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Apple patent shows its working on panoramic light field capture technology

04 Apr

A newly-published Apple patent, filed back in September 2019, details a light field panorama camera system seemingly intended for use in future iPhone and iPad devices. The technology would enable the average consumer to capture large light field panoramas of a particular scene by moving their device using gestures. The resulting content could be rendered and viewed on the device or using some type of head-mounted display (HMD), including VR headsets.

According to Patently Apple, which first spied the patent, Apple details technology that would build upon its current AR efforts by enabling its consumer devices to capture complex 3D scenes. To do this, the user would need to move their light field-equipped iPhone or iPad in a gesture, such as moving the device in a swooping infinity symbol, to capture light field images of the environment from multiple angles.

A flow-chart provided within the patent filing that shows the process of capturing, processing and viewing the resulting imagery.

A rendering engine would process the individual images into a 3D panorama with six degrees of freedom (6DOF) made possible using the light field technology. As a result, the viewer would have the ability to look above and behind objects, zoom in on areas of the scene and view different angles of the environment. The patent follows Google’s acquisition of light field camera technology company Lytro in 2018.

Unlike conventional cameras, a light field camera system captures both the intensity of the light from a scene and the direction the light rays are traveling in space. The additional data gathered by light field camera systems enable new types of experiences, including the one detailed by Apple.

The patent indicates that Apple’s system may use the sensors in the iPhone and iPad to capture position, motion and other similar metadata alongside the images, the combination of which would contribute to the final light field panorama. The combination of captured images and metadata could then be used to render different views of the same 3D scene, according to the patent, ultimately giving the user six degrees of freedom for exploring the panorama using an HMD like a VR headset.

This would differ substantially from a traditional 360-degree panorama, which is captured from a single point, only allowing the viewer to move their head around within the rendered 3D scene. Light field panoramas will appear more realistic, keeping objects in their correct positions as the user moves around within the scene, which could realistically render from different angles as the user has a look around.

It’s no secret that Apple has been heavily focusing on augmented reality technologies; its most recent iPad Pro model underscores this effort with the inclusion of a LIDAR sensor.

Just a few of the possible movements you could use to capture the scenery using your Apple mobile device.

In its announcement of the 2020 iPad Pro last month, Apple said the new LIDAR sensor ‘delivers cutting-edge depth-sensing capabilities, opening up more pro workflows and supporting pro photo and video apps,’ specifically with augmented reality in mind. The sensor works by measuring the distance of objects that are as far as 5m (16ft) away.

Apple went on to explain:

‘New depth frameworks in iPadOS combine depth points measured by the LiDAR Scanner, data from both cameras and motion sensors, and is enhanced by computer vision algorithms on the A12Z Bionic for a more detailed understanding of a scene. The tight integration of these elements enables a whole new class of AR experiences on iPad Pro.’

The future expansion of these capabilities using light field technology wouldn’t be surprising, particularly in light of ongoing rumors Apple is working on AR/VR gear. With that said, and as with any patent, it is possible we’ll never see this technology make its way into a consumer product. Per usual, Apple has not commented on the patent.

Articles: Digital Photography Review (dpreview.com)

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Video: Olympus shows off incredible photos from its 150-400mm F4.5 lens, hint at further lens developments

06 Mar

CP+ might’ve been cancelled due to COVID-19 concerns, but Olympus has improvised and shared its presentation on YouTube instead. The 44-minute video covers a variety of topics, but two specific moments stand out.

The first is a demonstration Olympus shared showing just how much zoom you can get out of the Olympus 150–400mm F4.5 lens. One demonstration, seen in the above screenshot from the video, shows a photograph captured with the sun setting over Mount Fuji, captured a ridiculous 67km (42 miles) away, at Olympus’ Ishikawa facility. To capture the shot, Olympus used the 1.25x converter inside the lens as well as the MC-20 2x converter to achieve a 2000mm (35mm equivalent) focal length.

A screenshot from the presentation contextualizing just how far away the photograph and timelapse images were captured from.

The next demonstration with the lens was a hand-held shot of the moon, seen in the below screenshot from the video, captured with the exact same camera setup.

In addition to both images, Olympus also shows a short timelapse video of the sunset over Mount Fuji (the section on the 150–400mm F4.5 lens starts at roughly 36:00).

The above captions in the image are auto-translated via YouTube.

