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Officials say Apple’s claim of ‘studio quality’ portraits on iPhone X, Xs isn’t misleading

05 Dec

Two challenges to Apple’s claim that its iPhone X can shoot studio quality portraits have been turned down by the UK’s Advertising Standards Authority (ASA). The complainants took issue with Apple’s advertising line that the phone could deliver ‘Studio-quality portraits […] Without the studio’ and believed consumers would misled, but after an investigation the ASA found that the statement was fair.

The basis of the findings is that there isn’t clear definition of what ‘studio quality’ means, and that there is a wide variety of talent in the studio photography industry that meant that the term didn’t necessarily indicate that a ‘studio quality’ portrait was a good one. Rather, the ASA agreed with Apple that the Portrait Lighting effects, the depth-of-field mimicking software and the inclusion of a standard, instead of a wide, focal length meant that the characteristics of a ‘studio’ portrait could be achieved. The investigation also found that the effects shown in the Apple adverts could indeed be produced with the phone at the time of shooting or post capture.

The ruling might seem a smack in the face to the portrait business and to undermine respect for the profession, but photographers are perhaps becoming victims of our own well-worn stock phrases such as ‘the best camera is the one you have with you’. While there is no clear measure of what ‘studio quality’ means, skill and vison are required to create a good portrait and as we all know ‘it’s the archer not the arrow’ – though Apple forgot to mention that bit.

The fact is that smart phones are genuinely becoming better and better at taking pictures, and their developers are devising features and functions well ahead of those traditional camera makers offer. These features often exist to compensate for the physical limitations of the tiny camera units, but they also put incredible flexibility into the hands of the user. At every turn in history the advances of smaller formats have been opposed by ‘proper’ photographers, but that has done nothing to prevent the inevitable progress of the convenience and popularisation of photography. You would be mad to buy an iPhone X to start your portrait business however, as a decent interchangeable lens camera can be had for less than the same price – with change to use a pay phone.

For more information on the complaint, the investigation and the ruling see the Advertising Standards Authority website.

Articles: Digital Photography Review (dpreview.com)

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Nikon Z6 image quality and dynamic range impress, but not without caveats

07 Nov

Studio Scene

We shot the Z6 using Nikon’s new Z 50mm F1.8 S lens, since improved optics are one of the main promises the company has made for its mirrorless system. JPEGs were shot with lens corrections minimized as far as possible. Adobe Camera Raw has mandated lens distortion and chromatic aberration corrections, despite us disabling that option in the camera. Have a look below, then take a look at our dynamic range assessments further down.

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The results of the Z6 and 50mm S lens are impressive, with consistent performance across the frame$ (document).ready(function() { $ (“#icl-4298–901106245”).click(function() { ImageComparisonWidgetLink(4298); }); }). The anti-aliasing filter appears a bit stronger than the Sony a7 III, which means a bit less detail but less occurrence of false color$ (document).ready(function() { $ (“#icl-4301-714546339”).click(function() { ImageComparisonWidgetLink(4301); }); }).

While fine detail isn’t as well preserved at low ISO$ (document).ready(function() { $ (“#icl-4299-740733493”).click(function() { ImageComparisonWidgetLink(4299); }); }) or at high ISO$ (document).ready(function() { $ (“#icl-4300–152210045”).click(function() { ImageComparisonWidgetLink(4300); }); }) as the best of its peers, the Z6 generally strikes a nice balance between noise and detail. Low light Raw performance is competitive with the best of its peers$ (document).ready(function() { $ (“#icl-4302–698920912”).click(function() { ImageComparisonWidgetLink(4302); }); }), which is to say it’s essentially class leading.

Exposure Latitude

Our Dynamic Range tests presented no great surprises. The same banding in shadows the Z7 displayed is present in the very darkest tones of its images, at 12 row increments – the very rows dedicated to phase-detect AF (PDAF). This suggests the Z6 PDAF rows aren’t being perfectly corrected when they’re incorporated into the Raw files. This will impact the usability of darker tones in images relative to its peers like Nikon’s own D750 or Sony’s a7 III. We’ll also check for striping (bright white stripes across shadows) in back-lit shooting as we put together a sample gallery with the camera.

