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  • ZY Optics releases ultra-fast 50mm F0.95 ‘Speedmaster’ lens for Canon EF mount

    Zhongyi Optics (ZY Optics) has announced the release of its new Mitakon Speedmaster 50mm F0.95 manual lens for Canon EF-mount cameras.

    The lens might be similar in specs to its mirrorless counterparts (Canon RF, Nikon Z and Sony FE) released back in 2019, but ZY Optics says the lens has a different optical design featuring 12 elements in 6 groups, including one high-refractive element and five ultra-low dispersion elements.

    The lens is constructed of metal, features an eleven-blade aperture diaphragm (F0.95-F16), uses an 82mm front filter thread and has a 65cm (2.13’) minimum focusing distance. It measures in at 89mm (3.5”) diameter and 122mm (4.8”) long, weighing 1.5kg (3.3lbs).

    Below is a sample gallery of images provided by ZY Optics:

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    The Mitakon Speedmaster 50mm F0.95 lens for Canon EF cameras is available now on the ZY Optics online shop for $ 799.

    Articles: Digital Photography Review (dpreview.com)

  • Olympus interview: ‘We are extremely grateful to all of our customers for their loyalty and support’

    Setsuya Kataoka, VP of Global Strategy, Olympus Imaging Division, pictured holding the forthcoming M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO.

    These are difficult times for the photo industry, and even before the COVID-19 pandemic, economic stresses and falling sales had been presenting headwinds to camera and lens manufacturers. Following the recent announcement that Olympus is planning to sell its Imaging Division, we caught up with Setsuya Kataoka, 29-year veteran of the company and current VP of Global Strategy. In this interview, Mr. Kataoka gave us his thoughts on the sale, what it means for fans of the brand, and what’s next for Olympus-branded cameras and lenses.

    This interview was conducted through and interpreter and has been edited for clarity and flow.

    What immediate impact will there be from the sale of the Imaging Division?

    First, I would like to stress that the sale of the Imaging Division does not mean that we will withdraw from the imaging business. We will continue to offer unique and exciting products. Of course there will be some changes in management, and transformation of the organizational structure after the transfer, but these changes are to stabilize the business and strengthen the organization and our operations. We think the transfer of the Imaging Division will have a positive effect on our imaging business.

    Based on our current timeline, if everything goes smoothly, we’ll have a Definitive Agreement in place in September, and the new company will be established in January 2021.

    Was the sale of the Imaging Division being discussed before the COVID-19 pandemic, or did it come about as a result of the challenging market conditions this year?

    The COVID-19 pandemic has had an impact on the imaging business, but it is not directly related to this decision.

    The OM-D E-M5 Mark III is a genuinely small, lightweight ILC. It’s aimed at enthusiasts and designed to appeal to travel and everyday photographers who don’t want to be weighed down by a DSLR or full-frame alternative.

    After the establishment of the new company, will camera and lens production continue at the same pace and in the same factories?

    The production system is still under consideration, so I can’t provide any details right now, but please be reassured that there will be no problem with production, whatever happens. Production of existing models will continue.

    How long have you worked at the Imaging Division inside Olympus?

    Since 1991, so 29 years.

    Was the announcement of the sale of the Imaging Division a sad day for you, or are you optimistic about the future?

    I don’t think that this is a sad day for us, at all. This transfer means that the Imaging Division will be carved out from Olympus but I see this as an opportunity for our imaging business to grow further in future. This may not be well-known, but JIP – Japan Industrial Partners – is a business investment fund, and their vision is to revitalize and grow businesses by supporting long-term business management. This is why we believe JIP is an optimal partner.

    We believe that this transfer is the best step to preserve our technologies, our products, our services and the legacy of the Olympus brand. We are very confident that we’ll be able to continue to offer products that will satisfy our customers under the new arrangement. I don’t expect that anything will happen that will not be good for our users. In all of our conversations about the transfer, ‘user first’ has been the bottom line.

    Do you think that your product lineup will get smaller?

    We will focus on the high-end market more than ever. High-end cameras and lenses in the ILC lineup. There may be some changes in the product lineup for strategic reasons, but we don’t plan simply to reduce the number of products.

