Tag: first

  • Video: First look at the Panasonic G85/G80

    The Panasonic G85 is the successor to the Panasonic G7 and shares its DSLR-style design with twin control dials and fully articulating touch display. It also uses the same sensor as the G7, but with no AA filter. The G85 receives a new 2.36M dot OLED electronic viewfinder with increased magnification over the G7. The camera also gains in-body 5-axis image stabilization and Dual I.S. 2 as well as weather and dust-sealing.

    The camera also uses an electromagnetic shutter and features a new in-camera focus-stacking mode. Like its predecessor it is 4K-capable, has built-in Wi-Fi and utilizes Panasonic’s Depth from Defocus AF. Get a glimpse of its capabilities in our quick First Look video, or head to our First Impressions if you’re looking for in-depth analysis.

    Read our Panasonic Lumix DMC-G85 First Impression Review

    Articles: Digital Photography Review (dpreview.com)

  • Modern Mirrorless: Canon EOS M5 First Impressions Review

    The Canon EOS M5 is the most enthusiast-friendly EOS M yet. It’s a 24MP mirrorless camera built around a Dual Pixel APS-C sensor, giving it depth-aware focus across most of the frame. On top of this it adds a built-in electronic viewfinder, a good number of external controls and a well implemented touchscreen.

    This level of direct control puts it in competition with Sony’s a6000 and a6300, and Panasonic’s GX85 (GX80) and GX8 enthusiast models. All of these cameras aim to offer stills and video capabilities in relatively small bodies but with a reasonable level of direct external control.

    Key Specifications

    • 24MP Dual Pixel APS-C CMOS Sensor
    • 2.36M-dot OLED electronic viewfinder
    • 1.62M-dot tilting rear touchscreen
    • Electronic video stabilization combines with in-lens IS to give 5-axis IS
    • 7 fps continuous shooting (9 fps with focus and exposure locked)
    • Wi-Fi with always-connected Bluetooth

    In fact it’s the implementation of this touchscreen that we’re most impressed with. Much like the system developed by Panasonic, the M5 not only lets you use the rear touchscreen to position focus, it also allows its use as a touchpad to move the focus point, when you’re shooting through the viewfinder. This, combined with decisive autofocus, should be really significant for both stills and video shooting.

    The camera has four dials in total: two main dials on the top of the camera, a dedicated exposure compensation dial and a fourth dial encircling the four-way controller on the back of the camera. This is a much higher level of direct control than offered on the simpler EOS M-series models offered previously, suggesting Canon expects the user to take more hands-on control of the shooting experience.

    Three of the four control dials on the M5 are on the top plate, giving users easy access to exposure parameters.

    While the lack of 4K video capability is a disappointment, the ability to use the touchscreen to re-position the focus point with a high level of confidence that the camera will smoothly glide the focus to the right point is highly desirable. We maintain that, for many applications, easily-shot, good quality 1080 is just as valuable as poorly shot 4K, so we’re not too put off by this development.

    The touchscreen-plus-Dual-Pixel-AF combination is also useful for stills shooting – you can not only use the touchscreen to drag the focus point around the screen but also use it to select between available faces if shooting or recording in face detection mode.

    The other significant benefit of the M5 finally receiving Canon’s Dual Pixel AF system is that it should now be able to focus adapted EF and EF-S lenses effectively but without being limited to the small central focus area offered when using comparable Rebel / EOS x-hundredD DSLR models.

    Compared with its peers

    The enthusiast photographer has a good number of choices, when looking for a reasonably sized mirrorless camera with a good degree of direct controls. Sony offers the a6000 and a6300, depending on how much you need 4K video and how demanding your AF needs are. Meanwhile, Panasonic offers both the GX85 and GX8, with the more expensive model offering higher resolution and a better viewfinder. All four of these models are extremely capable, with ease-of-use being the Canon’s most obvious response to their broadly higher video specifications.