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ISO-Invariance

The camera isn’t entirely ISO Invariant but this is largely because the sensor features the Aptina-style Dual Gain design that Sony Semiconductor has been using for the past few years. This sees the camera use a second higher gain circuit in its pixels to reduce noise from ISO 800 upwards (at the cost of some capacity for dynamic range), where the camera is essentially entirely ISO-invariant.

This means that if you shoot Raw there’s no advantage to increasing ISO above 800, for the same shutter speed and aperture, vs. brightening the Raw file yourself while protecting highlights in post-processing. This method of working can afford you many stops of additional highlight detail at no cost to you other than a dark image preview.

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Our results are confirmed by Bill Claff, based on the test images we sent him. His graphs show a similar pattern to the a7 III’s results but with the performance lying a fraction behind the Sony and a little ahead of the Canon EOS R at most ISO settings. In real world shooting, though, banding in shadows may decrease the overall usable dynamic range.

Articles: Digital Photography Review (dpreview.com)

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Canon EOS R image quality: it’s all in the details

19 Oct

Although Raw performance of the EOS R is very similar to the 5D Mark IV, Canon’s done some tweaking on the JPEGs – take a look at our studio scene to see for yourself.

Articles: Digital Photography Review (dpreview.com)

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Yashica’s comeback camera hit by claims of delays and poor quality

19 Oct

The Kickstarter campaign for Yashica’s digitFilm Y35 camera has produced a wave of complaints about delays in shipping product as well as cameras that don’t work. Running with the foreshadowing strapline ‘Expect the Unexpected,’ the campaign seems to be delivering on its promise to be unexpected by giving some of the 6935 backers exactly what they weren’t hoping for.

The campaign raised HK $ 10,035,296 (approx. $ 1,280,225) for the firm and promised a digital camera that you load with different ‘film cassettes’ that apply specific styles to the pictures. While a delivery date of April 2018 was given at the time of the launch many backers have yet to receive their cameras.

In the last update, on 18th September, the company explained that they are dealing with 38 different combinations of product, and that they were working hard to get orders completed by the end of the month. However, four weeks later the feedback section is 3900 comments long, and while some are complaining that their camera hasn’t arrived others say the shutter button doesn’t work or that the camera switches off unexpectedly.

One user who has received his camera tells those who haven’t to stop complaining, as the product is so bad they’ll be happier now than when it arrives.

The picture isn’t much brighter on Indiegogo where the project took the total raised to $ 1,515,695, as more investors are making the same complaints. The principle problem seems to be the lack of communication from the manufacturer that’s leaving customers in the dark about their cameras and their money.

This hasn’t been a good period for camera-related campaigns on crowd-funding sites, as this failure comes right after the collapse of Meyer Optik Gorlitz, and its associated brands, which left many photographers out of pocket and without the costly products they had backed.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm X-T3 image quality: very competitive at low ISO

08 Oct

The Fujifilm X-T3 exhibits very good image quality overall, with excellent detail and color at low ISOs. Further analysis of the high ISO performance confirms it falls behind its predecessor, though.

Articles: Digital Photography Review (dpreview.com)

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Meike launches new 25mm T2.2 cine lens with ‘decent build quality’ for MFT camera systems

24 Aug

Hong Kong-based Meike has added to its collection of lenses with a new 25mm T2.2 cine lens for Micro Four Thirds camera systems.

The lens is entirely manual with a minimum focusing distance of 25cm/9.84in and a 77mm front filter thread. The optical construction includes ten elements in eight groups, which makes for a 49.7 degree angle of view.

