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Posts Tagged ‘release’

Irix announces impending release of its new 45mm T1.5 cinema lens

22 Oct

Cine lens manufacturer Irix has announced the impending arrival of the Irix Cine 45mm T1.5, its latest full-frame cinema lens.

This new lens marks the third full-frame cinema lens Irix has made specifically for shooting at up to 8K resolution. Irix says the 45mm T1.5 is ‘based on a completely new [11 elements in 9 groups] optical design which includes four elements made of high refraction glass, one extra-low dispersion lens and one aspherical lens’ and delivers ‘ultra-low’ 0.5-percent distortion.

The nine-blade aperture diaphragm ranges from T1.5 to T22 and the lens features ‘practically no focus breathing,’ according to Irix. Other features include a 95mm front filter thread on the housing of the lens, another 86mm built-in filter thread and a reversible lens hood that’s attached via magnets, which Irix teases will work with ‘future accessories.’

The gears are standardized 0.8 pitch mod cine gears and the lens, which is constructed of a magnesium-aluminum alloy is sealed. Irix doesn’t specify what the lens should be able to handle, other than saying it’s ‘prepared for all weather conditions.’

The Irix Cine 45mm T1.5 will be available in Canon EF, Sony E, MFT and Arri PL mounts. Pricing and availability ‘will be announced soon.’

Press Release

Irix Cine 45mm T1.5 — into the art of cinematography

Irix expands its offer of cinematographic lenses with the new full-frame 45mm T1.5.

Irix, the manufacturer of high-class optics, expands its Cine line by introducing the new 45mm T1.5 lens. This new model is the third full frame cinematographic lens designed for shooting with Ultra HD 8K cinema cameras. The Irix 45mm T1.5 is based on a completely new optical design which includes four elements made of high refraction glass, one extra-low dispersion lens and one aspherical lens. 11 elements in 9 groups deliver crisp details, vibrant colors and an ultra-low – 0,5% distortion. The circular 9-blade iris ensures a pleasant background blur and a smooth adjustment of the T- number from 1.5 to 22. With practically no focus breathing, the Irix Cine 45mm T1.5 is the perfect lens for filming scenes with a natural character.

Press release October 21st, 2019 — Irix Cinematic Design

The 45mm T1.5 is the third lens in the Irix Cine line which stands for a perfect combination of advanced technology and modern design. A good example of the Irix smart design is the front housing element which has a diameter of 95mm and a built-in 86mm filter thread. It also provides a magnetic mount for the reversible lens hood and for future Irix Cine accessories.

This synergy is also visible in the shape of the geared rings which have been integrated into the lens housing. The convenience of operating by hand and full compatibility with follow focus systems was a priority in the external design of the lens. You can use any follow focus system you like and position it wherever you want to thanks to a special rotating adaptive ring design. The adaptive ring can be adjusted to any desired position and expose the geared ring to couple with follow focus systems.

The Irix Cine line has been carefully deliberated from the start. The focus and aperture rings of all the lenses are aligned at the same height and have the same rotation angle. With the exception of the Irix

150mm T3.0 Macro 1:1, where a longer 270 degrees focus throw is necessary, the rest of the Irix Cine range lenses have ring rotations of 180 degrees for the focus ring and 75 degrees for the aperture ring.

Ready to shoot in any weather conditions

A high-class cinematic lens must work in any atmospheric condition. No matter if you are shooting on burning sand in the Sahara Desert or on the frozen peaks of the Himalayas – the Irix 45mm T1.5 is prepared to not only face it, but also to capture the best image possible. Every time. Enjoy your lens’ reliable construction with rubber seals placed in all the crucial points to ensure protection against rain or dust. Now, you can film anytime, anywhere – and seize the wondrous power of nature.

Your comfort is important! Focus and aperture marks are laser engraved and filled with UV paint. This makes them visible, even in low-light environments.

Versatility and compact in size

Irix Cine lenses are some of the most compact and lightest film lenses covering the full frame format. The housing is made of a lightweight and impact-resistant aluminum-magnesium alloy which has been successfully used and tested in the Irix Blackstone still lenses. Thanks to the low weight (every Irix Cine lens weighs about 1.1 kilograms / 2,4lbs), they can be used on smaller cameras on handheld rigs or stabilizers as well as on professional setups. In order to achieve greater comfort while working with follow focus systems, the Irix Cine lenses are equipped with a lens support foot. Depending on your needs, this support foot can be attached to the lower or upper part of the lens.