      Canon EOS M5 Sony a6300 Panasonic GX8
    MSRP $ 1099 with 15-45mm lens $ 1149 with 16-50mm lens $ 1199 body only
    Pixel count 24MP 24MP 20MP
    Focus method ‘Dual Pixel’ on-sensor PDAF On-sensor PDAF Contrast detection*
    EVF 2.36M dots 2.36M dots 2.36M dots
     Dials Two on top plate
    Exposure Comp
    Four-way/dial
    Top plate
    Four-way/dial
    Two on top plate
    Exposure Comp
    Continuous shooting 9 fps
    (7 with live view and C-AF)
    11 fps
    (8 with live view)
    8 fps
    (5.5 with live view)
    Video specifications 1080/60p 4K/30p
    1080/120p
    4K/30p
    1080/60p
    Peaking/Zebra Yes/No Yes/Yes  Yes/Yes
    Touch focus in video Yes No  Yes
    Battery life
    Screen/EVF
    295/295 shots
    (410 in Eco mode)
    400/350 shots 330/310 shots

    * When using own-brand lenses the GX8 adds distance prediction based on the out-of-focus characteristics of the lens (A system Panasonic calls ‘Depth From Defocus’).

    Articles: Digital Photography Review (dpreview.com)

  • Lytro Immerge VR footage showcased for the first time

    Last November, Lytro unveiled Immerge, a pro-grade camera rig for producing cinematic VR content using the company’s light field technology. At the time, Lytro offered interested partners and studios the option to checkout a prototype of the rig, but little had been said since. That changed last week, with Lytro publishing a demonstration video showing footage created by its rig as seen through an Oculus Rift VR headset.

    Lytro’s Immerge produces content by capturing data from all directions around the rig, using that to generate views for VR footage. The resulting footage can be presented in a few different forms: as spherical videos, 180-degree and 360-degree immersive videos, and there’s also the option for seamless capture. Unlike most VR cameras on the market, though, Immerge is being targeted at large studios and others interested in producing cinematic VR content. As demonstrated in the video below, these studios can use Immerge’s end-to-end system to blend CG elements into the footage without using a traditional green screen.

    It’s not clear which companies have partnered with Lytro. However, Lytro VP of engineering Tim Milliron said in a statement to The Verge, ‘What I can say is definitely in Q1 of 2017 you should be seeing several kinds of these kinds of experiences out in the real world from other content producers that we’re working with today.’ The rig’s price hasn’t been revealed, but previous statements from the company pegs it at ‘multiple hundreds of thousands of dollars.’

    Via: The Verge

    Articles: Digital Photography Review (dpreview.com)

  • Canon EOS 5D Mark IV First Impressions Review

    The Canon EOS 5D series is arguably one of the most recognizable camera lines of the digital age and the Mark IV is designed to appeal to the same wide range of enthusiasts and professionals. Nearly identical-looking to its predecessor, it receives substantial upgrades under the hood, including: a higher-resolution sensor with Dual Pixel autofocus, 4K video capture, an upgraded AF system, a touchscreen, improved weather-sealing, built-in Wi-Fi/NFC and GPS. All this adds up to a camera that fits into Canon’s product line nicely as the all-around full-frame option.

    It is built around a new 30.4MP CMOS sensor and uses the Digic 6+ processor. The AF system is from the flagship 1D X Mark II and contains 61 AF points (41 of which are cross-type) with up to 24% expanded vertical coverage compared with the system in the Mark III. The center point is sensitive to -3EV in One Shot (AF-S) mode (in Live View the sensor is sensitive to -4EV with a fast lens).

    4K video capture is a welcome addition to this camera and users can record in either 24 or 30p, albeit with a 1.64x crop. All footage is captured as Motion JPEG. Additionally, the camera allows for 4K Frame Grabs, effectively giving users 30 fps stills shooting with (Dual Pixel) AF. The usefulness of this may depend on how well-controlled the camera’s rolling shutter is, and how acceptable 8.8MP, ~17:9 JPEGs are to you, but we’ve been impressed by how effective 4K/60p video capture on the 1D X II has been for capturing the decisive moment still.

