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Over $200K in Leica gear stolen from Scottish camera store Ffordes

02 Oct
Image of the Leica cabinets the equipment was stolen from, provided by Ffordes

Ffordes, a camera store in northern Scotland, was the target of what’s believed to be a professional burglary that’s left the store more than $ 200,000 in missing Leica equipment.

On Wednesday, September 26th, the alarm at Ffordes went off. Both the police and a member of the Fforde team alerted management, who quickly arrived on scene. Upon arriving at the shop, it was clear there had been a break-in. One of the front windows had been broken into and a secondary protection window was also removed. Once inside, it was discovered just how much was stolen.

‘From the CCTV footage, the thieves were very well prepared, not just for removing the safety window units but timing,’ said Fforde manager Alister Bowie, in an email to DPReview. ‘They were in and out in under 10 minutes. They went directly to the cabinets with the most expensive equipment inside [passing two other cabinets], broke the doors down and started filling the bags that they had taken in with them. [They were] all suited up and covered [but some] made mistakes and Police are looking over this at the moment. Out of the 12 shelves they only took from 9 of them — the most expensive items and the easiest to sell — they knew what they were looking for.’

Not only was the burglary quick, it was also meticulously planned. According to Bowie, the burglars had been scoping out the location for week and even went so far as to dismantle the street lights and flood lights outside the building. The vehicle believed to be used as a spotter and getaway car was parked 250 yards down the road. Ffordes says authorities are currently combing through both internal and external security footage in an attempt to find out more information.

Bowie says Ffordes has already submitted all of the information it has to the appropriate authorities and will soon release more details, pictures and videos of the burglary in hopes of catching the perpetrators.

Leica Germany has been notified and currently has all of the items re-registered as stolen. Leica dealers around the globe have also been notified and will be keeping en eye out for the stolen gear.

Ffordes has also started a massive social media campaign in an effort to track down the missing gear. Ffordes ‘honestly believes the equipment would be shipped abroad within 12 hours of it being stolen,’ but still has hope the gear will be recovered. Below is a full list of equipment that was taken, complete with serial numbers for verification.

If there’s a shred of good news in this, it’s that the gear was insured. Bowie says the insurance company is currently working on its own investigation and is expected to settle, albeit for far less than what Ffordes paid for the equipment.

If you have any information about the burglary or come across gear on the list, Ffordes asks that you connect with them via email or phone using information found on its contact page.

Articles: Digital Photography Review (dpreview.com)

 
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CamRanger Mini is half the size, two thirds of the price and has over twice the range

13 Sep

Ahead of the launch of the CamRanger II the company has announced a mini version of its wireless remote control system that it says has a longer range than the original in a body half the size. The CamRanger Mini does much the same things as the original model did, but now has a reach of 400 feet and will cost 2/3rd of the price.

Designed to work with Canon and Nikon DSLR systems the device acts as a go-between to connect a camera with a tablet or phone. It allows users to preview what the camera is seeing and to take control of basic, and in some cases more advanced, settings before triggering the shutter.

As was announced, the company has produced a new app to run the CamRanger II, and it appears to have made it available to use first with the CamRanger Mini. The Mini is said to be slightly faster than the original model, and now the app offers equal support for iOS and Android products, as well as 200% live view magnification and a level, pinch zoom functions and a more automated focus stacking process.

There is no mention of Fujifilm and Sony support, as there will be with the CamRanger II, but there’s a good chance the firmware will be updated at some stage to allow this.

The CamRanger Mini is available now for £229.99/$ 200. For more information see the CamRanger website.

Press release

Smaller price, Smaller size…

Introducing the NEW CamRanger MINI

New CamRanger MINI enables remote live view and firing of a Canon or Nikon DSLR camera from up to 120m (400ft) away, via a tablet or smartphone, with the ability to modify exposures and settings completely wirelessly.

The CamRanger MINI hardware and free app work together to create their own Wi-Fi network, even in remote locations, without relying on another network or router. This offers the ability to change the camera’s shutter, aperture, ISO and white balance, along with many other settings. The powerful app even has the ability to run more advanced functions such as focus-stacking, time-lapse and HDR photography.

This new device is ideal for any application where remote view and capture are useful or even essential, such as nature and macro photography, wildlife and birdwatching plus commercial applications where having a camera in a high, tight or remote location is necessary. Controlling a Nikon or Canon DSLR camera with a smartphone or tablet has just become easier.

The built-in Lithium-ion battery lasts about 3-4 hours and is charged through the micro-USB port. Wi- Fi range is over 120m (400ft), though the range depends greatly on the exact location and scenario. The CamRanger MINI works with most Nikon and Canon DSLRs and the included case can be used for carrying, storage and attaching to the camera or tripod.
The CamRanger Mini app is available for iOS and Android and is free download from the Apple App Store or Google Play Store. Both the Android and iOS apps have been completely revamped from the original CamRanger app.

  • Wirelessly stream live view from the camera to your tablet or phone
  • Wirelessly capture images or trigger from the camera
  • Thumbnails automatically appear on the top of the screen after taking a picture
  • Images are always saved to the camera card and can optionally be saved to your device
  • Pinch zoom or double tap to view the image at up to 200%
  • Double tap to increase magnification, Single tap to focus on an area or fine tune
  • Can be configured to take a series of pictures automatically varying Shutter Speed, Aperture, ISO
  • Can be configured as an intervalometer to take time lapse sequences
  • View and change camera settings remotely
  • Use a variety of overlays: grid lines, file name, EXIF data, histogram

Articles: Digital Photography Review (dpreview.com)

 
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Nikon FTZ adapter lets you use over 360 F-mount lenses on Z-series bodies

26 Aug

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One question many people have when a new camera system is announced is ‘but will my old lenses work?’ In the case of the Nikon Z system, the answer is ‘yes’ in the vast majority of cases, with no reduction of image quality or performance, according to the company.

