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Fujinon MK18-55 T2.9 cine lens: First impressions and shooting experience

22 Feb

Setting up the Fujinon MK18-55mm T2.9 cine lens with the Sony FS7 and Zacuto rig. (I accidentally left the matte box back at the office. Shh… don’t tell anyone.)

Fujifilm is a respected name in the photography world thanks in part to its highly regarded X-series cameras and lenses. However, Fujifilm is also a major player in the professional cinema market, producing cinema lenses with prices that reach upward of $ 90,000. The company is now extending its cinema expertise into what it calls the ‘emerging production’ market: users who need capabilities and features beyond what’s available in standard DSLR or mirrorless lenses, but who don’t have a budget to spend tens of thousands of dollars on a single lens.

The Fujinon MK18-55mm T2.9 cinema lens is the first in Fujifilm’s new MK line of Super 35 lenses designed specifically for this market. It will be joined later in the year by the matching MK50-135mm T2.9 lens, giving users complete coverage of the very useful 18-135mm range of focal lengths. The MK line is based on the company’s Cabrio line of cinema lenses, which have prices starting around $ 15,000, and both lens lines share the same coatings and basic mechanical build. At $ 3,799, the MK18-55 is still a bit pricey by photography standards, but a relative bargain for a high quality cinema lens.

Sony E-mount on a Fujinon lens? Read our First Look slide show to learn why.

Despite being a Fujifilm product, this lens uses Sony E-mount. (We discuss Fujifilm’s reasons for choosing E-mount in our First Look slide show.) As a result, I tested the lens attached to a Sony FS7, a Super 35 camera that’s very popular among this segment of users.

Shooting with the MK18-55mm T2.9

We only had a couple days to do our testing, so I threw together a quick shoot highlighting one of the Pacific Northwest’s favorite sports – climbing – and met up with local climber Jay Griffin at The Mountaineers climbing wall in Seattle. This scenario was perfect for shooting with focal lengths across the range of the lens, as well as for some good follow focus opportunities.

TL;DR – I really like this lens. In fact, I won’t even make you wait to get to the video, so here it is:

Video shot using the Fujinon MK18-55mm T2.9 cine lens and Sony FS7 camera. All footage was captured in DCI 4K/24p using Sony SLog3, edited in Final Cut Pro X, and graded using LUTs from Color Grading Central.

I chose to shoot the entire video shoulder-mounted, so I set up the FS7 on a Zacuto Recoil rig with rails, a Z-Drive follow focus, and a Gratical Eye viewfinder, along with the FS7’s remote grip. This is a fairly straightforward setup, but it takes a few minutes to arrange all the pieces so that everything works correctly and is ergonomically arranged for the camera operator

Setting up the rig highlighted one of the important features of the MK lenses: they’re matched. For this shoot I only had the MK18-55mm available, but later in the year Fujifilm will be adding the MK 50-135mm to the line as well; both lenses share the same weight and dimensions. In a two-lens shoot, it would be incredibly easy to switch between the two while leaving things like matte boxes and follow focus in place. Also, since both lenses have identical T-stops it would be easy to match exposure as well.

Using the lens was a joy. As with most cinema lenses, it’s completely mechanical, and build quality is outstanding. Every movement feels well damped, and one gets the immediate sense that it’s a high quality piece of precision equipment.

One place where this mechanical build is immediately noticeable is the focus ring. Unlike most modern DSLR or mirrorless lenses, which continue to spin after reaching the end of their focus range, the MK18-55mm has hard stops.

Working with a follow focus is a breeze thanks to the mechanical lens design and geared focus ring.

It was simple to set up the Z-Drive follow focus with the standard pitch gearing on the focus ring, and thanks to the 200 degree focus rotation angle it was easy to make precise focus adjustments, using peaking in the viewfinder as a guide. The large rotation angle made it easy to adjust for small movements or to follow Jay when he moved slowly. You don’t get this level of precision with the shorter focus throw of most DSLR lenses, and you certainly don’t get it with focus-by-wire!

I didn’t notice any obvious signs of lens breathing, a phenomena that causes a lens’s field of view to change slightly as a lens is focused. Breathing is fairly common on stills camera lenses, and it rears its ugly head when you’re trying to do something like rack focus between two subjects. Cine lenses are designed to suppress lens breathing, and as far as I could tell the MK18-55 did so extremely well.