    While developing the IV, Canon says it sought feedback from 5D-series users and found that dynamic range, resolution, AF precision and AF speed were the four most important areas improvements were requested. On paper, the Mark IV seems to address these aspects nicely:

    Canon 5D Mark IV Key Specifications

    • New 30.4MP CMOS full-frame sensor with Dual Pixel AF
    • DCI 4K 30/24p video using Motion JPEG + 4K Frame Grab
    • 61-point AF system with 41 cross-type sensors (center point sensitive to -3 EV)
    • Dual Pixel AF (sensitive to -4EV) for continuous Servo AF in stills (first for a full-frame Canon camera) and video
    • ISO 100-32000 (expandable to 102400)
    • 7 fps continuous shooting
    • Dual Pixel Raw (image microadjustment, bokeh shift, ghosting reduction)
    • 150,000-pixel RGB+IR metering sensor
    • 1.62M-dot 3.2″ full-time touchscreen
    • Wi-Fi w/ NFC + GPS
    • Built-in bulb timer interval timers
    • Improved weather-sealing

    The 30.4MP chip offers a decent jump in resolution over the 22.3MP chip in 5D III. And judging from the improved dynamic range in Canon’s other recent DSLRs (the 80D and 1D X II), we expect Raw dynamic range in the IV to be much improved over its predecessor, which had some of the worst shadow noise and banding we’d seen in a modern full-frame digital camera. The improvement is thanks to the recent move to a design that uses on-chip analog to-digital-conversion, resulting in lower downstream read noise and therefore less shadow noise and better overall dynamic range at lower ISOs.

    In terms of AF, the increased coverage area is definitely a big deal: after all, it’s the exact same AF system found in the company’s flagship sports camera. The 150,000-pixel RGB-IR metering sensor, which feeds scene information to the AF system, is borrowed from the original 1D X, bringing enhanced subject identification (including faces) and tracking (‘iTR’), as well as improved metering and flicker detection. Unfortunately, we’ve found iTR to be too situation dependent to be generally relied upon, and our initial impressions from our brief time with the Mark IV leave us similarly unimpressed at the camera’s ability to automatically shift AF points to stick to your specified subject.

    Our impressions of Dual Pixel AF in live view are exactly the opposite though, with the Mark IV being incredibly good at sticking to the original subject (or face) you initiated focus on. What’s more, it’s incredibly easy to specify your subject: just tap on it on the touchscreen in ‘Face Detect+Tracking’ mode, and the camera will stick to it like glue, no matter where it moves to in the frame. The 5D Mark IV is Canon’s first full-framer that can continuously focus in Live View during stills capture, and because of the way Dual Pixel AF works, focus is incredibly accurate, even with fast lenses.

    The 5D Mark IV also has some new tricks up its sleeve including Dual Pixel Raw, a nifty option that can prove useful in specific shooting scenarios. It works by recording two 30MP images, one from each of the ‘left-looking’ and ‘right-looking’ photodiodes at each pixel. Previous Canons have combined these two signals at each pixel, but Dual Pixel Raw gives you the option of keeping them separate. This results in a file that’s twice as large, but one that allows for ‘image micro-adjustment,’ ‘bokeh shift’ and ghosting reduction (more on this on our Features page) in Canon’s supplied Digital Photo Professional software.

    Compared to its peers

    Canon now offers a range of full-frame models. On the high end you have the Canon’s sports and action-oriented 1D X Mark II, with its 20.2MP sensor and 14 fps continuous shooting (with AF). The 5DS (and ‘R’ variant), with their 50.6MP sensors, are the company’s high resolution options. The 5D Mark IV splits the difference in terms of resolution and is positioned as Canon’s all-rounder. For those on a budget, the compact EOS 6D soldiers on, four years after its introduction.