With the optional FTZ adapter over 90 AF-S lenses will be fully compatible with the Z 7 and Z 6. They can take advantage of the camera’s in-body image stabilization and, if you’re using a VR-equipped lens, it will have 5-axis stabilization. (Non-VR lenses will now have 3-axis VR.)

Take an in-depth look at the FTZ’s functionality and our initial performance impressions

The adapter supports the silent shooting and focus peaking functions of the Z-series cameras and, like the Z 7 and Z 6, it’s also weather-sealed.

The FTZ adapter will ship at the end of September for $ 249. When purchased with a Nikon Z 6 or Z 7 through December 31 2018, Nikon will offer a $ 100 discount.

Press Release

NIKON RELEASES THE NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, NIKKOR Z 50mm f/1.8 S, AND THE MOUNT ADAPTER FTZ, AND DEVELOPS THE NIKKOR Z 58mm f/0.95 S NOCT

Designed Exclusively for the Nikon Z Mount System, Featuring a New, Larger-Diameter Mount

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of three new lenses designed for the next-generation Nikon Z mount system’s full-frame (Nikon FX format) mirrorless cameras, for which a new larger-diameter mount has been adopted. The three new lenses are the standard zoom NIKKOR Z 24-70mm f/4 S, the wide-angle prime NIKKOR Z 35mm f/1.8 S, and the standard prime NIKKOR Z 50mm f/1.8 S. Nikon has also announced the Mount Adapter FTZ for Z System compatibility with existing NIKKOR F mount lenses and development of the NIKKOR Z 58mm f/0.95 S Noct lens1.

NIKKOR Z lenses pursue a new dimension in optical performance, by taking advantage of the superior design flexibility made possible by the combination of the larger Z mount with its inner diameter of 55mm, and a short flange focal distance of 16mm. The lenses offer sharp resolution with both still-image and video recording, and are equipped with functions that include: compensation for focus breathing (the shifting of the angle of view when focus is adjusted), quiet operation, smooth exposure control, a control ring and performance that is well suited for video capture.

The NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, and NIKKOR Z 50mm f/1.8 S are S-Line interchangeable lenses. The S-Line is a newly designated grade of NIKKOR Z lenses that adhere to a new benchmark in optical performance, realizing rendering performance that surpasses that of conventional f/4 standard zoom lenses and f/1.8 wide-angle or standard prime lenses. From maximum aperture, clear and sharp resolution can be achieved as well as beautiful bokeh characteristics.

Additionally, the Mount Adapter FTZ has been designed to allow users of Nikon SLR cameras to utilize their existing NIKKOR F mount lenses with the Z mount system and enjoy taking advantage of an even wider variety of lens characteristics with their photography.

Development of the NIKKOR Z 58mm f/0.95 S Noct

Nikon is currently developing the NIKKOR Z 58mm f/0.95 S Noct, a standard prime manual focus lens and the fastest lens in Nikon’s history. The design of the Noct lens exemplifies Nikon’s mission to pursue the ultimate optical performance in the mirrorless category. As the result, the Noct is positioned at the top of the S-Line. In addition, Nikon is planning on releasing a variety of new lenses that will continue to expand its line of attractive, high-performance NIKKOR Z lenses that further extend photographers’ creative expressions.

NIKKOR Z 24-70mm f/4 S Primary Features

  • Standard focal-length range from wide-angle 24mm to medium-telephoto 70mm can effectively cover a wide variety of scenes and subjects with rendering performance that will change the perception of what is possible with zoom lenses with a maximum aperture of f/4
  • Optical design that suppresses variations in aberrations from shooting distances of close-up to infinity, demonstrating sharp resolution even in the peripheral areas of the frame from the maximum aperture, as well as fine point-image reproduction
  • Achieved a minimum focus distance of just 0.3 m across the zoom range
  • Adoption of an ED glass element, an aspherical ED lens element, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Has the size needed to deliver an extremely high standard of optical performance, yet provides outstanding portability; employs a retracting mechanism that can be set on/off without pressing a button and reduces total length for a compact lens that can easily be taken anywhere
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed
  • Fluorine coat applied to front lens surface

NIKKOR Z 35mm f/1.8 S Primary Features

  • Rendering performance that redefines perceptions of what a 35 mm f/1.8 lens can do
  • Sharp resolution even in the peripheral areas of the frame from the maximum aperture, effective suppression of sagittal coma flare that enables superb point-image reproduction when capturing point light sources in night landscapes, and the soft and natural bokeh characteristics expected of a fast (bright) lens
  • Adoption of a new multi-focusing system featuring two AF drive units providing driving power at high speed and with high accuracy that achieves quiet, fast, and accurate AF control, as well as high image-forming performance at any focus distance
  • Adoption of two ED glass elements, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

NIKKOR Z 50 mm f/1.8 S Primary Features

  • Superior rendering ignites creativity, and redefines perceptions of what a 50mm f/1.8 lens can do
  • Thorough suppression of axial chromatic aberration ensures superior resolution with faithful reproduction of the fine textures in subjects, even from maximum aperture
  • Sharp and clear rendering of details from the center of the frame to the peripheral edges, regardless of the shooting distance
  • The soft and beautiful bokeh characteristics at any shooting distance possible only with a fast (bright) lens
  • Adoption of two ED glass, and two aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Adoption of a new, powerful stepping motor (STM) enables quiet and accurate AF control during both still-image capture and video recording
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

