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Posts Tagged ‘Focus’

Moment launches camera app with focus on manual control

10 Jul

Moment, the makers of high-end accessory lenses for smartphones, have announced the newly revamped Moment camera app for iPhone and Android. According to Moment the app “provides full manual control and a DSLR shooting experience” and it looks like the programmers have tried their best to turn the marketing promises into reality. A basic version of the app has been available for a couple of years on iOS, but this launch marks a major redesign with manual controls added, as well as support for Android users for the first time.

The app offers full manual control over exposure, ISO, shutter speed, focus, and white balance via on-screen sliders. You can double-tap the screen to separate focus and exposure and on the iPhone version there is even a dual-stage shutter with half and full press, thanks to Apple’s 3D Touch technology.

Photographers can shoot in Raw mode and select from HEIF, HEVC, TIFF, and JPEG image formats. In video mode you can change framerate and video modes from the main screen, without a need to dive into the menu.

If you own a smartphone with dual-camera, the Moment app allows you to manually control which camera module you want to shoot with. This feature is especially useful when using Moment or other accessory lenses. Other features include a Live Histogram and Auto Video Stabilization.

The app is free to download and try but you’ll have to invest $ 2.99 for the iOS version and $ 1.99 for the Android version to get access to the complete feature set.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram ‘Focus’ mode brings fake bokeh to single-camera smartphones

11 Apr

Instagram has released version 39 of its iOS and Android mobile apps, and the update brings with it a background-blurring portrait mode similar to the “Portrait”, “Depth” and “Bokeh” modes we have seen on most recent high-end smartphones… with one major twist.

While the baked-in bokeh modes on most smartphones use the slightly offset lenses of a dual-camera setup, or other partly hardware-based methods to create the effect, Instagram’s version appears to solely rely on face detection. That means you shouldn’t expect perfect subject/background isolation and super-smooth blur transitions, but it also means single-camera phones can take advantage of the feature.

Focus mode is available in the Stories camera UI, right next to “Superzoom”. It works with both front and rear cameras, automatically blurring the background when one or more faces are detected. Focus mode works on the Apple iPhones SE as well as the 6S, 7 and 8 generations and the iPhone X. It is also available on “select Android devices”, which appears to include most current high-end Androids.

In short: Focus mode looks like a nice addition to the Instagram feature set, but if your smartphone offers a native portrait mode you’re probably better off using that and inserting the image into Instagram via the gallery or camera roll. To find out more about Focus, head over to the Instagram Press blog or update the app and give the feature a try for yourself.

Articles: Digital Photography Review (dpreview.com)

 
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Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

22 Mar

Color is all around us. As beautiful as black and white can be, color gives us variety and sometimes, unpredictability. But funnily enough, it’s also easy to take it for granted.

Over time, I’ve come up with a few exercises to keep color at the forefront of my mind. One of these exercises is to focus on photographing a different color each day. It’s great for keeping your photography fresh and training your eyes to look out for new photographic opportunities.

Getting started

Color may make up the majority of our world, but photographing it might not be as easy as you think. Sometimes the abundance of color can be overwhelming, and sometimes it’s hard to find the color you’re looking for at all! Before taking up the challenge, grab a pen and paper. Write down a heading for each color and list as many different things you can think of under each. Sometimes it’s even worth Googling specific color schemes, just to give you some ideas of what to look for.

Next, designate a day for each color you would like to photograph. And it doesn’t have to be the generic gamut of colors either. Why not try looking out for a more pastel pallet? Soft pinks, greys, and blues make wonderful, atmospheric photographs. More earthy colors like oranges, browns and dark greens are great colors to keep a look out for in Autumn.

Look for bold colors…

Humans have evolved to seek out bold coloration. Deep, saturated colors catch the eye and pull the viewer in for a closer look. A bold color scheme emphasizes texture and shape, especially within a limited color pallete.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

Deep, saturated colors catch the eye and pull the viewer in for a closer look.