Key features of the Irix Cine 45mm T1.5 lens:

  • Mid-range focal length with field of view 51,4°

  • Suitable for shooting with Ultra HD 8K resolution cameras

  • High-quality optical elements – 11 elements in 9 groups. HR, XLD, ASP produced in

    Japan

  • High maximum transmittance value of T1.5 up to T22

  • Standardized 0.8 Pitch Mod Cine Gears

  • Very low distortion -0.5%

  • Sealed construction prepared for all weather conditions

  • Compatibility with standard follow-focus systems and lens control motors

  • Front filter thread size 86 x 1.0 mm

  • Standard 95mm front diameter for cine accessories

  • Equipped with a support foot

  • Irix Magnetic Mount System

  • Focus scale available in metric or imperial units

  • Laser engraved markings filled with UV paint

  • Durable magnesium-aluminum alloy

  • Weight 1.1 kilograms / 2.42lbs

Available mounts

The Irix Cine 45mm T1.5 lens will be available in the four most popular industry mounts: Canon EF, Sony E, Olympus / Panasonic MFT and Arri PL-mount

Price and availability

Price and availability of the Irix Cine 45mm T1.5 lens will be announced soon.

Articles: Digital Photography Review (dpreview.com)

 
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Ilford Photo teases upcoming film stock release in multiple formats

14 Oct

Ilford Photo has posted a teaser on Twitter that appears to show the launch date of an upcoming release (or re-release) of a film stock.

In addition to a release date and time — 3pm (unknown time zone) on October 24, 2019 — Ilford shared four silhouetted images of different film formats. The obvious ones are the 35mm film canister, the roll of 120 film and the vertical 8 x 10 image. But the image with the black background isn’t as clear as the others, although the silhouette does depict a rectangle with what appears to have a 4:3 aspect ratio.

There’s plenty of speculation as to what this tweet is teasing, but Ilford Photo isn’t giving away any hints (aside from the fact it’s not ‘IlfoColor’), so it looks like we won’t know for sure for another ten days.

Articles: Digital Photography Review (dpreview.com)

 
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Voigtlander announces upcoming release of a 50mm F2 APO-Lanthar lens for Sony E-mount

08 Oct

To mark the 20th anniversary of the Voigtlander Classic Line, Voigtlander has released a new 50mm F2.0 APO-Lanthar lens for Sony E-Mount camera systems.

The manual lens is constructed of 10 elements in 8 groups, including two aspherical elements and a floating focusing system. The lens features a 12-blade aperture diaphragm with a ‘special shape’ for more pleasing bokeh, a minimum focusing distance of 45cm (17.7in) and a 49mm front filter.

Despite being manual, the lens features electrical contacts for transferring EXIF data to the camera, including a distance encoder to ensure the lens works with Sony’s 5-axis image stabilization. Voigtlander has also included a de-clicking option so no noise is made when changing the aperture when shooting video. The lens measures in at 61.3mm (2.14in) long and weighs just 364g (12.84oz).

Pricing and availability information isn’t yet available. We have contacted Voigtlander for more information and will update this article if we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma’s three new EF-M mount lenses and mount conversion service now have release dates

04 Oct

Back in July, Sigma announced it was working to bring three of its DC DN lenses to Canon’s APS-C EF-M mount. Now, we have an official release date for the 16mm F1.4, 30mm F1.4 and 56mm F1.4 lenses.

In a statement on Sigma Global’s website (translated), Sigma says the lenses will be released on October 18th. An additional mount conversion service will also be offered for those who own the MFT or E mount versions of these lenses who would like them adapted for Canon’s M mount. To start the conversion process, Sigma requests you contact your nearest authorized Sigma service center starting October 19.

Based on the information provided on Sigma Global’s website, the Canon M mount versions of the 16mm F1.4, 30mm F1.4 and 56mm F1.4 lenses will cost the same as the other mount options — $ 399, $ 289 and $ 429, respectively. Sigma also offers kits with all three lenses for both E mount and MFT cameras, so it’s not a stretch to imagine the same kit will be offered for the M mount versions as well.

Articles: Digital Photography Review (dpreview.com)

 
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PocketWizard ‘E Release’ $10 firmware upgrade boosts range, features and reliability

16 Sep

PocketWizard customers who own the company’s Plus III and/or Plus IV wireless triggers now have the option of upgrading to its new ‘E Release’ firmware. The software update brings a number of notable improvements, including increased range, improved reliability when sending and receiving signals, a Quad Zone Channels increase from 16 to 32, and 80 new Channels for use with Long Range Mode.

The range for both supported PocketWizard models running E Release firmware is doubled for triggering remote cameras and flashes; it is increased to up to 5 miles when used with radios in Long Range Mode.