Mount Adapter FTZ Primary Features

  • Full compatibility with more than 90 lenses and functionality with approximately 360 existing NIKKOR F lenses from AI type onwards2
  • The unique characteristics of NIKKOR F mount lenses can be applied to Z mount system image quality
  • In-camera VR (Vibration Reduction) with three-axis VR is available when attaching a NIKKOR F lens without built-in VR; in-camera VR also performs well with stills and video recording
  • When attaching a NIKKOR F lens with built-in VR, lens VR and in-camera VR effectively work together to compensate for camera shake by enabling three-axis VR.
  • Various sections of the adapter are effectively sealed to ensure dust- and drip-resistant performance equivalent to that of NIKKOR F lenses
  • Designed to be lightweight yet tough with consideration for superior operability as a part of a complete system

Development of the New NIKKOR Z 58mm f/0.95 S Noct Lens that Pursues Ultimate Optical Performance

The NIKKOR Z 58mm f/0.95 S Noct that Nikon is currently developing will be a large aperture, standard 58mm prime focal-length, the fastest lens in Nikon’s history3, manual-focus lens positioned at the very top of the S-Line. It will stand to symbolize the Nikon Z mount system’s new dimension in optical performance.

It has inherited the design concept behind the original AI Noct-NIKKOR 58mm f/1.2, a standard prime lens released in 1977, named for “Nocturne” (a musical composition inspired by or evocative of the night), and was popular for its ability to finely reproduce point light sources as point images. This new Noct lens that is currently in development will take advantage of the advanced design flexibility afforded by the Z mount, pursuing ultimate optical performance. Development continues with the goals of achieving an extremely fast maximum aperture of f/0.95, offering the ultimate in NIKKOR rendering performance with superior detail and sharpness. Additionally, the goal is to achieve beautiful blur characteristics, or bokeh, with good continuity, and ensure outstanding point-image reproduction capabilities for more compelling, three-dimensional imaging.

The NIKKOR Z Lens Roadmap

Information in the roadmap, including release dates, are subject to change. Product names after the NIKKOR Z 58mm f/0.95 S Noct are not yet finalized.

Price and Availability

The NIKKOR Z 24-70mm f/4 S and NIKKOR Z 35mm f/1.8 S will be available September 27 for the suggested retail prices (SRP) of $ 999.95* and $ 849.95*, respectively. The NIKKOR Z 50mm f/1.8 S lens will be available in late October for the SRP of $ 599.95*. The Mount Adapter FTZ will be available September 27 for $ 249.95* SRP (Additional $ 100 savings when purchased together with a Z 7 or Z 6, through 12/31/2018). For more information on these and other Nikon products, please visit www.nikonusa.com.

Articles: Digital Photography Review (dpreview.com)

 
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Monkey copyright lawsuit finally over, court rejects PETA’s claims

25 Apr
Photo: David Slater

PETA’s “monkey selfie” copyright lawsuit has finally, finally reached a satisfying ending. On Monday, a three-judge panel with the Ninth Circuit Court of Appeals ruled that only humans can pursue copyright infringement claims, upholding a lower court’s decision after a judge refused to let PETA settle its way out of this likely conclusion.

In its ruling, the court said:

Affirming the district court’s dismissal of claims brought by a monkey, the panel held that the animal had constitutional standing but lacked statutory standing to claim copyright infringement of photographs known as the “MonkeySelfies.” … The panel held that the monkey lacked statutory standing because the Copyright Act does not expressly authorize animals to file copyright infringement suits.

The ruling follows the Ninth Circuit’s decision earlier this month to reject PETA’s settlement dismissal request.

PETA had argued that the macaque named Naruto, not camera owner David Slater, owned the copyright because it took the image itself. Courts had expressed skepticism about PETA’s argument, also questioning whether the organization had a suitable relationship with the monkey to sue on its behalf.

In September 2017, PETA announced a settlement with Slater; it asked the Ninth Circuit Court to dismiss the case and vacate the lower court’s ruling. However, in a decision earlier this month, the Ninth Circuit indicated that it had rejected the request because it seemed to be PETA’s way to avoid establishing a precedent. The court had also stated:

As one of our colleagues once warned in a similar context, “courts must be particularly wary of abetting ‘strategic behavior’ on the part of institutional litigants whose continuing interest in the development in the law may transcend their immediate interest in the outcome of a particular case.”

The ruling doesn’t impact PETA’s settlement with Slater, which requires the photographer to donate 25% of future revenue from the image to charities that protect crested macaques in Indonesia.

Articles: Digital Photography Review (dpreview.com)

 
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10 Photography Lessons I’ve Learned Over 10 Years

09 Apr

When learning any new skill, it’s universally agreed that you need to put time into it to grow. There’s a popular theory by Malcolm Gladwell that it takes 10,000 hours to master any skill. That theory is pretty controversial these days, but the number of hours isn’t important. What’s important is that you must put time into learning a skill if you want to become better at it.

Photography is no exception. Ask any of the photographers you admire how long they have been developing their photography skills, they will all tell you that it’s taken them years.

So, how do you speed this learning process up? There are a few ways, but one of them is to learn from other’s mistakes and successes. Every photographer starts out as a beginner, so it would make sense that others have learned a few lessons along the way from which you can benefit.

10 photography lessons 07

I’m no photography master by any stretch, but I’ve learned a few valuable lessons in the 10 years since I picked up a camera. Here are a few of them.

1. Great light beats a great subject every time

If you’re anything like me, you’ve probably had the experience of visiting a gorgeous location with grand visions of the stunning photos you’re going to come home with, only to be bitterly disappointed and wonder what you did wrong. On the flip-side, you’ve likely been pleasantly surprised by the beautiful photos you’ve taken of a very ordinary scene or subject.

