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Posts Tagged ‘Format’

Apple introduces new ProRes RAW video format with Final Cut Pro X update

06 Apr
Credit: Apple

In a surprise update ahead of NAB, Apple has introduced a brand new video format called ProRes RAW. The format was introduced alongside an update to Final Cut Pro X, which also added advanced closed captioning tools for professional filmmakers.

The captioning tools are neat—they allow video editors to more easily create, view, edit, and deliver captions, with support for both the CEA-608 and iTT formats—but this feature will no doubt be overshadowed by the much bigger news: the introduction of ProRes RAW.

As the name suggests, ProRes RAW is an evolution of the Apple ProRes video codec. Apple claims that ProRes RAW “combines the visual and workflow benefits of RAW video with the stunning performance of ProRes.” By pulling RAW data from the sensor, video editors will have a lot more dynamic range flexibility—important as more and more displays, including Apple’s own iPhone X, become capable of displaying true HDR—all while taking advantage of the space and performance benefits of a compressed ProRes file.

In fact, Apple claims that ProRes RAW files take up less space than ProRes 4444. And since it’s Apple’s format, it has been performance optimized for macOS so that you can play full-quality 4K ProRes RAW files on your current MacBook Pro or iMac in real time without rendering.

Credit: Apple

The format drops today, and already Apple has made inroads into the professional community with Atomos and DJI. ProRes RAW compatibility will be made available as a free update for Atomos Shogun Inferno and Sumo19 users, and as “a free update for users with the RAW activation package” for the DJI Inspire 2 Drone and Zenmuse X7 camera.

Once updated, Final Cut Pro users will be able to work natively with ProRes RAW and the ProRes RAW HQ files created by the two Atomos external recorders mentioned above.

To learn more, check out the full press release below; or, if you’re feeling exceptionally brave and nerdy, you can read Apple’s full white paper on the new format here. Final Cut Pro X version 10.4.1 will be available as a free update to current users ($ 300 USD for new users) starting April 9th.

Press Release

Final Cut Pro X update introduces ProRes RAW and advanced closed captioning

Apple is introducing a new update to Final Cut Pro X, the most popular version of its professional video editing software, with more than 2.5 million seats. Final Cut Pro 10.4.1 introduces a groundbreaking format from Apple, ProRes RAW, which combines the visual and workflow benefits of RAW video with the performance of ProRes. The update also adds advanced closed captioning tools that allow video editors to easily view, edit and deliver captions from right within the app. Apple is also adding complementary new features to Final Cut Pro companion apps, Motion and Compressor.

ProRes RAW

ProRes RAW is a new format from Apple that offers the quality and workflow advantages of RAW with the stunning performance of ProRes. With ProRes RAW, editors can import, edit and grade pristine footage with RAW data from the camera sensor, providing ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows. And with performance optimized for macOS, editors can play full-quality 4K ProRes RAW files on MacBook Pro and iMac systems in real time without rendering. ProRes RAW files are even smaller than ProRes 4444 files, allowing editors to make better use of storage while providing an excellent format for archiving.

Final Cut Pro editors can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. The format will be available as a free update for owners of Atomos Sumo 19 and Shogun Inferno devices. The format will also be available as part of a forthcoming upgrade package to users of the DJI Inspire 2 drone and Zenmuse X7 Super 35mm camera system designed for aerial cinematography.

Closed Captioning Tools

As closed captioning becomes increasingly important around the world, Final Cut Pro now includes powerful closed captioning tools for professional filmmakers, YouTubers and students looking to add captions to their projects without the need for expensive third-party software or services. Users can import closed caption files directly into their project or create them from scratch. Captions appear in the viewer during playback and can be attached to video or audio clips in the timeline, so they automatically move with the clips to which they’re connected. An all-new captions inspector makes it simple to adjust caption text, color, alignment, location and more. Users can even create captions in multiple languages within the same timeline and easily share captioned videos to YouTube and Vimeo. And in the share window, a new Roles tab displays titles, video and audio roles in a single consolidated interface, making it easy to configure roles and closed captions when sharing.