Though the firmware is only available for the Plus III and Plus IV (FCC frequency) models at this time, PocketWizard says it plans to release the software update for its MultiMAX II, FlexTT5 for Nikon, FlexTT6 for Canon, and PowerMC2 models in the future. The E Release is available for units purchased in North America and South America; it cannot be used with CE frequency units.

Below is a video shared by PocketWizard showing how photographer Michael Heeney was able to capture a rock climber from four diffrent perspectives thanks in part to the upgraded firmware:

PocketWizard warns on its website that the firmware can only work with other radios that have also been upgraded with the E Release firmware. Upgraded PocketWizards can be downgraded back to the company’s legacy firmware for use with radios that aren’t running the new software.

Customers who want to upgrade will need to purchase a $ 9.99 USD E Release firmware license for each radio. PocketWizard customers who purchased one of the supported models from an authorized dealer in the US or Canada after September 1, 2019, can download the E Release firmware for free.

Articles: Digital Photography Review (dpreview.com)

 
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Laowa delays the release of its 4mm F2.8 Fisheye lens for MFT camera systems

11 Sep

In a post on Sightron Japan’s website, it has announced that the Laowa 4mm F2.8 Fisheye lens for Micro Four Thirds (MFT) camera systems has been postponed.

In a very brief notice (translated) on its information page, Sightron says the lens, which was set to be released this coming Friday, has been delayed. The machine-translated version of the notice reads ‘since there is a possibility that a problem individual was mixed, we decided to postpone the release.’

Based on that translation, it seems as though a number of lenses had issues, but Laowa couldn’t pinpoint down exactly what lenses were affected and are therefore going back through and testing the units that have already been produced.

Sightron, says ‘details regarding the release date will be announced as soon as they are determined.’ It ends the post by thanking interested parties for their understanding and patronage. We’ve contacted Venus Optics for additional details and confirmation on what regions are affected by this delay. We will update this article accordingly when we hear back.


Update (September 11, 2019): This article originally mistated the relationship between Sightron Japan and the Laowa brand. It has been updated accordingly.

Articles: Digital Photography Review (dpreview.com)

 
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Alleged roadmap leaks 10 new Nikkor Z lenses set for 2020, 2021 release

07 Sep
The allegedly leaked roadmap shows off ten new lenses not officially announced by Nikon.

Nikon has already detailed a number of new Nikkor Z lenses it’s working on, but a newly leaked image, believed to be a more extensive lens roadmap, shows a number of additional lenses Nikon allegedly has planned for the future.

The purported roadmap, first shared by Nikon Rumors, shows ten additional lenses not currently shown in the roadmap image Nikon has posted to its website, ranging from fast primes to impressive telephoto zoom lenses.

Nikon’s current official lens roadmap as of posting this article.

According to the roadmap, which again hasn’t been confirmed as real, the 2020 lenses Nikon hasn’t detailed on its current roadmap include the Nikkor Z 85mm F1.2 S, Nikkor Z 135mm F1.8 S, Nikkor Z 28-70mm F2.8-3.5 and Nikkor Z 24-120 F4 S. The 2020 lenses already announced include the 20mm F1.8 S, 50mm F1.2 S and 14-24mm F2.8 S.

Moving onto 2021, Nikon has seven lenses listed as ‘TBA’ on its current roadmap. Interestingly, the purported leaked roadmap mentions only six, including the Nikkor Z 28mm F1.8 S, Nikkor Z 35mm F1.2 S, Nikkor Z 65mm F1.8 S and Nikkor Z 105mm F1.8 S.

If the roadmap is indeed real, it seems Nikon is covering a lot of ground with an impressive range of lenses. Interestingly, there doesn’t appear to be any F1.4 lenses, with Nikon instead opting for either F1.8 or F1.2 for its faster primes.

Ultimately, time will tell whether or not the roadmap is indeed real.

Articles: Digital Photography Review (dpreview.com)

 
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DJI teases new release for Tuesday, Mavic 2 Pro+ and Zoom+ expected for 2020

11 Aug

DJI recently posted a teaser video to its official YouTube channel announcing a new product release, slated for this Tuesday. While the brief 15-second clip doesn’t reveal much about what’s to be expected for August 13th, DroneDJ was the first to report on the public FCC filing for the DJI OSMO Mobile 3.

An upgrade from the OSMO Mobile 2, released one and a half years ago, the newest phone stabilizer from DJI features an updated folding design on its arm and will be 80 grams lighter than its predecessor. It also comes equipped with Bluetooth Low Energy 5.0, and sturdier, more flexible gimbal motors to support the trend of wider and heavier smartphones. New dimensions of 286x126x98mm make it larger than the OSMO Mobile 2 but it is designed to fold down to almost half its height for convenient transport.

