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Posts Tagged ‘Cameras’

A visual and auditory journey through the shutter sounds of vintage film cameras

28 Oct

Photographer Ace Noguera has published a video highlighting not only the great style of vintage cameras but also their distinct shutter sounds. It’s a satisfying watch and listen.

Of his video, Noguera told DPReview, ‘The video came from an idea I’ve had for a while, to simply showcase how shutter sounds and technology has changed over the years. I thought it would be cool and entertaining to put it in a visual format and share with others how not only designs have changed over the years, but how we’ve been able to integrate electronics to help automate how we take photos.’

In total, the video below showcases the look and sound of nine cameras, dating back to the 1940s. The cameras come from Noguera’s collection with some additions from his friend, Patch Agan. It’s fascinating to hear how shutter sounds have changed over the years. There’s something particularly satisfying about the Olympus Trip XB3 from 1996.

While the video isn’t overly comprehensive in the cameras it covers, Noguera assures us there are more shutter sounds on the way, telling us, ‘I do plan on making another video that will also include some digital cameras as well as just further show the advancement in the tech and design of cameras. I plan to somewhat pick up where this video left off and showcase the next 20 years of sounds and cameras.’

Noguera hopes to record medium format cameras as well. He continues, ‘I think it would be awesome to be able to record some medium format cameras like the iconic Pentax 67 or even the modern medium format like Hasselblads as well.’ Hopefully, some photographers near Noguera in Atlanta will be able to help him out.

To see more from Noguera, follow him on Instagram and check out his YouTube channel. On his YouTube channel, you will find tutorials, lens reviews and much more.

Do you have a favorite camera shutter sound? Do you miss the physical shutter sound when using an electronic shutter in many modern cameras? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Yongnuo announces new 35mm F2 autofocus lens for full-frame Sony cameras

24 Oct
Don’t ask why Yongnuo decided to showcase a full-frame E-mount lens on an APS-C camera body…our guess is as good as yours.

Chinese accessory and lens manufacturer Yongnuo has announced the release of a new 35mm F2 autofocus lens for full-frame Sony cameras.

The new lens is constructed of nine elements in eight groups, including one low-dispersion element and one aspherical element. The lens also features what Yongnuo calls a ‘nano-multilayer coating,’ but doesn’t specify what elements this coating is applied to.

The 35mm F2 has an aperture range of F2-F16, uses a seven-blade aperture diaphragm and has a minimum focusing distance of ‘about’ 35cm (13.7”). Its autofocus is driven by a digitally-controlled stepping motor (DSM) and an onboard USB-C port will allow for firmware updates, should Yongnuo release any to improve function or compatibility.

A diagram of the lens’ optical construction.

While constructed mostly of plastic, the lens features metal bayonet mounts and uses gold-plated contacts, which transmit, in addition to data for autofocus and aperture control, EXIF data. Also present is a switch for turning on and off autofocus, as well as a Function (Fn) button that can be customized to perform a certain action or bring up a certain menu.

There’s no word on when exactly the lens will go live or how much it will retail for, but you can keep an eye out on Yongnuo’s online shop and Amazon shop.

Articles: Digital Photography Review (dpreview.com)

 
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iPhone 12: Which models have which cameras?

23 Oct

Apple iPhone 12: which phone has which cameras?

Apple doesn’t make its naming system easy to understand, but to be fair, the company is hardly alone in this. This year’s class of new iPhones includes four models – iPhone 12, 12 mini, 12 Pro and 12 Pro Max – and aside from the size differences implied by ‘mini’ and ‘Max,’ you’re on your own to figure out what separates them. One of the differences that matters to a lot of people is the device’s camera features, and that’s what we’re here to help demystify.

We’ll go into depth on the more subtle differences between each device’s cameras below, but if you’re looking for a really quick answer here it is: the non-Pro models only have standard wide and ultra-wide cameras, while the Pro models have telephoto, standard and wide cameras. For visual learners, like us, here’s what that looks like in table form:

iPhone 12 iPhone 12 mini iPhone 12 Pro iPhone 12 Pro Max
Standard wide camera ? ? ? ?

