, used on HC/HCD lenses attached to an X System or 907X camera, reduces the focal length of the lens by a factor of 0,8x, which delivers a wider field of view and improves the maximum aperture of the lens by two-thirds of a stop. Additionally, the XH Converter 0,8 improves lens performance in terms of contrast and apparent sharpness across the entire frame.
An impressive combination for maximizing aperture is achieved when attaching the XH Converter 0,8 to the HC f/2,2 100mm lens, transforming the aperture and focal length to f/1,8 and 80mm, respectively. This creates an extremely large aperture that proves even faster than the XCD f/1,9 80mm lens, which until now has been the highest aperture lens option for X and 907X camera systems. An example of reducing focal length with the XH Converter 0,8 is when combined with the HCD f/4,8 24mm lens, it creates an aperture of f/3,8 with a 19mm focal length. This results in an even wider lens option than the existing XCD 21 lens, the widest lens in the X System.
The XH Converter 0,8 joins a range of Hasselblad adapters and converters, including the XH Lens Adapter which allows the usage of all 12 H System lenses as they are on X and 907X camera systems. The addition of the XH Converter 0,8 to the existing accessories lineup now provides these systems with enhanced functionality for H Lenses. In addition, H System users who decide to branch into the X or 907X systems gain more versatility from their current HC/HCD Lens options.
All H System lenses with firmware 18.0.0 or later must be updated to the newest version 19.1.0 to work with the XH Converter 0,8 and to get auto focus (HC 120 and HC 120 II can only be used in manual focus mode). Other H System lenses (except HC 120 and HC 120 II) with firmware older than 18.0.0 will work but only in manual focus mode. Please note that only HC/HCD lenses with firmware 18.0.0 or later can be updated to 19.1.0. Lenses with older firmware have older hardware and therefore cannot be updated. Additionally, the X1D-50c must be updated with firmware 1.25.0 or later and the X1D II 50C, 907X 50C and 907X Special Edition cameras must all be updated with firmware 1.4.0 or later.
The XH Converter 0,8 is available now for purchase with a MSRP of €959 / £859 including VAT and $ 944 excluding sales tax. See more at www.hasselblad.com/x-system-accessories/xh-converter-0-8/.
Download H System Lens Firmware Update 19.1.0 here.
A customer at Camera West in California recently traded in an interesting piece of photographic history, the Calypso underwater camera. The 35mm film camera was the first of its kind that didn’t need housing to be used underwater.
The Calypso was the brainchild of legendary explorer Jacques Cousteau and Belgian engineer Jean de Wouters. The Calypso was released in 1961 as the first 35mm underwater camera which could be used without housing. Cousteau wanted a small, simple camera you could use on land and underwater without any fuss.
When the Calypso launched, there were a trio of available lenses. Two of the lenses were manufactured by SOM Berthiot, 28mm and 35mm prime lenses. A third lens, a 45mm prime, was manufactured by Angenieux. In the video below, the Calypso is shown with the SOM Berthiot 35mm F3.5 lens. The knob on the left side of the lens barrel is used for focusing and the knob on the right controls the aperture.
The camera includes a distinct shutter design. When firing the shutter, the camera simultaneously winds the film. Since the camera is always ready to fire, there’s a shutter release lock on the top of the camera. The original camera strap is included and as you can see above, there is a built-in mechanism in the links to open the camera for loading film.
The camera’s construction is quite simple. Camera components are in the top portion of the body and the lower area is primarily a shell. The camera is constructed from an alloy and is coated in black enamel. Each component includes water sealing and the grip is faux sealskin. The camera’s top shutter speed is 1/1000s and it does include a port for using a flash.
To construct the camera, you put the two camera body components together and then mount the lens. Each lens includes a notch, allowing you to tell when the lens is fully mounted and sealed against water. At the time of its launch, the Calypso was rated to for use up to 200′ (60m) underwater.
The Calypso camera, as seen in Camera West’s video above. Click to enlarge.