    So how does the 5D Mark IV stack up against its closest sibling and predecessor? Take a look for yourself:

      Canon EOS 5D IV
    Canon EOS 5D III
    Canon EOS 5DS
    MSRP $ 3499 $ 3499 $ 3699
    Sensor 30.4MP 22.3MP 50.6MP
    ISO range
    (expanded)
    100 – 32000
    (expandable 50-102400)
    100 – 25600
    (expandable 50-102400)
    100 – 6400
    (expandable 50-12800)
    AF points 61 (41 cross-type)
    over expanded region
    61 (41 cross-type) 61 (41 cross-type)

    Live view/video AF ‘Dual Pixel’ phase detection Contrast detection Contrast detection
    RGB metering sensor resolution 150k pixels 63-zone dual-layer 150k pixels
    LCD 3.2″ 1.62M-dot touchscreen 3.2″ 1.04M-dot 3.2″ 1.04M-dot
    Burst rate 7 fps 6 fps 5 fps

    Video DCI 4K/30/24p 1080/30p 1080/30p
    Headphone socket Yes Yes No
    Card format 1x Compact Flash
    1x SD

    1x Compact Flash
    1x SD

    1x Compact Flash
    1x SD
    Built-in Wi-Fi/NFC Yes No No
     GPS Yes No No

    Obviously if you need the resolution, the Canon EOS 5DS is the more sensible choice. But in just about every other regard, the Canon EOS 5D Mark IV is the far more versatile camera and a worthy upgrade from the 5D Mark III.

    Pricing and availability

    The Canon EOS 5D Mark IV ships this September and will cost $ 3499 body only, $ 4399 with the 24-70mm F4L IS USM lens and $ 4599 with the 24-105mm F4L IS II USM lens.

    Articles: Digital Photography Review (dpreview.com)

  • World’s First Art Exhibition for Dogs Features Fountains, Fans & Cars

    [ By WebUrbanist in Art & Installation & Sound. ]

    dog gallery wall art

    British inventor, artist and satirist Dominic Wilcox is at it again, this time with a contemporary art exhibition aimed at canine attendees with a range of interactive installations purpose-built for pups.

    Play More in London has an array of dog-oriented artworks set low on the gallery walls as well as other more directly experiential displays.

    dog car dispaly

    Cruising Canines, for instance, includes a cardboard car with cut-out windows and a fan to simulate a brisk drive through the English countryside.

    dog giant bowl

    Dinnertime Dream consists of a giant dog bowl that serves as a ball pit, the balls looking like extra-large pieces of dried dog food.

    dog bowl side

    A series of normal-sized doggy bowls operate as fountains, shooting water between them that can be used for bathing or drinking by so-inclined canines.

    dog painting colors

    “Contemporary art has long been an important source of inspiration and fascination for humans,” says Wilcox, “but never before has it been created with a view to drawing the same kind of emotions out of animals instead.”

    dogs with art

    Complimenting the interactive elements are a series of original paintings and multimedia displays by artists Nick White, Clare Mallison, Joanne Hummel-Newell, Robert Nicol and Michelle Thompson. While amusing for human companions as well, these works were tailored to be visible to dogs in terms of their colors and shades. The exhibition and its contents were all crafted in consultation with dog experts and veterinarians. It really is, as they say, for the dogs.

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    [ By WebUrbanist in Art & Installation & Sound. ]

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  • Tips for Photographing Your Child and Their First Moments

    Seeing your little one begin to explore their world with their first solid food, crawl on the floor, or enjoy independent playtime is an amazing experience. But, photographing your child and capturing those moments to cherish forever is even more enjoyable!

    While you may not always capture the exact the moment a “first” happens, as little ones can be full of surprises, these tips will help you to capture beautiful storytelling images of those moments to look back on for years to come.

    Katenesi com 01

    1. Be prepared

    Anticipation of key moments in your child’s life will come naturally as they grow. An important piece of capturing those first moments is being prepared at all times, with a camera nearby. As they say, the best camera is the one you have with you. It doesn’t matter what camera you use, but having it on hand will be paramount to capturing those fleeting firsts.

    Oftentimes, I keep my DSLR in my living room, on the mantel, where it’s easily accessible in a moment of activity or at feeding times. It is in the On position ,with ISO settings at the lowest, and the aperture at f/2.8 for a nice shallow depth of field, and one that works with the natural lighting in my living and dining rooms. In addition, my mobile device is always ready in my purse hanging in the living room, or generally nearby in any room I walk into as well.

    child-photography-firsts-08

    When something new happens, you can quickly grab your camera and capture the moment!

    2. Get on their level

    As adults, we often forget what it is like to live so low to the ground. You might find yourself capturing your child’s firsts from the high perspective of standing upright, or from above.