Ultra-wide
camera

? ? ? ?
Telephoto
camera
? ? ? ?

There’s more to it than that of course. There’s always more to it. Here’s a detailed rundown of each phone’s cameras and photo features.

iPhone 12 ($ 800 and up) and iPhone 12 mini ($ 700 and up)

  • Two rear cameras (Standard and Ultra-wide)
  • Front-facing selfie camera

The two non-Pro models offer the exact same camera hardware and features, which makes a choice between the two much easier – choose between the 12’s 6.1″ display or the 12 mini’s 5.4″ screen. As mentioned, both of these models lack a telephoto lens, as well as the Pro models’ Time-of-Flight (ToF) LiDAR sensor, used for better depth mapping, augmented reality and Night Mode portraits.

So what’s changed since the iPhone 11? The 12, 12 mini (and both Pro models) use a new 7-element lens with a wider F1.6 aperture on the main wide-angle camera. All three of the 12 and 12 mini’s cameras (as well as the Pros’ telephotos) now support Night Mode and Deep Fusion; technologies that use computational methods to improve photo quality.

Resolution Aperture Focal length (equiv.) Stabilization Night Mode portraits
Standard wide 12MP
(1.4 µm pixels)
F1.6 26mm ? ?
Ultra-wide 12MP F2.4 13mm ? ?
Selfie camera 12MP F2.2 23mm ? ?

iPhone 12 Pro (starts at $ 1000)

  • Three rear cameras (Standard, Ultra-wide and Telephoto)
  • Front-facing selfie camera
  • Includes a ToF LiDAR 3D mapping sensor
  • Apple ProRaw (via update later this year)

Here’s where the differences in camera features start to get a little more complicated. The Pro and Pro Max both have standard wide and telephoto cameras, but they’re not the same. The Pro features the 12MP sensor found in the 12 and 12 mini, while the Max uses a different, larger sensor. The Pro offers a 52mm equiv. telephoto lens, while the Pro Max offers a slightly longer 65mm equiv. lens.

Resolution Aperture Focal length (equiv.) Stabilization Night Mode portraits
Standard wide 12MP
(1.4 µm pixels)
F1.6 26mm OIS ?
Ultra-wide 12MP F2.4 13mm ? ?
Telephoto 12MP F2.0 52mm OIS ?
Selfie camera 12MP F2.2 23mm ? ?

iPhone 12 Pro Max (starts at $ 1100)

  • Three rear cameras (Standard, Ultra-wide and Telephoto)
  • Front-facing selfie camera
  • Includes a ToF LiDAR 3D mapping sensor (for better depth mapping, augmented reality and Night Mode portraits)
  • Apple ProRaw (via an update planned for later this year)

The 12 Pro Max builds on the 12 Pro’s camera capabilities by opting for a larger sensor in its standard wide camera with bigger pixels, which should improve low-light performance. The standard camera also includes more robust sensor-shift image stabilization, and the Max’s telephoto lens is also a bit longer for tighter portrait framing.

Resolution Aperture Focal length (equiv.) OIS Night Mode portraits

Standard wide

12MP
(1.7 µm pixels)
F1.6 26mm Sensor-shift OIS ?
Ultra-wide 12MP F2.4 13mm ? ?
Telephoto 12MP F2.2 65mm OIS ?
Selfie camera 12MP F2.2 23mm ? ?

Which one should you buy?

The short answer is that if you care about getting the very best image quality from your phone, the iPhone 12 Pro Max looks to be your best option. We’re eager to test out Apple’s big image quality claims, but on paper at least, the improvements that have been made – especially to the main camera sensor – should add up to better performance.

Apple ProRaw is likely to be another key feature for those who care deeply about image quality, combining the flexibility of Raw capture with the benefits of computational photography. Unfortunately it’s another unknown at this point, since it will come to the 12 Pro and 12 Pro Max later this year.