And a softer color pallete…

Color photography doesn’t always have to be about a bold color scheme. Subtle or almost monochrome color schemes emphasize detail and lend a softer atmosphere to a photograph.

Pastel photographs are best taken during cloudy or low-light days to minimize shadows for a more even-toned image.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

Softer pastels like pink and purple can add color without overpowering the image.

Why not both?

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

The foreground of this image is made up of bold, contrasting colors while the background is predominantly made up of a soft pink pallet. The bold and soft colors emphasize each other and create a more dynamic image. The negative space around the top half of the image is important too, it maintains balance, making sure the full extent of the color palette isn’t too overwhelming.

The opportunity to combine both soft and bold colors doesn’t happen frequently, but you’ll know when it does. Combining the two color schemes creates a dynamic image where bolder and softer colors reinforce each other and bring the image together.

Using movement

Color can accentuate camera movement, and movement can accentuate color. It’s a well-loved dichotomy that is great for abstracted imagery.

Try taking photographs out a moving car window or bus. A slow shutter speed in the late afternoon will allow enough light to create a softness of color.

This image was taken with a slow shutter speed while traveling through the outback. The afternoon light mingles with the light of traveling cars to make a soft, atmospheric abstracted photograph.

Detail

Colour has the power to illuminate detail, adding to the depth of a photograph overall. In a good image, color is the cherry on top – the final pop of color to resolve your photograph.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

The subtle yellow road sign and red symbols add detail to an image and invite the viewer in for a closer look.

Look for color in unusual spots

Like I mentioned before, finding your selected color of the day may prove surprisingly tricky. Focusing on red one day will take you on a completely different journey than if you were looking for blue subjects.

Try looking in less frequented locations for unusual colors and patterns. Or take a drive and explore a new location altogether. Changing your perspective or focusing on compositional techniques like leading lines and texture can help get those creative juices flowing.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

A red pallete for Monday. Trying to look for unusual perspectives often yields unexpected results, revealing your color of the day in new and interesting ways.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

Wednesday’s color pallete, green and blue tiles adorn an urban walkway.

Conclusion

While color is all around us, it’s easy to take for granted. Simple exercises like focusing on photographing a particular color each day help keep your practice fresh and unique.

Keep your eyes peeled and don’t be afraid to explore, color often reveals itself in unexpected and fascinating ways!

The post Focus on Photographing a Different Color Each Day to Practice the Art of Seeing by Megan Kennedy appeared first on Digital Photography School.


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Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

16 Mar

There’s no feeling quite like the dread that sets in when you are reviewing your photos from the day and you notice that some of those stellar images you snapped are soft and out of focus. For photographers who like to shoot with a wide aperture, sometimes hitting your focus is like walking on a tightrope – and missing by just a tiny little bit can seriously ruin your day.

An image showing accurate focus with a wide aperture - Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

The watch is the focal point of this shot, and some careful technique helped ensure that it stayed tack sharp.

Editing can do a lot to save a picture; you can make areas of it brighter or darker, you can modify colors and add your own distinctive style – but there’s no way to completely fix a shot where the focus simply missed.

Fortunately, when shooting in controlled situations, there’s a useful trick for making sure each and every shot is in razor-sharp focus.

Why are some of my shots out of focus?

In a perfect world, cameras would adjust correctly to the lighting and dynamics of every shot and deliver focus with pinpoint precision. Unfortunately, reality gets in the way.

There are a few reasons why your shots sometimes come out a bit soft, meaning that the camera has decided to focus a bit too far in front or behind the target you were actually aiming for.

Lack of contrast

Cameras determine focus based on contrast. When you try to focus on an object that doesn’t have much contrast, say a smooth white wall, for example, there isn’t contrast for the camera to lock onto. Sometimes the camera will hunt for a focus point, shifting back and forth for a few seconds, and then give up. Sometimes the camera focus will latch onto a different part of the picture, putting your true subject out of focus.