Olympus representatives also note later on in the video that more lenses are in development. However, no further information was given.

Articles: Digital Photography Review (dpreview.com)

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Sigma shows EF-M mount primes for Canon cameras at WPPI

29 Feb

Hands-on with Sigma’s APS-C primes for Canon at WPPI

Sigma’s DC DN EF-M primes have been the talk of the town for EF-M mount users for months now, but they’ve been in relatively short supply (we’ve only got the 56mm F1.4 in the DPReview offices so far). But during our time at WPPI, we got a chance to see all three in-person and find out how they balance on Canon’s latest APS-C mirrorless flagship, the EOS M6 Mark II.

Pictured above is the most compact of the three, and the most recently released – the 56mm F1.4 DC DN. Offering an equivalent focal length of around 90mm (remember, Canon’s APS-C crop is 1.6x), it’s a fantastic option for portraits. Actually, in the EF-M system, it’s really the only native option for portraits, though you can of course make do with the kit zooms or adapt DSLR lenses.

As you can see, the 56mm is light on external controls, with only a large, rubberized manual focus ring on the exterior that is smooth and well-damped.

Sigma 56mm F1.4 DC DN

Around the front of the lens is a 55mm filter thread, and down the barrel are nine aperture blades. The lens weighs 280g and feels dense without being heavy, and balances exceptionally well on the EOS M6 Mark II. It will focus down to 0.5m (~20″) with a maximum reproduction ratio of 0.14x.

The optical formula is composed of 10 elements in six groups, including one ‘super-low dispersion’ element. Unfortunately, there’s not much to see around the back of this lens. There’s no rear gasket for keeping out moisture or dust on any of this trio of lenses.

Sigma 30mm F1.4 DC DN

Up next is Sigma’s 30mm F1.4 DC DN. This lens is basically going head-to-head with Canon’s EF-M 32mm F1.4, but we don’t mind a bit of competition. The Sigma gives you a 35mm-equivalent focal length of 48mm, while the Canon gives you 51.2mm. That type of difference is unlikely to really influence your purchasing decision, though the Canon’s much greater magnification ratio (0.25x to 0.14x) and higher price point ($ 479 to $ 339) might.

In any case, the Sigma 30mm F1.4 balances quite well on the EOS M6 Mark II, being a bit lighter than the 56mm F1.4 but a bit longer as well. A well-damped rubberized focus ring is likewise the only external control.

Sigma 30mm F1.4 DC DN

The Sigma 30mm F1.4 DC DN has an optical formula of nine elements in seven groups, with one of those elements being aspherical and another being double-sided aspherical. There are nine aperture blades and the front filter diameter is 52mm.

We actually reviewed this lens back nearer to its release, and on a Sony APS-C camera, we found it to be excellent.

Read our review of the Sigma 30mm F1.4 for Sony E-Mount

Sigma 16mm F1.4 DC DN

Last and largest is the Sigma 16mm F1.4 DC DN. It’s actually one-and-a-half times longer than the 56mm F1.4, and the heaviest of the three by 125g, or more than a quarter of a pound.

This lens is likely to be of interest to EF-M users, who up until now had only one native wide-angle lens at their disposal: the excellent (but slower-aperture) 11-22mm F4-5.6 zoom. This 16mm F1.4 should be a great option for lower light shooting, events, astrophotography and more.

It balances fairly well on the EOS M6 Mark II, but is a bit front-heavy. It’s not a very comfortable combination in the hand on Canon’s grip-less EOS M200.

Sigma 16mm F1.4 DC DN

Down the barrel, past the 67mm filter threads, we see a nine-bladed aperture, just like the other two. This should be great for creating 18-point sunstars in landscape scenes. In addition to being the biggest, it’s also the most optically complex of the group, with 16 elements in 13 groups, including a total of seven specialty elements, and it can focus down to as close as 0.25m (9.84″) for a maximum magnification of 0.1x.