So, what is the one thing that makes a great photo above anything else? Great light. This is the reason why I will often return to the same location to photograph the same scene repeatedly. The scene hasn’t changed, but the light will never be the same twice. Learn to predict, look for, and create great light.

10 photography lessons 06

2. Shoot for love, not likes

Social media has changed the world we live in, which is a great thing for photographers. Of course, there are negatives to this as well. The biggest drawback, in my opinion, is the eternal quest for likes. Not a single one of us is immune to it.

It’s flattering and gives a nice ego-boost when someone “likes” your photo on Instagram or Facebook. But it can become a dangerous obsession when you begin to shoot or edit your photos with the motivation of getting more likes.

Sure, we all change and develop our style over time, and this is partly influenced by current trends. Just try to stay focused on shooting what you love, and don’t let the desire for validation on social media make you shoot for likes.

3. Post-processing is part of your artistic expression – learn it well

It’s no secret we live in a digital age. Despite Photoshop having some pretty negative connotations at times, post-processing your photos in the digital darkroom is a necessity, and the sooner you learn it, the sooner your photography will really take off.

10 photography lessons 04

Capturing your photos well in-camera is only half of the process. As a visual artist, what happens to those RAW images is entirely up to you. If you don’t know how to edit them well, then you’re short-changing yourself.

You don’t need to become a professional retoucher, just start with the basics and learn them well. Post-production software is cheap these days, and you can learn how to use it for free. There’s no excuse. Your inner artist will thank you for it.

4. Keep your gear simple

My gear has fluctuated from a single point-and-shoot to a bag heavy enough to crush a camel, and everything in-between. When I switched from a large Nikon full frame kit to Sony mirrorless a couple years ago, I intentionally simplified my gear, and I’ve kept it that way.

There are three reasons for this. Firstly, as a landscape and travel photographer, I don’t want or need large or heavy gear. Secondly, I’m more likely to consider a new purchase more seriously. And thirdly, simplifying your gear (especially lenses) forces you to develop your creativity.

10 photography lessons 03

One of the best exercises you can do for your photography is to go out with your camera and only one prime lens and shoot with just that setup. You don’t need anywhere near as much gear as you think.

5. Make friends with other creatives

For most of us, photography is a solitary pursuit. That’s part of the attraction. Even for an extrovert like me, getting out by myself to explore with my camera is one of my favorite things to do. However, networking with other creative people has a number of benefits that you should try to make the most of as well.

You can do so online, but doing it in person is even better. These creatives could be photographers, but they don’t have to be. They could be filmmakers, painters, illustrators, cake decorators, or musicians. It doesn’t matter what their outlet is or how you spend your time together. Just find other people who will inspire and motivate you, and who you can do the same for. The benefits will surprise you.

6. Hold off trying to make money as long as possible

10 photography lessons 05

Do a quick Google for “how to make money with photography” and you will be drowning in the sea of photo-selling tactics. There’s no question, you can make money selling photography, but that doesn’t mean you should.

I’m not going to go into the pros and cons of trying to turn your photography into a business. I will say, however, that you should try not to rush into monetizing your passion. Turning a hobby into a business (even just a side-hustle) changes things. It can be very satisfying, but mixing art and money isn’t for everyone. Just keep enjoying your hobby as long as you can.

7. Comparison will cripple you and steal your passion

This is in some ways an extension of #2 above. If you spend any time at all on Instagram, you will see there is a massive amount of very talented photographers out there. It’s easy to get discouraged by comparing your photography to that of others.

Again, nobody is immune to this. I often catch myself being overly critical of my own photography because I’m not just viewing the work of others, but comparing mine to it. Nothing good comes from this.

10 photography lessons 02

It’s great to be inspired by the work of others, but if it’s stealing your love for your own photos, it’s turned into something else. Comparison can be a very useful tool, but only if you’re comparing yourself to yesterday.

8. Invest in your craft

Unless your gear was gifted, borrowed, or stolen, then you understand that photography will cost you some of your hard-earned pesos. You can spend a little, or you can spend a LOT.

There are some things that will give you a far better return on your investment than others, though. For example, good lenses are a far better investment than a new camera body. The thing that will give you the best return on investment, in my opinion, is photography education.

There are a lot of great free resources out there, but as the saying goes, you get what you pay for. You can learn a hell of a lot from very affordable ebooks and online courses. And if you really want your photography to flourish, take a workshop with a master. You’ll never wish you hadn’t made the investment.

10 photography lessons 08

9. Start a blog

You might be thinking, “The world doesn’t really need another blog”, and you’d be right. But you’re not doing this for the world are you?

When I started my travel photography blog back in 2010, I never had any visions of millions of readers, I just wanted somewhere I could share photos of my travels and stories of my adventures. I wanted a medium other than Facebook, where I could choose how it looked. It was one of the best things I have ever done.

It’s since grown into somewhere that I now teach travel photography, but it’s still my photo blog, and it’s been a hugely creative outlet for me. I recommend Pro Blogger’s free Start A Blog course (by dPS’s very own Darren Rowse).

10. Your best image is yet to be made

10 photography lessons 01

As I mentioned in #7 above, it’s easy to get discouraged from time-to-time in photography. This happens for a number of reasons, but there’s one thing that I have learned which helps me get back on the horse when I feel like I’m wasting my time. I remember that I still haven’t made my best photo yet.

Of course, there is no such thing as a “best photo”, because photography is an art, not a science. What I’m getting at is that if you keep going, keep learning, keep practicing, you will keep making images that you think might be your best image yet. There will be dry periods, but push through them, try something different, get out of the rut, and you’ll come out the other side and continue to make images that remind you why you do it.