Like other cine lenses, the MK18-55mm has a parfocal design, meaning it should maintain precise focus during zooming. Still photographers often don’t care much about this since it’s simple to zoom and then refocus before taking a shot. For video work, however, you sometimes want the zoom to be part of the shot. Loosing focus mid-zoom is a big deal.

Since I was using a shoulder mount rig without an assistant, it wasn’t very practical to test the parfocal performance of the lens with Jay. However, back in the studio I lined up the lens with our studio scene and confirmed that its performance is excellent in this regard; once focused, the subject remains in focus throughout the zoom range.

Shooting with the Fujinon MK18-55mm T2.9 lens and Sony FS7.

It should be pretty obvious by now that I really enjoyed using the MK18-55mm. In addition to finding it well designed and delightful to work with, I was very pleased with the footage I captured. Optical performance appears to be outstanding. Based on my brief experience I would have no qualms about shooting a full project with this lens. It’s exciting to see Fujifilm entering this market, and I’m really looking forward to future lenses in the MK line.

Now, bring on the MK50-135mm so I can use the set!

Articles: Digital Photography Review (dpreview.com)

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First look video: YI 4K+ action camera shoots 4K/60p and stabilized 4K/30p

20 Feb

The YI 4K+ uses the latest generation of Ambarella processing chip, making it capable of 4K/60p video capture. It can also shoot impressively smooth 4K/30p footage using electronic stabilization. Other standout features include a 2.2″ Gorilla Glass touch display, the best user interface of any action camera on the market and USB-C connectivity.

We’re eager to spend more time putting the YI 4K+ to the test. Keep your eyes peeled for an updated 4K action camera roundup coming this spring.

Articles: Digital Photography Review (dpreview.com)

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First samples from the new Nikon 70-200mm F2.8E FL ED VR

02 Feb

ISO 100, 1/400 sec at F4.5. Photo by Dan Bracaglia

The Nikkor 70-200mm F2.8E FL ED VR is the third version of Nikon’s workhorse telezoom. Most of us on staff have spent a bit of time with the previous two versions, and the latest iteration features a new optical design, improved VR and an electromagnetic diaphragm.

We have not had it in the office long but the impression already is that it’s both impressively sharp and well-stabilized. In short, it’s going to appeal to a wide range of photographers. We’ll be sure to add additional images to this gallery once we’ve had more time with the lens, but for now take a look at some initial samples.

See our NIKKOR 70-200mm F2.8E FL ED VR sample gallery

Articles: Digital Photography Review (dpreview.com)

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Sony SLT a99 II first impressions review

31 Jan

Photokina 2016 proved to us, with the announcement of the a99 II, that A-mount isn’t dead: it was just waiting for the right tech to show up for its next big release, like the 42MP BSI-CMOS sensor that debuted in the a7R II. So much more than an a99 with a new chip, the a99 II’s improved specifications aim to put it in the same company as DSLRs like the Nikon D810 or Canon 5D IV, and full-frame mirrorless cameras like Sony’s own a7r II.

Key features

42MP BSI CMOS Imaging sensor
399 on-sensor PDAF points + dedicated PDAF sensor with 79 points
Dual SD card slots [UHS I]
12fps continuous shooting in Raw with C-AF
4K UHD 100Mbps recording, and 8-bit 4:2:2 4K output over HDMI
Picture Profile settings with Log gamma curves
5-axis in body image stabilization
Wi-Fi with NFC

The weather-sealed body features a dedicated PDAF sensor separate from the imaging sensor that has light directed to it via a mirror, like a traditional DSLR. Unlike a DSLR, this mirror doesn’t ever flip out of the way. Instead, it is semi-transparent and sends only part of the light to the dedicated AF sensor, and lets the rest of the light pass through to the imaging chip. The camera can use both of these AF systems where they overlap, creating a Hybrid Cross Type AF system that should deliver both speed and accuracy that Sony hopes will match the best systems out there.

Also, the fixed mirror means AF readings can be taken with the dedicated sensor even while the shutter is firing, which should result in high ‘hit’ rates even at the maximum 12 FPS burst shooting. The downside is the loss of around 1/2 stop of light, something that the impressive 42MP sensor shouldn’t mind too much.