    Katenesi com 10

    While this isn’t a bad perspective, over time your little one will become aware of your paparazzi-like actions and shy away. Try to get down low while playing, with your camera nearby, and capture the moment from their perspective. Often, they are unaware you are photographing them if you’re on their level, as it doesn’t appear as obvious from a distance than when you might be hovering above.

    Katenesi com 06

    3. Find your light

    If you are planning to take a few photos of your child when you know they might be headed into a first moment, or have done it maybe once before, scope out the scene. Where is the best light coming from? What time of day is best in that room or that location?

    Katenesi com 05

    You may want to position a toy, or your child, in a certain way to capture the moment with a better angle of light hitting their face for a smile, or backlight them for more of a story. Practicing often before those first moments, in your home with a camera and light angles, helps you to define the best locations and lighting, as well as camera settings to be prepared.

    Katenesi com 02

    4. Try new locations

    Firsts come in all shapes and sizes, as well as for years beyond the first 12 months of life. While most firsts just appear without planning, there are many moments you can create, and prepare for ahead of time.

    Katenesi com 09

    Eating their first solid food is one you can set-up and plan in advance, as well as capturing their reaction to the first time touching the beautiful plush grass.

    Katenesi com 07

    Plan to go to a new location and practice your photo, before you bring your child into the setting. Go to the beach at the best time for lighting, or for your child’s energy level, and prepare to photograph the first moment they set foot or fingers in the sand.

    Katenesi com 04

    5. Tell their story

    You know your children the best. You have spent countless hours with them, at all times of the day and night, and can read their responses and personalities the best. As a new parent, you have those gut feelings when something new is about to happen.

    Katenesi com 03

    When you’re photographing those moments, take time to tell their story. That is the story you’ll want to remember. Their favorite toy, their first moment peeking out the window, or touching the sand or grass. Keep in mind your child’s story, and how you want to tell that story with your images.

    In the end, firsts will come and go, but you’ll always have these beautiful storytelling images to share with them as they grow. Being prepared, change your position, lighting, or locations, and remember who your child is at heart, is the key to capturing those amazing moments in your heart and through your lens.

    Share your child’s first moments in the comments below. We’d love to see them.

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    The post Tips for Photographing Your Child and Their First Moments by Kate Nesi appeared first on Digital Photography School.


    Digital Photography School

  • World’s First Floating Underwater Tunnels to Span Fjords in Norway

    [ By WebUrbanist in Architecture & Cities & Urbanism. ]

    subsurface bridge

    Norway is working to create the world’s first “submerged floating bridges,” suspended from surface pontoons and engineered to span its vast network of wide and deep fjords. A system of truss-framed tubes hung 100 feet below the surface will be wide enough for two traffic lanes. They will also be easier, faster and cheaper to construct than underground tunnels or over-water bridges, at least in the complex sites for which they are being planned.

    underwater bridge norway

    Norway already has over a 1,000 traffic tunnels (including a few dozen subsurface ones), but anchoring these to the ground in deep fjords is impractical. Also, long spans mean more complex engineering (and higher costs) for surface bridges. The nation currently relies heavily on a system of less-efficient ferry routes that can be unpredictable and impacted by weather.

    floating bridge seattle

    Floating bridges on the surfaces of water bodies are common in places like Seattle, where a combination of length and depth makes traditional bridges more difficult and less cost-effective. Essentially, underwater tunnel bridges would work the same way, except the pontoon supports will reside above rather than below the roadways.

    nautical underwater first bridge

    Underwater bridges also have advantages for nautical traffic, allowing ships to pass over them and between surface buoys. Normal bridges (unless they can be raised and lowered) create long-term height caps for the kinds of sea vessels that can pass below them.

    So far, the country has committed $ 25 billion to pursuing this project, stating with an analysis of wind and waves to determine how best to stabilize this new type of subsurface bridge. Initial plans call for a first tunnel to span the 4,300-feet deep, 3,300-feet wide Sognefjord.