Conclusion

I hope you can take away something to help you in these photography lessons which I’ve picked up over the years. Do you have any pearls of wisdom that you’d like to share with other dPS readers? What have you learned that has made you a better photographer?

The post 10 Photography Lessons I’ve Learned Over 10 Years appeared first on Digital Photography School.


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CP+ 2018 interviews: The reign of the DSLR is almost over…

08 Apr
Canon executives (L-R) Yoshiyuki Mizoguchi, Go Tokura, and Naoya Kaneda. Will Canon announce a full-frame mirrorless camera this year? The signs are looking increasingly positive. Read the full interview

At DPReview, we’re in touch with the companies that make your favorite cameras and lenses all year-round. Our best opportunity to really tap into how the leaders of those companies are thinking though comes once a year, at the CP+ show in Yokohama Japan.

Senior executives from all of the major camera and lens manufacturers are present at CP+ and we try our best to speak to as many of them as possible. This year we sat down with leaders from (in alphabetical order) Canon, Fujifilm, Olympus, Panasonic, Ricoh, Sigma, Sony and Tamron to learn more about how they see the market, and to get an indication of what might be coming down the road.

Full-frame mirrorless will become the norm, and it will happen pretty soon

This year, almost all the executives we spoke to seemed to agree on one thing: full-frame mirrorless will become the norm, and it will happen pretty soon. Kenji Tanaka of Sony even put a date on it, saying that in his opinion, Canon and Nikon would join Sony in the full-frame mirrorless space within a year. Executives from Sigma and Tamron were similarly confident, and even Go Tokura of Canon dropped a couple of fairly heavy hints that the move to mirrorless is imminent.

Kenji Tanaka of Sony thinks that it won’t be long before Sony has some company in the full-frame mirrorless market, but must be hoping that products like the A7 III will increase his company’s share of the full-frame market in the meantime. Read the full interview

It certainly makes sense, and honestly, I’m surprised that it’s even taken this long. For quite a while now, I’ve had the feeling that DPReview has been reporting on two camera markets. One is the mirrorless market: new, energetic, and increasingly packed with advanced autofocus systems and high-end video features. And the other is the DSLR market, dominated by increasingly non-essential iterative updates at the low-end, solid money-makers in the middle, and tough but conventional flagships at the top. There are some exciting and innovative DSLRs still being released, no doubt, but they’re starting to look less and less like products of the technology’s continuing evolution and more like its ultimate expression.

At a certain point, the mirror and prism will become barriers to further innovation

It’s hard to imagine, for example, how much more advanced Nikon’s DSLR platform can get, following the release of the D5 and D850. At a certain point, the mirror and prism will become barriers to further innovation, and if we haven’t already reached that point already, surely we must be getting close?

We spent some time at CP+ talking with senior executives from Fujifilm about the runaway success of the GFX system, and how the company is moving into video.

Read the full interview

Canon already has a mirrorless lineup, albeit one that up to now has been primarily aimed at entry-level customers. They’ve been quietly laying the groundwork for high-end mirrorless for a while now though, with key technologies like Dual Pixel CMOS autofocus and a small system of compact EF-M lenses that are optimized for the short flange-back of the M-mount. As Mr. Tokura and his fellow executives told us when we spoke to them in Japan, ‘we have the technology’ – they just need to put it all together. Nikon’s 1 System (it’s not dead, it’s just sleeping…) likewise introduced some important technologies that Nikon could presumably incorporate into a larger-format system when it feels the time is right.

When we spoke to the head of Olympus’s imaging business unit, Shigemi Sugimoto, he told us that he hopes to grow his company’s market share after “a painful period”.

Read the full interview

I think that the time is close at hand. It’s hard to argue with Mr. Tanaka of Sony that “if cameras are going to develop […] manufacturers have to develop mirrorless technologies”. Consider features like face / eye-detection AF, full-frame autofocus coverage and 4K video. All work best with the mirror up, even when it might not technically be a prerequisite.

With a lens like its new 28-75mm, Tamron is not just betting on Sony, but on full-frame mirrorless in general

Sigma and Tamron both announced full-frame Sony E-mount lenses at CP+, and appear committed to further development in the future. Takashi Sawao of Tamron confirmed something that we already suspected – lenses like its upcoming 28-75mm F2.8 for Sony have the potential to be adapted relatively easily for future – new – mirrorless mounts. The not-so-subtle message here is that with a lens like the 28-75mm, his company is betting not just on Sony, but on full-frame mirrorless in general. Sigma isn’t quite there yet (although Sigma has several native FE lenses on the market, they’re based on existing DSLR designs) but CEO Mr. Yamaki told us that his company’s announcement of E-mount versions of some Art-series lenses is ‘just the beginning’.

Among the topics covered in our conversation with Sigma CEO Kazuto Yamaki were his determination to make more native Sony E-Mount lenses for mirrorless cameras. Read the full interview

Technically speaking, there are plenty of advantages to making lenses for full-frame mirrorless systems from scratch. Mr. Yamaki explained that for wideangle optics especially, the lenses can be made substantially smaller. They can also take advantage of in-camera optical corrections. If and when Canon and Nikon fully commit to full-frame mirrorless, I predict a flood of new lenses, as well as cameras. Nobody is expecting a return to the salad days of the early and mid-2000s, but wouldn’t it be nice to have a little more competition in a market with a few more new products in it? I’m asking for a friend…

Our conversation with Tamron executives covered various topics, including the move to new native mirrorless designs and the decline in DSLR lens sales.