Motion 5.4.1 and ProRes RAW enable motion graphics artists to take full advantage of RAW image quality with superb performance and flexibility when designing graphics and effects. Compressor 4.4.1 gains support for closed captioning with comprehensive controls to view, adjust and deliver captions as part of a batch or iTunes Store package.

Pricing and Availability

Final Cut Pro 10.4.1 will be available on April 9 as a free update for existing users, and for $ 299.99 (US) for new users on the Mac App Store. Motion 5.4.1 and Compressor 4.4.1 will also be available on April 9 as free updates for existing users, and for $ 49.99 (US) each for new users on the Mac App Store. Education customers can purchase the Pro Apps Bundle for Education for $ 199.99 (US). For more information, please visit: apple.com/final-cut-pro.

Articles: Digital Photography Review (dpreview.com)

 
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Quick look: Canon’s new compressed Raw format

03 Apr
Canon’s new entry-level EOS M50 is also the first Canon camera to come with the new Digic 8 processor, allowing it to capture smaller C-Raw files in the new CR3 format.

The EOS M50 may be aimed at beginning photographers, but its all-new Digic 8 processor makes it Canon’s first camera to use the CR3 Raw file format. Older Canons that used the CR2 file format could capture either losslessly compressed Raw files or ‘medium’ and ‘small’ equivalents, both saving you disk space, the latter at the expense of reducing resolution.

However, if you enable the compact ‘C-Raw’ option on the M50, the files will be 30-40% smaller than their losslessly compressed equivalents without any reduction in resolution. But are there any other image quality penalties to pay? Let’s take a look.

Click here to download the original Raw files for all of the below comparisons.

Base ISO

Uncompressed Raw Compressed Raw
Click through for full size
ISO 100 | 1/40 sec | F5.6 | Canon EF 50mm F1.4

The above images were shot and processed using our standard studio testing procedure. Do you see any differences? We couldn’t find any – but we decided to see if boosting the ISO value and using our low-light scene would turn anything else up, particularly in terms of shadow noise.

High ISO

Uncompressed Raw Compressed Raw
Click through for full size
ISO 12800 | 1/40 sec | F5.6 | Canon EF 50mm F1.4

Now that we’ve switched to our low light setup and boosted the ISO by seven stops, the images still appear all but identical, even in terms of noise levels. So far, it looks like it’s best for you to go ahead and switch into C-Raw and save yourself some disk space.

But when we put the EOS M50 through our standard exposure latitude test, we did find some evidence of what sort of processing is happening in Canon’s C-Raw files.

Pushed shadows

Uncompressed Raw Compressed Raw
Image pushed four stops in Adobe Camera Raw

Our exposure latitude test involves exposing our studio scene with increasingly lower exposures, and then pushing them back to the correct brightness in Adobe Camera Raw. With many older sensors, you would see an abundance of noise being added by the camera, but today’s sensors output files that are much more tolerant to this sort of manipulation.

Basically, after pushing the files, we look into the shadow regions to assess the exposure latitude (essentially the dynamic range) of the Raw files. And it’s after underexposing the EOS M50 by four stops and then re-brightening, we start to see some clearer differences between the regular Raw files and their C-Raw equivalents.

The resulting pattern can be more difficult to remove or reduce than normal noise patterns, and is reminiscent of artifacts left behind from noise reduction algorithms that we’ve seen in the past.

At this time, we’re optimistic that users of Canon’s new Raw format can shoot in C-Raw without a noticeable impact on image quality.

But after all, this is a four-stop push. Depending on your shooting, this may indicate a slight dynamic range disadvantage to using C-Raw, but it’s likely to remain an edge case for most users. And so we’ve decided to finish off with a more informal test in a more common situation. We wanted to see if processing out the two different Raw files would turn up different results for the gradient in a blue sky.

Blue skies and takeaways

Uncompressed Raw Compressed Raw
Click through for full size
ISO 100 | 1/640 sec | F8 | Canon EF-M 15-45mm F3.5-5.6

Smooth gradients can often trip up compression algorithms, particularly in many cameras’ JPEG engines, so we wanted to see if there was any noticeable difference when the EOS M50 compresses its Raw files. As with our un-pushed studio images, it’s again impossible to tell which is the normal Raw file, and which is the C-Raw file. So what does this all mean?