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    [ By WebUrbanist in Architecture & Cities & Urbanism. ]

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  • Nikon releases first AF-S Nikkor 105mm F1.4 E ED samples

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    Nikon has released some of the first sample images from its newly announced AF-S Nikkor 105mm F1.4E ED. The samples are unfortunately somewhat low in resolution, and we always take officially sanctioned manufacturer sample images with a grain of salt, but we have to say we’re impressed with what we’re seeing. When it ships in August, the 105mm F1.4 will be one of the fastest autofocus primes of its kind on the market. 

    Articles: Digital Photography Review (dpreview.com)

  • First impressions review: Lenovo Moto Z Force shows promise

    The Moto Z Force is Lenovo’s brand new, top-of-the-line smartphone. Currently exclusive to the Verizon network in the US as the Moto Z Force Droid Edition, we expect an international launch of the device in the near future. 

    The device packs a 21MP image sensor with a 1.12 µm pixel size, an F1.8 aperture, on-sensor phase detection, laser-assisted AF and an optical image stabilization system into its camera module. The camera app offers full manual control and the Moto Z Force can save DNG Raw files with third party apps, such as Manual Camera.

    The metal and glass body is just under 7mm thin and comes with a shatterproof 5.5″ Quad-HD AMOLED display and a beefy 3,500 mAh battery. The Android 6.0.1 Marshmallow OS is powered by a Qualcomm Snapdragon 820 chipset and 4GB of RAM. Mobile photographers will also appreciate the microSD-slot for easy storage expansion. 

    In addition, Moto Z Force users can select from several Moto Mods accessory modules which connect to the back of the device magnetically and via 16 connection points. So far there are the InstaShare projector, a JBL Soundboost 6 Watt speaker and a 2220 mAh battery pack. The Moto team has promised more Moto Mods for the future and according to rumors, one of them could be a camera grip. For now we’ll have to make do without the latter, but that hasn’t stopped us from shooting with the brand new Moto device. Read on for our first impressions. 


    Image Quality

    In bright light conditions the Moto’s 21MP sensor resolves a good deal of detail. Under close inspection some smearing of fine detail and textures is noticeable, but on the other hand luminance noise is very well controlled. During our brief testing, exposure was reliable but in very bright scenes, such as the one below, the image processing’s strong contrast can results in some clipped highlights. That said, overall the Moto Z Force does well in these conditions.

     ISO 50, 1/760 sec

    Color tends to be quite saturated, but neutral and without any notable casts. This includes bright red tones which many smartphone cameras struggle with, especially under strong illumination.

     ISO 50, 1/452 sec

    At higher ISOs the camera finds a good compromise between noise reduction and detail retention. The ISO 320 shot below was captured in a fairly well-lit interior space and shows very good edge detail. 

     ISO 320, 1/33 sec

    The ISO 500 shot below shows some more luminance noise in the mid-tone areas of the frame but the noise pattern has a fairly fine grain and is not too intrusive. Chroma noise is well under control and the image still shows a very good amount of fine textures and detail.

     ISO 500, 1/25 sec

    The Moto Z Force maintains good exposure and color down to very low light levels. The challenging lighting conditions in the shot below lead to some channel clipping in the illuminated stage area, but overall the scene is captured very nicely. The slow shutter speed of 1/10sec results in some blur on moving subjects but the optical image stabilization does a very good job at counteracting camera shake. 

     ISO 1250, 1/10 sec

    Special modes

    The Moto Z Force comes with Motorola’s usual HDR mode which does an efficient job of protecting the highlights in high-contrast scenes, such as the one below. Using the standard auto exposure mode, some clipping occurs on the light colored elements in the frame. Using HDR mode, image clipping is noticeably reduced. Shadows are lifted very slightly but overall the image still looks pleasantly natural.

     ISO 50, 1/1468 sec, standard exposure
     HDR exposure

    Night mode is not a new feature for Moto devices but the latest incarnation works in a slightly different way than before. In low light scenes the camera automatically triggers multi-frame capture which produces clean images but struggles with moving subjects, which often show pronounced motion blur. On the new device, night mode now saves a standard exposure in addition to the night mode image, allowing the user to pick the version which best suits their purposes.

