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Posts Tagged ‘Format’

RAW vs JPEG Format Editing in Lightroom

17 Apr

The post RAW vs JPEG Format Editing in Lightroom appeared first on Digital Photography School. It was authored by Kunal Malhotra.

As a photographer, you have most likely heard or read discussions about RAW vs JPEG file formats. It is said that a RAW file consists of a lot more data and details as compared to a JPEG file. How about we conduct a few experiments and talk about why one file format is better than the other?

If you are someone who mostly edits in Lightroom CC, get ready to know some shocking reasons why you must avoid using JPEG files. Going forward in this article I am sharing a few experiments that I conducted using the JPEG and RAW files of the same shot. I am sure that by the end you will be convinced to always edit using the RAW file format.

Experiment 1

Adjusting Highlights and Whites

The left image shows the jpeg file, while the right image shows the RAW file.

In this first experiment, I am going to import a JPEG file as well as a RAW version of the same frame in Lightroom. You can see these in the image above. You will notice that the sky in this frame is overexposed and the details are not visible because I exposed for the foreground. In this test, I am going to bring down the highlights as well as the whites all the way to -100 and see what happens with both JPEG and RAW files.

The left jpeg image has struggled to retrieve the highlights, while the RAW file on the right has retrieved the highlights well.

Surprising, isn’t it? If you look at the sky in both the JPEG and RAW files, you can see the difference quite clearly.

The details of the clouds in the JPEG (left) file become ruined when I reduced the highlights and whites to recover the details. Whereas, the RAW file (right) does an excellent job in recovering the details in the sky – even though it was completely overexposed.

This experiment concludes that if you wish to recover the highlights in a photo, RAW files achieve much better results. The JPEG file would fail at recovering details from highlights and whites.

Experiment 2

Detail and Sharpness

The JPEG image on the left is soft, while the RAW file on the right is sharp.

In this experiment, for reference purposes, I again placed the JPEG file on the left and the RAW file on the right. In the image above, I have a 1:1 zoom in Lightroom CC to show you something very interesting. Look at the difference in the sharpness and details on the face of the person. The difference is quite shocking. One would conclude that these are two different shots, with the left one being softer. However, that is not the case here. This is the same shot but just in different file formats.

Next time if you are shooting portraits or events, you know that shooting in RAW can help you preserve far more details than the JPEG file. I usually shoot in RAW and JPEG. Then I use the RAW file to edit my photos while using the JPEG files for reference or shortlisting purposes only.

Experiment 3

White Balance Adjustment

Experimenting with White Balance, I moved the slider to the warmer end of the White Balance scale. The JPEG image on the left, has lost detail and is flat, while the RAW file on the right, is far more usable.

In this last experiment, I wanted to check if adjusting the white balance does make any difference. You may have heard that a RAW file allows you to later adjust the white balance as per your desire? But how different is it from JPEG? Let’s find out in this experiment.

Here I moved the temperature slider all the way to the warmer side in both the RAW and the JPEG files. Interestingly, the JPEG file (left in the image above) was almost unusable for me. At this stage, the sky was almost flat and lacked contrast. Whereas, the RAW file with the same exposure had so much information stored that at this stage the elements in the frame had details and contrast.

Conclusion

The above experiments demonstrated a few key reasons why I always prefer using a RAW file in Lightroom to ensure my final image has maximum details. My advice here would be to shoot in RAW and JPEG to be on the safe side. If you wish to make a quick edit or directly use the image for social media, go with JPEGs. If you wish to edit the same image seriously, use the RAW file.

I hope next time you import an image to Lightroom, these experiments will encourage you to shoot and edit in RAW format.

Feel free to share your views in the comment section.

The post RAW vs JPEG Format Editing in Lightroom appeared first on Digital Photography School. It was authored by Kunal Malhotra.


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Newly announced microSD Express format offers transfer speeds up to 950MBps

26 Feb

The SD Association has launched the microSD Express format, bringing extremely fast read speeds of up to 985 MBps to microSD cards — approximately 10 times faster than current high-end cards are capable of.

Like the SD Express format, microSD Express uses the NVMe 1.3 and PCIe 3.1 interfaces that are deployed in PC computers to power high-speed SSD drives. This technology is integrated into the second row of pins on the card. This means microSD Express cards will work at full speed on compatible devices but will also be backward compatible.

