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Posts Tagged ‘Range’

Peak Design adds Range Pouch to Everyday lineup

01 Sep

Peak Design has added the Range Pouch to its lineup of versatile Everyday camera bags. The pouch is designed to carry a lens on a belt, in a bag or on a strap, and is available in three sizes. The smallest is designed for kit and prime lenses, and the large will fit up to a 70-200mm. The pouches pack down flat when not carrying a lens, and the larger models can be configured to fit a couple of smaller lenses stacked on top of each other.

Right now the Range Pouch is available as an add-on when you back Peak Design’s current Kickstarter campaign. The small Range Pouch can be added for $ 29, the medium for $ 34 and the large for $ 39. Following the campaign, the small will cost $ 35, the medium $ 40 and the large $ 45.

Articles: Digital Photography Review (dpreview.com)

 
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Broncolor launches range of softbox edge masks for rim light effect

26 May

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Swiss lighting brand broncolor has announced a range of diffuser panels for its softboxes that help to create a rim light effect when the subject is positioned in front of the softbox. The Edge Masks feature a large black panel in the center of the diffuser that prevents light from passing, but leaves strips all the way around the panel for the flash to pass through. The idea is that people posed in front of the panel will appear on a black background but highlighted with a rim of light all around them.

The panels are designed to replace the usual white diffuser of the softbox, which is removed when the Edge Mask is in place. The effect is relatively easy to achieve using any softbox and a panel of black material, but these are a bit more convenient and look more professional.

The company has also launched a 110cm parabolic umbrella that can be used to vary the focus of the reflected light. The umbrella has a particularly long arm that allows the light source to be placed at a range of distances from the reflective material.

The Edge Masks come in a range of sizes and are available now, as is the Focus 110 umbrella. The Edge Masks are priced from £42/$ 54 to £84/$ 113, while the umbrella costs £150/$ 210.

For more information visit the broncolor website.

Press release:

New Light Shaping Tools – Edge Masks & Focus 110

Hot on the heels of the new Siros L battery powered studio monobloc, broncolor have also released two brand new lights shaping tools – the Edge Mask diffuser and Focus 110 umbrella.

Edge Masks
Using the broncolor range of softboxes just became even more creative and flexible. The new Edge Mask helps turn the rectangular sizes of the softboxes in to a rim light, allowing for subjects to be photographed in-front of and against the softbox, with the light wrapping around the subject from behind. This is a popular technique previously only created by flagging off the softbox with a board, but the Edge Mask provides a professional, easy and uniform method for creating the effect. Simply attach the Edge Mask to your existing softbox as you would an external diffuser.

Focus 110
The new parabolic Focus 110 umbrella (110cm diameter) provides a quick an easy way of producing a focusable parabolic light effect. Simply pop it up and use the lamp heads umbrella holder to slide and focus the shaper.

Pricing and availability
The new Edge Masks and Focus 110 are ready and available to ship now!

33.612.00 – Edge Mask for Softbox 35 x 60 – £35 ex. VAT
33.613.00 – Edge Mask for Softbox 60 x 100 – £40 ex. VAT
33.614.00 – Edge Mask for Softbox 90 x 120 – £50 ex. VAT
33.615.00 – Edge Mask for Softbox 120 x 180 – £70 ex. VAT

33.576.00 – Focus 110 – £125 + VAT

Articles: Digital Photography Review (dpreview.com)

 
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Pentax K-1’s Pixel Shift challenges medium-format dynamic range

10 May

The Pentax K-1 has produced one of the best dynamic range performances we’ve yet seen. As our testing of the camera continues, we’ve been looking through the results of our Raw dynamic range test and we’ve been very impressed. And that’s before we looked at the benefits brought by Pixel Shift Resolution mode.

Raw Dynamic Range

Exposure Latitude

In this test we look to see how tolerant of pushing exposure the Pentax K-1’s Raw files are. We’ve done this by exposing our scene with increasingly lower exposures, then pushed them back to the correct brightness using Adobe Camera Raw. Examining what happens in the shadows allows you to assess the exposure latitude (essentially the dynamic range) of the Raw files.

Because the changes in this test noise are primarily caused by shot noise and this is mainly determined by the amount of light the camera has had access to, the results are only directly comparable between cameras of the same sensor size. However, this will also be the case in real-world shooting if you’re limited by what shutter speed you can keep steady, so this test gives you an idea of the amount of processing latitude different formats give.