Hands-on with Sigma’s APS-C primes for Canon at WPPI

And that’s it for Canon’s trio of DC DN F1.4 prime lenses, now becoming readily available for EF-M mount. We find that these lenses make an enormous difference in the appeal of Canon’s mirrorless APS-C system, but what do you think? Are you planning to pick any of these up for yourself? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Canon shows off EOS R5, RF 100-500mm lens under glass at WPPI

27 Feb

Canon EOS R5 at WPPI

The upcoming Canon EOS R5 was on display at the company’s booth at the 2020 WPPI Expo in Las Vegas, so we stopped by (and nudged our way past other attendees as politely as possible) to get a closer look. The representatives present at the booth couldn’t provide any details beyond the development announcement; “what’s been published is all we know,” was the common refrain. In case you missed it, here’s what we know:

Newly designed CMOS sensor (we’re guessing ~40MP)
In-camera image stabilization
20 fps continuous shooting (silent shutter)
12 fps continuous shooting (mechanical shutter)
8K video capture
Twin card slots

Still, we took some photos to get a better idea of what Canon’s done ergonomically to its upcoming full-frame mirrorless model.

We can see right away that the grip is deeply sculpted, with an almost-certainly customizable function button near the lens mount. Just behind the ‘EOS R5 DEVELOPMENT ANNOUNCEMENT’ label there’s another port door that’s hard to see, but may conceal a socket for a remote release or wireless transmitter.

Card slots

Here down the side of the camera we can see the card slot door. Again, all we know is that there are dual slots behind there; but the advertised provision of 8K capture means that they’ll need to be speedy, even with a good compression algorithm. Dual-type slots on the EOS 5D Mark IV could be a hint here; perhaps we’ll see one SD slot and one CFExpress slot. Or maybe just dual UHS-II SD card slots. Time will tell.

Top panel

On the top right of the camera, we can see what looks to be an identical control layout to the existing EOS R. The same status panel, and the same Mode + Dial combo for changing your exposure modes. Do you prefer this way of working, or do you long for an old-fashioned mode dial like Canon put on the lower-end RP? Let us know in the comments.

On/Off switch

On the opposite side of the camera is the on/off switch, similar in size to those on the EOS R and RP, but there’s a bit more of a protrusion near the back, perhaps for easier operation with your thumb. That also looks to be a polycarbonate panel surrounding the flash hot shoe, which is likely a ‘window’ for the camera’s wireless connectivity antennas.

Rear plate controls

Apologies for quality of this image, but the camera was nearly up against the back of the display, and there was no visibility from back there – so we have to make do with this top-down angle.

First of all, in the place of the EOS R’s touchbar is a traditional AF joystick and better-placed AF-ON button. Just underneath that is a dedicated ‘magnify’ button for checking focus, along with ‘INFO’ and a ‘Q’ button for pulling up the on-screen quick menu.

Underneath this is a thumb-dial surrounding a ‘SET’ button; this is a familiar setup from many of the company’s DSLRs, and is making its first RF-mount appearance here. No surprise, the screen looks to have the same swivel-out and rotate design as the R and RP, but next to the ‘Menu’ button on the top left is a dedicated ‘RATE’ button, which is accompanied by a microphone. It could be that the R5 lets you attach audio clips to your images using this control.

Rounding out controls on the back of the camera are the traditional ‘Star’ and ‘Focus Selection’ buttons on the top right.

Ports

Again, given the nature of the display, this is the best view of the ports I can get you – but everything is legible, at least. So we know that there will be microphone and headphone ports, a remote port, and a USB (likely type-C) port and HDMI output. You can also get a clearer view of the port cover on the bottom-front of the camera.

It looks like there may be enough distance from the screen hinge to the mic and headphone ports that they won’t get in the way of each other, so fingers crossed on that.

Let’s take a look at the RF 100-500mm lens, also under development.

Canon RF 100-500mm F4.5-7.1L

In amongst the EOS R5 announcement was the teasing of ‘nine RF lenses’ coming later this year, including the RF 100-500mm F4.5-7.1L IS USM on the right side of this image. For comparison, it’s sitting next to an existing EF 100-400mm F4.5-5.6L IS II; the 100-500mm is a little chunkier, but of course, you’d need a teleconverter on the 100-400mm lens to get the same reach and that would add bulk of its own.

Canon RF 100-500mm controls

Here we can see the ‘smooth / tight’ ring the new RF 100-500mm shares with the EF 100-400mm. This basically sets the resistance of the zoom mechanism, depending on your preferences, or if you just want to eliminate zoom creep when you’re not actively shooting. We can also see the AF/MF switch and a focus limiter option.

Canon RF 100-500mm controls

Way down there, we can see the rest of the switches on the RF 100-500mm F4.5-7.1L, which include a stabilizer on/off switch and a ‘stabilizer mode’ option, giving users an option to bias the stabilizer depending on whether you want absolute stability or if you’re doing panning.