The new standard will not only provide much higher transfer speeds but also reduce power consumption compared to regular microSD cards, thanks to support for the low-power sub-states (L1.1 and L1.2) of PCIe v3.1.

High-speed and high-capacity microSD card could be very useful in all sorts of applications, from automotive to mobile, but in the imaging realm might provide most value to video shooters who need the capability to shoot 360-degree and/or Raw footage without being limited by storage.

That said, we are likely still some time away from manufacturers launching any microSD Express cards and compatible devices. In the meantime more information is available in the video above and the official press release on sdcard.org.

Articles: Digital Photography Review (dpreview.com)

 
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The progenitors of GFX: A closer look at Fujifilm’s medium format concepts

19 Feb

A closer look at Fujifilm’s medium format GFX concepts

At Dubai’s recent Gulf Photo Plus event, Fujifilm gave us a good look at a couple of its forthcoming products, and also allowed us a peek back in time, into the design of existing GFX cameras.

What you’re about to see is a collection of mockups of concept GFX designs, dating from before the launch of the GFX 50S and 50R. Some of these mockups appear very familiar, some less so. Click through to take a closer look.

A closer look at Fujifilm’s medium format GFX concepts

First up is the camera that got most of the X-Summit audience talking – the very earliest concept mockup for what became the original GFX 50S. As you can see, there are a lot of similarities to the camera that eventually shipped in 2017.

A closer look at Fujifilm’s medium format GFX concepts

Top-mounted dials, a central pentaprism-style EVF, lots of controls, a nice big sticky-outy grip…

A closer look at Fujifilm’s medium format GFX concepts

But in fact, the camera is fully modular. The EVF and grip are optional accessories to the core body of the camera, which consists of the mount, sensor and controls for the key exposure parameters.

Fujifilm’s representatives confirmed that the ‘Omega’ concept was directly inspired by Hasselblad’s iconic 500-series square format film cameras. Note the distinctive annular shutter speed dial, positioned around the lens mount itself.

A closer look at Fujifilm’s medium format GFX concepts

As originally envisaged, the Omega had a direct control for aspect ratio, and unusual ‘roller’ style controls, rather than the final GFX’s more conventional dials.

A closer look at Fujifilm’s medium format GFX concepts

Here are the three main modules – a grip component, the main body of the camera, and a removable EVF. The spirit of the Omega lives on in the design of the GFX 50S’s viewfinder, which can be removed to make a slightly smaller, lighter camera.

The main reason why this even more modular design never saw it to production is simple – the shutter mechanism for such a large sensor was simply too large for the concept. That doesn’t mean we’ll never see a modular GFX, but we might have to wait for global shutters to become a practical reality first.

A closer look at Fujifilm’s medium format GFX concepts

Next up is ‘Gamma’, a design which takes a lot of cues from contemporary XT-series APS-C format cameras.

A closer look at Fujifilm’s medium format GFX concepts

Essentially a scaled-up XT, the Gamma would have offered a larger sensor, in a body very familiar to Fujifilm’s existing APS-C shooters.

A closer look at Fujifilm’s medium format GFX concepts

It’s unclear why this design didn’t make it beyond the concept stage, but it’s possible that Fujifilm wanted to draw a cleaner line between the APS-C lineup and the (inevitably) more expensive GFX range. Also, notice that there’s no room for a top-plate display screen in this design.

A closer look at Fujifilm’s medium format GFX concepts

A second, unnamed XT-style concept removes the exposure compensation dial and combines shutter speed and ISO into a single (arguably still unnecessary) dial, reducing the amount of bulk on the right hand side of the body. Again, there’s no top-plate mounted status screen either.

A closer look at Fujifilm’s medium format GFX concepts

Of the two XT-style concepts, this is my personal favorite. The narrower body and simple control layout, with such a large grip is lovely to handle.

A closer look at Fujifilm’s medium format GFX concepts

Finally, a glimpse at what the eventual GFX 50R could have been. This is an early concept mockup for a rangefinder-style GFX, but minus the viewfinder. As such, the ‘SP-X’ actually resembles a cross between the X-Pro 2 and the X70 and XF10 compacts.