The a99 II also boasts some impressive video specs, which should be enhanced both by the camera’s ability to continuously autofocus in video and by its in-body image stabilization.

All of these features are controlled via a re-worked menu system that color codes sections and categorizes settings by which aspect of the camera they are adjusting, like Flash or Autofocus. Do all of these improvements transcend the inherent pitfalls of SLT technology?

Review History
31 Jan 2016	Introduction, Specifications, Body & Design, Operation & Controls, and Image Quality pages published.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm releases first round of G-mount medium-format lenses

21 Jan

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You’re going to need some lenses to go along with that new Fujifilm GFX 50S, and the company announced a trio of them.

First up is the GF 63mm F2.8 R WR, which is equivalent to 50mm when mounted on the medium-format GFX 50S. It’s small and lightweight, features nine rounded aperture blades and is sealed against dust and moisture (as are the other two lenses announced today). It will be available in February for $ 1499/£1399.

For those seeking a zoom, there’s the GF 32-64mm F4 R LM WR. This lens is equivalent to 25-51mm and has aspherical, ED and Super ED elements and a linear motor-powered internal AF system. The zoom will set you back $ 2299/£2199.

The final lens is a tele-macro model with optical image stabilization rated to 5 stops. The GF 120mm F4 R LM OIS WR Macro is equivalent to 95mm and has 3 ED elements, a linear AF motor and a minimum focus distance of 45cm/18in. The 120mm is priced at $ 2699/£2599.

Three additional lenses will be released by the end of the year, including a 23mm F4, 45mm F2.8 and 110mm F2.

GROUNDBREAKING FUJIFILM GFX 50S MEDIUM FORMAT MIRRORLESS CAMERA DELIVERS ULTRA-HIGH IMAGE QUALITY

FUJIFILM GFX 50S combines an extraordinary sensor, processor and design with FUJINON lenses to give users the ultimate photography experience

Valhalla, N.Y., January 19, 2017 – As the leader in innovation for photographers, FUJIFILM North America Corporation today announces the FUJIFILM GFX 50S medium format mirrorless digital camera that will launch late February, 2017 with an initial selection of three FUJINON lenses – the GF63mmF2.8 R WR, the GF32-64mmF4 R LM WR, and the GF120mmF4 R LM OIS WR Macro. These lenses encapsulate the design philosophy of FUJINON lenses that are renowned by photographers around the world.

The innovative GFX system utilizes a Fujifilm exclusive 43.8 x 32.9mm (FUJIFILM G Format) 51.4MP CMOS sensor. The GFX 50S combines the heritage of over 80 years of imaging and the innovative award-winning functional design of our X Series digital camera system in the relentless pursuit of image quality.

The FUJIFILM GFX 50S Revealed

The FUJIFILM GFX 50S mirrorless digital camera uses the new 51.4MP FUJIFILM G Format 43.8 x 32.9mm sensor with approximately 1.7x the area of a 35mm sensor. In addition to the camera are three new FUJINON GF Lenses that will be followed by three additional lenses later in 2017.

The GFX 50S 51.4MP sensor shows its true potential when making large format prints, capturing majestic landscape photos or reproducing historical documents. Compared to a full size sensor with equivalent megapixels, both resolution and sensitivity are dramatically better due to the larger size of each pixel. As a result, the sensor captures great textures and subtlety of tone that is unique to large size sensors. The texture and tone combine to give a unique three-dimensional effect creating extremely high quality photography. Images captured can be reproduced down to the smallest detail, conveying the texture of the subject, a three-dimensional feeling, and the atmosphere of the scene.

For flash photography in the studio or outdoors during the day, the GFX 50S sensor has a native ISO of 100. The sensor can also be adapted to various aspect ratios, including 4:3, 3:2, 16:9, 1:1, 65:24, 5:4, 7:6, all of which are available in large and medium format film cameras.

The FUJIFILM GFX 50S uses the X Processor Pro (also used in the X-Pro2 and X-T2 cameras) and allows photographers to use Fujifilm’s proprietary Film Simulations with a Medium Format sensor. The camera supports Full HD recording at 29.97p/25p/24p/23.98p. Users can enjoy high quality video with no post-processing required by using Film Simulation modes just like they would with a still image. The GFX 50S introduces a new Color Chrome Effect feature that reproduces subtle tones in highly saturated subjects.