Undoubtedly, consumers are anticipating DJI’s next drone release. It has been almost a year since the original Mavic 2 Pro and Mavic 2 Zoom were introduced to the public. Once again, DroneDJ was first to report on plans for a Mavic 2 Pro+ and Mavic 2 Zoom+ thanks to an attentive reader. A special section of DJI’s website titled ‘EU Declaration of Conformity’ lists both planned drones at the top.

This past May, DJI announced plans to implement both helicopter and airplane sensors in its consumer-grade drones starting January 1, 2020. Known as ADS-B sensors, they will enable drone pilots to detect and avoid nearby aircraft. It would only make sense that DJI would release the Mavic 2 Pro+ and Zoom+ to coincide with this important development. The EU will also implement a common set of drone regulations in June, 2020.

While specs have not been made public, one would at least hope that the foldable, compact drones offer up the ability to capture 4K/60p video like Autel’s competing EVO.

Articles: Digital Photography Review (dpreview.com)

 
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Canon and Nikon Will Release DSLRs With In-Body Image Stabilization

29 Jul

The post Canon and Nikon Will Release DSLRs With In-Body Image Stabilization appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-nikon-IBIS

In-body image stabilization (IBIS) has long been resisted by the two DSLR giants, Nikon and Canon.

But recent rumors indicate that both Canon and Nikon will be breaking into new territory, with IBIS technology added to upcoming DSLRs for both brands.

Up until now, in-body image stabilization has been confined to Nikon’s mirrorless lineup. And while reports indicate that the followup to the (mirrorless) Canon EOS R will include IBIS, there was no definitive information about DSLR in-body stabilization.

Then, in April, rumors indicated that Nikon would be introducing in-body image stabilization to the D6, Nikon’s future flagship DSLR (with a possible release date in the first half of 2020). This was followed by further reports that the D6 was delayed due to the decision to add in-body image stabilization.

And just last week, Canon Rumors reported that “Canon will ‘definitely’ bring IBIS to ‘select’ DSLRs in the near future.”

Canon Rumors was uncertain “which camera(s) would be getting IBIS,” but explained that “the EOS 90D, which is coming in the next couple of months,” is a strong possibility.

Sources have also discussed the possibility that the Canon 1DX Mark III will have in-body image stabilization, so it can go toe-to-toe with the upcoming Nikon D6. Both the Canon 1DX bodies and the Nikon D6 bodies are direct competitors, catering to professional photographers who require high frame rates and exceptional durability.

Now, Nikon and Canon have always maintained that lens stabilization is superior to in-body image stabilization, due to increased flexibility in the lens as compared to the camera body. This may well be true, but many phenomenal Canon and Nikon lenses don’t include image stabilization. So photographers of all levels will undoubtedly appreciate this move to in-body stabilization.

It will certainly be a boon to those who tend to shoot handheld in low light.

So let me ask you:

Are you excited about the possibility of IBIS in new Canon and Nikon DSLRs?

And would you like to see IBIS in the upcoming Canon 90D?

Let me know in the comments!

The post Canon and Nikon Will Release DSLRs With In-Body Image Stabilization appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Hasselblad re-issues 1969 press release on moon landing cameras

03 Jul

As part of the celebrations of the 50th anniversary of the Moon landings Hasselblad has re-issued the press release it sent out about the cameras used to take the first pictures from the moon’s surface. The release shows original black and white images from the trip of astronaut Buzz Aldrin taken by Neil Armstrong using the mission’s Hasselblad 500EL Data Camera with a Zeiss Biogon 60mm F5.6 lens.

A second 500EL was kept onboard to photograph events from the Eagle, and was mounted with a Zeiss Planar 80mm F2.8 lens. This camera was used by Michael Collins, who Hasselblad points out lost a SWC body in space in 1966 – he obviously was still not forgiven three years later!

NASA

All the cameras used were also fitted with a Reseau Plate close to the film plane that left reference marks on each frame to help scientists determine the distance between objects in the frame. Custom film backs were used to hold 70mm film that could handle 150-200 exposures per roll, and the camera that was used to shoot from the Moon’s surface was attached to Armstrong’s space suit.

The press release says that Hasselblad had been working with NASA on cameras for space missions since 1962 and the collaboration had seen many pictures from above the Earth before the 1969 landing. Victor Hasselblad, the company’s founder, flew to the USA to see the Apollo 11 launch in July that year and remained there until the mission returned – when he collected four rolls of color film and took them back to the Swedish factory. The release says ‘The pictures were so good that even we who had previously seen 9,000 Hasselblad images from space gasped for breath.’