    The sample images below both report ISO 1000 and a shutter speed of 1/10sec in the EXIF data. However, as you can see at close-up view they look very different. The multi-frame night mode image on the left is cleaner but shows motion blur, even on slow-moving subjects. The accompanying standard exposure shows better edge definition on moving subjects but noticeably higher levels of luminance noise. 

    Night mode Standard exposure
    100% crop 100% crop

    In video mode the Moto Z Force is capable of recording both 1080p Full HD and 4K footage. The combination of digital and optical stabilization keeps things steady and allows for smooth panning. The 1080p video below shows similar tonal characteristics to the still images and decent detail but very occasionally we found the lens refocusing for no obvious reason.

    The 4K video mode offers noticeably better detail for those who need it. It also allows users to grab 8MP video stills for those occasions when the full 21MP still resolution is not needed.

    First impressions 

    With its solid build, large high-resolution screen and metal frame the Moto Z Force looks and feels like a premium device. The Snapdragon 820 chipset under the hood ensures the performance of the Android operating system matches the device’s high-end exterior and the 3,500 mAh battery lets you shoot, edit and share images for a long time away from a power outlet.

    The camera module’s 21MP captures a good level of detail and offers plenty of scope for cropping. There are the usual signs of smearing of fine textures at base ISO, but in low light the camera finds a good balance between noise reduction and detail retention. In addition, night mode lets you pick between a clean multi-frame image that works best for static scenes, and a standard exposure that shows more noise but is capable of freezing at least some motion. 

    Colors are mostly quite saturated and contrast is strong which can lead to some highlight-clipping in high-contrast scenes. However, HDR mode does a very efficient job of protecting highlight detail, and in addition the Moto Z Force allows for the capture of DNG Raw files with third party camera apps, such as Manual Camera. This allows you to apply your very own mix of contrast, saturation, noise reduction and other image parameters in post processing. Add the camera app’s full manual control into the mix, plus the potential of a camera-grip add-on module in the nearer future, and the Moto Z Force is one of the year’s most interesting mobile photography products thus far.

    Articles: Digital Photography Review (dpreview.com)

  • Phase One introduces first Schneider Kreuznach ‘Blue Ring’ zooms

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    Phase One has announced two Schneider Kreuznach ‘Blue Ring’ lenses designed with the XF system in mind, the first zooms in the series. The Schneider Kreuznach 40-80mm LS F4.0-5.6 and the Schneider Kreuznach 75-150mm LS F4.0-5.6 are optimized for the company’s full frame (53.7 x 40.4mm) medium-format system.

    The new Blue Ring lenses join the recently announced Schneider Kreuznach 110mm LS F2.8 and 240mm LS F4.5. Both feature the ability to sync flash at shutter speeds up to 1/1600sec and built-in electronics that allow autofocus to be individually calibrated. Phase One claims this series of lenses is built to its highest quality assurance standards

    Phase One Announces First Schneider Kreuznach Blue Ring Zoom Lenses

    Prime Lens Quality Featuring Full Frame Sensor Coverage, Improved Precision, and Advanced Electronics

    COPENHAGEN, July 18, 2016 – Phase One, creator of the world’s finest open-platform high-end camera systems and professional imaging software, today added two new Schneider Kreuznach lenses to its comprehensive family of lenses. These two Blue Ring zoom lenses feature impressive front glass elements, with front lens diameters of 63mm and 65mm respectively, delivering edge-to-edge coverage of full frame 645 format. Used on a Phase One XF 100MP system, the lenses are able to take full advantage of the sensor’s resolution; a 100MP capture renders a 100MP image with breathtaking fidelity.

    — The Schneider Kreuznach 40-80mm LS f/4.0-5.6 Zoom lens renders ultra sharp resolution on all zoom distances from wide to normal focal length;

    — The Schneider Kreuznach 75-150mm LS f/4.0-5.6 Zoom lens delivers great versatility. It’s preferred for on-location fashion shoots, with a range from normal to telephoto.