Ultimate Performance in a Compact Body

With a compact and lightweight body constructed from magnesium alloy, the FUJIFILM GFX 50S weighs approximately 43 ounces when paired with the FUJINON GF63mmF2.8 R WR, and weighs approximately 60% of a medium format DSLR camera equipped with a sensor of the same size. When compared to a full frame, the weight is almost identical. Overall camera body height and width have also been minimized for maximum flexibility, overturning the common perceptions regarding the mobility of medium format digital cameras.

Bright, Crystal Clear Viewfinder and Large Touchscreen

The FUJIFILM GFX 50S gives users a 3.69M dot organic EL electronic viewfinder and 2.36M dot touchscreen LCD back panel for easy viewing. The EVF is detachable to allow for flexible operation. Users can attach the accessory EVF-TL1 EVF tilt adapter (sold separately) to allow the finder to be tilted to 90° vertically and swung ±45°. A 3.2 inch, 2.36M dot touch panel is used for the rear monitor, with touch operation for the menu, focusing points and image playback. A three-directional tilting LCD screen improves operability and makes viewing images and checking focus even easier.

FUJINON Lenses Guarantee Image Perfection

As part of the GFX system, Fujifilm is launching newly developed, ultra-high resolution FUJINON GF lenses. Taking advantage of the mirrorless system’s structure, the G Mount has a short flange back distance of just 26.7mm that reduces the back focus distance as much as possible. This prevents vignetting and achieves edge-to-edge sharpness. All FUJINON GF Lenses have been designed to support sensors of over 100MP.

GFX lens barrels feature an aperture ring in the same manner as FUJINON XF lenses, for intuitive operation. A new C (Command) Position has been added to the aperture ring, allowing users to change the aperture with the camera’s command dial. The A (Auto) Position and C Position feature a locking button installed on the aperture ring that must be disabled to implement changes.

Built for the Professional, and the Enthusiast

Just as with the flagship X Series models, the FUJIFILM GFX 50S features dedicated dials to independently set aperture, shutter speed, and ISO, the important factors in determining exposure.

Aperture and ISO feature a C (Command) and the shutter speed dial has a T (Time) Position. Setting the dial to this position allows the user to change exposure settings using the command dials on the front and rear of the camera body. The user can choose between these two operation methods according to their preference, ease of use, and the shooting environment.

The GFX 50S is equipped with a 1.28 inch LCD sub monitor on the top of the body. Important exposure data such as aperture and shutter speed is displayed on this screen. This display is extremely useful when shooting on a tripod or tethered to a computer.

A 117-point (9 x 13 / maximum of 425 points when miniaturized) contrast AF system is used on the GFX 50S. High-precision AF on the imaging sensor dramatically improves focusing accuracy with the shallow depth of field produced by medium format lenses. First adopted in the FUJIFILM X-Pro2, focus point selection can be performed by using the Focus Lever, which allows intuitive movement of the focus point. Alternatively, users can select the focus point from the touch panel LCD screen.

Initial Lens Lineup Will Include the Following Three FUJINON Options:

GF63mmF2.8 R WR (equivalent to 50mm in 35mm format)
GF32-64mmF4 R LM WR (equivalent to 25-51mm in 35mm format)
GF120mmF4 Macro R LM OIS WR (equivalent to 95mm in 35mm format)

FUJINON GF63mmF2.8 R WR

The optical system features a construction of 8 groups and 10 elements, including 1 ED lens element. This lens construction is the most suitable for high resolution in compact and stylish design, the external form of this small and lightweight lens has a diameter of just 84.0 x 71.0mm with a weight of only 14.2 ounces \ 405 grams. Using the front group for the focus, aberrations due to focus distance are suppressed, achieving high resolution performance even when wide open from the center to the edges of the lens.

FUJINON GF32-64mmF4 R LM WR

The FUJINON GF32-64mmF4 R LM WR features a construction of 11 groups and 14 elements, 3 aspheric elements, 1 ED lens and 1 super ED lens, allowing this lens to achieve image quality rivalling prime lenses. As a result, the lens demonstrates extremely high performance from the center all the way to the edges. The lens uses internal focusing, reducing the weight of the focus lens and achieving fast and silent AF by driving focus using a linear motor.