A closer look at Fujifilm’s medium format GFX concepts

From the rear, the angular SP-X looks fairly familiar – sub-dial ISO control notwithstanding – but with this concept, Fujifilm’s design team wanted to experiment with a rear screen that truly blended in to the back of the camera. You can’t really tell in this shot, but…

A closer look at Fujifilm’s medium format GFX concepts

…the screen is designed so that when the camera is held in a shooting position, it reversed against the camera.

A closer look at Fujifilm’s medium format GFX concepts

To use the screen, it must be folded out, which suits waist-level shooting and image review (but in this position, not much more than that). It’s not clear whether Fujifilm envisaged a more complex reversing hinge for the final design, but either way – this is definitely the most conceptual of the concepts. Still though, put put an EVF in there and I might be interested.

What do you think? As always, let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Kipon adds Nikon Z and Canon R mounts to medium format lens adapter range

14 Dec

Chinese optics manufacturer Kipon has added the Nikon Z and Canon R mounts to its range of medium format to full frame camera adapters. The company claims the adapters ‘virtually eliminate any crop factor’ by way of optics within the adapter that compensate for the difference in imaging areas of the full frame and medium format systems, and says the diagonal angle of view is maintained.

The eight Baveyes focal reducers use a five-element design and work with a number of popular medium format brands, namely Pentax, Mamiya and Hasselblad.

These adapters already exist for Sony full frame, Leica M and Leica SL cameras.
The new adapters will cost $ 695 and can be ordered from this week.
For more information see the Kipon website.

Press information

KIPON start to deliver 8 models new Baveyes/focal reducer for new Nikon Z mount & Canon R mount cameras

KIPON start to deliver 8 models new 0.7x Baveyes/focal reducer for new Nikon Z mount & Canon R mount cameras, increased Baveyes lineup for using medium format lenses on full frame cameras from 24 to 32 models.

  • Baveyes Pentax645-Nikon Z 0.7x
  • Baveyes Pentax67-Nikon Z 0.7x
  • Baveyes MAMIYA645-Nikon Z 0.7x
  • Baveyes Hasselblad V-Nikon Z 0.7x
  • Baveyes Hasselblad V-EOS R 0.7
  • Baveyes MAMIYA645-EOS R 0.7x
  • Baveyes Pentax67-EOS R 0.7x
  • Baveyes Pentax645-EOS R 0.7x

KIPON Baveyes introduces a line-up of the world’s first lens adapters that bring the famous medium format optics to Sony E, Leica SL and Leica M, Nikon Z, Canon R 35mm full frame cameras, virtually eliminating any crop factor image loss and maintaining diagonal angle of view.

The transformation results in a 0.7x factor to the original lens focal length with a gain of one stop in lens speed. Foremost in the advanced adapters, is the custom designed five element multicoated formula by German optics research institution, with the ability to use full frame SLR lenses on crop sensor camera bodies and mirrorless cameras.

Many medium format lenses are legendary for contrast, flare resistance, color saturation, bokeh and are in a class of their own compared to even the best 35mm format glass. And the Sony, Leica, Nikon, Canon image sensors, in the heart of their robust camera bodies, give new life to these medium format legendary lenses.

The retailer price for these optic focal reducer is 695USD,can order from Amazon Japan and Tmall China and Ebay factory shop from this week.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm developing 100MP medium format with phase detection and IBIS

27 Sep

Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $ 10,000.

The development was announced at the company’s press conference at the Photokina trade show in Cologne, Germany, alongside the unveiling of the 50MP GFX 50R model.

A mockup on display at the event shows it to resemble a dual-grip variant of the existing GFX 50S model but without the protruding hump at the back of the body.

No details beyond these headline specs were made available but the company said the camera would be available in 2019.

Articles: Digital Photography Review (dpreview.com)

 
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PinBox is a DIY 120 format pinhole camera made from cardboard and an acid-etched aperture

07 Jul

Not all Kickstarters need to be overly-ambitious projects with goals reaching six figures. Sometimes, they can be humble, affordable, and downright fun. Case in point is PinBox, a DIY pinhole camera from the Hamm Camera Company.

The PinBox is a do-it-yourself 120 format 6×6 pinhole camera designed specifically to teach you how to make your own.

This is the second crowdfunding effort from Hamm Camera Company. The first was a Kickstarter for NuBox 1, a modular box camera that blew away its funding goal and started shipping out March 2018.