    Could an increased focus on high-end products spell the end for the entry-level PEN E-PL models?

    How will the sale of the Imaging Division affect warranty and service support for existing Olympus customers?

    Please be reassured that there will be no effect. I want our customers to be confident that their products will continue to be supported in future.

    Do you think there will be a time when cameras will no longer be made under the ‘Olympus’ brand?

    The question of Olympus branding is still under consideration, but there’s no plan to stop using the Olympus brand immediately after the transfer. Camera naming, such as OM-D, PEN and Zuiko will continue to be used.

    We will continue to develop the Micro Four Thirds system [and focus on] areas where we can leverage the uniqueness of our products

    Do you think that the OM-D lineup will evolve to be a more high-end system?

    We believe that our OM-D lineup offers unique benefits that other camera manufacturers cannot. Not only the compactness and light weight of the system, but many technologies that competitors cannot match, such as high-resolution lenses, strong stabilization and outstanding dust-proofing and weather-sealing. I can’t say for sure how these technologies will evolve, but we will continue to develop the Micro Four Thirds system [and focus on] areas where we can leverage the uniqueness of our products, for example in the fields of nature and outdoor photography.

    The last time I spoke to Aki Murata, in late 2019, he expressed a hope that the E-M1X would attract photographers who were ‘switching’ from DSLRs. Has that happened?

    The E-M1X was developed for professional photographers, in order to withstand use in harsh environments. The development of this product was very important for us. We wanted to meet the demands of professional photographers, and also to accumulate know-how around improved reliability, which we could then apply to other models.

    Although the E-M1X does not sell in the same volume as the E-M1 and E-M5 series, it has been accepted by many professional photographers. We are currently developing an intelligent subject detection autofocus update for bird photography for the E-M1X. That firmware is scheduled to be released this winter. Together with the M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO lens, we’re confident that we can make many professional photographers very satisfied.

    Olympus’ flagship ILC (the OM-D E-M1X, left) is far from small or light, but Mr. Kataoka believes that when professionals and enthusiast bird and wildlife photographers see what it can do in combination with the upcoming 150-500mm lens, some of them will want to make the switch away from their current cameras.

    How important is that particular lens to your professional strategy?

    We believe that this lens will be a very special option, not only for wildlife and sports photographers but for all kinds of customers who need a telephoto zoom. This lens symbolizes the superiority of our system, and we might even call it a flagship. You can shoot handheld at 1000mm [equiv.], and it’s packed with innovative technology. This will be a significant lens, and [representative] of a new chapter in our imaging business.

    Do you think that Olympus-branded cameras will ever compete against full-frame professional options, for sports and photojournalism?

    We believe that our camera system has the potential to be accepted in the professional marketplace. In fact, many professional photographers are using our system, especially sports and wildlife photographers, following the launch of the E-M1 Mark II. We will continue to gather feedback from these photographers, particularly when it comes to the benefits which full-frame cameras cannot offer.

    Given the challenging market situation, where do you see the biggest opportunities for Olympus-branded cameras and lenses?

    We are proud to offer unique products that other brands cannot. Especially when it comes to the compactness and light weight of our system. This provides clear benefits to our customers when it comes to mobility. Although the market has contracted recently due to the effects of the COVID-19 pandemic, once people are able to start traveling again, and get outdoors, we’re confident that our products will satisfy users, and allow them to enjoy their photography.

    Do you anticipate any job losses after the sale?

    As a result of the transfer process, the reformulation of the organizational structure is obviously something that will be discussed. But I cannot give any detail at this point.

    Do you think that Olympus as a photographic brand will be in a stronger position in one year’s time than it is today?

    I really believe so. I think our position will be stronger in a year. Our manufacturing team, our R&D team, as well as sales and marketing – all of our teams are working hard to make that happen.

    We are extremely grateful to all of our customers for their loyalty and support

    I would like to take this opportunity to say thank you, for the many supportive messages and comments that we have received since the news of the transfer. We are extremely grateful to all of our customers for their loyalty and support. To demonstrate our continued commitment to our customers, we recently disclosed our lens roadmap, and the development of our 150-400mm PRO lens is well underway. There are no plans to change any product launches coming in 2020. We remain focused on the release of new products, so please stay tuned for news about more exciting future developments.