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Sadly, to lighten the Eagle so it could take off again two of the mission’s Hasselblad bodies and lenses were left on the Moon along with about $ 1 million worth of other equipment. In all twelve Hasselblad cameras have been left on the Moon since 1969. It might be worth starting another mission to go and collect them all!

For more information see the Hasselblad In Space pages of the company’s website, or read the original press release online.

Press release:

HASSELBLAD CELEBRATES 50 YEARS ON THE MOON AS THE CAMERA THAT DOCUMENTED THE HISTORIC MOON LANDING

Shortly after the Lunar Module Eagle touched down at Tranquility Base, astronauts Aldrin and Armstrong aboard the Apollo 11 mission would don their bulky space suits and step carefully down onto the dusty ground, becoming the first visit by humankind to the lunar surface. Naturally, the tools chosen to record and document this momentous occasion represented the best technologies of the time – including the still camera of choice, a Hasselblad. That selection was the result of years of close collaboration between the Swedish camera manufacturer and the American space agency to ensure that its professional medium format cameras could stand the rigors of intense temperatures, vibration, and decreased gravity in space. Not only have these photographs provided scientific insight but have proven to be legendary marvels recognized the world over representing the human existence. Fifty years later, on 20 July 2019, Hasselblad proudly celebrates its role in being the cameras that were chosen by NASA for space photography, and even more so, the cameras that documented the historical moment of the first men on the Moon.

Hasselblad and NASA’s journey together began seven years previous to the Apollo 11 mission – in 1962 during the Mercury program. As a photography enthusiast, Naval Captain and Mission Pilot Walter “Wally” Schirra owned a Hasselblad 500C already. Knowing the high quality of the Hasselblad camera, Schirra suggested to NASA that they use a Hasselblad to document space since the previous camera model utilised delivered disappointing results. After buying a few 500Cs, a weight-loss program followed including removal of its leather covering, auxiliary shutter, reflex mirror, and viewfinder. A new film magazine was constructed in order to allow for 70 exposures instead of the usual 12. Finally, a matte black outer paint job minimized reflections in the window of the orbiter.

The streamlined Hasselblad would find itself in the payload for Mercury 8 (MA-8) in October 1962. The successful, high quality images that Schirra captured across his six orbits of the Earth would spark a new chapter in the history of Hasselblad and a long, close and mutually beneficial cooperation between the American space agency and the Swedish camera manufacturer.

Considered one of the most iconic moments is that of Apollo 11’s descent and exploration of the lunar sur- face. Taken down to the surface was a Hasselblad Data Camera (HDC) fitted with a Zeiss Biogon 60mm ƒ/5,6 lens and 70mm film magazine containing specially formulated thin-base Kodak film, allowing for 200 images per magazine. A second Hasselblad Electric Camera (HEC) with a Zeiss Planar 80mm ƒ/2,8 lens was used to shoot from inside the Eagle lunar module. Installed in the HDC was a Réseau plate, which optically imprinted fixed cross-marks allowing for photogrammetric measurements to be made from the resulting negative. The HDC was specifically designed to cope with the rigors of the lunar surface; it was painted silver as a way to stabilize the camera when moving between temperatures ranging from -65° C (-85° F) to over 120° C (248° F).

Armstrong carried out all the photography himself on the lunar surface with this HDC attached to his chest, which had never been tested in space before, adding to the pressure of this once in a lifetime moment. Would the one Hasselblad camera capture the results everyone was hoping for?

Working perfectly under the extreme conditions of the lunar surface, the HDC produced some of history’s most iconic photographs. After the successful shooting on 21 July 1969, the Hasselblad was hoisted up to the lunar lander with a line. After securely removing the film magazines, both cameras with lenses and ancillary support accessories, along with other collection tools, components, and waste were jettisoned in order to meet narrow weight margins for successful return. The succeeding five Apollo missions to land would repeat this practice, resulting in a total of 12 Hasselblad camera bodies with lenses still left on the Moon.

The collaboration would continue well into the 21st century with continually updated Hasselblad cameras being a vital part of manned spaceflight well into the Shuttle program. With each development handled jointly between NASA engineers and Hasselblad’s precision manufacturing team, the shared results would benefit the manufacturer too.

Features such as enlarged control surfaces designed for bulky space suit gloves would result in changes made in the design of Hasselblad’s professional camera systems, while later missions would be afforded the accurate internal metering system on later camera models.

Celebrating 50 years on the Moon, Hasselblad is proud to have been part of a significant chapter in both photographic and human history.

Stay tuned in July to see how we commemorate this momentous occasion.

Articles: Digital Photography Review (dpreview.com)

 
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