The PinBox kit, which is still available as a ‘super early bird’ special for $ 20, comes with pre-cut sections of cardboard for the frame of the camera, four film winding keys (two flat and two raised) and a precision-made acid etched aperture disk.

PinBox has a focal length of 30mm and a variable aperture, depending on the disk you choose from. Hamm Camera Company suggests going with the F120 or F200 aperture disks, but says it’ll have ‘a whole range of apertures to choose form in the backer survey’ for ‘about’ $ 6 a piece and available in sets at a discount.

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Similar to the NuBox 1, the PinBox is meant to be tinkered with and altered. In Hamm Camera Company’s own words:

Our unique design changes the playing field of conventional cardboard pinhole camera. Our approach is to create a camera from cardboard that you can rapidly iterate. Want to double your focal length? Go for it.

Each kit comes with a digital PDF with layout and instructions so you can tweak and adjust your PinBox as you see fit. All photographs currently show the PinBox camera as plain cardboard, but the Kickstarter notes the team is still working on various finishes, including color options such as red, blue, yellow, grey and maybe more.

PinBox is set to ship ‘around the end of August 2018.’ Once the early bird specials are gone, it’ll cost you $ 27 for a complete PinBox kit, as well as an additional $ 7 for shipping in the United States and $ 14 for international shipping.

To find out more details and to pre-order your PinBOx, head on over to the Kickstarter campaign.

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Choosing Between RAW Versus JPEG File Format

28 May

Perhaps one of the most commonly asked questions in digital photography is around which file type to use when shooting – JPEG or RAW file format. Don’t worry if you don’t know much about these two formats or whether your camera supports them. My goal, by the end of this article, is to help you understand what these two types are and help you pick the one that is right for you.

sunset image - RAW Versus JPEG File Format

RAW Versus JPEG File Format

At the very basic level, both JPEG and RAW are types of files that the camera produces as its output. Most of the newer cameras today have both these options along with a few others like M-RAW, S-RAW, Large format JPEG, Small format JPEG, etc. – all of which determines the size of the final output file.

The easiest way to see which file formats are supported by your camera is to review your camera user manual – look for a section on file formats. Or you can go through the menu options of your camera and select Quality (for Nikon) or Image Quality (Canon) to select the file format.

Each file format has its advantages and disadvantages so choose the right option that works best for you. JPEGs are, in reality, RAW files that are processed in camera and compressed into that format. Some of the decisions the camera makes in processing the image may be difficult to change later, but the JPEG file sizes tend to be much smaller. 

Let’s look at the advantages and disadvantages of both these file formats in greater detail.

Advantages of shooting RAW files

  • It is easier to correct exposure mistakes with RAW files than with JPEGs and overexposed highlights can sometimes be rescued. For people like me who tend to always photograph at least 1/2 stop to 1 stop overexposed (based on my style of photography), this is really beneficial in saving many great images in post-production.
  • The higher dynamic range means better ability to preserve both highlights and shadow details in a high contrast scene when the image is being recorded.
  • White Balance corrections are easier to make.
  • Decisions about sharpening, contrast, and saturation can be deferred until the image is processed on the computer.
  • All the original image data is preserved. In fact, when RAW files are opened in post-production software like Lightroom, a virtual copy is made and used. Edits are made in a non-destructive format so the original RAW file is always available for changes at a later stage. This is very useful when you want to edit images in different ways at different times in your photographic career.
RAW Versus JPEG File Format - before and after with a raw file

Left is the RAW file straight out of the camera. On the right is the finished edited image from the same file.

The image on the left (above) was completely blown out because I was in the car and did not have any of my settings correct. But because I photographed in RAW I was able to salvage so much detail in the image. This would not have been possible with a JPG file.

RAW Versus JPEG File Format - underexposed image

An image that was not properly exposed but photographed in RAW.

RAW Versus JPEG File Format - corrected version of the dark file

The edited image that was corrected in post-processing for exposure issues.