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Compared with the Nikon D810, the Pentax does a great job. There’s less chroma noise visible after a 5 and 6EV push, suggesting the Pentax is adding even less noise to its images than the already very good Nikon. It’s a similar story when compared with the Nikon D750$ (document).ready(function() { $ (“#imageComparisonLink2463”).click(function() { ImageComparisonWidgetLink(2463); }); }). The difference compared to the Sony a7R II$ (document).ready(function() { $ (“#imageComparisonLink2464”).click(function() { ImageComparisonWidgetLink(2464); }); }) is even greater, marking the K-1 as one of the best results we’ve ever seen.

The picture is slightly muddied by the D810 offering an ISO 64 mode$ (document).ready(function() { $ (“#imageComparisonLink2467”).click(function() { ImageComparisonWidgetLink(2467); }); }), which can tolerate around 2/3EV more exposure before clipping, allowing longer shutter speeds that provide a shot noise benefit commensurate with that. This allows the D810 to pull almost imperceptibly ahead in brighter, shot-noise limited tones$ (document).ready(function() { $ (“#imageComparisonLink2468”).click(function() { ImageComparisonWidgetLink(2468); }); }), but doesn’t stop the K-1’s result (from a camera with a list price roughly half as much) from being hugely impressive.

The difference is even bigger in Pixel Shift Resolution mode. Because it samples the scene multiple times, it effectively collects more total light, which means less shot noise. As you might expect, the result from the four 1/320 sec exposures used to create the 1/320 + 6EV image$ (document).ready(function() { $ (“#imageComparisonLink2465”).click(function() { ImageComparisonWidgetLink(2465); }); }) show similar levels of noise to the 1/80th second exposure shot in single image mode (a 2EV advantage), only with the greater sharpness that Pixel Shift mode brings. This lower noise means you can push the files to a tremendous degree – far beyond what the Nikon D810’s ISO 64 mode allows$ (document).ready(function() { $ (“#imageComparisonLink2466”).click(function() { ImageComparisonWidgetLink(2466); }); }).

ISO Invariance

A camera with a very low noise floor is able to capture a large amount of dynamic range, since it add very little noise to the detail captured in the shadow regions of the image. This has an interesting implication: it minimizes the need to amplify the sensor’s signal in order to keep it above that noise floor (which is what ISO amplification conventionally does). This provides an alternate way of working in situations that would traditionally demand higher ISO settings.

Here we’ve done something that may seem counter-intuitive: we’ve used the same aperture and shutter speed at different ISO settings to see how much difference there is between shooting at a particular ISO setting (and using hardware amplification) vs. digitally correcting the brightness, later. This has the advantage that all the shots should exhibit the same shot noise and any differences must have been contributed by the camera’s circuitry.

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You can see all the K-1’s full ISO Invariance results here and its pixel shift results here. The K-1 is as close to being ISO Invariant as we’ve seen, meaning there’s no cost to shooting at ISO 100 and pushing the files later, rather than using a higher ISO. This means you can keep the ISO down and protect multiple stops worth of highlight information that would otherwise be pushed to clipping by the hardware amplification.

ISO invariance isn’t an end in itself: there are cameras such as the Sony a7R II that are ISO variant because their higher ISO results are so good, not because their low ISO DR is deficient. However, a look at our standard test scene shows its high ISOs are extremely good, so you’re not losing much in comparison with these dual-mode sensors. The K-1’s files have a very high level of flexibility when it comes to processing.

Conclusion

In conclusion, the K-1 gives one of the best Raw dynamic range results we’ve ever seen, when shooting in single shot mode and absolutely outstanding results in circumstances where you can use the pixel shift mode. The multiple sampling of the same scene effectively gives a 2EV dynamic range boost, meaning it out-performs both the D810 and the 645Z by a comfortable margin. Less noise (though multiple captures) and multiple 14-bit values at every pixel mean it can give outstanding levels of DR for static scenes where you can use the Pixel Shift mode.