An image of a Christmas Tree ornament where the autofocus grabbed onto the wrong spot in the image - Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

This shot was supposed to be focused on the red ornament, but finer details in the background and the flicker of lights grabbed the attention of the camera’s autofocus instead.

An image of a Christmas tree ornament with accurate focus - Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

After flipping over to manual focus and choosing the focus point more deliberately, the final shot looks a whole lot better!

This can also be a problem in low light conditions. Once again, the camera doesn’t have any strong contrasts to grab onto and can miss its target.

Bad focus caused by user error

As much as we hate to admit it, user error can cause some missed focus problems too. If you lock your focus on a target, then either move the camera or wait too long and allow the target to move significantly from where it once was, the resulting shot isn’t going to be razor-sharp.

Another common problem for shooters using autofocus is when the focus locks on an unintended part of the image, leaving the main subject blurry. One good way to counter this is to choose a more specific focus mode, such as single point focus.

A chess board image with accurate focus managed using Live View - Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

The focus of this shot is tight on the King, emphasizing the piece’s importance in the game.

A chess board image with missed focus - Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

Here the autofocus grabbed a different part of the frame, leaving this picture without a clear subject or purpose.

Slow shutter speed

Some blur that looks like missed focus could also be the result of using a shutter speed that is too slow. The resulting movement in the camera from pressing down the shutter button can blur out the fine details in your shot.

If your shot isn’t turning out right, take time to consider whether it might be because of one of these common problems before you throw your camera at the wall in frustration.

So how can Live View help me with focus?

Live View is a mode where you can see through your lens using the LCD screen on the back of your camera. It can be used to pinpoint your focus in situations when your subject isn’t moving and your camera is on a tripod.

The advantage of using the camera’s LCD screen is that you get a 100% accurate look at how the picture is going to turn out once you press the shutter button.

Using Live View on a camera for accurate focus - Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

The camera is set up in Live View mode, ready for precision focusing.

Live view set to magnify the image five times

In Live View mode, you can focus up to 5 times magnification.

Live view set to magnify the image ten times - Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

Some cameras can even zoom to 10 times magnification, helping guarantee that the focus is precise, even at f/1.8.

This technique is mostly useful at wider apertures when your camera’s autofocus may miss its target, even with using single point focus. When shooting at a wide aperture of f/4 or lower, the margin for error is very slim. With an extremely narrow depth of field, missing your focus by even a couple of centimeters could make those crucial details in your shot looks soft.

If you are taking a landscape photograph and are using a narrow aperture (such as f/16) to keep as much detail in focus, there is a lot more room for error.

What about using the single point focus mode?

For precision focusing, the single point focus mode goes a long way.

This is a mode where you can choose just one point for the camera to automatically focus with, rather than allowing the camera to consider the entire scene.

A good opportunity for using single point focus - Focus Challenges and How Live View Can Help You Get Razor-Sharp Images

Single point mode was a good choice here in order to make sure the focus was accurate on the orange insect.

When you need to nail a tough shot on a moving subject, single point focus is definitely the way to go. For stationary subjects, however, shooting in manual focus mode and using Live View to ensure your focus is tack sharp removes any potential for trouble. Even single point focus can have issues with accuracy in dark or low contrast situations.

Read more here: 6 Ways to Use Live View to Get Sharper Image and here 4 Tips for Using for Live View to Get Sharper and More Creative Images.

Less misses, more keepers

Discovering what subjects you like to photograph and chasing unique moments with a camera is a thrill. And practicing your focusing technique and using tricks like Live View focusing can help you make sure you come home with more and more keepers after every shoot!

The post Focus Challenges and How Live View Can Help You Get Razor-Sharp Images by Frank Myrland appeared first on Digital Photography School.


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Fujifilm GFX 50S firmware update adds Focus Bracketing and 35mm Format Mode

14 Mar

Earlier today, Fujifilm released firmware version 3.0 for its GFX 50S medium-format camera. And with the update come two new features: Focus Bracketing and 35mm Format Mode.