Disadvantages of RAW files

  • RAW files tend to be much larger in size compared to JPEGs thereby requiring more storage, not just in camera but also on external storage devices or your computer hard drives.
  • RAW images take longer to write to your memory card which means shorter bursts of continuous shooting. For example, my Canon 5D MIII can write about 12 RAW files continuously and about 30+ JPEG files in the continuous (burst) shooting mode. Check your camera manual for specifics around your own camera’s burst mode (a.k.a continuous photography mode).
  • Not all programs can read RAW files. This used to be an issue, but now there are lots of great programs that can work directly with Raw files such as Adobe Lightroom, Canon’s Camera RAW, Luminar, On1 Raw, ACDSee Photo Studio Ultimate, and other such programs.

Advantages of shooting JPEGs

  • JPEG files are much smaller in size compared to RAW files and hence need less storage space – both in camera memory and on your computer hard drives.
  • JPEG images write to disk more quickly which means longer bursts of continuous shooting opportunities especially during wildlife photography, fast action sports, or even dealing with little kids that are always on the move.
  • These JPEG files can be instantly viewed with many programs including common web browsers, powerpoint, and other such common applications.

Disadvantages of JPEG files

  • It is harder to fix exposure mistakes in post-production with JPEG files.
  • JPEG files tend to have a smaller dynamic range of information that is stored and this often means less ability to preserve both highlights and shadow details in the image.
  • White Balance corrections are more difficult with JPEG files.
  • Decisions about sharpness, contrast, and saturation are set in the camera itself and in most cases, these are difficult to change later in post-production without destroying the image quality.
  • Since a JPEG image is essentially a RAW image compressed in-camera, the camera’s computer makes decisions on what data to retain and which to toss out when compressing the file.
RAW Versus JPEG File Format - jpg edited file

The same image when edited as a JPEG for exposure issues becomes a lot grainier than an underexposed RAW image. You cannot pull them as far as a RAW file.

Another old-school way to think about these two file types is as slides and negatives. JPEGs are like slides or transparencies and RAW files are like negatives. With JPEGs, most of the decisions about how the image will look are made before the shutter is pressed and there are fewer options for changes later. But RAW files almost always require further processing and adjustments – just like negatives.

Which format to choose?

Now that you understand the difference between RAW and JPEG images, deciding which one to use is dependent on a few different factors.

  • Do you want to spend time in post-processing your images to your taste and photography style?
  • Are there any issues with limited space on your camera’s memory card and/or computer hard drives?
  • Do you have software and/or editing programs that will read RAW files easily?
  • Do you intend to print your images or even share images online in a professional capacity?

Some photographers are intimidated by RAW images. I was as well when I had just gotten started in photography because I did not know the true power of a RAW image. However, once I started photographing in RAW there was no going back.

Even everyday snapshots are shot in RAW now because of the great flexibility I have in correcting any mistakes that I make. One of the most common mistakes that many photographers make is around image exposure and that is relatively easy to fix with RAW files. 

RAW Versus JPEG File Format - overexposed sun or sky

I accidentally overexposed the setting sun and lost some of that golden warmth hitting the tree.

Karthika Gupta Photography - Memorable Jaunts DPS Article-Raw verses JPEG file formats -07

One of my favorite San Francisco cityscapes at sunset. I accidentally overexposed and lost the sun flare but was able to edit it and bring back that sunset warmth in post-production because it is a RAW file.

It’s getting easier to use RAW files

Traditionally the two main issues with RAW files seem to be fading every day:

  1. The cost of memory to store or backup these RAW files is getting cheaper and cheaper by the day.
  2. Software that can read RAW files is more readily available. In fact, there is even inexpensive and free software that can read these RAW files now.

There is still the issue of write speed for your camera. If you focus on fast-moving subjects like wildlife or sports photography then perhaps write speed is a key factor in deciding whether to photograph in RAW versus JPEG. So for fast moving objects and/or wildlife and birding photos, JPEG may be a better choice.

Another thing to note is that most of the newer cameras have the ability to capture both JPEG and RAW images at the same time. But this takes up even more storage space and might not be the best use of memory. You are better off just picking one option and sticking with that.

RAW Versus JPEG File Format - photo of a stream and moving water

Waterfall images using a slow shutter speed tend to blow out the background but editing a RAW image in Lightroom helps bring back some of the highlights.

Conclusion

I hope this was helpful in not only understanding the differences between RAW versus JPEG file formats but also in helping you decide which one to choose and why. So tell me, do you belong to the RAW or the JPEG camp?!