    Together, these two lenses comprise an effective zoom range from 40mm to 150mm. Each lens is equipped with a zoom lock function on its barrel and is designed to maintain focus position while zooming. They each support flash synchronization up to 1/1600s. The new built-in electronics permit individual focus calibration when used with the Phase One XF Camera System.

    “Creating optics this large with such tight tolerances is quite an achievement, “said Espen Beck, Phase One Senior Product Manager. “A Phase One full frame 100MP medium format sensor is 1.5 times larger than the cropped size 50MP medium format and 2.5 times larger than sensors found in high-end 35mm DSLRs. Capturing the full resolution of a square sensor this size with a round lens and avoiding crop means that the entire lens must be larger, which requires larger movements of individual lens elements while meeting the requisite standards for speed and precision.

    “Schneider Kreuznach lenses are designed to deliver the ultimate analogue input to be shaped and refined with the Phase One XF 100MP Camera System and Capture One software. This design also benefits the Phase One XF 50MP system, which can exploit the ‘sweet spot’ of the lens, producing impeccable results.”

    Designed by Schneider Kreuznach and produced by Phase One Japan, Schneider Kreuznach “Blue Ring” zoom lenses are refined with robust, aerial-grade mechanics and manufactured to meet Phase One’s highest quality assurance standards. Their enhanced precision, mechanical build, and look and feel complement the Phase One XF Camera System design.

    For more information, including specifications for the two new “Blue Ring” lenses, please go to: https://www.phaseone.com/en/Products/Camera-Systems/Lenses

    There will be a hands-on Webinar demonstration of the lenses on Tuesday, July 19.

    For more information, times and to register, please go to:

    https://attendee.gotowebinar.com/rt/2633991530877302018

    Availability and Pricing

    The two new Blue Ring Zoom lenses are available to order now. They are compatible with the Phase One XF, Phase One 645DF+ and Mamiya 645DF+ or DF camera systems.

    The Schneider Kreuznach 75-150mm LS f/4.0–5.6 Zoom is shipping now. Manufacturer suggested retail price: 5.490 EUR / 5,990 USD

    The Schneider Kreuznach 40-80mmLS f/4.0–5.6 Zoom is expected to ship by August 1, 2016. Manufacturer suggested retail price: 7.990 EUR / 8,990 USD

    Phase One Camera Systems and all accessories are available through Phase One photography partners worldwide: www.phaseone.com/partners.

    For a demo of a Phase One Camera System, please sign up here: www.phaseone.com/demo

    About Phase One

    Phase One A/S is the world-leading provider of medium format digital photography systems and imaging solutions for professional photographers and industrial applications. Established in the early 1990s, Phase One is a true digital photography pioneer with a passionate commitment to image quality excellence and creative freedom. Phase One’s engineering and design expertise has produced imaging breakthroughs from high- resolution camera systems to advanced software for better photographic workflows and raw file editing. Phase One’s understanding and ability to optimize hardware and software integration underscores their award winning Capture One Pro software – widely preferred by professional photographers.

    Phase One’s industrial division focuses on imaging accuracy for industrial applications ranging from aerial image acquisition to cultural heritage preservation – from mapping the globe, to protecting priceless works of art and documents.

    Today, with control over all aspects of the medium format camera system supply chain, Phase One is uniquely positioned to help photographers and imaging experts everywhere stand out above the competition and realize their creative visions without compromise.

    Based in Copenhagen Denmark and embracing the high demand of Scandinavian design excellence, Phase One is dedicated to delivering the best image quality and user experience. With offices in New York, London, Tokyo, Cologne, Hong Kong, Shanghai and Tel Aviv, and with its expert teams of global partners, Phase One is committed to serving and supporting its customers worldwide.

    Phase One and Capture One are registered trademarks of Phase One A/S. All other brand or product names are trademarks or registered trademarks of their respective holders.

    Learn more here:

    Phase One at: http://www.phaseone.com

    Twitter at: http://www.twitter/PhaseOnePhoto

    Facebook at: http://www.facebook.com/pages/PhaseOnePhoto

    Google+ at: http://plus.google.com/+phaseone/posts

    LinkedIn at: http://www.linkedin.com/company/16665

    Articles: Digital Photography Review (dpreview.com)