Focus Bracketing enables focus distance bracketing for up to 999 frames, shifting the focal location with each shutter activation at a scale from 1 to 10. The new 35mm Format Mode, meanwhile, results in the camera using the central 36 x 24mm portion of the sensor, producing 30.5MP Raw and JPEG images.

“When using 35mm format adapters,” the company explains in its changelog, “it will be easier to adjust the image size to 35mm format image circle lenses by changing the setting.”

The GFX 50S v3.0 firmware update can be downloaded now from Fujifilm’s website. Additionally, Fujifilm has also released a compatibility update for the H Mount Adapter G accessory.

Update Notes

GFX 50S Camera Body Firmware Update Ver.3.00

Addition of “Focus Bracketing”

The update will enable the photographer to shoot focus distance bracketing up to 999 frames. When the photographer start shooting, the focal location is shifted with each activation of the shutter by the step of focus shift set from 1 to 10.

Addition of “35mm Format Mode”

The update will enable the photographer to shoot central 36.0mm x 24.0mm (30.5M) cropped images as both JPEG and RAW files. When using 35mm format adapters, it will be easier to adjust the image size to 35mm format image circle lenses by changing the setting.

H MOUNT ADAPTER G” new firmware

The firmware update will expand the compatibility for the “H MOUNT ADAPTER G” accessory. Regarding the compatibility of lenses and accessories with H MOUNT ADAPTER G, refer to this URL.

Articles: Digital Photography Review (dpreview.com)

 
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Panono has new CEO, puts focus on software solutions

16 Feb

Professional360 GmbH, the recently re-named company behind the Panono 360-degree camera and software solutions, has a new CEO. Thomas Escher has previously held a number of top-level management positions in media houses such as Axel Springer and ProSiebenSat.1 Media, and managed the French foreign business of the online toy retailer MyToys, among other roles.

“In Thomas Escher we have found a CEO with expertise both in media and entertainment and in classical e-commerce,” said a spokesperson of Bryanston Group AG, the company who has acquired the assets of Panono and has been running its business operations since July 2017.

With the new CEO at its helm, the company is adjusting its strategy, reducing the focus on hardware and towards customized 350-degree software solutions, with real-estate and construction two key target sectors. Escher explains:

108 megapixels make our camera the highest resolution 360 degree one-shot camera in the market. We will strive to uphold and extend this technological leadership in the future. However, today this is no longer enough: especially among professional users, there’s a growing demand for individual software, cloud and web applications. They desire a first-class virtual presence both for web and mobile applications, as well as the most innovative content solutions.

“At the moment, real estate is still very traditional in its structures and processes, but with digitization moving forward, there are dramatic changes ahead in the next years,” continues Escher. “For one of our customers, we have developed a tool to create virtual tours out of our 360 degree images and to link them to a floor plan. This way, complete houses can be viewed online. Our customers can offer their clients viewings that are independent as to both time and place.”

This is only the latest chapter in Panono’s brief but turbulent history, and a stark move away from the more traditional, consumer focused 360° camera industry Panono started in. We had several occasions to have a closer look and test the Panono camera and were impressed by the technology. Hopefully the new CEO and strategy can help get the company back on track, and push 360-degree imaging technology further.

Press Release

MORE THAN JUST A CAMERA: NEW PANONO CEO TO TRANSFORM THE OPERATIONS

– Thomas Escher new CEO of Panono
– New focus on software solutions and services for 360 degree photos
– Strong customer focus

Berlin, 15 February 2018 – In February 2018, Thomas Escher (36) joined Professional360 GmbH as the new CEO. Under the brand name Panono the company offers professional 360 degree photo solutions for businesses and professional users, including its own award-winning camera hardware and customized software, cloud solutions and web integration.