Of course, we still have plenty of tests to run on the EOS M50, but at this time we’re optimistic that users of Canon’s new Raw format can safely shoot in C-Raw and save themselves valuable memory card and disk space without noticeable impact on image quality.

Note that all of the above images of our studio scene were processed in an identical manner to images in our studio scene widget, meaning there was no sharpening nor noise reduction added. Adjustments for the blue sky scene were limited to highlights, shadows, whites and blacks in Adobe Camera Raw, and sharpening and noise reduction were left to default levels.

Click here to download the original Raw files for all of the below comparisons, and to see how the EOS M50’s uncompressed Raw files compare to its peers, check it out in our studio test scene.

Articles: Digital Photography Review (dpreview.com)

 
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Large format macro: a crazy wet plate photography experiment

15 Mar

Austrian wet plate photographer Markus Hofstaetter is back with another crazy large format photography experiment. This time, he decided to find a way to shoot macro photos on a large format wet plate camera. To do this, he actually had to stack two wet plate cameras front to back, bellows fully extended.

Markus documented the whole experiment on his blog, and shares a behind-the-scenes ‘Making Of’ look at the shoot in the video above. His subject was a little snowdrop from his garden, with a simple tin-foil background for some pretty bokeh. But getting any sort of magnification with a large format camera is no easy feat. He needed a lot of distance between his film plane and the little flower.

That’s why he decided to ‘connect’ two large format wet plate cameras together, giving him enough extension to magnify the flower onto an 18x24cm plate.

Here’s a diagram that shows the difference between your standard “full-frame” size, a 10x12cm plate, and an 18x24cm plate (left) and that same diagram overlaid on the final plate:

The next problem he faced was getting enough light. The farther the plate is from the subject, the more light he needs—the plate has an ISO value of about 0.5—and he was pretty far away from his subject. The trick to solving this problem, says Markus, is using fresh chemicals and a LOT of artificial light.

“Freshly mixed chemicals are more sensitive to light,” he tells DPReview. “If I had used older chemicals, I’m not sure if this macro shot would have been possible.” Add to that two flashes of 7,000W of light, and you’ve got JUST enough exposure to make this work.

Mix all of this together and here’s what you get. Scroll to the very end to see the final image:

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Definitely check out the whole Making Of video at the top if you want to see how this shot came together. Markus goes into more detail, revealing interesting tidbits about the lens he used, his lighting setup, and lets you tag along for the entire developing process as well.

And if you like his work, don’t forget to visit his website, check out his blog, and give him a follow on Facebook and Instagram. His quirky experiments—several of which we’ve featured on DPReview—might just get your creative juices flowing, too.

Articles: Digital Photography Review (dpreview.com)

 
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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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Hasselblad unveils XPan lens adapter for the mirrorless medium format X1D

22 Dec

Hasselblad has announced an adapter that will allow owners of its XPan film camera to mount their old lenses onto the mirrorless medium format Hasselblad X1D. The new adapter’s launch coincides with yesterday’s v1.2 firmware update for the X1D, which introduced an XPan crop mode to the viewfinder and rear LCD.

The adapter is purely mechanical and transfers no data to the camera. It is designed to accept Hasselblad’s 30mm, 45mm and 90mm XPan lenses, but will of course also take the lenses of the Fujifilm TX-1 and TX-2. All lenses in use will need to have apertures manually adjusted; focus is manual too, of course.

Interestingly, the company that manufactured the XPan lenses also manufactures the lens for the X1D, and the covering circle of the XPan models is slightly wider than those designed for the X1D, as the film the XPan lenses had to cover was wider than the sensor of the X1D.

The adapter will go on sale mid-January and will cost €180 / US $ 180 / £160 including VAT. The company says it also plans to make an adapter that will allow V system lenses to be used on the X1D, but hasn’t revealed when that adapter might see the light of day.

For more information, visit the Hasselblad website.