The post Tips for Choosing Between RAW Versus JPEG File Format appeared first on Digital Photography School.


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Phase One iXM 100MP aerial camera uses world’s first BSI medium format sensor

05 May

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The Industrial arm of Danish camera manufacturer Phase One has launched an aerial camera that uses the world’s first backlit medium format sensor. It’s called the iXM 100MP, and it’s almost certainly the first camera to use this sensor from Sony that we told you about back in November.

The iXM 100MP is part of a new iXM system of cameras and lenses designed to be used attached to drones or manned aircraft. A 50-megapixel version, the iXM 50MP, has also been launched, but the iXM 100MP uses backside illumination to boost the light sensitivity of the sensor and to improve its dynamic range.

The two cameras use 4:3 ratio sensors measuring 33x44mm, and both offer XQD storage as well as HDMI-out to allow realtime preview. USB-C and 10G Ethernet ports provide the means to connect directly to on-board storage and control in larger craft, to synchronize an array of cameras for 3D capture, and to speed up mapping work.

The system incorporates four new lenses designed specifically to work with these sensors. The RSM range use leaf-shutters with a shortest opening of 1/2500sec, and which can work at a rate of three frames per second. The shutters are guaranteed for 500,000 actuations, and the lenses have been designed to operate at a wide range of temperatures and altitudes without loss of quality.

Two of the news lenses—a 35mm and an 80mm—have fixed focus, while a further 80mm and a 150mm use motorized focus with focusing determined either before the flight or in the air using a remote control. The focusing versions are aimed at those carrying out structural inspections at different distances rather than those mapping from a constant height.

Here’s a quick first look at the iXM Camera Series:

The iXM cameras and their RSM lenses are expected to ship in June 2018, with lenses costing $ 10,000/€8000 and the cameras priced at $ 40,000/€32,000 (iXM 100MP) and $ 21,000/€17,000 (iXM 50MP). While the price of these models might put them beyond the range of most photographers, it is worth getting excited about the prospect of a 100MP BSI sensor entering the regular still photography market sometime soon. Fingers crossed.

For more information on the iXM range see the Phase One Industrial website.

Press release

Phase One Industrial Innovates UAV-based Aerial Imagery – Launches iXM Metric Cameras and Motorized Lenses

Phase One Industrial today launched the iXM series: a breakthrough aerial camera platform driven by the world’s fastest medium-format imaging sensor. Engineered for UAV-imaging missions, the iXM 100MP is a high-productivity metric camera with a range of high-resolution lenses. The iXM is ready for integration with a wide
range of UAV platforms, including Phase One’s DJI Matrice 600 Pro solution.

The iXM 100MP metric camera incorporates the first medium-format sensor with backside-illumination technology, enabling high light sensitivity and extended dynamic range. Fast, highly responsive, robust, and weatherproof (IP53 compliant), the iXM 100MP delivers superior quality aerial imaging and flexible operation to satisfy diverse mapping, surveying, and inspection applications.

Also today, Phase One announced four new specially developed RSM lenses – with focal lengths ranging from 35mm to 150mm – to seamlessly fit the new sensor’s 3.76?m pixel size and 33×44 mm frame size, ensuring image sharpness across the entire FOV. The lenses are available with either fixed-focus or motorized-focus functionality.

The fixed-focus 35mm and 80mm lenses provide superior image radiometric quality, high ground resolution, and large coverage – perfect for surveying applications.

The motorized-focus 80mm and 150mm lenses are ideal for a wide range of inspection applications, including electricity poles, wind turbines, bridges, and other private-sector or government structures.

Motorized-focused lenses, having no external moving parts, enable a number of new uses for inspection applications where the focusing distance can be predefined based on flight planning, or by the operator, using a wireless remote control. With the motorized lens, the camera captures sharp and highly detailed images of multi-distance or 3D objects.

The cameras’ RSM lenses incorporate a new leaf-shutter technology, which supports 3 fps capture – with a speed of 1/2500 sec – while guaranteeing 500,000 actuations. The lenses are thermally stable to ensure consistent focus over a wide range of temperatures and flight altitudes. With optics designed to exploit the full benefits of the new sensor technology, the lenses provide with greater productivity, flexibility, and reliability, offering superb image quality.