Articles: Digital Photography Review (dpreview.com)

 
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Front-runner: Nikon D500 leads class in studio and dynamic range tests

27 Apr

At long last, a Nikon D500 has found its way into our office (thank you LensRentals!). We put the camera straight into our studio to find out what the long-awaited successor to the D300 is capable of. It’s only the beginning of course, but you can see for yourself below what the D500’s full ISO range looks like in our studio scene (cranked all the way up to ISO 1,638,400) and on the next page you’ll see the results of our dynamic range testing. There’s good news in store – in our initial testing the D500’s performance is class-leading with respect to low light (high ISO) noise performance, as well as dynamic range. In fact, it’s essentially ISO invariant, taking after Nikon’s own D7200 rather than the D5.

See our Nikon D500 Dynamic Range tests on page 2

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Articles: Digital Photography Review (dpreview.com)

 
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Studio report: Nikon D5 has lowest base ISO dynamic range of any current FF Nikon DSLR

29 Mar

When the Nikon D5 arrived in our office on Friday we immediately wanted to answer a few questions: How is the low light performance? How good is the autofocus? How is the Raw dynamic range? After running our Exposure Latitude and ISO Invariance tests we’ve found that while the D5’s sensor is clearly optimised for low-light image making, it represents a rather surprising – and disappointing – step backwards in terms of base ISO dynamic range.

Let’s take a closer look, starting with our Exposure Latitude test scene. There are two pages in this article, so don’t miss page 2, where we’ll look at ISO invariance. 

Exposure Latitude

In this test we look to see how tolerant of pushing exposure the D5’s Raw files are. We’ve done this by exposing our scene with increasingly lower exposures, then pushed them back to the correct brightness using Adobe Camera Raw. Examining what happens in the shadows allows you to assess the exposure latitude (essentially the dynamic range) of the Raw files.

Because the changes in this test noise are primarily caused by shot noise and this is mainly determined by the amount of light the camera has had access to, the results are only directly comparable between cameras of the same sensor size. However, this will also be the case in real-world shooting if you’re limited by what shutter speed you can keep steady, so this test gives you an idea of the amount of processing latitude different formats give.

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Even at a modest 3 stop push, we see the D5 has already contributed a considerable amount of noise to its low ISO images compared to the 24MP D750. After a 5 stop push the gap widens, with the D750’s 5 stop file looking more like the 3 stop file from the D5. In fact, the D5’s performance closely resembles the performance seen from the Canon 6D$ (document).ready(function() { $ (“#imageComparisonLink2279”).click(function() { ImageComparisonWidgetLink(2279); }); }), with just a bit more color noise showing in the 6D’s file.

After very aggressive pushes, an interesting series of bands appears at the top and bottom of the image. We don’t know what’s causing this additional noise (which appears to be confined to specific read-out rows) but it’s interesting to note.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2016: Sigma MC-11 adapter allows DSLR Sigma lenses full range of AF modes on Sony bodies

02 Mar

While photographing and filming our way through Sigma’s booth this year at CP+ 2016 in Yokohama, one rather understated product may have just stolen the show for a number of Sony shooters, as well as our Technical Editor Rishi Sanyal.

Put simply, the Sigma MC-11 adapter allows the use of Sigma-mount and Canon-mount Sigma lenses, such as the excellent Sigma Art 35mm F1.4, to be adapted to Sony bodies with no autofocus compromises whatsoever. That means Sigma is the first brand of DSLR lenses to support Eye AF and Lock-On AF modes on Sony cameras, as well as smooth phase-detection in video. What’s more, they work really well.

Don’t believe us? We didn’t believe it at first either. Watch the video and see for yourself why this is a huge step forward in realizing truly hybrid camera systems: where you can pair the best lens with the best camera body – for you – without severe compromises.

Pricing and availability of the Sigma MC-11 adapter has yet to be announced.

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh adds 15-30mm F2.8 SDM WR and 28-105mm F3.5-5.6 ED DC WR to full-frame lens range

20 Feb

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Ricoh has expanded its full-frame lens range, announcing the HD Pentax-D FA 15-30mm F2.8 and FA 28-105mm F3.5-5.6 alongside the introduction of the full-frame K-1 DSLR. The 15-30mm F2.8 brings a fast, constant wide-angle zoom to the lineup offering a Supersonic Direct-drive Motor, rounded nine-blade aperture, and close focus distance of 28cm. The 28-105mm offers a DC motor and a minimum focus distance of 0.5m.

The ‘WR’ in their names means that these lenses are weather-resistant, with SP (Super Protect) coatings on the front lens element to repel water.

The 15-30mm F2.8 and 28-105mm F3.5-5.6 join two Pentax full-frame lenses announced last year, the HD Pentax D FA* 70-200mm F2.8 and FA 150-450mm F4.5-5.6.