    While the transfer may bring changes to some operations, one thing that will not change is that everyone on the imaging team will continue to work hard on innovative initiatives for our customers.

    Editor’s note: Barnaby Britton

    The last time we spoke to Mr. Kataoka was in 2015, following the launch of the OM-D E-M5 Mark II. Back then, he was extolling the virtues of that camera’s high-res shot mode, and predicting improved – handheld – iterations of the technology coming in future models. This prediction came true in the E-M1X and E-M1 Mark III, but neither we nor Mr. Kataoka could have predicted that in 2020 – almost a decade after the financial scandal which rocked the company in 2011 – we’d be discussing (again) the future of the entire Olympus Imaging business. But these are strange times.

    In the short term, we’re told, nothing will change. The product roadmap (at least through 2020) is fixed, products will continue to be released – and sold – and warrantee service and post-sale support for existing customers will continue as before. While the future of the ‘Olympus’ brand is unclear, OM-D, PEN and Zuiko-branded products will continue to be manufactured and sold.

    According to Mr. Kataoka, we’ll see more of a focus on high-end gear going forward, of the kind that he hopes will appeal to professionals. That’s where products like the long-anticipated 150-400mm come in: ‘a significant lens, and [representative] of a new chapter in our imaging business’.

    The basic strategy behind Olympus’s development of high-end imaging products seems to be unchanged

    Of course, this lens on its own is unlikely to persuade a significant number of professionals to pick up an E-M1 Mark III or E-M1X, but that was never the point. It seems as if the strategy behind Olympus’s development of high-end imaging products is the same now as it has been the last several times I’ve spoken to senior executives: aim high, focus on the differentiators, (i.e., the professed benefits of M43 such as lower size and weight, excellent in-body stabilization, and relatively small telephoto lenses), and court professionals with high-end tele optics, rugged build quality and excellent weather-sealing.

    The challenge is that few of these things are (or need to be, or in some cases ever have been) unique to Micro Four Thirds. That said, Olympus has a good track record when it comes to maximizing the advantages of a smaller sensor, and trying to minimize the performance gap using technology.

    The handheld high-res shot mode in the E-M1 Mark III and E-1MX is one good example of a technological solution to the small sensor ‘problem’, which provides the option of increased resolution, and somewhat improved high-ISO image quality compared to conventional single-exposure capture from a small 20MP sensor.

    We know that new products are coming, and Mr. Kataoka tells us that his team remains focused on delivering high-quality, ‘innovative’ solutions. If things go to plan, according to Mr. Kataoka, a final agreement with presumptive new owners Japan Industrial Partners (JIP) will be in place in September, and a new company will be formed in early 2021. Longer-term, things are less clear, but it’s safe to assume that JIP has done its homework, and believes that Olympus cameras and lenses have a future. As for exactly what that future looks like, we’ll just have to wait and see.

    Read more in-depth interviews

    Articles: Digital Photography Review (dpreview.com)

  • Cascade Pro Webcam can turn more than 100 popular cameras into webcams on macOS

    While the likes of Canon, Fujifilm, Panasonic and others have released firmware updates or dedicated apps to turn cameras into webcams, not every camera owner is lucky enough to have their camera’s manufacturer release such utilities. Thankfully, there are third-party developers stepping up to the plate to help bring webcam functionality to many more cameras.

    One of the latest attempts is from Cascable, a development team known for making wireless remote, tethering and transferring solutions for iOS and macOS devices. The team’s newest creation is Cascable Pro Webcam, a new macOS app that will turn compatible Canon, Fujifilm, Nikon, Olympus, Panasonic and Sony cameras into a webcam for popular video conferencing and streaming programs.

    Over 100 cameras are supported by Cascable Pro Webcam, with some even offering wireless connectivity if the camera has built-in WiFi. Cascable has a full list of compatible cameras on its website. Note that in order for the camera to be supported, it must have a checkmark under the ‘Control & Automation’ column on the linked page.

    The highlighted (red) column is what determines whether or not your camera is compatible with Cascade Pro Webcam.