The 25mm T2.2 cine lens weighs 560g/1.23lbs and features a pair of geared rings for changing its focus and aperture. Interestingly, even Meike seems hesitant on the quality of construction. In the product description on its Amazon page, Meike says the lens offers ‘decent build quality.’ Humble, sure, but not exactly reassuring.

Alongside the lens, which is currently available on Amazon for $ 340, is a rear lens cap, front lens cap, and a microfiber bag for safe transport.

Articles: Digital Photography Review (dpreview.com)

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Tamron interview: “Our strength is high quality lenses in a compact size”

28 Mar

L-R: Koji Satoh, Manager of the Product Planning Department of Tamron’s Imaging Products Business Unit, Minoru Ando, General Manager of Tamron’s Optical Design and Engineering Research and Development Unit, Kumiko Saito, General Manager of Tamron’s Marketing Communications Department, and Takashi Sawao, General Manager of Tamron’s Imaging Products Business Unit.

At last month’s CP+ show in Yokohama, Japan we sat down with senior executives from several major camera and lens manufacturers, including Tamron. Our conversation covered various topics, including the move to new native mirrorless designs, and the decline in DSLR lens sales.

The following interview was conducted through an interpreter, and has been edited for clarity and flow. Answers from the four interviewees have been combined.

Is the new 28-75mm a completely new design?

It is, yes.

How long has it been in development?

Typically a lens like this takes around one year to develop.

Tamron’s upcoming 28-75mm F2.8 is the first third-party zoom lens designed natively for full-frame mirrorless cameras.

What was your goal when designing this lens?

When we are planning new products, we’re always thinking about the voice of our customers, and customer benefit. The market is moving towards mirrorless, so we wanted to launch new FE lenses. Sony has the biggest market share of the mirrorless market.

With the Sony Alpha 7 series, the bodies are compact, but the lenses are relatively big

We’re also aiming for high quality, and good performance. And specifically for FE lenses, we wanted a small and lightweight option. With the Sony Alpha 7 series, the bodies are compact, but the lenses are relatively big. So when we were planning a fast lens for FE lens it was important to us that it would be compact, but still high quality.

This is the first third-party [zoom] lens for the Sony full-frame E-mount, and we’re expecting it to do well in the market.

Are you planning to create Sony E-mount versions of your existing SP primes and zooms, or will you make entirely new designs?

We’re not planning on making Sony E-mount versions of our existing lenses, no. Our concept is a little different to Sigma’s. We’re trying to customize lenses specifically for FE, otherwise they’d be too big. When it comes to autofocus, mirrorless has different requirements too. Mirrorless cameras are good for movies as well as stills, and existing AF motors aren’t very good for video. This lens [the new 28-75mm F2.8] has a stepping motor for autofocus, which is better for video.

The new 70-200mm F4 promises high quality, without the size and weight that we generally associate with faster F2.8 telezooms.

How important is the Sony customer base to you now?

Very important. Everybody is going to mirrorless. Canon and Nikon will launch full-frame mirrorless cameras, probably in the near future. When this happens, we can easily make Canon and Nikon versions of our [native] E-mount lenses. The same design could work for [multiple mirrorless mounts].

So with this new lens, you’re thinking ahead.

Yes, to the near future.

Optical performance of the new 28-75mm F2.8 will be equivalent to our SP lenses

This new lens is not in the ‘SP’ range. What does this signify?

Within Tamron, we have an internal definition of SP, where we usually utilize metal for the body material, and certain other features. Optical performance of the new 28-75mm F2.8 will be equivalent to our SP lenses, but for this model we prioritized smaller size and lower weight, so we used polycarbonate instead of metal.

Is this new lens weather-sealed?

Yes, it is. We describe it as ‘moisture-resistant construction’.

Despite not belonging to the ‘SP’ range of lenses, the new 28-75mm is moisture-resistant, featuring a rubber gasket around the lens mount to protect against dust and water incursion.

Is making this change to mirrorless lens designs an urgent priority for Tamron?