“In Thomas Escher we have found a CEO with expertise both in media and entertainment and in classical e-commerce,” said a spokesperson of Bryanston Group AG, the company who has acquired the assets of Panono and has been running its business operations since July 2017. Escher has held a number of top-level management positions in media houses such as Axel Springer and ProSiebenSat.1 Media, and, among others, managed the French foreign business of the online toy retailer MyToys. As the Chief Marketing Officer (CMO) of the Allianz affiliate InstaMotion, an online dealer for second-hand cars, he
was responsible for marketing and sales activities.

From “technology first” to “customer first”

Panono aims to continue the expansion of 360 degree solutions. “108 megapixels make our camera the highest resolution 360 degree one-shot camera in the market. We will strive to uphold and extend this technological leadership in the future. However today this is no longer enough: especially among professional users, there’s a growing demand for individual software, cloud and web applications. They desire a first-class virtual presence both for web and mobile applications, as well as the most innovative content solutions”, explained Escher. “With this in mind we will further develop our platform, software
features and services, both independently and via sector-specific strategic partnerships. We have already implemented some exciting features, and there are more on the horizon.”

Focus on real estate and construction

Panono has been giving special attention to the real estate sector. “At the moment, real estate is still very traditional) in its structures and processes, but with digitization moving forward, there are dramatic changes ahead in the next years,” said Thomas Escher. “For one of our customers, we have developed a tool to create virtual tours out of our 360 degree images and to link them to a floor plan. This way, complete houses can be viewed online. Our customers can offer their clients viewings that are independent as to both time and place.” According to Escher, Panono also offers interesting possibilities
for construction and maintenance companies, for example when it comes to the documentation of building conditions and work progress.

Articles: Digital Photography Review (dpreview.com)

 
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Leica unveils Noctilux-M 75mm F1.25 ASPH lens with ‘hair-thin depth of focus’

29 Nov

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Leica unveiled a new low-light monster of a lens today, adding to the ‘Noctilux legacy’ with the Leica Noctilux-M 75mm F1.25 ASPH. According to Leica, the new lens boasts ‘impeccable speed’ and ‘exceptional imaging performance’ as well as “hair-thin depth of focus [that] isolates subjects with extreme precision.”

This is the fourth Noctilux lens ever created and only the second released this century, this lens follows in the footsteps of the Noctilux-M 50mm F0.95 ASPH released in 2008. But while Leica is calling this the “co-founder of a new family of lenses,” the company is also quick to point out that the new Noctilux-M 75mm F1.25 boasts some advantages over its older brother:

The upgraded features of the Noctilux-M 75 mm f/1.25 ASPH. open up entirely new opportunities in portrait and close-up photography, including a shallower depth of focus than that of the Noctilux-M 50 mm f/0.95 APSH. and a close focusing distance of 0.85m, making for a reproduction ratio of 1:8.8 for even more precise isolation of subjects. Additionally, the eleven blades of its iris ensure a soft and harmonious bokeh in out-of-focus areas.

Inside, you’ll find six groups made up of nine lens elements that have been manufactured from glasses with “high anomalous partial dispersion and low chromatic dispersion.” Two of those elements are aspherical, and the lens uses a floating element with what Leica describes as a “complex focusing mechanism” (aren’t they all?) that promises high-quality performance all the way from minimum focus distance to infinity.

You can read more about the Noctilux-M 75mm F1.25 in the full press release and tech specs below, but if you like what you read, be ready to drop some serious cash. According to Leica, the lens will retail for $ 12,795 when it shows up at Leica stores, boutiques and dealers in the beginning of 2018.

Press Release

Leica Camera Pushes Photographic Boundaries With the New Leica Noctilux-M 75 mm f/1.25 ASPH Lens

True to the Noctilux legacy, the new lens boasts impeccable speed and exceptional imaging performance

November 29, 2017 – For more than 50 years, the name ‘Noctilux’ has been synonymous with exceptional speed and outstanding optical design. Today, Leica Camera announces the newest addition to their lens portfolio – the Leica Noctilux-M 75 mm f/1.25 ASPH. Coupled with exceptional imaging performance and unique bokeh, its hair-thin depth of focus isolates subjects with extreme precision, ideal for portraits with an unmistakable “Leica look”.