    As for the video conferencing and streaming apps it supports, the Cascade team says it’s specifically tested it with Google Chrome, Microsoft Edge, Microsoft Teams, OBS Studio, Quicktime Player, Skype (8.59 or later), Twitch Studio and Zoom (5.0.5 or later).

    Cascable Webcam Pro is available to download for free to try out. The free trial doesn’t limit how many times you can use it, but not all features will be available and streams will show an overlay when they last more than five minutes. Cascable Pro Webcam will retail for $ 40, but until July 24, it’s just $ 30 as part of a ‘launch sale.’ You can download the free trial and purchase a license on the Cascable website. You need to be running macOS 10.14.4 or higher.

    Articles: Digital Photography Review (dpreview.com)

  • Indian photographer turned his home into a camera and named his sons after camera companies

    How far would you go to profess to the world your love for photography? Would you live inside a house that looks like a camera or name your children after popular camera brands? If you’re 49-year-old Indian photographer Ravi Hongal, the answer to both of those questions is ‘yes.’

    Detailed in this short video from Caters Clips, Hongal spent over £75,000 (roughly $ 95,000) turning his family’s home into a photography tribute. The house features a window lens, a film strip balcony railing, an oversized SD card and even a speedlight that doubles as a security lamp. Although not shown in the video, Hongal has also adorned the inside of the house with camera-inspired rooms.

    As if the house wasn’t enough, Hongal and his wife also named their three sons Canon, Nikon and Epson. If that’s not dedication, we’re not sure what is.

    Articles: Digital Photography Review (dpreview.com)

  • How to Use Photography Filters for Amazing Long Exposure Landscapes

    The post How to Use Photography Filters for Amazing Long Exposure Landscapes appeared first on Digital Photography School. It was authored by Simon Bond.

    filters-for-long-exposure-landscapes

    One of the most competitive genres in photography is landscapes. In this article, you’ll learn how to add creativity to your landscapes by using filters. The use of filters will allow you to create masterpiece long exposure landscapes, and you’ll learn what’s needed to do this. So read on and discover tips and tricks to get the best results.

    How to Use Photography Filters for Amazing Long Exposure Landscapes
    Using the correct exposure length meant an interesting foreground from the movement of water.

    What is long exposure photography?

    One of the key settings on your camera is the ability to control the exposure length. If you’re new to photography, the chances are you’ll not have tried long exposures yet. You’ll need a tripod, but once you begin taking long exposure photos, the creative potential is massive.

    Long exposure photos are those that last for over one second in length, and typically don’t last more than thirty seconds. There are some situations where even longer long exposures can be taken. These can last minutes. To take these photos, you need to use bulb mode on your camera.

    Filters for long exposure landscapes
    Filters come in varying strengths.

    How to use filters for long exposure landscapes

    The use of filters to produce these long exposure landscapes will increase your options. They allow you to take long exposure daytime photos (where there is lots of light), and, if you wish, even longer night time long exposures.

    You can use different grades of filters to give you the ability to take photos of different exposure lengths. Of course, the time of day is a massive factor as well, with night time an easier time to take long exposures.

    Filters you can use during the day

    The filter you’ll need to use to take long exposure landscapes during the day is the ND filter. These are neutral density filters, which are abbreviated to ND filters.

    These filters work by blocking out the amount of light that comes into the camera. They should do this without changing the color tone of your image, which is why the filter is considered neutral. The strength of these filters range.

    filters for long exposure landscapes - waterfall in the fall
    Filters can be used to lengthen the exposure, and produce “silk water”.

    Weak ND filters

    These are the ND2, ND4, and ND8 filters. They’re more often used with flash photography, but you can use them to extend exposure length during the day. In low light situations like under tree canopies, or as the evening draws in, using one of these filters may allow you to take a long exposure.

    Circular Polarizer (CPL) filter

    In a similar fashion to the weak ND filters, you can use a CPL filter in a low light situation to turn a half-second exposure to a one or two-second exposure. This can be long enough to dramatically change the nature of moving water during an exposure.

    Strong ND filters

    These filters are designed for longer exposures, the typical filters you can use are the ND110 and the ND1000. Filters like this will allow you to take exposures longer than five seconds or more even during the middle of the day.

    How to Use Photography Filters for Amazing Long Exposure Landscapes
    Using an infra-red filter is an interesting way of creating landscapes.