I can’t give you any detailed information about our future roadmap, but we’re watching the market closely. And Sony has the biggest share of the mirrorless market, so of course E-mount lenses are a priority.

How do you want the Tamron brand to be viewed by your customers?

We’re always thinking about our customers, and we’re not going to sacrifice performance and quality. We want to be recognized as a high-quality brand, and we stand by our customers, always. Each brand has a strategy, and our approach is a little different to [some competitors]. We try to very open with our customers.

Our strength is making compact, light and high quality lenses.

We’ve seen some manufacturers create entry-level cine lenses for videographers. Is that something that Tamron is interested in?

Maybe in the future, but at this point I can’t say whether we’ll enter that market.

Balancing performance and size is a Tamron strength

If you had a choice between making a lens that was very large, but very high quality, or one that was smaller and optically less impressive, which would you choose?

We try to pursue both small size, and high performance. Balancing performance and size is a Tamron strength. For this new zoom, if we had started at 24mm for example, the lens would be much bigger and heavier. By starting the zoom range at 28mm, it became much smaller and lighter, and easier to handle. We think that’s what our customers want.

Tamron’s ‘Tap-in Console’ allows the performance of some of its SP lenses to be tweaked and customized on an individual basis.

Increasingly when we visit factories, we’re seeing more and more automation. How much automation does Tamron use in your factories?

Automation is being gradually increased, but we don’t emphasize it. In some cases, manual processes are better for product quality. If automation would be good for the quality of the final product, we might utilize it. It all depends.

Are your lenses mostly assembled by hand, at present?

Some processes are automated, but others are manual so it’s difficult to say.

We’re always thinking about what we can provide in the market that’s innovative

Where do you think the biggest opportunities lie for Tamron in the future?

We’re always thinking about what we can provide in the market that’s innovative. Our strength is high quality lenses in a compact size. So going forward we want to be able to provide good products in each market segment.

The requirement for video must change how you develop lenses, beyond just the kind of AF motor you use?

Yes, it does. We have also developed other technologies to support video. At this point we’re not finished, but we’re always developing ways of manufacturing new lenses.

Optical designs need to change, and also autofocus technology

When we look at conventional DSLR lenses and mirrorless lenses, the technologies necessary to make them are a little bit different. The optical designs need to change, and also the autofocus technology. We’re always thinking about what kind of technologies would be good for mirrorless compared to DSLR, and what works for what focal length, and things like that.

You mentioned that the audience for mirrorless lenses will increase – will the audience for DSLR lenses decrease?

Yes, it already is. We’re watching the market and the data already shows us that the market is declining.

Editor’s note:

Perhaps the most interesting insight from our interview with Tamron this year was confirmation that the market for DSLR lenses is declining. It makes complete sense that Tamron (and Sigma) would be focusing on developing lenses for full-frame Sony E-mount cameras now, since by common agreement, Canon and Nikon will launch their own large-sensor mirrorless cameras pretty soon.

Tamron’s executives see their company’s mission as slightly different to Sigma’s

In the same way as one basic optical design can be adapted for multiple SLR mounts, Tamron’s new FE 28-75mm F2.8, which is optimized for the short flange-back distance of modern mirrorless systems, could be adapted for future mirrorless platforms as and when they emerge.

It is clear that Tamron’s executives see their company’s mission as slightly different to Sigma’s. Whereas Sigma is committed to a ‘no compromise’ approach in its Art-series which sometimes results in large, heavy products, Tamron sees its value in small, lightweight but still high-performing lenses. Maybe the primes will open up to F1.8 rather than F1.4, and the zooms might start at 28mm rather than 24mm, but clearly the company believes that some users will be happy with those compromises for the sake of smaller, lighter (and potentially cheaper) lenses.