In 1962, Nikon took over the production of the Calypso camera, rebranding it as the iconic Nikonos underwater 35mm camera. This was not Nikon’s first foray with underwater photography, as the Japanese company had already developed an underwater housing for the Nikon S2 camera in 1956. After teaming up with the Calypso’s original manufacturer, La Spirotechnique, the redeveloped Nikonos was released. Interestingly, in Nikon’s history of the Nikonos, Nikon says the camera was water pressure-resistant down to 50m rather than 60m, and the shutter speed topped out at 1/500s.
Ultimately, Nikon released three Nikonos cameras built upon the legacy of the Calypso, with the Nikonos III releasing in 1975. Nikon then went back to the drawing board and designed a full original Nikonos IV-A. This camera was released in 1980 and included new features such as a TTL exposure meter, aperture-priority AE control, an electronically controlled shutter, hinged open-and-close camera back and improved usability. The Nikonos V came next and was sold for 17 years before its discontinuation in October 2001. Nikon also released an autofocus underwater camera, the Nikonos RS AF, which could be used at depths of up to 100m. You can learn more about all the Nikonos cameras by clicking here.
Chinese lens manufacturer 7Artisans has released a new 18mm F6.3 pancake lens for APS-C camera systems.
The ultra-compact fixed-focus lens is constructed of six elements in four groups. Its 18mm focal length is roughly a 27mm equivalent on most APS-C sensors, it has a minimum focusing distance of 35cm (1.1ft) and it weighs just 51g (1.8oz).
The lens is being offered for Canon EF-M, Fujifilm X, Micro Four Thirds and Sony E mount camera systems. It’s available to purchase for on Amazon and other authorized 7Artisan retailers for $ 69.
Venus Optics has announced the release of the Laowa 15mm F4.5 Zero-D Shift, a new lens that takes the crown as the widest shift lens for full-frame camera systems.
The lens is constructed of 17 elements in 11 groups, including two aspherical elements and a new lens coating. It has a 110-degree angle of view, offers a 65mm image circle and can shift +/-11mm on full-frame camera systems (+/-8mm when adapted for medium format cameras, such as Fujifilm GFX and Hasselblad X1D cameras).
Other specifications include a five-blade aperture diaphragm, a 20cm (7.8”) minimum focusing distance and a 360-degree rotation function with clicks every 15-degrees to offer more flexibility when adjusting the shift of the lens. Venus Optics has also developed a specialized lens support that holds the lens towards the front of the barrel so you can keep the lens’ optical axis stable when making your shift adjustments.
Below are a collection of sample shots, provided by Venus Optics:
The Laowa 15mm F4.5 Zero-D Shift is available to pre-order today for Canon EF, RF, Nikon F, Nikon Z and full-frame Sony E-mount camera systems for $ 1,199 on Venus Optics’ website. The Canon EF and Nikon F mount versions will be available in late November 2020, while the Canon RF, Nikon Z and full-frame Sony E-mount versions won’t be available until February 2021.
Hasselblad has released a pair of firmware updates for its X1D II 50C and 907X 50C medium format cameras that adds, amongst other improvements, an on-screen distance scale for measuring focus and improved intervalometer features.
Firmware version 1.4.0 for both the X1D II 50C and 907X 50C adds a new Distance Scale feature that effectively recreates the distance scale that’s traditionally on the lens and overlays it on the liveview display. It can be set to metric or imperial units and will work with any XCD lens updated to the latest firmware.
Hasselblad has also improved the Interval Timer feature, adding the option to capture up to 1,000 frames (previously, the limit was 99 frames or ‘No Limit.’ When shooting between 2 and 25 frames you can select any number; from 25–100 you can select intervals of five; and from 100–1,000 you can select intervals of 50. The ‘No Limit’ option also remains.
Hasselblad has also added the ability to meter the exposure for every shot. Previously, the first image captured served as the baseline by which all subsequent images’ exposure settings were shot at. Now, the cameras will be able to meter for each individual frame, which should help when capturing timelapses in varying lighting conditions.
The firmware updated also improves compataibility with Hasselblad’s Phocus Mobile 2 app, improving live view quality and addressing a bug that prevented the camera from changing its white balance settings when changed inside the app. Other changes include an array of unspecified bug fixes.
You can download firmware version 1.4.0 for the X1D II 50C and 907X 50C on Hasselblad’s website (at the bottom of the page — note you will need to be logged into your Hasselblad account).
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