Canon EOS R5 at WPPI

And there you have it – Canon’s upcoming high-end, full-frame mirrorless camera, under glass. We’re hoping to learn more soon, but in the meantime what are you most excited for about this camera? Would you consider getting one yourself? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Qualcomm shows off the first 8K footage captured with its Snapdragon 865 chipset

05 Feb

One of the defining features of Qualcomm’s new Snapdragon 865 chipset, which we covered back in December, is its ability to shoot 8K video. We’re yet to see a device make the most of the 865 Snapdragon, but Qualcomm has shared a teaser video showing the 8K resolution in all its glory.

The device Qualcomm used to capture the video is a prototype smartphone with a Sony Sony IMX586 image sensor inside. It was captured back in November 2019 at various locations around Arizona, including the Grand Canyon, Horseshoe Bend and the Petroglyphs near Antelope Canyon. It’s suggested, of course, to view this in a compatible browser and on the highest-resolution screen you can find to make the most of the footage.

Below are a few BTS shots shared with DPReview:

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You can read more about the video capture and Snapdragon 865 5G Mobile Platform on Qualcomm’s blog post.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm shows off XF 50mm F1.0 lens, teases fastest GF lens yet

05 Feb

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In amongst the X100V hullabaloo in London today, Fujifilm also discussed three new lenses spread across their two interchangeable lens camera systems. Unfortunately, we have neither press releases nor full specifications for these lenses, but you can get a sense for their size and how they handle from our hands-on photos with the mockups.

The first lens is the Fujifilm XF 50mm F1.0. We’ve covered this lens before; it was originally going to be a 35mm F1.0 lens (52.5mm equivalent focal length), but Fujifilm pivoted to a 50mm F1.0 (75mm equivalent) design due to size, weight and autofocus speed considerations. As you can see, it’s still a big lens when mounted on an X-T3 and comes with a 77mm filter thread and carries a ‘WR’ label for weather resistance, but manages to weigh in under a kilo. Judging from the aperture ring, the lens is capable of a minimum aperture of F16.

Next up is the GF 30mm F3.5 for the company’s medium-format GFX system. This lens has a roughly 24mm equivalent field of view, a common moderate-wide focal length that’s handy for everything from architecture to reportage as well as video shooting. With a relatively small 58mm filter thread, we expect it to handle well on all GFX bodies thus far released, and like all GFX lenses, also comes with a ‘WR’ label for weather resistance. The 30mm F3.5 will stop down as far as F32.

Lastly we have the GF 80mm F1.7. While more substantial-looking than the 30mm, it doesn’t look out of place on the (admittedly, fairly large) GFX 100. Its F1.7 aperture makes it the fastest lens yet for the GFX system, and it offers an equivalent focal length of 63mm. It comes with a minimum aperture of F22, has a 77mm filter thread, and of course, a ‘WR’ rating for weather-resistance.

Let us know what you make of Fujifilm’s latest lenses in the comments.

Articles: Digital Photography Review (dpreview.com)

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Canon shows off new concept cameras at CES 2020

12 Jan

Canon shows off new concept cameras at CES 2020

Canon has been showing a small range of concept cameras for a couple of years now at various shows. One of them, the clip-on Canon IVY REC actually became a reality, following a crowdfunding campaign. The company doesn’t say too much about these concepts officially, but uses shows like CES to get feedback and gauge interest in these unconventional products aimed at a younger, more active, less enthusiast marketplace.

At this years’ CES show in Las Vegas we took a look at Canon’s current range of concept cameras. Click through for more details.

Canon shows off new concept cameras at CES 2020

First up is a pair of ‘wearable’ cameras. A dual-lens model (shown here with a blank plate where the lenses would be: it’s about the same size as a large divers or GPS watch) that would feature twin medium-wide and medium-tele focal lengths, similar to options provided by many modern smartphones. The camera can be attached to whatever you want: from your wrist like a watch, to the strap of a backpack, or even some existing structure (Canon suggests a tent).

Canon shows off new concept cameras at CES 2020

The second of the two models features a 180-degree lens, making it suitable for capturing point-of-view video and stills of activities like snowboarding or skateboarding. The idea with both cameras is to ‘free’ the user from bulky equipment, straps or the need for additional camera supports. Or to avoid handling (and risking the safety of) your phone.