Press releases:

Ricoh announces HD PENTAX-D FA 15-30mm f/2.8 lens for new PENTAX K-1 full-frame DSLR

Weather-sealed, ultra-wide-angle zoom lens, ideal for landscapes and nightscapes

DENVER, Colo. February 17, 2016 – Ricoh Imaging Americas Corporation today announced the HD PENTAX-D FA 15-30mm f/2.8ED SDM WR lens. This new lens is designed to work seamlessly with the full-frame sensor of the new PENTAX K-1 camera, also announced today.

When mounted on the PENTAX K-1 camera body, the lens covers a focal-length range from 15mm ultra-wide-angle to 30mm wide-angle.(Note: with a PENTAX  APS-C-size digital SLR camera body, the lens covers a focal-length range from 23mm to 46mm.) Its exaggerated ultra-wide perspective and state-of-the-art optical design enable capturing high-resolution, dynamic, sweeping views of subjects, ideal for landscape photography. Treated with PENTAX-developed HD Coating, the lens produces well-defined, fine-detailed images with ample light levels even at the edges of the image field, while effectively reducing chromatic aberration and distortion to a minimum. 

Its large f/2.8 maximum aperture is also well-suited for photographing nightscapes and starry skies. The built-in SDM (Supersonic Direct-drive Motor) provides quiet, high-speed autofocus operation.

| Pricing and Availability | 

HD PENTAX-D FA 15-30mm f/2.8ED SDM WR lens will be available in April 2016 at www.ricohimaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $ 1,499.99.

Main Features

1. Exceptional imaging power

When mounted on the PENTAX K-1 35mm full-frame digital SLR camera body, the lens provides an ultra-wide-angle focal-length coverage from 15mm to 30mm. Its exaggerated perspective helps the photographer produce spectacular landscape photographs. With a 30mm focal length at the telephoto end, the lens is also well-suited to portrait and street photography.

2. State-of-the-art optical design

The zoom lens incorporates three ED (Extra-low Dispersion) glass optical elements and three aspherical optical elements in its 18-element, 13-group optics to deliver high-resolution images rich in contrast even at the edges of the image field, while effectively minimizing chromatic aberration, distortion and coma. 

3. Large-aperture zoom lens, with a maximum aperture of f/2.8

Since this zoom lens provides a maximum aperture of f/2.8 over its entire zoom range, it is versatile enough to be used for many different subjects and scenes, ranging from sweeping landscapes to nightscapes and starry skies. Despite its ultra-wide-angle perspective, it can capture the subject with an excellent bokeh (defocus) effect on the background. Even in macro photography from its minimum focusing distance of 28 centimeters, it can capture subjects with a well-defined sense of depth.

4. Built-in SDM (Supersonic Direct-drive Motor)

The incorporation of a new-generation SDM (Supersonic Direct-drive Motor) assures that this zoom lens provides quiet, high-speed autofocus operation, letting the photographer react swiftly to all types of subjects.

5. Weather-resistant construction

Special seals applied throughout the lens body provide this zoom lens with dependable weather-resistant construction, effectively preventing the intrusion of water into the lens interior. By pairing it with a weather-resistant PENTAX digital SLR camera body, the photographer has a durable, dependable digital imaging system that performs superbly under demanding shooting conditions — even in the rain or mist, or at locations prone to water splashes or spray.

6. HD Coating to improve image description

The lens is treated with high-grade, multi-layer HD (high-definition) coating. Compared with conventional multi-layer coatings, this PENTAX-original coating assures higher light transmittance and less reflection to deliver bright, high-contrast images free of flare and ghost images, even under demanding lighting conditions such as backlight. 

7. Other features

  • Quick-Shift Focus System for instant switching from autofocus to manual-focus operation, by holding the shutter-release button halfway down and turning the focus ring after the subject is captured in focus by the camera’s AF system.
  • Rounded diaphragm with nine blades produces a smooth, beautiful bokeh (defocus) effect, while minimizing the streaking effect of point light sources.
  • SP (Super Protect) coating applied to the front surface of the lens to effectively repel water and grease.