A legacy of excellence

The first lens of the Noctilux family, the Leica Noctilux 50 mm f/1.2, was announced at photokina in 1966. While the original lens innovated with revolutionary optical properties, ongoing developments led to the launch of two additional generations of the Noctilux in 1975 and 2008. The additional lenses were developed under the premise of further pushing the envelope for imaging performance, each with a faster aperture than its predecessor. All Noctilux-M lenses to this day are special for their rendering and aesthetic when shot wide-open, yielding a three-dimensional “pop” that separates its subjects from the background like no other lenses. The out-of-focus areas behind the subject is smooth and pleasing to the eye, giving a lovely soft background even in the darkest of lighting scenarios.

Together with the Leica Noctilux-M 50 mm f/0.95 ASPH., the Leica Noctilux-M 75 mm f/1.25 ASPH. is the co-founder of a new family of lenses. The two current members of this family are both distinguished by their extreme maximum aperture and exceptionally high performance at all apertures, even wide open, and lend themselves to the creation of timeless images marked by a distinctive and revered Leica aesthetic.

Superior imaging performance

The upgraded features of the Noctilux-M 75 mm f/1.25 ASPH. open up entirely new opportunities in portrait and close-up photography, including a shallower depth of focus than that of the Noctilux-M 50 mm f/0.95 APSH. and a close focusing distance of 0.85m, making for a reproduction ratio of 1:8.8 for even more precise isolation of subjects. Additionally, the eleven blades of its iris ensure a soft and harmonious bokeh in out-of-focus areas.

To guarantee this extraordinary imaging performance, the nine elements in six groups that make up its optical design are manufactured from glasses with high anomalous partial dispersion and low chromatic dispersion. Two of the elements are aspherical, and reduce other potential aberrations to a hardly detectable minimum. The use of a floating element within the complex focusing mechanism guarantees a constantly high level of imaging performance throughout the entire focusing range of the lens – from its minimum focus distance to infinity.

When shooting at maximum aperture, the exceptionally shallow depth of field of the Noctilux-M 75 mm f/1.25 APSH. can be easily focused in when an electronic viewfinder such as the Leica Visoflex. Additionally, the Leica M-Adapter L transforms the Noctilux-M into an excellent lens to use in conjunction with the Leica SL. When the lens is mounted on the Leica SL, the 4.4 megapixel resolution of the camera’s EyeRes® electronic viewfinder enables particularly comfortable and extremely precise focusing.

The Noctilux-M 75mm f/1.25 ASPH. features the convenience of an integrated lens hood, which can be extended or retracted in one simple twist. The lens is complemented by a tripod adapter for safe and secure mounting of the lens on a tripod.

The Leica Noctilux-M 75 mm f/1.25 ASPH will be available at Leica Stores, Boutiques and Dealers at the beginning of 2018.

Technical Data

Angle of view
(diagonal, horizontal, vertical)

For 35 mm format (24 x 36 mm):

~ 32°, 27°, 18°

For Leica M8 models (18 x 27 mm):

~ 24°, 20°, 14°, equivalent to FL of ~ 100 mm in 35 mm format1

Optical design

Number of elements/groups

Aspherical surfaces

Position of entrance pupil

(at infinity)

9/6

2

26.9 mm (in front of the bayonet)

Focusing

Working range

Scales

Smallest object field/

largest reproduction ratio

0.85 m to ?