Tamron sees its value in small, lightweight but still high-performing lenses

I think they’re right about that, and the new 28-75mm F2.8 looks like a good start. Obviously we don’t yet know how it will perform optically, but if it compares well to Sony’s own 24-70mm F2.8 GM at equivalent focal lengths, it might well become a benchmark standard zoom for mirrorless. That, in turn, would put Tamron in a very good position to get in on the ground floor of development for the wide range of full-frame mirrorless cameras we’re expecting from various manufacturers in the future.

Articles: Digital Photography Review (dpreview.com)

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The way you Can Deliver A specialist Top quality Plastering Complete

03 Mar

Plastering is without a doubt an really aged artwork that is certainly unquestionably still in use currently. Plaster is usually a organic item, hydrated gypsum, while using the chemical formulation of CaSO4.2H2O. This dries into a fantastic white powder which may be combined with further h2o and shaped. It has typically been used for interior partitions, also to develop ornate trims. It’s the basis with the portray strategy referred to as fresco the place illustrations or photos are painted even though the plaster remains soaked. The plaster was frequently stabilized with the addition of elements for instance animal hair,plasterer stoke on trent or perhaps a base for instance cloth. Exterior partitions are often plastered with powdered limestone (stucco).

Lots of contemporary interior partitions are created from a pre-formed plaster board also referred to as drywall or sheet rock. In comparison with conventional tactics these are quickly set up by nailing to studs or joists and possessing the joints and nailheads concealed by plastered tape. Alternatively the whole floor might be lined working with a thin coat of plaster, termed veneering.

In either case, plastering continues to be to become a job which might be hard for the regular do-it-yourself-er. It truly is a specialised talent and for your greatest perform, contractors and householders hire a specialist to achieve acceptable outcomes. Not just does it have to have expertise to bring about a clean surface area, but a plasterer is in the constant race with all the speed on the chemical reaction given that the plaster dries. To accomplish that excellent end it is actually a race against time simply because after the plaster has started to set you will find not much which the average male can do about this.

On the other hand, for smaller sized positions, like to repair service wall or ceiling cracks, or small holes, dwelling repairs is often accomplished fairly quickly. Blown plaster, where by the plaster has separated through the backing, is more difficult, but can be tackled by a significant handyman.

With a total plastered wall, preliminary coats of plaster are used utilizing a skimming float, an enormous flat-surfaced tool which is held in a slight angle to drag the plaster across a wall. Subsequent coats are extra with a technique known as float and set. This simply implies that the next coat is utilized and floated (smoothed), and allowed to established. To permit each and every coat to stick effectively, there ought to be a way for it to kind a essential with all the area beneath. On lath, spaces among the slats allow plaster to ooze between and tightly connect. The subsequent coat is going to be roughened slightly ahead of it is dried to permit the coat higher than it to stick tightly, and so on.

To achieve a wonderful good quality plastering career, it is advisable to contact within a professional, except for individuals smaller repair service work. Until you happen to be a professional otherwise you have within the incredibly minimum accomplished it ahead of and you were happy with your outcome then my recommend into the typical man is, depart it by itself. You can find nothing at all worse than looking at a very poor plastering career and likewise it could be high priced to get it put appropriate. A expert plasterer will likely be high-priced. To this point as I’m involved, they can be really worth their weight in gold.

The post The way you Can Deliver A specialist Top quality Plastering Complete appeared first on Photonovice.

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Google’s new AI ranks photos on their technical and aesthetic quality

27 Dec

Image: Google

We have seen several attempts at automated image assessment from both technical and aesthetic points of view in the past. For example, Google researchers have previously used convolutional neural networks (CNNs) to assess image quality of specific image categories, such as landscapes.

However, these previous approaches could typically only differentiate between low and high image quality in a binary way. Now, a Google research team has developed a methodology that can provide a more granular assessment of the quality of a photograph that is applicable to all types of images.

The NIMA: Neural Image Assessment model uses a deep CNN that was trained to predict which images a typical user would rate as looking technically good or aesthetically pleasing, using that information to rate an image on a scale of 1 to 10.