    Infrared filters

    Infrared filters block out all light except infrared.

    The exact light they block comes with the name of the filter. The Hoya R72 filter blocks all light except the light of a wavelength of 720 nanometers. This translates to a filter that’s even stronger at blocking out light than the ND1000.

    You will, of course, be taking an infrared photo, but this will then be a long exposure that can often be minutes long.

    Filters you can use during the night

    The need to use filters for night time long exposure is not as extreme.

    You’ll almost certainly be able to carry out long exposures with no problem, except perhaps during the transition from day to night. Here, the filters you’ll likely use are the weak ND filters or the CPL filters, with the intention of turning a medium-length long exposure into a longer long exposure.

    However, the need to use a strong ND filter can occur. This happens when you want an exposure that lasts several minutes. Usually, you would not take an exposure of this length, but in order to get cloud motion across the sky, this length of exposure can be needed.

    filters for long exposure landscapes - jetty over the water at sunset
    Flattening the water makes for a serene landscape.

    Stacking filters

    The more extreme long exposure landscapes will require filter stacking. Stacking filters means placing one filter on top of another to combine their strength.

    Those wanting to take an ultra-long daytime long exposure, that produces cloud motion, often need to stack an ND110 filter with an ND1000 filter.

    Stacking filters gives you an extra level of control over the length of your exposure. This happens by blocking more or less light. One thing to be careful of when stacking is vignetting. When using screw-on filters, there is a greater risk of this, caused by stacking too many filters on the front of your lens.

    How long to expose for?

    The aim of adding a filter to the front of your lens is to lengthen the exposure. Learning the correct strength of filter you need to apply is therefore important.

    To know how strong the filter should be, you will need to decide what type of long exposure landscape you wish to take. The following is a list of photo types you could take during the daytime.

    • Silky water – An exposure of one second is long enough to produce the silk water effect at places like waterfalls.
    • Water motion – The motion of water and the length of exposure is a sliding scale. At half a second, it’s long enough to capture motion from waves going in and out at a beach. A longer exposure can then be used all the way up to the exposure length needed to flatten the sea. It’s not always desirable to completely flatten water, as some turbulence can look nice.
    • Flattening the sea – An exposure longer than ten seconds will be enough to flatten the sea.
    • Cloud motion on a calm day – With slow-moving clouds, an exposure of minutes will be required.
    • Cloud motion on a windy day – On a windy day, an exposure of over 15 seconds is likely to be long enough. However, you will need to experiment with the conditions you have on the day.
    How to Use Photography Filters for Amazing Long Exposure Landscapes
    Getting cloud movement across your landscape can take very long exposures.

    Time for long exposure landscapes!

    The take-home message is to know how long an exposure you need, and use the correct filter on your lens to allow this length of exposure.

    Do you enjoy long exposure photography, or are you yet to learn about the genre?

    If you have examples of your work you would like to share, please share them in the comments section. These could be from your archives or images you take after reading this article. So get out with your tripod, and create some long exposure magic!

    The post How to Use Photography Filters for Amazing Long Exposure Landscapes appeared first on Digital Photography School. It was authored by Simon Bond.


    Digital Photography School

  • Blackmagic Design is hosting a ‘Camera Update’ livestream tomorrow

    Blackmagic Design has announced it will be hosting a ‘Camera Update’ livestream on YouTube at 12pm EDT (UTC -4) on July 29 (roughly 27 hours after this article is published).

    No additional information about the event has been shared at this time, but if past Blackmagic Design ‘Update’ livestreams are anything to go by, there will likely be new and/or improved hardware on display. Click through to YouTube using the above video embed and sign up to be notified so you don’t miss the announcement.

    What would you like to see from Blackmagic Design, tomorrow?

    Articles: Digital Photography Review (dpreview.com)

  • Canon issues ‘media alert’ clarifying overheating concerns of its EOS R5, R6 cameras

    This morning, Canon sent out a ‘media alert’ to press to clarify overheating concerns regarding its new EOS R5 and R6 cameras. In it, Canon reiterates estimated shooting time limits, explains why it opted to add an internal fan and shares a few tips on how to keep the heat down when shooting 4K and 8K video.