While it’s a relatively safe assumption that the 12 Pro Max’s camera will be better than that of the other 12-series devices, the question is how much better, and whether it’s enough to make a difference to most people. We’re looking forward to testing the phones and finding out for ourselves.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos is working on a Ninja V update to bring 12-bit 4K/30p ProRes RAW to Nikon Z6 II, Z7 II cameras

17 Oct

The cameras haven’t even his the shelves of retailers yet and already Atomos has announced its Ninja V monitor/recorder will support ProRes RAW recording over HDMI on Nikon’s forthcoming Z6 II and Z7 II camera systems.

While both the Z6 II and Z7 II have respectable internal recording capabilities in their own right — 4K/60p for the Z7 II out of the box and with the Z6 II via a future firmware update — the addition of ProRes RAW recording further adds to the creative capabilities of Nikon’s latest mirrorless cameras.

Atomos says both the Z6 II and Z7 II will be able to output up to 4K/30p 12-bit ProRes RAW video over HDMI to the Atomos Ninja V recorder when it receives an AtomOS firmware update later this year. Atomos also notes that Nikon’s N-Log profile is fully supported in its AtomHDR monitoring pipeline ‘with the ability to add built in 709 preview, custom 3D LUTs and LOG to HDR conversion for both monitoring and output.’

You can keep up to date with the latest AtomOS firmware updates on Atomos’ support page.

Articles: Digital Photography Review (dpreview.com)

 
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Video: This is what happens when you make a bullet-time rig out of 15 Raspberry Pi cameras

17 Oct

Canadian photographer Eric Paré has built a bullet-time rig using 15 Raspberry Pi cameras synchronised to record pictures at exactly the same moment from different angles. The cameras then create a series of images that show the subject, usually someone jumping in the air it seems, from multiple viewpoints. These images can then be put together as a video to show the person frozen in mid-air as the camera appears to pan around them. The technique, made popular by the fight scenes in the movie The Matrix, requires that the cameras used are all pointing at exactly the same spot and that the shutters are tripped either at the same moment or in sequence.

Eric usually uses a collection of EOS DSLRs for his bullet-time videos but thought it would be interesting to use the tiny Raspberry Pi cameras as the lenses can be placed much closer together to create smoother motion in the final video. To do this he mounted 15 cameras on an aluminium rail and synchronised them using a single dashboard that could also control the settings of each camera.

Problems arose due to the wide angle lens of the Raspberry Pi camera and because the cameras are mounted on their PCB using a gum glue that doesn’t hold them in a specific position. This meant that while the boards were all facing the right way the cameras were not, and the footage produced was jerky. Eric solved this issue by remounting all the camera units directly to the boards using a thin adhesive.

Each camera in the rig was connected to the laptop via an Ethernet cable to a switch and Eric triggered the set-up using a Bluetooth presenter controller. He says he didn’t need to make any custom electronics for the rig when shooting with continuous lighting, but he did make a new control board to fit in the rig when he wanted to use flash.

For this experiment Eric used the Pi 3B+ with version 2 of the Raspberry Pi camera module. He says the same set-up would also work with the newer High Quality Pi camera with its 12MP sensor and interchangeable C-Mount lens system.

See Eric’s website for more of his work.

Articles: Digital Photography Review (dpreview.com)

 
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Deals: Sony USA is offering steep discounts—including all-time lows—for select cameras, lenses and more

15 Oct

Sony has announced that throughout the remainder of this week, it is offering a series of discounts across a number of its popular Sony Alpha cameras and lenses, as well as bundles, the RX lineup and accessories. The deals, some of which have dropped certain gear to their lowest non-grey-market price, are taking place in the United States across all official Sony retailers, including Adorama, Amazon, B&H, Best Buy, Samy’s Camera and others.