Press Release

Hasselblad Launches XPan Lens Adapter for the X System

Hasselblad expands its range of accessories for the X System with the new XPan Lens Adapter, allowing photographers to use their legacy XPan lenses on the award-winning X System

The Hasselblad XPan lens series was released in 1998 and the new adapter bridges the iconic optics with the latest imaging capabilities from the mirrorless X1D system, just recently benchmarking the highest score by DxO Mark. The sleek new adapter is lightweight, compact, and works seamlessly into the setup.

“The original XPan lenses inspired us when we introduced the current X1D lenses,” said Ove Bengtsson – Product Manager. “The new XPan Lens Adapter speaks to two major aspects of Hasselblad, our drive to innovate and push medium format technology such as the X1D and also to our respect for the legacy equipment that many photographers still rely on to this day. This adapter is the merger of those ideas and that’s what makes this announcement so exciting.”

Customers utilizing the new XPan Lens Adapter first are advised to update their X1D to Firmware 1.20, launched on December 19, 2017. This update also includes a new Selectable Crop Mode that features the classic proportions of the XPan system. Hasselblad will continue to support its legacy and new products alike with plans to create a V to X system adapter and a dual battery charger for the X1D.

The XPan Adapter will be available in mid-January and will retail at €179 / US $ 179 / £159 / RMB ¥ 1,580 / JPY ¥ 21,999 incl. VAT.

Supported XPan lenses:

  • 30mm f5.6
  • 45mm f4
  • 90mm f4

XPan Lens Adapter:

  • Diameter: 73mm
  • Height: 21.4mm
  • Weight: 112g

*XPan lenses are no longer manufactured nor sold by Hasselblad.

Articles: Digital Photography Review (dpreview.com)

 
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Meyer Optik Goerlitz launches P75II F1.9 lens with coverage for medium format

08 Dec

German optical manufacturer Meyer Optik Goerlitz has launched an Indiegogo campaign to fund the construction of a new version of its Primolpan 75mm F1.9 portrait lens that will be designed for sensor sizes from Micro Four Thirds all the way up to medium format.

The so-called P75II will have a much wider image circle, to enable it to be used with the smaller medium format sensors such as the Hasselblad X1D and Fujifilm’s GFX 50S. As a consequence of the larger covering circle, Meyer Optik claims smaller formats will enjoy added contrast across the frame.

The lens is a redesigned version of a lens produced in the 1930s by Meyer Optik, but the war and the communist control of East Germany halted production of the original after only 2,000 had been made. The newest version has modern glass and coatings, and a new internal design to enable medium format compatibility. The closest focus has also been reduced to 55cm/1.8ft, and the company is introducing a Meyer Achromat accessory close up lens attachment that reduces that distance further to just 25cm/1ft.

While the original lens used a Cooke triplet design, the new P75ll is constructed with five elements in four groups and a 14-bladed iris to produce the famous bubble-type out-of-focus highlights the company has become known for. Glass will come from Schott and Ohara, the aperture will run from f/1.9 to f/16, and the front filter thread will be a standard 52mm.

At the time of writing, the lens has raised over $ 120,000 on a target of just $ 30k, with a full month left still to run. Lenses can be had for a pledge of $ 650 against an expected full asking price of $ 2,500, while a kit with the Achromat close-up lens is going for $ 800 against an expected retail price of $ 2,600. You get to choose between either a black or silver finish, and Meyer Optik Goerlitz expects the lenses to ship at the end of September 2018.

For more information, visit the Meyer Optik Goerlitz P75ll Indiegogo campaign page.

Mounts:

  • Leica M
  • Canon EF
  • Nikon F
  • M42
  • Sony-E
  • Fuji-X
  • Micro-Four Thirds
  • Pentax-K
  • Fuji’s GFX (if the campaign receives more than 25 supporters for this mount)

Manufacturer Information

Return the lost treasure: Create the P 75 II f1.9

The P75 II is the advanced version of the rare vintage Primoplan 75. Along with its specially designed achromat lens the P75 II can go down to a minimum focal distance of just 25cm or less than 1 foot. Its enlarged frame size allows use on mid format cameras and increases contrast and resolution. It is a bokeh lover’s dream with a variety of possible bokehs build into one lens: from circular, melting rings to swirly and creamy backgrounds. Yet, its center sharpness is magnificent.