FUJINON GF120mmF4 R LM OIS WR Macro

The FUJINON GF120mmF4 R LM OIS WR Macro has a construction of 9 groups and 14 elements, including 3 ED lens elements. By adopting a floating focus method using a linear motor, silent high-speed autofocusing is achieved while aberrations are corrected, dramatically increasing the resolution. Furthermore, by arranging the ED lenses properly, chromatic aberrations are also properly corrected, contributing to high quality images. In designing this lens the quality of the out of focus area both in front and behind the plane of focus were considered, giving this lens beautiful bokeh. This lens is equipped with optical image stabilization (OIS) effective up to 5.0-stops, making this lens perfect for handheld shooting in low-light situations.

Three Additional FUJINON GF Lenses to be Announced Later in 2017:

GF110mmF2 R LM WR (equivalent to 87mm in 35mm format)
GF23mmF4 R LM WR (equivalent to 18mm in 35mm format)
GF45mmF2.8 R WR (equivalent to 35mm in 35mm format)

GFX 50S Accessories (sold separately)

Vertical Battery Grip VG-GFX1 – high-performance battery grip is designed to place the release button, dials, and function buttons in the same positions when shooting vertically. The battery grip can be loaded with one NP-T125 dedicated battery, lowering the frequency that batteries need replacing. Also, by connecting the AC-15V accessory (sold separately), it is possible to charge the battery within the grip in approximately 2 hours.

EVF Tilt Adapter EVF-TL1 – mounting this accessory between the camera body and EVF, the angle of the EVF can be changed to angles from 0°?90° vertically and from -45°?+45° horizontally. Doing this allows the user to shoot at various angles while using the viewfinder, greatly increasing the versatility of the finder for different subjects.

H Mount Adapter G – allows you to use SUPER EBC FUJINON HC interchangeable lenses developed for the FUJIFILM GX645AF medium format film camera (discontinued). By attaching this adapter to the GFX 50S, a total of 9 SUPER EBC FUJINON HC interchangeable lenses and 1 tele-converter developed for the GX645AF can be used. While the focusing method will be limited to manual focusing, the lens aperture can be changed using the command dial on the camera body, and shooting with the leaf shutter built in to the lenses is also possible. Using this lens shutter will allow high speed flash synchronization up to a maximum speed of 1/800 sec.
Also, the adapter is equipped with electrical contacts that can communicate with the camera body, independently creating, saving, and applying correctional data for each lens. The adapter supports Manual and Aperture Priority AE exposure modes.

*A removable tripod foot is included to mount the camera with a heavy or long focal length lens.

View Camera Adapter G – allows the GFX 50S to be used as a digital back. The view camera adapter allows the GFX 50S to be mounted to the standard universal-type back of a view camera. This allows the use of FUJINON large format camera lenses, such as the CM-W FUJINON lens series. The camera or lens shutter can be triggered, allowing the user to choose the optimum method. The large image circle and the bellows of the view camera can be used with tilt, shift and swing movements, effective for product and architectural photography.
*There may be instances in which the adapter cannot be mounted depending on the shape of the view camera.

Tethered Shooting Solutions – We have the following tethering solutions for photographers, including: X Acquire to transfer images from the camera to a hot folder on your computer for use with your preferred imaging software, Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom® and HS-V5 for Windows (sold separately).
By connecting the GFX 50S to a PC via USB cable and using this software, it is possible to transfer photographed images directly to the PC, as well as control the camera from the PC. Also, by using the Control Panel Window newly added to Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®, additional camera functions become available.

RAW FILE CONVERTER EX2.0 – powered by SILKYPIX (free of charge) RAW development software and Adobe® Photoshop® Lightroom® / Adobe® Photoshop® CC (sold separately). RAW development software is used for detailed corrections and advanced image processing that isn’t supported by the in-camera RAW conversion. Both software support Fujifilm’s “Film Simulation” modes, allowing creation of image data that is extremely close to Fujifilm’s advanced color reproduction.