The new iXM platform adds XQD high-speed storage technology to handle the sensor’s extremely fast frame rate. Also on all cameras, HDMI output from actual exposure provides UAV operators simple and outage-free feedback of actual view, exposures, and camera status in overlays. In addition, the new platform includes USB-C and 10G Ethernet for versatility of connectivity to large UAVs and aircraft.

For complete technical specifications, please see http://industrial.phaseone.com/landing/The_New_iXM_Series.aspx

“Working with our UAV partners, we see a fast-growing market driven by great potential for time and cost savings over traditional inspection and surveying methods,” said Dov Kalinski, General Manager of Phase One Industrial. “With its new technology, design, and capabilities, the iXM 100MP promises to help start a new era in inspection missions with UAVs. Phase One Industrial continues to push technical boundaries to equip drones and larger UAVs with superior imaging technology – engineering advanced systems, cameras, and software – to help achieve that potential.”

Availability and Pricing

The iXM 100MP and iXM 50MP metric cameras are available today for advance order – from Phase One Industrial partners worldwide – with delivery in June 2018.

Pricing for the:

  • iXM 100 MP camera: 32,000 Euro/40,000 USD
  • iXM 50 MP camera: 17,000 Euro/21,000 USD
  • Lenses: 8,000 Euro/10,000 USD

For more information regarding purchase options and partner locations, please contact us at: https://industrial.phaseone.com/Contact.aspx

About Phase One Industrial

Phase One Industrial is a division of Phase One A/S that researches, develops, and manufactures specialized industrial camera systems and imaging software solutions. The company focuses on specific applications such as aerial mapping and surveying, ground and aerial inspection, agriculture, machine vision and homeland security.

Articles: Digital Photography Review (dpreview.com)

 
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The new JPEG XS image format was built for streaming 4K and VR content

18 Apr

There’s a new video compression standard on the block. It’s called JPEG XS, and while it’s made by the same team behind the ubiquitous JPEG image format, it serves a much different purpose.

JPEG XS was announced earlier this week by the Joint Photographic Experts Group (JPEG), headed by École Polytechnique Fédérale De Lausanne (EPFL) professor Touradj Ebrahimi. The mission of this new format isn’t to replace the standard JPEG image standard, but to supplement it by being a low-energy standard for streaming video content via Wi-Fi and 5G cellular networks.

According to JPEG, the mission of JPEG XS is to, “stream the files instead of storing them in smartphones or other devices with limited memory.” JPEG specifically mentions the benefits of JPEG XS for video captured and streamed by “drones and self-driving cars—technologies where long latency represents a danger for humans.”

Photo by Samuel Schwendener

What’s interesting is that JPEG isn’t trying to shrink the file size with JPEG XS. In fact, quite the opposite. Whereas the JPEG standard has a compression ratio of about 10:1, JPEG XS comes out to a 6:1 ratio.

“For the first time in the history of image coding, we are compressing less in order to better preserve quality, and we are making the process faster while using less energy,” said Professor Ebrahimi in the EPFL announcement post. “We want to be smarter in how we do things. The idea is to use less resources and use them more wisely. This is a real paradigm shift.”

JPEG XS is open source, as well as HDR-compatible, making it a prime candidate for content creators around the world. Already, the European Space Agency (ESA) has expressed interest in the standard. JPEG XS would serve as a perfect format for sending high-quality images and video from space probes down to Earth while not using up any unnecessary energy.

According to Ebrahimi, JPEG XS will first be put to use in “professional applications like movie editing, space imagery and professional-grade cameras.” Consumer electronics will like VR, AR, wireless connections between media devices, and self-driving cars will follow. The only remaining hurdle in the path of JPEG XS is the final approval from the International Organization for Standardization (ISO). Once it gets approved, it should be rolling into products and services shortly.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GF 250mm F4 R LM OIS WR medium format lens announced

12 Apr

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The longest telephoto lens in Fujifilm’s medium format lineup has arrived with the introduction of the company’s GF 250mm F4 R LM OIS WR.

The lens has a 35mm equivalent of around 200mm, which can be further extended via the 1.4x teleconverter also announced today. The 250mm F4 has 16 elements, including 1 super ED and 2 ED elements, a linear focus motor and 5-stop image stabilization (per Fujifilm). The minimum focus distance is 1.4m while the maximum magnification is 0.22x.