Prototype Stage

When the ingenious Paul Schaefter first constructed the Primoplan 75/f 1.9 in early 1930’s, his goal was to create the best lens of its kind. Even a century later, its ability to create the most striking and impressive bokeh-effects have stood the test of time. When we decided to recreate and modernize this lens, we knew we had an important legacy to uphold – and the results were beyond even our high expectations.

With the modern Primoplan 75, the creative photographer has the perfect means in his hands to compose his images with the required background and dreamlike transition from sharpness to fuzziness. But see for yourself.

But we wanted more so we carefully innovated and have developed a new version of the Primoplan 75, which we have named the P75 II. In the new P75 II, you’ll find that we’ve reduced the minimum focal distance by almost 30% to just 55cm or 1.8 ft. and we enlarged the image or frame size so that we can now also cover mirrorless medium format cameras like Fuji’s GFX 50s. Also, as a consequence, we improved the contrast of the images for 35 mm (full format and mirrorless) dramatically. The Meyer P75 II is just simply the perfect tool for portrait, nature photography and, through the enhanced contrast, black and white photography.

Help us to put this legend back into your hands

The region in Germany around Jena-Dresden-Goerlitz gave birth to so many famous camera and lens advancements in the early part of the 20th Century, you might call it the Silicon Valley of photography of its time.

At this time, genius Paul Schäfter developed the Primoplan 75, whose design Meyer-Optik-Görlitz applied to protect on 17/06/1936. It soon became famous for its unique, dreamlike ability to create bokeh, along with a soft transition from fuzziness to sharpness which is still unmatched.

Lights seem to magically, melt into each other. Yet, the P75 II maintains that special Primoplan center sharpness, dramatically stressing the core of the image.

World War II abruptly put a halt to this success story. After the war, the company was more or less taken over by the new East German government. While some dedicated skilled workers restarted what was left of the company by 1949, barely two thousand Primoplans had been built.

For a short time, it seemed as if the wonderful lenses could return to their original glory as photographers around the world hailed the return. But again, politics interfered and the communist central planning committee put an end to the Primoplan line in favor of other lenses. So, the Primoplan series can rightfully be called a lost treasure.

No wonder vintage Primoplans are selling at extremely high prices. We knew from the beginning that bringing the Primoplan back would be a tough task. The glass of the time was no longer available, and the use of lead in optics is no longer acceptable. But after lengthy calculations, prototype building and tests, Dr. Wolf-Dieter Prenzel, leading development engineer of Meyer Optik, succeeded in adapting the historic lens construction to modern-day photography while keeping the characteristics of the lens alive.

In 2017, the first new P75 lenses – at the beginning still called Primoplan 75 – hit the market and were soon sold out.

But we wanted to take the saga further and following Paul Schaefter’s legacy, we went on and developed the Meyer P75 in a second version with even better features.
Come and join us on our journey and help us to revive a literally historic lens.

The Primoplan 1.9/75 is known for its fine progression from focus to blur, exceptional base sharpness and unique, dreamy, creamy bokeh, which lets the light magically flow together. The 75mm focal length creates a natural viewing angle and does not compress as much as longer focal lengths. Its 14 aperture blades enable the camera to create impressive blur patterns even when stopped down.

“Bokeh Lover’s Dream Lens”

There is much talk about bokeh. Different lenses have their strength and weaknesses. But the Meyer P75 II is a true king of bokeh because it offers the photographer a whole range of different bokehs in one lens. With the background at a closer distance, the 14 aperture blades display their merits and a wonderful circular, donut-type bokeh appears with the colors melting into each other. When the background is at about 9 feet/3m this becomes a more rotating composition of out of focus effects. But all the time these bokeh effects remain discreet and are not intrusive. You might call the P75 II bokeh effect noble or refined.

The Primoplan 75 is perfect for portrait photography. It adds a creamy, background-melting bokeh, classic sharpness and exceptional color rendering that produces skin tones that are almost perfect straight out of the camera. While there is always a great debate when you ask photographers to name their favorite focal length for portraits, we think the 75mm hits a sweet spot that gives you a bit more compression than a 50mm but allows you to work in slightly tighter spaces than an 85mm or 105mm lens.