To achieve this, it relies on state-of-the-art deep object recognition networks and uses them to develop an understanding of general categories of objects. As a result, NIMA can be used to score images in a reliable manner and with high correlation to human perception, which makes it a potentially very useful tool for labor intensive and subjective tasks, such as automated image editing or image optimization for user engagement.

The NIMA team says that, in testing, the model’s aesthetic ranking of images closely matches the mean scores that were assigned by human judges. What’s more, the technology is still in its infancy; further retraining and testing should improve the model even further. Once systems get better, future applications could include image capture with real-time feedback to the photographer, auto-culling, or providing guidance to image editors to achieve optimized post-processing results.

More detail on this fascinating new system are available on the Google Research Blog.

Articles: Digital Photography Review (dpreview.com)

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Olympus 45mm and 17mm F1.2 Pro lenses emphasize bokeh quality

26 Oct

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Olympus has announced 17mm and 45mm F1.2 Pro primes, offering high-end fast 35mm and 90mm equivalent lenses. The lenses use the same 60mm filters that the existing 25mm F1.2 Pro uses and, like that lens both are weather sealed and dust proof.

The two lenses expand the company’s series of F1.2 lenses, which are equivalent to 35 and 90mm F2.4 lenses for full frame. This allows Micro Four Thirds users to achieve very shallow levels of depth-of-field at the focal lengths where they need this capability. The lenses are designed to be consistent in size with one another.

Olympus says it’s focused the design not just on achieving sharpness but also on providing attractive bokeh. It says its research showed that bokeh with a soft edge produces the most attractive result, producing a smooth transition from in-focus to out-of-focus regions, and with minimal risks of interference patterns occurring in backgrounds.

To achieve this, both lenses are designed so that spherical aberration is not fully corrected (that would give completely uniform bokeh). Instead it focuses peripheral light rays slightly in front of the plane of focus, giving a soft roll-off to the edges of the bokeh. This, they say, is how many much-loved ‘classic’ lenses gave desirable, ‘3D’ rendering.

The 17mm lens includes a unique ED-DSA element, which has dual aspherical lenses formed from soft and hard-to-work extra low dispersion glass. They claim to be the only company currently able to do this.

The company also highlights that its cameras should be able to achieve very high levels of focus precision even with off-center points. Both lenses also have the snap-back focus clutch system, so that videographers can manual focus with a linear focus response.

Olympus mentions that there’s been a trend towards bokeh-optimized primes in recent years but says its design approach gives attractive bokeh without any of the light loss causes by the use of apodization filters in Fujifilm’s APD or Sony’s STF lenses.

Each lens will cost $ 1200. The 45mm will go on sale in late November, and the 17mm will be available in late January 2018.

Press release

BEAUTIFUL BOKEH: TWO NEW OLYMPUS LENSES EXPAND THE M.ZUIKO PRO F1.2 PRIME LINEUP

M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO® Digital ED 45mm F1.2 PRO Offer Smooth Feathered Bokeh and High Resolution at the Brightest Aperture

CENTER VALLEY, PA., October 25, 2017 — Olympus expands its M.ZUIKO F1.2 PRO prime lens lineup with the new M.ZUIKO Digital ED 17mm F1.2 PRO (34mm focal length in 35mm equivalent) and the M.ZUIKO Digital ED 45mm F1.2 PRO (90mm focal length in 35mm equivalent). These Micro Four Thirds® system lenses join the currently available M.ZUIKO Digital ED 25mm F1.2 PRO (50mm focal length in 35mm equivalent) to deliver outstanding resolution and beautiful feathered bokeh at a maximum aperture of F1.2.

The M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO Digital ED 45mm F1.2 PRO give M.ZUIKO PRO lens users more flexibility in low-light environments as well as an extraordinarily shallow depth-of-field. Each is designed to achieve a new level of depictive performance, delivering three-dimensional images that represent subjects as they appear in the real world through a combination of feathered bokeh and sharp resolution.