FUJIFILM GFX 50S Key Features:

51.4MP Medium Format 43.8 x 32.9mm sensor for superior sharpness and image quality for all photographers

Adaptable to various aspect ratios, including 4:3 (default), 3:2, 16:9, 1:1, 65:24, 5:4, 7:6

FUJIFILM G Mount with short flange back distance of just 26.7mm
X-Processor Pro imaging processor
Detachable electronic viewfinder
Weather and dust resistant; operation to as low as 14 degrees Fahrenheit \ -10 degrees Celsius
File formats include three different JPEG settings (SUPER FINE, FINE, NORMAL), as well as two different RAW settings (uncompressed, compressed). TIFF output is also possible with in-camera RAW development
Full HD for Movie Mode: 1920×1080 29.97p/25p/24p/23.98p 36Mbps, in Film Simulation modes
Light body weighs approximately 43oz. \ 825g (including battery and memory card)
Uses SD Cards (UHS-II recommended)

Equipped with dual slots
Supports three different types of recording methods, “Sequential,” in which recording can be continued according to shooting order, “Backup,” which records the same data on two cards simultaneously, and “Sorting,” which records RAW and JPEG data on separate cards

Uses newly developed NP-T125 high capacity battery for approximately 400 photos (with Auto Power Save ON)
All FUJINON GF Lenses are dust and weather resistant, built to withstand operation at temperatures as low as 14 degrees Fahrenheit \ -10 degrees Celsius allowing photographers to take them outdoors with confidence in challenging weather conditions.
The new FUJINON GF Lenses feature an aperture ring, a popular feature in the X Series, and have a new C (Command) Position on the ring to enable aperture adjustments with the Command Dial on the camera body
A Fluorine coating applied to the front lens element creates a hydrophobic coating that repels moisture.

The GFX 50S and FUJINON GF lenses culminate to create a new camera system capable of creating the world’s highest level of photographic expressions by combining the thorough incorporation of knowledge regarding camera operation, optical design, image capture, and image processing.

Availability and Pricing

The new FUJIFILM GFX 50S Medium Format Camera Body will be available Late February, 2017 in the U.S. and Canada for USD $ 6,499.95 and CAD $ 8,499.99.

Also available in February, 2017 will be the first three FUJINON GF lenses. GF63mmF2.8 R WR for USD $ 1,499.95 and CAD $ 1,899.99, GF32-64mmF4 R LM WR for USD $ 2,299.95 and CAD $ 2,999.99, and GF120mmF4 R LM OIS WR Macro for USD $ 2,699.95 and CAD $ 3,499.99.

Fujifilm GF 63mm F2.8 R WR / 120mm F4 R LM OIS WR Macro specifications

	Fujifilm GF 63mm F2.8 R WR	Fujifilm GF 120mm F4 R LM OIS WR Macro
Principal specifications
Lens type	Prime lens
Max Format size	645
Focal length	63 mm
Image stabilization	No	Yes (5 stops)
Lens mount	Fujifilm G
Aperture
Maximum aperture	F2.8	F4
Minimum aperture	F32
Aperture ring	Yes
Number of diaphragm blades	9
Aperture notes	Rounded blades
Optics
Elements	10	14
Groups	8	9
Special elements / coatings	1 ED element	3 ED elements
Focus
Minimum focus	0.50 m (19.69″)	0.45 m (17.72″)
Maximum magnification	0.17×	0.5×
Autofocus	Yes
Motor type		Linear Motor
Full time manual	Yes
Focus method	Extending front	Internal
Distance scale	No
DoF scale	No
Physical
Weight	405 g (0.89 lb)	980 g (2.16 lb)
Diameter	84 mm (3.31″)	89 mm (3.5″)
Length	71 mm (2.8″)	153 mm (6.02″)
Sealing	Yes
Filter thread	62.0 mm	72.0 mm
Hood supplied	Yes
Tripod collar	No

Fujifilm GF 32-64mm F4 R LM WR specifications

Principal specifications
Lens type	Zoom lens
Max Format size	645
Focal length	32–64 mm
Image stabilization	No
Lens mount	Fujifilm G
Aperture
Maximum aperture	F4
Minimum aperture	F32
Aperture ring	Yes
Number of diaphragm blades	9
Aperture notes	Rounded blades
Optics
Elements	14
Groups	11
Special elements / coatings	3 aspheric lenses, 1 ED lens, 1 Super ED lens
Focus
Minimum focus	0.50 m (19.69″)
Maximum magnification	0.12×
Autofocus	Yes
Motor type	Linear Motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	875 g (1.93 lb)
Diameter	93 mm (3.66″)
Length	116 mm (4.57″)
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	Unknown
Filter thread	77.0 mm
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

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Here’s the first known photo of a US Presidential Inauguration

20 Jan

When James Buchanan was sworn into office on March 4, 1857, John Wood made history by making the first known photograph of a US Presidential inauguration.