Canon shows off new concept cameras at CES 2020

The second concept is a single camera with a modular lens system capable of tele, wide and closeup imaging. It’s hard to tell scale from this photograph but the camera is about 13 cm (5″) long. As such, like the other concepts, it’s reasonable to assume a smartphone-sized sensor.

Canon shows off new concept cameras at CES 2020

This rough working prototype demonstrates the basic concept. In its normal configuration, the lens module is unfolded from the body like the blade of a pocket knife, in which position it offers a wide-angle field of view. Note the joins in the middle of the ‘blade’ section: they’re key to the camera’s other functions…

Canon shows off new concept cameras at CES 2020

With the first lens module removed (they’re attached via magnets) the lens is converted into an extreme macro, capable of very closeup imaging.

Canon shows off new concept cameras at CES 2020

And with both removable lens modules unclipped, the lens becomes a telephoto.

Of all the concept cameras being displayed by Canon at CES, this one seems the least practical for casual photographers, but for remote use or evolved into some kind of home security solution, it could work.

Canon shows off new concept cameras at CES 2020

This is a camera we’ve seen before, but last time we clapped eyes on it it was at a much earlier stage of development. This is a compact, variable telephoto stills / video camera which puts extreme telephoto performance literally in your pocket. The user can switch from 100mm, 200mm and 400mm equivalent focal lengths using the zoom button, and images are captured with a full press of the larger pill-shaped button in the middle of the control cluster.

Canon shows off new concept cameras at CES 2020

An electronic viewfinder serves for image composition and menu browsing. The knurled ring underneath the finder is diopter correction.

We’re told that this model is pretty close to being finalized. Working samples exist, and it may become a shipping product relatively soon.

Canon shows off new concept cameras at CES 2020

This is another concept camera that we’ve seen before, and has been developed to the point where it appears to work as intended. This is an ‘Intelligent Capture’ AI camera, designed to automatically track human subjects and shoot images without human interaction. The ‘ICC’ can be controlled by voice, and intelligently captures ‘good scenes’ and sends only the most interesting shots to your smartphone, via an app. I can’t vouch for that last bit, but it certainly does seem to do a good job of identifying and moving to track faces.

Anyone remember the Sony Party-Shot from ten years ago? It’s a similar concept.

Canon shows off new concept cameras at CES 2020

The final concept camera is one about which we know very little: it’s an augmented reality device intended to be worn around your neck. Presumably this is a ‘life vlogging’ camera for active photographers and fans of extreme sports. Though who knows, it could also have applications for first responders if it’s tough enough.

Articles: Digital Photography Review (dpreview.com)

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Canon shows off new AI-powered plugin for Lightroom Classic that will cull images for you

10 Jan

Canon has announced it will soon be releasing a new AI-powered plugin for Adobe Lightroom Classic that will be able to cull through images and sort them based on image quality.

The ‘Photo Culling’ plugin, as it’s so aptly named, uses Canon’s Computer Vision AI engine and ‘technical models’ to select images for ‘sharpness, noise, exposure, contrast, closed eyes, and red eyes.’ As the plugin analyzes images, it will flag the photos with different colored flags within Lightroom Classic for easier curation.

Canon says the settings will be customizable so photographers can ‘remain in complete control,’ but doesn’t elaborate on how exactly the parameters will be controlled. There’s no mention of whether or not this plugin will work with images captured with other cameras, but we’ve contacted Canon for clarification and will update this article accordingly when we hear back.

The Photo Culling plugin will be available exclusively on the Adobe Exchange App Marketplace in Q1 2020 for a monthly subscription.

Articles: Digital Photography Review (dpreview.com)

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Apple’s new ‘Fire and Ice’ video shows off the iPhone 11 Pro’s camera capabilities

08 Jan

Apple has published seven videos in its ‘Experiments’ series, including four episodes and four behind-the-scenes videos. Each video is intended to show what’s possible with ‘an iPhone, simple materials, and boundless creativity,’ according to the company. The latest video involves effects created by fire and ice; past examples include water and colorful objects.

The methods used to create Apple’s newest Experiments videos are fairly simple and reproducible at home, including the use of dry ice, what appears to be isopropyl alcohol in a glass jug, a wire mesh covered in lint and caught on fire, a red hot piece of metal placed on dark paper and more. The majority of the shots were captured by hand.

Articles: Digital Photography Review (dpreview.com)

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