The original Primoplan 75 / f1.9 is an enhancement of the Cooke triplet, in which a central dispersion lens is flanked by two groups of lenses, each acting as a converging lens. The rear group consists of a single biconvex converging lens. This exceptional design results in breathtaking images. The New P75 II (Primoplan type lens) will remain the basic construction but our lens designer Dr. Wolf Dieter Prenzel, has worked on major improvements in the optical scheme to make a perfect lens even better.

We are using a completely new lens design and lens materials which also are upgraded with a special coating to make them as resistant to environmental influences as possible. Of course, it will maintain the classic sharpness and versatile bokeh that vintage enthusiasts love, while incorporating modern technological advances for today’s DSLRs and mirrorless cameras.

The modern P75 II will come with mounts for:

  • Leica M
  • Canon EF
  • Nikon F
  • M42
  • Sony-E
  • Fuji-X
  • Micro-Four Thirds
  • Pentax-K
  • NEW: Fuji’s GFX (if we get more than 25 supporters we will create a native mount)

The P75 II will be launched with a larger image circle which also covers mirrorless mid format camera sensors. As a result, the image look will be persistent from center to the corners to reduce down edge effects to a minimum.

Paul Schäfter was the direct successor of Paul Ruolph at Meyer Optik. Rudolph died in 1935 and Paul Schäfter took over. He developed some of the most important Meyer lenses which were to be the backbone of the firms production for 25 yaers to come namely the Primoplan lenses and later also the so called Primotar 135mm and 180mm lenses. His colleague was Stephan Roeschlein who had designed the Trioplan lenses for Meyer. After the war Paul Schaefter left East Germany and Meyer optic and worked for a company by the name of ISCO in Braunschweig.

Shipping

The Meyer P75 II will be available worldwide. To minimize shipping costs, our rewards will either ship from the U.S. or from Germany, depending on your – our supporter’s – location. Since local regulations vary, please note that we cannot be held responsible for additional sales taxes or import/customs fees added by your country.

Deliveries to the U.S.: Shipping costs of the lenses in the U.S. are $ 20 USD. For most deliveries inside the U.S., there is no additional fee besides shipping costs. Since we have a shipping hub in Nevada and an office in Atlanta, Georgia, for deliveries to these states, the local sales tax applies. Please note that sales tax is not included and must be added in line with local regulations.

Deliveries to the European Union: Shipping costs within the European Union are $ 20 USD. For our supporters from the European Union, please note that VAT is not included. For supporters from the European Union 19% VAT (VAT Germany) need to be added seperately. If our project is successfully funded, we will get in contact with you in case of open VAT.

Deliveries outside U.S. and the European Union: For deliveries to regions outside U.S. or the European Union the shipping costs are $ 50 USD.

Please note there may be extra import costs/customs/taxes to pay upon delivery, depending on your location. Customs and taxes are subject to possible change and applicable law at the time of delivery will have to be taken into account. If you have a question about shipping or handling, please don’t hesitate to contact us!

Articles: Digital Photography Review (dpreview.com)

 
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Zoner Photo Studio X brings support for the HEIF image format to Windows

30 Nov

Apple introduced the HEIF (High Efficiency Image File Format) image format with its latest iPhone models 8, 8 Plus and X. Essentially, the new format is more efficient than current standards at compressing image data—images with the same size and level of detail occupy up to 50% less space on your device storage or hard drive—while also offering additional features like the ability to store burst photos, focal stacks, and exposure stacks in a single file.

In the long term, HEIF is meant to replace JPG as a the most common image standard, but until now the format could only be viewed or edited on iOS 11 devices or an Apple Mac… not exactly universal. That all changes today with the latest release of Zoner Photo Studio.

Zoner Studio X is officially the first software package to bring HEIF support to the Windows platform. Its makers still call the feature “experimental” and recommend keeping a backup of your HEIF photos in a separate format (just in case), but this is a big deal if you’re an iPhone user who uses a PC instead of a Mac. No need to sacrifice image quality to save space or visa versa.

Zoner Studio X offers more than HEIF support, of course, and is a potent image editor in its own right. The feature set includes: image organization, layers, non-destructive RAW editing, retouching, and automatic adjustments.