Read the full interview

Sony and Fujifilm both told us that they would welcome Canon and Nikon’s eventual contributions to the high-end mirrorless marketplace, and I believe them – although Sony’s rapid release cycle of full-frame a7 and a9 bodies in the past 18 months certainly looks like an attempt to grab as much market share as possible in the meantime.

Olympus’ Shigemi Sugimoto seems to be looking forward to some growth, after “a painful period” which saw his company’s imaging products lineup shrink. He’s new to his job, but appears confident that his company’s high-performance Micro Four Thirds cameras can compete thanks to their attractive combination of small size and market-leading image stabilization.

Meanwhile, Panasonic also hinted at further development of its stills-focused ILCs, after a period when the company has seemed more focused on meeting the needs of professional and enthusiast videographers. For its part, Fujifilm has made a bold move in the other direction with its new flagship X-H1, explicitly courting video creators for the first time.

Panasonic executives told us that the company is hoping to ‘re-brand’ its stills photography offerings, after a period of investment in video users. Read the full interview

The only manufacturer we spoke to in Japan that appeared uninterested in talking about mirrorless development was Ricoh. I suspect that this is partly strategic and partly also driven by necessity. The R&D resources required to tool up and launch a new system into (presumably, before too long) a crowded market may simply be prohibitive – especially given that the company has only recently started to dip its toes into full-frame digital.

At least for now, it looks as if we can expect little more from Ricoh than consolidation of the existing K-series DSLR lineup and probably a GR II successor of some kind, at some point in the future. A proportion of die-hard Pentax fans will be disappointed by this, but I expect that many simply won’t care. The K-1 II and the imminent arrival of a new 50mm F1.4 represent (at least) a continued investment in the company’s core user-base, and that’s probably enough to keep the loyalists happy for now.

Takashi Arai of Ricoh told us that we can expect new K-series products and possibly also a GR II successor soon, but it seems unlikely that we’ll see any Pentax-branded mirrorless cameras in the near future.

Read the full interview

So what’s coming around the corner? If you’ll indulge some informed guesswork, I’m expecting the announcement of 4K-capable full-frame mirrorless cameras from at least one if not both of the major DSLR manufacturers by late summer, ahead of Photokina in September. That would fit the historical pattern of major product launches from both manufacturers. I don’t think that either Canon or Nikon will attack the professional market straight out of the gate – instead, it’s probably more likely they’ll kick things off with EOS 6D / D600-type products.

I expect flagship professional mirrorless ILCs to be launched ahead of Tokyo 2020 from Canon, Nikon and Sony

A slow build-up of core native-mirrorless lenses (alongside the necessary mount adapters for legacy EF and F lenses) will naturally follow, and development will ramp up as we get close to the Olympic Games in 2020. We know from speaking to executives at CP+ that Tokyo 2020 is going to be a big deal for Canon, and I’d expect it also to be used as a showcase for flagship professional mirrorless ILCs from the other two manufacturers in the ‘big three’ – Nikon and Sony.

By then, it would make sense for both Canon and Nikon to have replicated their most important tele primes and wide-aperture zoom lenses in their new native mirrorless mounts, and for Sigma and Tamron to be offering their own lower-cost alternatives. I don’t want to guess at exactly what those alternatives will look like, but it’s a safe bet that Sigma’s will be larger.

What do you think? Will Fujifilm or Panasonic be competing with the big three in the photographers stands at Tokyo 2020? Will Ricoh ever make another mirrorless ILC? Will Canon’s concept cameras transform how we think about capturing images?

Have your say in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a7 III dynamic range and high ISO improve over its predecessor

17 Mar

Sony recently announced the a7 III, a comparatively affordable full frame mirrorless camera that incorporates a host of advanced features derived from the a9 and a7R III. The combination of price point and feature set makes it attractive to both enthusiasts and pros, particularly those looking to get into full frame or perhaps even make the switch to mirrorless. While we’ve already shot quite a bit with it and offered our thoughts on the camera as a whole, we hadn’t had a chance to take a deep dive into its image quality performance.

And we know many of you are wondering: what’s the dynamic range like? The high ISO performance?

Let’s take a look.

Low light (high ISO) performance

a7 III
ISO 25,600
a7R III
ISO 25,600
a7 II
ISO 25,600

Low light performance has improved markedly over the a7 II, putting it more or less in-line with the a7R III (and therefore a9) when images are viewed at the same size (we’ve downsized the a7R III shot to 24MP). These are 100% crops here (if you’re viewing on a smartphone or Retina / 4K display, see this footnote* below). Roll over the captions, or click on any of the images to view our full studio scene images for each camera.

This is a great result, but also comes as no surprise: noise performance is broadly determined by a combination of sensor size and technology, and we’ve recently seen some significant improvements to sensor technology made by Sony. In particular, the backside-illuminated (BSI) and dual gain architecture of most recent Sony sensors helps squeeze every last bit of performance out of these already low noise imaging chips. Furthermore, the original a7 and a7 II lagged in high ISO performance, often failing to surpass the best APS-C sensors.

Dynamic range vs. the a7R III

The a7 III more or less matches the base ISO dynamic range of the a7R III, when both are viewed at common size (we’ve normalized all our graphs to 8MP). That means both cameras will give you similar ability to make use of (brighten) shadows in Raw files if you want to show a wider dynamic range than shown with the default tone curve.

In numbers, that’s 14.6 EV and 14.8 EV for the a7 III and a7R III, respectively, which falls within our margin of error. You might see a difference in extreme pushes or exposure adjustments, but it’s not likely to be photographically relevant.

a7 III (orange) vs. a7R III (blue). There’s a slight chance you might notice the 0.2 EV advantage of the a7R III at base ISO or the 0.3 EV advantage of the a7 III at higher ISOs, but we doubt it. As our test scene images show, the two cameras look very similar when viewed at the same output size.