Wood was hired by Montgomery C. Meigs, an engineer managing the expansion of the US Capitol which added wings for the Senate and House. According to Robert O’Harrow’s The Quartermaster, Meigs was an early days photography enthusiast. As prints became easier and more affordable to produce, he saw the value in using photography to make copies of architectural plans and hired Wood.

For the inaugural photo, Meigs constructed a small stage so that Wood could capture the scene. The crowd of more than 20,000 mostly stood on a platform Meigs had built to hide construction debris. His journal mentions that Wood was able to make the inauguration exposure in 4 seconds, as he had been experimenting with a ‘photography process of great speed,’ referring to the wet collodion process that was being widely adopted at the time. The image that resulted is an albumen print, resulting from a method of making prints that used a substance found in egg whites and table salt to bind photographic chemicals to paper.

Articles: Digital Photography Review (dpreview.com)

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The M U want: Leica M10 First Impressions Review and Samples

19 Jan

The Leica M10 is a 24MP, full-frame, manual focus camera with an archaic coupled rangefinder focusing system, a tunnel-type optical viewfinder, no video mode and not even so much as a USB socket. And it’s absolutely lovely.

Leica M10: Key Features

‘Newly developed’ 24MP full-frame CMOS sensor
1.04 million-dot rear LCD (with Corning Gorilla glass)
5 fps max continuous shooting for up to 30 Raw frames
ISO 100-6400 (extendable to 50,000)
Center-weighted (RF), spot and ‘multi-field’ (LV) metering modes
Revised menu system (including customizable ‘favorites’ menu)
Automatic lens corrections with 6-bit coded lenses
Compatible with ‘Visoflex’ 2.4m-dot EVF for eye-level live view shooting
~210 shot battery life (CIPA)
Built-in WiFi

Leica is a refreshingly unusual company in the modern camera industry – weird, wonderful, gleefully anachronistic but never, ever, boring. As such, Leica is one of those companies that I’ve always enjoyed writing about.

This is the kind of picture that generally, I don’t take. But being handed a Leica to review spurred me to make a bit more effort to get ‘street’ shots on a recent trip to New York. I used live view to capture this waist-level image without drawing attention to myself.

35mm F1.4 Summilux ASPH. F2.8 (ish), ISO 500. (Converted from Raw)

In fact, the very first camera that I ever reviewed right at the beginning of my career was a Leica. This was more than ten years ago, around the same time that the M8 was released, but I wasn’t (yet) trusted with such a prestigious product. The camera that I was handed to review was one of those rebadged Panasonics that the German company still officially maintains in its lineup, but doesn’t really talk about anymore. I forget the exact model, but it wasn’t particularly good. I seem to remember high noise levels, lens aberrations and clumsy, detail-destroying noise reduction being the main areas of complaint, all of which were enough to take the (figurative) shine off what was physically a beautiful camera, and all of which I dutifully reported in my review.

While the camera was forgettable, more than a decade on, that review still sticks in my mind. It was shortly after filing my draft that my editor at the time pulled me over, the printout in his hand, to explain that ‘there are certain words we do not use about Leica’. Apparently, ‘disappointing’ was one of those words, indicated (ironically) with large red rings of ink, wherever I had used it.

My draft was massaged accordingly, and I didn’t review another Leica camera for a long time.

For a great many years, there really was a kind of ‘reality distortion field’ around Leica, and to some extent there still is. With some exceptions (the Q being one of them), the company specializes in high-cost nouveau-classic products with few objective advantages over their competitors. It’s all about the look. It’s all about the feel. It’s all about the magic. It’s all about Das Wesentliche¹.

When on occasion Leica has tried something genuinely new, like the brushed-aluminum touch-sensitive experiment that was the Leica T², it typically hasn’t made quite the same impact on the group psychology of photographers and photography writers as its M, R and (more recently) S-series.

‘The Leica Effect’

I’m not immune to the ‘Leica effect’ myself. I owned and used an M3 for years, and wildly impractical as it was (considering I was attempting to make a career as a 21st Century music photographer³) I’ve always regretted selling it. There’s just something about the M series, some intangible magic when compared to the average mass-produced camera, regardless of whatever new and wonderful technologies they might lack by comparison.