This hefty lens is made of magnesium alloy and is sealed against the elements and can operate in temperatures as low as -10C/+14F. It has

The GF 250mm F4 R LM OIS WR will be available in late May for $ 3299.95 USD / $ 4124.99 CAD, while the 1.4x teleconverter will set you back $ 849.95 USD / $ 1059.99 CAD.

Press Release

FUJIFILM INTRODUCES A NEW TELEPHOTO LENS FOR THE GFX MEDIUM FORMAT MIRRORLESS CAMERA SYSTEM

The GFX System Expands with the New FUJINON GF250mmF4 R LM OIS WR Lens, FUJINON GF1.4X TC WR Teleconverter and MCEX-18G WR and MCEX-45G WR Macro Extension Tubes; Firmware Updates for GFX, X-H1, X-T2, X-Pro2, X-E3 and X100F

Valhalla, N.Y., April 12, 2018 – FUJIFILM North America Corporation today announced the launch of the FUJINON GF250mmF4 R LM OIS WR, a lens that expands the telephoto range for the FUJIFILM GFX 50S medium format mirrorless digital camera system.

When combined with the GFX medium format sized sensor with an area approximately 1.7 times larger than 35mm format, the GF250mmF4 R LM OIS WR lens achieves exceptional image quality. Composed of 16 lenses in 10 groups, this lens delivers unsurpassed color reproduction, three dimensional image quality, as well as ultra-high resolution and rich bokeh.

In addition, this telephoto lens is equipped with a powerful five-stop optical image stabilization and a new focus preset function, which allows the photographer to instantly activate focus settings previously saved in the lens memory. With a rugged, lightweight magnesium alloy lens barrel designed to be dust and weather-resistant, the GF250mmF4 R LM OIS WR is capable of operating in temperatures as low as 14°F/-10°C. The front lens element has a fluorine coating designed to repel water and dirt even under tough outdoor conditions.

FUJINON GF250mmF4 R LM OIS WR Lens Key Features:

• Ultra-high image quality achieved with16 lenses in 10 groups, 1 super ED lens and 2 ED lenses.
• Powerful five-stop optical image stabilization to maximize high image resolution.
• Silent, high-speed autofocus operation and new mechanism to fix linear motor position. when turning power off or when in playback mode. Available with new GFX 50S firmware.
• Made with magnesium alloy, ensuring a robust, durable body.
• Dust and weather-resistant design capable of operating in temperatures as low as 14°F/-10°C.

FUJINON Teleconverter GF1.4X TC WR

The new FUJINON Teleconverter GF1.4X TC WR is designed for use with the new GF250mmF4 R LM OIS WR giving approximately 277mm in 35mm format equivalent, without compromising image quality.

MCEX-18G WR and MCEX-45G WR Macro Extension Tubes

The MCEX-18G WR and MCEX-45G WR Macro Extension Tubes further expand the range of macro photography. Connecting these macro extension tubes to GF lenses allows for images to be captured at high magnification ratio. The MCEX-18G WR and MCEX-45G WR Macro Extension Tubes are compatible with all existing GF lenses.

Availability and Pricing

The new FUJINON GF250mmF4 R LM OIS WR lens will be available in Late May 2018 for USD $ 3,299.95 and CAD $ 4,124.99. The FUJINON Teleconverter GF1.4X TC WR will be available in Late May 2018 for USD $ 849.95 and CAD $ 1,059.99 and Macro Extension Tubes, MCEX-18G WR and MCEX-45G WR will both be available in Late May 2018 for USD $ 329.99 and CAD $ 409.99.

Fujifilm GF 250mm F4 R LM OIS WR specifications

Principal specifications
Max Format size Medium Format (44x33mm)
Focal length 250 mm
Image stabilization Yes
CIPA Image stabilization rating 5 stop(s)
Lens mount Fujifilm G
Aperture
Maximum aperture F4
Minimum aperture F32
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 16
Groups 10
Special elements / coatings 1 Super ED + 2 ED elements
Focus
Minimum focus 1.40 m (55.12)
Maximum magnification 0.22×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 1425 g (3.14 lb)
Diameter 108 mm (4.25)
Length 204 mm (8.03)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 82 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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