Note the jump in dynamic range at ISO 640 for both cameras. That’s essentially the camera’s second ‘base’ ISO, where the second stage of the dual-gain architecture kicks in. At ISOs 640 and above, most recent Sony sensors use a higher gain mode that essentially amplifies the signal at the pixel-level to get it above the (already pretty low) noise floor.** In laymen’s terms, that just means ‘more picture, less noise’, particularly in shadows – hence the increase in dynamic range.

Our analysis shows the a7 III to just edge out the a7R III at these higher ISOs, albeit only by about 0.3 EV (which happens to be right around our margin of error). You might see this in the deepest shadows – in fact, if you look very closely at the darkest patch in our ISO 25,600 rollover above, you can kind of see a tad bit less noise in the a7 III, but is that photographically relevant? Up to you.

… but it shows a marked improvement over its predecessor

While base ISO dynamic range remains the same as its predecessor, the dual-gain design brings a marked improvement at high ISO. Shadows at high ISO will be notably cleaner on the a7 III, and that’s before you consider the better overall high ISO performance – even in brighter tones – likely due to either a more efficient sensor or lower upstream read noise.

Compared with the a7 II (green), the a7 III (orange) shows much better dynamic range (at least 1.6 EV) at higher ISOs. Also, whereas you can see noise reduction being applied to the a7 II’s Raw at 25,600, it doesn’t kick in until ISO 64,000 (beyond the graph) on the Mark III.

Compressed continuous drive performance

If you shoot compressed Raw, the camera drops to 12-bit sensor readout in continuous drive modes. This negatively impacts dynamic range, dropping 1.4 EV at base ISO and roughly 1 EV at ISO 640. Dynamic range catches up at higher ISOs, though never quite matches the performance of 14-bit readout. Even at ISO 6400, 12-bit files are roughly 0.4 EV behind – though this is unlikely to significantly impact your photography. The differences at lower ISOs and at ISO 640, on the other hand, you might notice in more extreme pushes.

a7 III Uncompressed (orange) vs. Compressed 12-bit (light orange) performance. We’re not sure about the jumps at ISO 160 and 800, but for the most part there’s a drop in dynamic range at lower ISOs that more or less evens out at the higher ISOs.

In Single drive mode, compressed Raw continues to use 14-bit sensor readout, so measured roughly the same dynamic range as Uncompressed (it dropped 0.1 EV, but that’s within our margin of error).

And if you’re confused about when the camera drops to 12-bit – which is the only time you’d see these drops in DR – the only combination that diverges from 14-bit is when you shoot compressed Raw in (any) continuous drive mode. All other combinations of Mechanical or Electronic shutter, drive mode or Raw type are 14-bit.

vs. a7R II

We threw this one in here because the a7 III and a7R II are currently being sold for roughly similar price (the latter is $ 400 more expensive), so we’re aware of some discussion about choosing between the two. You’re unlikely to notice our measured 0.2 EV higher base ISO dynamic range of the a7 III, but you might notice the 0.5 EV advantage at ISO 640. At higher ISOs the cameras even out.

Realistically though, there’s not much difference between these cameras.

a7 III (orange) vs a7R II (red) dynamic range. You might notice the 0.5 EV advantage of the a7 III at ISO 640, but for the most part performance is similar.

Summary

We’ve summarized our results in numbers in the table below.

ISO 100 (24MP) ISO 100 (8MP) ISO 640 (24MP) ISO 640 (8MP)
a7 III 13.8 EV 14.6 EV 13.4 EV 14.2 EV
a7 III (compressed 12-bit) 12.4 EV 13.2 EV 12.3 EV 13.2 EV
a7 II 13.9 EV 14.7 EV 11.8 EV 12.6 EV
a7R III 14 EV 14.8 EV 13.1 EV 13.9 EV
a7R II 13.6 EV 14.4 EV 12.9 EV 13.7 EV
a9 12.6 EV 13.4 EV 12.4 EV 13.2 EV

So what’s the take-away? The a7 III’s image quality more or less matches what we’ve come to expect from modern, well-performing full-frame sensors. There’s really not much difference between the a7 III, the a7R III, the a7R II, or the Nikon D850 for that matter.

The a7 III does show a marked improvement over its predecessor at high ISOs, both in dynamic range and general noise performance, thanks to a number of sensor improvements (efficiency, BSI, dual-gain, etc.). Interestingly, the a7 III, which we’d imagine shares a similar sensor to the a9 minus the stacked design, offers roughly 1 EV more dynamic range than that camera at ISOs 100 and 640 (though the cameras even out at the highest ISOs). General noise performance of the a9 – if you’re not pushing your files – is similar though.

The a7 III’s image quality more or less matches what we’ve come to expect from modern, well-performing full-frame sensors

The a7 III offers great image quality performance at an affordable price point. That said, it’s not image quality that sets this camera apart from its contemporaries but, rather, its significant other capabilities like autofocus, silent shooting, video and a number of other things we’ll be delving into in our full review.

* Retina & smartphone optimized 100% crops:

a7 III
ISO 25,600
a7R III
ISO 25,600
a7 II
ISO 25,600

** Technically speaking, it’s not exactly more amplification. Rather, the sensor switches to a different circuit within the pixel that has different capacitance at the floating diffusion node. This essentially generates a larger voltage swing (signal) per photoelectron captured, which means the signal – your picture – is less affected by the noise floor of the sensor and electronics.