Combined metre/feet graduation

For 35 mm format: ~ 212 x 318 mm / 1:8.8,
For Leica M8 models: ~ 159 x 238 mm / 1:8.8

Aperture

Settings/functions

Smallest aperture

With click stops, half-stop detents

16

Bayonet

Leica M quick-change bayonet with 6-bit bar coding for Leica M digital cameras2

Filter mount

Inner thread for E67 screw-mount filters, non-rotating

Lens hood

Integrated, with twist-out function

Viewfinder

Camera viewfinder3

Finish

Black anodised

Dimensions and weight

Length to bayonet flange

Largest diameter

Weight

~ 91 mm

~ 74 mm

~ 1055 g

Compatible cameras

All Leica M-Cameras3, 4, Leica SL-Cameras with Leica M-Adapter L

1 The nominal focal lengths of the Leica M-Lenses relate to 35 mm format, i.e. original image frame dimensions of 24 x 36 mm. However, with dimensions of 18 x 27 mm, the sensor of the Leica M8 models is a little smaller, by a factor of 0.75. For this reason, the angle of view of this lens when mounted on a Leica M8 model corresponds to that of a lens with a focal length that is longer by a factor of 1.33 (1.33 = reciprocal of 0.75).

2 The 6-bit coding on the lens bayonet (7) enables Leica M8 digital models to identify the lens type mounted on the camera. The cameras utilise this information for the optimisation of exposure parameters and image data.

3 With the exception of the Leica M3 and the former version of the Leica MP ( professional version of the M3), all Leica M-Cameras without a 75 mm bright line frame can be retrofitted with this frame by the Customer Care department of Leica Camera AG (it then appears in the viewfinder together with the frame for 50 mm lenses).

4 This is independent of the image frame format of the respective camera – whether 18 x 27 mm (sensor size) for the Leica M8 models or 24 x 36 mm for all other Leica M models.

Articles: Digital Photography Review (dpreview.com)

 
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Sony to shift focus as demand for automotive image sensors increases

26 Oct

Sony is the largest supplier or CMOS image sensors worldwide, with about half of its production capacity reserved for mobile device image sensors. However, according to a DigiTimes report, the company is now looking to expand its position in the market for automotive image sensors, where rivals On Semiconductor and OmniVision are currently the largest players.

As a consequence Sony is planning to allocate a larger portion of its sensor production capacity for advanced driver assistance systems (ADAS) and other automotive electronics applications.

Self-driving vehicles have been identified by sensor suppliers as a major growth area that will generate elevated demand for image sensors in the near future. According to DigiTimes sources, automotive is expected to overtake mobile devices as the leading application for CMOS sensors and will be first among all auto electronics segments, with major growth kicking in during 2018.

According to Digitimes, increasing demand for CMOS sensors through high-end smartphone and automotive applications could be bad news for consumers as the average unit price of CMOS sensors is expected to rise. The global market volume for CMOS sensors is forecast to increase to nearly US$ 13.8 billion in 2020, up from US$ 11.2 billion in 2017.

Articles: Digital Photography Review (dpreview.com)

 
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Latest “Shot on iPhone” commercial puts focus on iPhone video capabilities

08 Jun
After previously mostly concentrating on still imagery Apple’s latest iPhone commercial showcases the iPhones video mode by combining several clips that were shot by iPhone owners. There are nature scenes, including beaches, mountains, animals, insects, and ice floes, but also some scenes that feature human subjects.
The soundtrack draws a thematic link by using a recording of astronomer Carl Sagan reading an excerpt from Pale Blue Dot, warning about the fragility of human existence and the importance of protecting the Earth.
While the footage looks impressive it’s important to mention that a footnote at the end of the video says that “additional equipment and software” were used in some or all of the featured videos.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma Mount Converter MC-11 experiences focus bug when used with Sony a9

31 May

Sigma has warned that the use of its Mount Converter MC-11 and certain Sigma zoom lenses with the Sony a9 may result in missed focus. According to a notice recently published by Sigma, the issue may arise ‘occasionally’ when using AF-S mode and while shooting ‘in the telephoto range.’

The phenomenon, according to Sigma, affects both the EF-E and SA-E versions of the MC-11. The company says it is investigating the issue and that it will publish an update ‘shortly,’ presumably with a software fix in the pipeline.

Via: Sigma Photo

Articles: Digital Photography Review (dpreview.com)

 
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