By focusing not only on the bokeh’s size but also its quality, each lens produces a feathered bokeh effect that better emphasizes the main subject and allows it to stand out within the image. The shallower depth of field produced at F1.2 is especially ideal for portrait photographers.

The newly developed ED-DSA lens, which possesses the characteristics of both an ED (Extra-low Dispersion) lens element and a DSA (Dual Super Aspherical) lens element, is incorporated in the M.ZUIKO Digital ED 17mm F1.2 PRO. The ED-DSA lens compensates for common wide-angle lens issues, including chromatic aberrations, distortion and color bleeding on the image periphery.

Like other lenses in the M.ZUIKO PRO series, the M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO Digital ED 45mm F1.2 PRO feature compact, lightweight construction and a dustproof, splashproof, freezeproof (to 14°F/-10°C) design, giving photo enthusiasts and professionals the ability to capture brilliant images in a variety of shooting conditions.

U.S. Pricing and Availability
The M.ZUIKO Digital ED 45mm F1.2 PRO will be available late November 2017, while the M.ZUIKO Digital ED 17mm F1.2 PRO will be available late January 2018. Both lenses will have an estimated street price of $ 1,199.99 USD/$ 1,499.99 CAD. For a complete list of specifications for the M.ZUIKO Digital ED 45mm F1.2 PRO, visit the Olympus website: http://getolympus.com/lenses/m-zuiko-ed-45mm-f1-2-pro.html, and for the M.ZUIKO Digital ED 17mm F1.2 PRO lens, visit http://getolympus.com/lenses/m-zuiko-ed-17mm-f1-2-pro.html.

Main Features

1. Depictive performance that delivers feathered bokeh and outstanding resolution

Feathered bokeh provides an ultra smooth transition from the sharp to the defocused areas of the image to provide an overall softer background. This results in a subject that stands out with lifelike dimensionality.

In the M.ZUIKO Digital ED 17mm F1.2 PRO, there are 15 elements in 11 groups, including specialized lens elements like the newly developed ED-DSA lens. The ED-DSA lens element, which possesses the characteristics of both an ED (Extra-low Dispersion) lens and DSA (Dual Super Aspherical) lens, reduces the overall weight and the number of lens elements. This design effectively compensates for various types of aberrations that tend to occur in wide-angle lenses, such as chromatic aberration, distortion and color bleeding on the image periphery (magnification chromatic aberration).

The M.ZUIKO Digital ED 45mm F1.2 PRO contains three optimally placed and bonded lens elements, including one ED lens, which compensate for typical problems on wide-aperture lenses like out-of-focus color bleeding (axial chromatic aberration) and peripheral color bleeding (magnification chromatic aberration). The extensive use of special lenses incorporated into 14 elements in 10 groups results in superb optical performance and feathered bokeh effects, even at the widest aperture setting.

Both lenses use the same Z Coating Nano technology as the M.ZUIKO Digital ED 25mm F1.2 PRO for sharp, clear image quality that significantly reduces ghosts and flares that tend to occur in backlit images.

2. Fast, high-precision AF

Both lenses are equipped with the MSC (Movie- and Still-Compatible) autofocus mechanism that provides virtually silent and smooth high-speed focusing performance, even when using the maximum aperture of F1.2. Additionally, there are no AF point limitations, even at the widest aperture, due to the On-Chip AF system in all Olympus OM-D® and PEN® cameras.

Using Face Priority or Eye Priority AF, two modes which are highly regarded by professional portrait photographers, brings out the true power of these large-aperture lenses.

3. Compact, lightweight construction and dustproof, splashproof and freezeproof (14°F/-10°C) performance

The M.ZUIKO PRO F1.2 prime lens lineup is exceptionally compact, lightweight and provides unrivaled mobility, dustproof, splashproof and freezeproof (14°F/-10°C) performance consistent with the M.ZUIKO PRO series. A uniform lens filter diameter across the three F1.2 lenses allows for use of the same lens filters, such as protection filters and PL filters.