While Sony has posted a full rundown of all the sales currently available, we’ve rounded up a few of the best deals from the bunch (links go to their respective reviews/product pages on DPReview):

  • Sony a9 (body only) — $ 3,000 ($ 1,000 off retail, ~$ 500 recent street prices)
  • Sony a7R IV (body only) — $ 3,000 ($ 500 off retail, ~$ 300 off recent street prices)
  • Sony a7R III (body only) — $ 2,300 ($ 500 off retail, ~$ 300 off recent street prices)
  • Sony ?6000 kit with 16–50mm & 55–210mm lenses — $ 700 ($ 300 off retail)
  • Sony FE 16–35mm F2.8 GM — $ 2,000 ($ 200 off retail, same for street prices)
  • Sony FE 24–70 mm F2.8 GM — $ 2,000 ($ 200 off retail, same for street prices)
  • Sony VARIO-TESSAR T* FE 16–35mm F4 ZA OSS — $ 1,100 ($ 250 off retail, ~$ 150 off recent street prices)
  • Sony FE 70–200mm F2.8 GM OSS — $ 2,400 ($ 200 off retail, same for street prices)
  • Sony RX100 III — $ 650 ($ 100 off retail, roughly the same price as other recent deals)

There are other bundles, action cams, accessories and more on sale worth checking out. Head on over to Sony USA’s website for the complete list.

Articles: Digital Photography Review (dpreview.com)

 
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Apple unveils 5G iPhone 12 Pro, 12 Pro Max devices with larger screens, better cameras and more

14 Oct

Moments after revealing its iPhone 12 devices at today’s virtual event, Apple showed off the next-generation of its flagship mobile devices, the iPhone 12 Pro and iPhone 12 Pro Max.

The two new models are constructed of surgical-grade steel and use advanced physical vapor deposition (VPD) technology that results in a ’spectacular luster.’ Despite having effectively the same physical dimensions of their predecessors, the iPhone 12 Pro and 12 Pro Max feature larger screens, 6.1” and 6.7”, respectively, as Apple has managed to further shrink the bezel.

The new iPhone 12 Pro models are based on Apple’s A14 Bionic chip, which was first seen its the company’s iPad Air refresh last month. The 5nm process chipset features a 6-core CPU and a 4-core GPU that Apple claims is up to 50% faster than any other phone on the market.

As with the iPhone 12, both the Pro and Pro Max receive sub—6GHz and mmWave 5G connectivity, ensuring the devices should work with the array of various 5G networks major carriers around the world are supporting. Apple has also included its new ‘Ceramic Shield’ technology to its flagship devices, which should help reduce the likeliness of cracked screens.

As has been the case for most of Apple’s ‘Pro’ devices, the company put a huge emphasis on the camera capabilities of its latest flagship devices. The iPhone 12 Pro features a 12MP (13mm equivalent) ultrawide module, a 12MP F1.6 wide module and a 12MP (52mm equivalent) telephoto module. Apple says the wide module captures 27% more light than previous-generations, aided by the larger aperture and seven-element lens. The optical image stabilization has also been improved, as well as autofocus thanks to the improved LiDAR capabilities.

Apple further pushed the photography boundaries with the iPhone 12 Pro Max, putting in a 47% larger sensor that offers an 87% improvement in low-light photos thanks to its larger 1.7um pixels. Apple also added swapped out the telephoto on the 12 Pro for a 5x (65mm equivalent) telephoto lens.

Apple has also added the ability to record HDR video, including the ability to shoot and in Dobly Vision HDR directly within the Photos app.

The iPhone 12 Pro will be available to pre-order on October 16, starting at $ 999. iPhone 12 Pro Max pre-orders will open on November 6 and pricing starts at $ 1,099. Both models are available in blue, gold, graphite and silver.

Apple ProRAW

In addition to the new hardware, Apple also revealed it will bring Apple ProRAW to its latest iPhone devices later this year. Apple says the new format will combine the benefits of its Deep Fusion and Smart HDR technology with the flexibility of a Raw file format when editing. The format will be able to be captured with all the onboard cameras.

To ensure third-party apps will also be able to make the most of the new format, Apple will be launching an API for both desktop and mobile apps for third-party developers to use. There’s no mention on when exactly we’ll see this update get pushed to devices.

This story is developing. Refresh the page for the latest information.