Ricoh announces 28-105mm lens for new PENTAX K-1 full-frame DSLR

Compact, lightweight and weather-sealed lens offers popular zoom range, is ideal companion to new PENTAX K-1 full-frame DSLR

DENVER, Colo. February 17, 2016 – Ricoh Imaging Americas Corporation today announced the             HD PENTAX-D FA 28-105mm f/3.5-5.6ED DC WR lens. This new, compact and lightweight zoom lens provides the most frequently requested focal-length range for general photography, from wide angle to medium telephoto.

This versatile zoom lens is designed to cover the large full-frame sensor found in the new PENTAX  K-1 camera, incorporating state-of-the-art optics and high-performance optical elements. When mounted on the K-1 camera body, it delivers high-resolution imaging power, and is an ideal every day-use lens for the new camera.

| Pricing and Availability | 

The HD PENTAX-D FA 28-105mm f/3.5-5.6ED DC WR lens will be available in April 2016 at www.ricohimaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $ 499.99.  

| About Ricoh Imaging Americas Corporation |

Ricoh Imaging Americas Corporation is a subsidiary of Ricoh Company Ltd., a global technology company specializing in office imaging equipment, production print solutions, document management systems and IT services.  Headquartered in Tokyo, Ricoh Group operates in about 200 countries and regions.

The company now known as Ricoh Imaging Americas Corporation, was originally founded in 1919, under the name Asahi Optical Joint Stock Co. and launched its first SLR camera in the 1950s under the PENTAX name. Today, Ricoh Imaging Americas Corporation continues to produce the heritage-rich, award-winning line of PENTAX DSLR cameras, lenses and sport optics equipment as well as Ricoh’s offering of stylish and compact digital cameras, known for their wide-ranging, rich set of features.

For further information, please visit www.ricohimaging.com/pentaxff

Main Features

1. Standard zoom lens covering most frequently-used range

This standard zoom lens accommodates the image circle of a 35mm full-frame image sensor, and covers focal lengths between 28mm wide angle and 105mm medium telephoto. By incorporating the latest optics and a number of high-performance optical elements, it retains a sufficient brightness level even at edges of the image field, while effectively compensating for aberrations. It delivers high-resolution images by optimizing the imaging power of the PENTAX K-1 camera’s approximately 36.4 effective megapixels. Its compact, lightweight body and excellent cost performance make this lens a perfect companion lens to the PENTAX K-1.

2. Excellent image resolution, complementing the PENTAX K-1 full-frame digital SLR camera performance

With 15-element, 11-group optics, this zoom lens incorporates two high-precision aspherical optical elements, one ED (Extra-low Dispersion) glass optical element and one anomalous-dispersion glass optical element to deliver bright, sharp images with minimal chromatic and spherical aberrations. The optics are designed to deliver ample resolving power for the large, high-pixel image sensor, producing well-defined, fine-detailed images.

3. HD Coating to improve image quality

This lens is treated with the high-grade, multi-layer HD (high-definition) coating. Compared with conventional multi-layer coatings, this PENTAX-original coating assures higher light transmittance and less reflection to deliver bright, high-contrast images that are free of flare and ghost images, even under demanding lighting conditions such as backlight. 

4. Quick-Shift Focus System

This PENTAX-developed system allows for flawless, delay-free switching from autofocus to manual-focus operation, after the subject is captured in focus by the camera’s AF system.

HD Pentax-D FA 15-30mm F2.8 SDM WR and FA 28-105mm F3.5-5.6ED DC WR Specifications

  HD PENTAX-D FA 15-30mm F2.8 ED SDM WR HD PENTAX-D FA 28-105mm F3.5-5.6 ED DC WR
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 15–30 mm 28–105 mm
Image stabilisation No
Lens mount Pentax KAF3
Aperture
Maximum aperture F2.8 F3.5 – F5.6
Minimum aperture F22.0 F22.0 – F38.0
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 18 15
Groups 13 11
Special elements / coatings Three ED and aspherical elements + HD and SP coatings One ED and two aspherical elements + HD and SP coatings
Focus
Minimum focus 0.28 m (11.02″) 0.50 m (19.69″)
Maximum magnification 0.2× 0.22×
Autofocus Yes
Motor type Ultrasonic Micromotor
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 1040 g (2.29 lb) 440 g (0.97 lb)
Diameter 99 mm (3.9″) 73 mm (2.87″)
Length 144 mm (5.67″) 87 mm (3.43″)
Sealing Yes
Colour Black
Power zoom No
Filter thread 62.0 mm
Hood supplied Yes
Hood product code PH-RBC62
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Manfrotto introduces six new monopods for XPRO range

13 Feb
From the top down, Prime, Over and Land monopods from Manfrotto

Tripod and accessory manufacturer Manfrotto has announced a total of six new monopods that it has added to the XPRO range, including models in carbon fiber as well as aluminum. The models cover three families of monopods: Prime for the heaviest equipment, Over for those who need height but for lighter kit, and Land for traveling.