I still maintain that if you can accurately focus on a human subject with a fast Leica prime wide-open, you’ve earned the right to call yourself a photographer. It’s not easy – and that’s the point.

It’s been a long time since I shot live music, too. I didn’t expect much when I took the M10 to a rock concert, but apparently my focusing gets better after a couple of beers.

35mm F1.4 Summilux ASPH. F2 (ish), ISO 3200. (Converted from Raw)

For all that, I’ve never really enjoyed the digital M-series models. The M8’s APS-H sensor felt like a compromise, and both that camera and the full-frame M9 always felt a little bloated, their shutters a bit too loud, their images a bit too noisy. Things got better – the Typ 240 and Typ 262 are very good cameras, and the Monochroms are fun – but neither they nor their predecessors ever really truly felt like a continuation of the classic film models. Leica claims that adding a movie mode to the Typ 240 was in response to demand from its customers, but the idea of shooting video on a rangefinder always seemed a bit silly to me.

The M10 can’t shoot video – let’s just get that out of the way. If you really need video in an M-series body, the Typ 240 is still available.

Personally, as you might be able to tell, I like the M10 a lot more than the Typ 240 and 262. There’s no single major change which makes all the difference, but rather a raft of little tweaks which add up to (in my opinion) a more attractive product than the the digital Ms which came before it.

First Look: Leica M10

1. Which roughly translates as ‘The pure / the essential / the heart / the bits that really matter’.

2. With original firmware, I should make that clear. It got better.

3. Ask me how that worked out.

Articles: Digital Photography Review (dpreview.com)

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Video: Leica M10 First Look

19 Jan

The new Leica M10 is an attractive combination of classic styling and modern specifications. Check out our quick video overview for a rundown of some of its key features.

Read our First Impressions Review

Articles: Digital Photography Review (dpreview.com)

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Public Wattway: France Activates World’s First Solar-Paneled Roadway

18 Jan

[ By WebUrbanist in Architecture & Cities & Urbanism. ]

solar-roadway

Developed by Wattway and deployed on the streets of Tourouvre-au-Perche, a 1,000-meter-long solar-paneled roadway in France is the first stretch of a 1,000-kilometer endeavor.

The technology along this initial pathway is designed to generate enough energy to light up the streets of a 3,400-person town, and it is just the first step in a five-year plan.

wattway-paths

France ultimately aims to pave 1,000 kilometers of solar roads over the next half-decade, supplying renewable energy to 5 million people (close to 10% of the population).

The flat and smooth surfaces of existing streets are perfect places to serve a double function and harvest clean energy as long as the issue of durability is taken into account.

The solar brick-like sheets are covered in multiple layers of silicon resign designed to allow light to pass through while protecting the panels from damage. The panels are engineered to withstand the weight of six-axle trucks and to stick directly onto existing road surfaces.

wattway-panels

The goal for this first phase is to produce 280 megwatt hours of power per year and to test the durability of the tech under real-world experimental conditions. Under controlled conditions, the panels survive a “cycle of one million vehicles, or 20 years of normal traffic a road, and the surface does not move.”

solar-path

“We are still on an experimental phase,” says the company. “Building a trial site of this scale is a real opportunity for our innovation. This trial site has enabled us to improve our photovoltaic panel installing process as well as their manufacturing, in order to keep on optimizing our innovation.”

[ By WebUrbanist in Architecture & Cities & Urbanism. ]

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Dell Canvas 27 launched as world’s first ‘horizontal smart workspace’

08 Jan

At CES 2017, Dell introduced what it claims is the world’s first ‘horizontal smart workspace,’ the 27-inch touch-sensitive Dell Canvas display. Canvas is designed for creatives, including photographers, artists, and graphic designers, and can be used in two orientations: lying flat on a desk or propped up at an angle via a kickstand. The display likewise offers support for a stylus, totems (Dell’s large control dials), and touch input.

Dell Canvas isn’t necessarily an alternative to Surface Studio; rather, it is a large display that can be connected to nearly any Windows 10 device, says Dell. The monitor has a 2560 x 1440 QHD resolution. The model will be available from Dell.com in the U.S. on March 30 starting at $ 1799.

Via: Dell

Articles: Digital Photography Review (dpreview.com)

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360Photography

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