To learn more or download a 30 day trial, visit the Zoner website. The full version will cost you $ 49.

Articles: Digital Photography Review (dpreview.com)

 
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Polaroid wants Fujifilm to pay millions in royalties for Instax Square format

17 Nov

According to a report by World Intellectual Property Review, Fujifilm has filed a complaint for declaratory judgment, asking a US district court to clear the company of any wrongdoing after it was allegedly threatened with trademark litigation by Polaroid over the borders around its Instax Square images.

According to the suit, PRL IP, the brand licensor and marketer of the IP rights for Polaroid instant cameras, has turned against Fujifilm, “by suddenly demanding millions of dollars in annual royalty payments, on threat of a lawsuit.”

Fujifilm says Polaroid sent the company a letter in January 2017 stating that the “square form” of photographs taken by Fujifilm’s Instax camera is “essentially identical” to the trademark and trade dress rights owned by Polaroid. In March, another letter said that Polaroid would have “no choice but to take appropriate action to protect” its IP rights if Fujifilm would not take its Instax Square film off the market.

A third letter, sent in June, demanded royalty payments, and the complaint goes on to say that “on November 8, 2017, Fujifilm was notified that a negotiation meeting between the parties scheduled for the following day was cancelled because the lead investor expressly instructed defendants to pursue litigation unless Fujifilm complied with demands.”

PLR IP owns the US trademarks covering the borders surrounding instant photographs, but Fujifilm’s claim says that after filing for bankruptcy and discontinuing many product lines in 2008, Polaroid has been “unable to return to profitability through product sales” and now seeks “to generate revenue from what remains of the Polaroid IP portfolio”.

Fujifilm is asking the court to declare that its Instax film photos do not infringe any Polaroid IP rights, and is requesting cancellation of Polaroid’s trademarks.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Shooting with a $63,000 100MP monochrome medium format camera

07 Nov

Ted Forbes—photographer and inspirational educator behind The Art of Photography—recently got a chance to try out the Phase One IQ3 100MP Achromatic digital back, and man did it ever leave an impression. In his short video overview above, he dives into the images he captured with this bayer filter-free, monochromatic medium format beast, explaining why he feels this camera is a true ‘gamechanger.’

If that word triggers your gag reflex, you’re not alone, but Forbes isn’t one to throw hyperbole around and he gives good reason (and plenty of examples) for why he believes this digital back is something special. Pay particular attention to what Forbes is able to do using filters and the sensor’s ability to pick up light outside of the visible spectrum.

Check out the full video above to see the camera in action and dive into some sample images, but don’t forget to watch it at the highest possible resolution YouTube and your monitor can handle. You’ll need every available pixel at your disposal.

Articles: Digital Photography Review (dpreview.com)

 
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The medium format Hasselblad X1D is the highest rated camera on DxOMark

26 Oct

After the Nikon D850 became the highest rated camera on DxOMark with a score of 100, the sensor testing and software company promised to start reviewing medium format cameras again very soon. Today, they fulfilled that promise and unseated the former-champion Nikon D850 all in one fell swoop.

The new DxOMark champion is the mirrorless medium-format Hasselblad X1D-50c, which came “crashing through the 100-point barrier” with an overall sensor score of 102.

“The X1D-50c excels in all three of our measurement categories, achieving either the top-ranked or a podium position result in each,” explains DxOMark. In fact, the camera received the highest Low-Light ISO score DxO has ever doled out, and it ties for 1st place with the Nikon D850 in the Color Depth category.

You can read the full review and dive into the results on the DxOMark website, but here’s a snippet from the Conclusion for you TL;DR types:

Image quality on the Hasselblad X1D-50c is outstanding, crashing through the 100-point barrier to become the highest-scoring commercially-available sensor we’ve tested. At 102 points overall, it also achieves either the best, or very close to the best results for both color depth and dynamic range. Combine that with its 50Mp resolution and mirrorless design, all packaged at a more realistic price tag, the X1D-50c starts to look like a tantalizing prospect.

Articles: Digital Photography Review (dpreview.com)

 
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