The Prime models come in three variants, one of which has four sections and is made of carbon fiber. The other two are aluminum, and one of those features a pop-out three-leg support system that is concealed within the lower leg section. The Prime models can support up to 10kg / 22lbs and offer a maximum height of 168cm / 66.14in.

The Over series can support up to 7kg / 15.43lbs, and offer heights of up to 176cm / 69.29in, while there is only one Land monopod – a 5-section model which packs down to 41.5cm / 16.3in and weighs only 0.7kg / 1.5lbs. It can hold 6kg / 13.23lbs and can open to 141cm  / 55.51in.

Each of the models offers dual 1/4in and 3/8in threads and Manfrotto’s new Quick Power Lock leg clamps, as well as D-shaped tubing to help prevent rotation.

For more information visit the Manfrotto websiite.

Model Material Leg Sections  Price
 Prime Aluminum 3 £54.95
 Prime with legs Aluminum 3 £99.95
 Prime Carbon Fiber 4 £149.95
 Over Aluminum 4 £69.95
 Over Carbon Fiber 5 £169.95
 Land Aluminum 5 £69.95

US pricing is not yet available.

MANFROTTO PRESENTS: NEW XPRO MONOPODS

Manfrotto, world leader in the photography, imaging equipment and accessories industry, announces a new photo monopods range: the New XPRO MONOPODS. These products bring the premium style and performance of the 055 and 190 series tripods on single-legged camera supports and are superbly designed and crafted for professional and advanced photographers. The new XPRO MONOPODS range consists 6 of new models of the PRIME, OVER and LAND monopods.

COMPACTNESS, PORTABILITY & PAYLOAD
With 6 new models available – 4 in aluminium and 2 in Carbon Fibre, the new XPRO MONOPODS come in different sizes and with ¼” or 3/8” mounting threads.

The PRIME Monopods provide the highest payload in the range and are able to support up to 10kg (22lbs) of weight. Available in 3 models (2 aluminium and 1 carbon fibre), one features a unique retractable mechanism that allows the three feet to fully disappear inside the last tube – only coming out when needed.

The OVER Monopods have increased the maximum height by 16% more than previous model, widening the shooting angles’ versatility whilst still maintaining remarkable compactness. Available in aluminium and carbon fibre.

Extending the range further, the LAND Monopod is a 5 section monopod ideal for travelling. It folds down to 41.5 cm (32.6 in) for easy transportation and can be packed into Manfrotto backpacks or messenger bags. Available in aluminium only.

EASE OF USE & STABILITY
The New Quick Power Lock provides stability of use to all XPRO MONOPODS and a fast locking grip, which can be released with a single hand movement.

The D-shaped tubes greatly improve the anti-rotation resistance allowing for a solid locking grip by eliminating jerky movements.

Remove problems of vibration, speed and portability with the New XPRO MONOPODS: suitable for Sport photography, Bird watching, Travelling and Nature photography.

Prices from £54.95. For more information, please visit www.manfrotto.co.uk

Articles: Digital Photography Review (dpreview.com)

 
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Macphun launches Aurora HDR high dynamic range software for Mac users

10 Nov

Software developer Macphun has announced a new package designed to help photographers to combine multiple exposures into HDR images. Created in partnership with HDR specialist Trey Ratcliff, Aurora HDR provides tools for a wide range of effects via manual controls and a collection of pre-sets. Read more

Articles: Digital Photography Review (dpreview.com)

 
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Sony Alpha 7R II dynamic range analysis published

06 Oct

Our in-depth testing of the Sony Alpha 7R II continues, and we’ve just published 3 pages of Raw dynamic range analysis. Along with AF, the a7R II’s dynamic range capabilities have been the subject of much attention and could help put Sony’s latest full frame camera at the top of its field. Take a look and see how the a7R II’s 42MP BSI CMOS sensor performs when its Raw files are pushed to the limit. Read more

Articles: Digital Photography Review (dpreview.com)

 
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