Articles: Digital Photography Review (dpreview.com)

 
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Film Fridays: Dreams come true – discovering a stash of untouched Soviet-era cameras

10 Oct

To any collector/enjoyer of old cameras, the idea of stumbling upon on enormous stash of mint-condition gear, from a long-gone era, is the ultimate dream. And that dream recently became a reality for one lucky gentlemen in Kazakhstan, who discovered hundreds of “brand-new” Soviet-era cameras – including the Smena 8M (shown above) – packed inside wooden crates and stored in a warehouse, untouched likely since the early 1990’s. Read on…

Read: A secret stash of hundreds of Soviet cameras found in a Kazakh warehouse

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at KosmoFoto and 35mmc.

Articles: Digital Photography Review (dpreview.com)

 
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Video: The history of cameras in space and how iconic space photos were captured

10 Oct

Astronauts have been taking cameras into space Soviet cosmonaut Gherman Titov orbited the Earth aboard the Vostok 2 in 1961. Since then, astronauts have used cameras to capture some of the most iconic photos of space exploration and created important memories for countless people back on terra firma.

As Scott Manley points out in his new video, How Astronauts Captured Iconic Space Photos – A History of Cameras in Space, although cameras are often modified for space flight, not every camera has been special. In fact, John Glenn bought a standard Ansco Autoset camera on his own, likely to avoid delays if he had gone through the standard government acquisitions process. NASA engineers modified the camera to make it easier to use while in space, including the addition of a pistol grip and an additional viewfinder that could be used with the suit helmet closed. You can learn more about Glenn’s Ansco Autoset in this article from the Smithsonian National Air and Space Museum. A second camera on board Glenn’s first orbital flight was a special Leica camera which had been modified to capture wide-spectrum images of stars.

Walter Schirra, pictured above second from the left, took a Hasselblad 500C camera aboard the Mercury Sigma-7 spacecraft. Schirra was a photography enthusiast himself and had asked professional photographers who had been following the space program for advice. On their advice, Schirra purchased the medium format Hasselblad and after it was modified for improved usability and performance, he used it to capture images during six orbits of Earth. The resulting images were very detailed and as Manley says in the video below, established a new standard for images captured in space.

Schirra’s Hasselblad camera was later used in the final Mercury mission by Gordon Cooper and was eventually sold at auction for $ 275,000 USD. If you would like to own a working replica of this same Hasselblad, Cole Rise makes replicas of space cameras, including the Hasselblad 500C. You can learn more about Rise’s cameras at Space Camera Co.

Thanks in large part to Schirra’s photography in space, Hasselblad cameras became important cargo aboard subsequent space exploration missions as part of the Gemini and Apollo missions. Hasselblad cameras were used outside of spacecraft as well, capturing many iconic images. One of these iconic images was of Edward White during his spacewalk in 1965. By this point, Hasselblad had begun working directly with NASA to develop cameras for space and had outfitted NASA with a custom-built Hasselblad 500EL data camera, complete with a silver finish for thermal control, special low-distortion lens and Reseau plate.

This custom-build Hasselblad data camera was used on Apollo 8, 9, 10 and 11 missions. Image credit: Hasselblad

Hasselblad has an informative website dedicated to its history in space, it is well worth checking out.

Near the end of the Apollo program, Nikon began working work NASA to outfit astronauts with customized 35mm SLR cameras. Nikon cameras are still used in space to this day. Some of the modifications made to make Nikon cameras suitable for space include different soldering standards, vacuum-safe lubricants and a more robust metal construction. You can learn more about Nikon’s history, including the use of its cameras in space, by clicking here. Manley also references Timm Chapman, a photographer who owns many Nikon space cameras. Chapman has written extensively about Nikon’s space cameras, including fascinating details on how they were modified.

Screenshot from Nikon’s dedicated history website. Click to enlarge.

To learn more about a history of cameras in space, including the beginning of the digital age in space, watch Scott Manley’s full video above. To see additional videos from Manley, head to his YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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Camera Color Guide – Why Cameras Are Black

08 Oct

What color is your camera? Have you ever paid attention to the color of DSLR cameras? Peek in a wedding photographer’s bag, or check out the sea of photographers at a press conference or sporting event and you’ll notice that most (or all of) their cameras are one color — black. Keep looking and you’ll notice that most of their Continue Reading

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