Other Features

Excellent close-up shooting: The M.ZUIKO Digital ED 17mm F1.2 PRO has a minimum focusing distance of 20 cm and a maximum image magnification of 0.15x (35mm equivalent: 0.3x), while the M.ZUIKO Digital ED 45mm F1.2 PRO has a minimum focusing distance of 50 cm and a maximum image magnification of 0.1x (35mm equivalent: 0.2x), providing outstanding close-up shooting performance.
Premium design: Each lens was designed with the professional photographer in mind. The focusing ring placed at the front of the lens makes focusing easier when paired with the large grip of the flagship OM-D E-M1 Mark II camera. The L-Fn Button is located on a gently curving surface to make it comfortable to access. The MF Clutch mechanism allows the photographer to instantly switch between auto and manual focusing mode by pulling the focusing ring toward the camera body.

Lens Accessories:
Lens Cap, LC-62F (bundled): This lens cap is designed for quick and easy removal from lenses with a filter diameter of ?62mm, and can be used even when the lens hood is still attached.

Lens Case, LSC-0811 (bundled): A purse-string-type lens case with three-layer construction thatsecurely protects the lens. The lens can be stored in the case with the lens cap, protection filterand lens hood (stored) attached to the lens.

Lens Hood, LH-66C (bundled): A lens hood specifically designed for the M.ZUIKO Digital ED 17mm F1.2 PRO lens to reduce the amount of unnecessary light entering the lens when shooting in backlit conditions. The hood release lock button features a nonprotruding design that prevents the hood from accidental detachment.

Lens Hood, LH-66B (bundled): A lens hood for use with the M.ZUIKO Digital ED 25mm F1.2 PRO and the M.ZUIKO Digital ED 45mm F1.2 PRO lenses to reduce the amount of unnecessary light entering the lens when shooting in backlit conditions. The hood release lock button features a nonprotruding design that prevents the hood from accidental detachment.

Protection Filter, PRF-ZD62 PRO (sold separately): This protection filter maximizes the abilities of M.ZUIKO PRO lenses bearing the Zuiko name. It features ZERO coating, which cuts reflection by approximately one-half compared to conventional multicoating, black-edged glass, and a satin-finished black alumite aluminum frame for a matte surface that suppresses reflections.

Sales Outline for Separately Available Accessories

Product Name	MSRP	Planned Launch Date
Lens Cap, LC-62F	$ 23.99 USD $ 21.99 CAD	On sale
Lens Case, LSC-0811	$ 26.99 USD $ 26.99 CAD	On sale
Lens Hood, LH-66B	$ 44.99 USD $ 44.99 CAD	On sale
Protection Filter, PRF-ZD62 PRO	$ 64.99 USD $ 64.99 CAD	On sale

Olympus 17mm and 45mm F1.2 Pro specifications

	Olympus M.Zuiko Digital ED 17mm F1.2 Pro	Olympus M.Zuiko Digital ED 45mm F1.2 Pro
Principal specifications
Lens type	Prime lens
Max Format size	FourThirds
Focal length	17 mm	45 mm
Image stabilization	No
Lens mount	Micro Four Thirds
Aperture
Maximum aperture	F1.2
Minimum aperture	F16
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	15	14
Groups	11	10
Special elements / coatings	1 Super ED, 3 ED, 1 ED-DSA, 1 EDA, 1 Super HR, 1 aspherical	1 ED, 4 HR, 1 aspherical
Focus
Minimum focus	0.20 m (7.87″)	0.50 m (19.69″)
Maximum magnification	0.15×	0.1×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	Yes
Physical
Weight	390 g (0.86 lb)	410 g (0.90 lb)
Diameter	68 mm (2.68″)	70 mm (2.76″)
Length	87 mm (3.43″)	85 mm (3.35″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Filter thread	62.0 mm
Hood supplied	Yes
Hood product code	LH-66C	LH-66B
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

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