Articles: Digital Photography Review (dpreview.com)

 
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Which are the Advantages of Satellite Online Over DSL World wide web?

16 Mar

Considered one of the primary concerns questioned by anybody who is organizing to established up a web relationship in his property or office is this: internet satelit which are the benefits of satellite web more than DSL world-wide-web?

Without a doubt, satellite and DSL companies are classified as the two major ISP platforms encouraged by most people nowadays. They both equally deliver fantastic add and download speed. These are both available. And they are both of those simple to set up.

But just one is naturally improved compared to the other, as well as the distinct winner with this contest is satellite company.

Beneath, I will cite five components which make a satellite service better than the usual DSL world wide web connection.

one. Satellite services is just not tied in which has a mobile phone or cable support. Compared with DSL internet, satellite doesn’t involve you to subscribe to an auxiliary services for example a mobile phone line or maybe a cable Tv set membership. You can purchase a satellite online subscription by by itself, impartial from every other company that a DSL web subscription will require.

two. All factors regarded as, a satellite online subscription is typically additional reasonably priced than a DSL web subscription. While the basic satellite world-wide-web membership is more expensive than the expense of DSL, you will be capable to save lots of much more dollars, from the long run, using this type of kind of internet deal simply because you will not should pay back for that other auxiliary subscriptions that often occur normal which has a DSL internet service.

3. Satellite internet is just not dependent on any “area of protection.” Essentially, on account of the easy setup included having a satellite net subscription (you simply need to connect a satellite modem to the satellite dish, that will transmit and get information to and from the satellite hovering earlier mentioned the earth) it is possible to established up satellite internet access anywhere you wish, even in distant spots which can be not covered by mobile phone and cable organizations. DSL online is proscribed into the provider’s location of coverage. Satellite is just not.

four. Increased bandwidth. For lots of, this is actually the number one remedy for the question “what are classified as the advantages of satellite world wide web more than DSL web?” Satellite provides the highest bandwidth allowance among the current technology of ISP platforms. Exactly what does this imply? More and more people can share a satellite internet relationship without suffering pace reduction. This final results in the a lot more pleasurable on the net encounter. DSL web has minimal bandwidth. Frequently, when much more than 5 consumers share the connection simultaneously, intense velocity reduction is skilled. For companies that need an online relationship for multiple simultaneous users, a satellite membership is the ideal possibility.

5. Fewer susceptible to company outages. As long as the realm involving the satellite dish and the satellite is obvious – which is frequently the situation as there’s commonly only vacant area concerning them – you might appreciate an uninterrupted internet connection, aside from the uncommon cases if the satellite by itself suffers some concerns. This cannot be explained for DSL world-wide-web connections which might be generally susceptible to difficulties such as downed cable towers, damaged lines, and other problems because of mechanical malfunctions or pure gatherings for instance thunderstorms and earthquakes.

When it’s sensible to ask the query, “what are classified as the benefits of satellite above DSL” ahead of subscribing to any unique ISP, the solution, in the majority of locations, will bring on the conclusion that satellite world wide web could be the better selection.

The post Which are the Advantages of Satellite Online Over DSL World wide web? appeared first on Photonovice.

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US Navy confirms: Combat camera units will be eliminated over budget issues

13 Feb

The U.S. Navy has confirmed that it will eliminate a pair of combat camera (COMCAM) units. Confirmation was given by the Pentagon’s Navy spokesperson Lt. Lauren Chatmas to the Navy Times, which reported last week about the Navy’s plans to eliminate the units by October 1st.

The U.S. Navy has two COMCAM units, one called Expeditionary Combat Camera, the other called Fleet Combat Camera. Both units will be eliminated because of budget constraints, according to Chatmas’s statement:

…difficult decisions were made in order to ensure the resourcing of critical mission areas that support Navy’s expeditionary operations. Other expeditionary mission areas took precedence over COMCAM. Therefore, as an overall cost savings measure, the decision was made to provide this capability to the fleet from the existing Navy Public Affairs Support Element command.

Sources expanded on that statement to Navy Times, claiming that COMCAM budget cuts in fiscal year 2017 decreased funding by 60%, and was joined by a declining workload. Officials reportedly decided to eliminate the COMCAM units entirely when working out the fiscal year 2019 budget, having failed in 2017 to consolidate the two units into a single COMCAM unit.

Articles: Digital Photography Review (dpreview.com)

 
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Kodak says over 40,000 investors are interested in its cryptocurrency

01 Feb

In a statement released today, Kodak said more than 40,000 potential investors are interested in the company’s recently announced KODAKCoin Initial Coin Offering (ICO). The cryptocurrency was introduced in early January alongside the company’s new KODAKOne blockchain-based image rights platform for photographers.

Of course, it’s not really Kodak’s cryptocurrency, just cryptocurrency with the Kodak name attached, but you can read about all that below before moving on.

Kodak didn’t get into cryptocurrency and bitcoin mining, “Kodak” did

Ready to move on? Okay.

The company explains that it is beginning an “accredited investor” phase for KODAKCoin that will verify the status of the investors who have expressed interest in Kodak’s cryptocurrency. This won’t be a rapid process, though, and Kodak expects the verification phase to take several weeks.

The company explains that an accredited investor status is dependent on the potential investor’s income, requiring an individual or couple to have a net worth greater than $ 1 million or requiring a minimum 2-year history of income exceeding $ 200k a year ($ 300k for couples). The ICO will also be available to “select non-US persons.”

In short: if you thought (or hoped) this whole Kodak Cryptocurrency thing was just a marketing stunt to help juice the stock and get people talking, it doesn’t look that way.

Articles: Digital Photography Review (dpreview.com)

 
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