    Canon starts off the notice laying out the steps it’s taken to ‘manage the potential for overheating’ in its EOS R5 and EOS R6 camera. Two bullet points in the notice read:

    • Magnesium alloy was used in the body to dissipate heat away from internal components
    • An “overheat control” function [is included] to reduce heat generation when the camera is in standby.

    Canon addresses the lack of a fan — such as the one found on Panasonic’s S1H camera — saying it decided to not include a fan within the body of the camera to maintain the ‘compact size, lightweight construction and weather resistance’ of the EOS R5 and EOS R6.

    Both the EOS R5 and EOS R6 will display an estimated time it expects to be able to record based on the recording mode and current camera temperature, but in addition to the on-camera information, Canon has also shared a more detailed breakdown of roughly how much time you can expect both cameras to be able to record based on resolution, frame rate and shooting mode (click for full resolution):

    Canon has also shared a small chart showing the estimated time you can expect to wait before recording after the camera overheats:

    As for what you can do to help minimize the time it takes for the EOS R5 and EOS R6 to overheat, Canon shared the following bullet list:

    Set Overheat Control function to “ON” (default). When the overheat control function is enabled, the movie size and frame rate are automatically changed while the camera is in standby mode to suppress the rise of the internal temperature Between recordings, it is recommended to turn off the camera Position the camera out of direct sunlight Use an external fan to dissipate heat

    Articles: Digital Photography Review (dpreview.com)

  • Panasonic announces minor firmware updates for 6 cameras, release of macOS streaming utility and more

    Panasonic has announced minor firmware updates for half-a-dozen of its G Series mirrorless cameras and announced the upcoming release of new software for Windows and macOS computers that will give its mirrorless cameras the ability to be used as a webcam without the need for a capture card.

    The firmware updates are for Panasonic’s GH5, GH5S, G9, G95, G85 and GX9 camera systems. The respective updates improve compatibility with Panasonic’s new Tripod Grip DMW-SHGR1 and add ‘operational stability’ with the LUMIX G VARIO 12–32mm / F3.5–5.6 lens. The new firmware updates will go live on Panasonic’s support page on July 21.

    Panasonic has also announced the release of LUMIX Streaming (Beta) for macOS. Like the Windows version released back on June 9, the macOS version allows select Panasonic mirrorless cameras to be used as webcams through a derivative version of Panasonic’s LUMIX Tether utility that removes unnecessary interface elements to create a clean output for using as a webcam feed.

    A screenshot of the Windows version of LUMIX Streaming (Beta).

    At this time, the LUMIX Streaming (Beta) supports Panasonic’s S1H, S1R, S1, GH5S, GH5 and G9 mirrorless cameras. It requires at least macOS 10.11 (El Capitan), 2GB of RAM for 64-bit systems and 200MB of space. You can download the utility for free on Panasonic’s website.

    Beyond the LUMIX Streaming (Beta) for macOS and Windows, Panasonic is also developing LUMIX Webcam Software. Unlike LUMIX Streaming (Beta), which is effectively a tweaked version of its tethering utility, LUMIX Webcam Software ‘[will make] it possible to use an applicable LUMIX camera as a webcam over a USB connection not only for live streaming, but also for video conferencing, etc.’ Panasonic says the software will be compatible with its S1H, S1R, S1, GH5S, GH5, and G9 camera systems, and is due for a September release on Windows and an October release for macOS.

    Press release:

    Panasonic Announces the Release of Firmware Update Programs for LUMIX G Series Cameras, “LUMIX Streaming (Beta)” for Mac and the Development of “LUMIX Webcam Software” for Windows/Mac

    Newark, NJ (July 14, 2020) – Panasonic is pleased to announce the release of firmware update programs for the LUMIX G Series of Digital Single Lens Mirrorless Cameras and software programs “LUMIX Streaming (Beta)” for Mac and the development of “LUMIX Webcam Software” for Win/Mac.

    The firmware update programs are for DC-GH5,GH5S, G9, G95, G85 and GX9 to improve compatibility with the new Tripod Grip DMW-SHGR1 and operational stability with LUMIX G VARIO 12-32mm / F3.5-5.6 ASPH. /MEGA O.I.S.(H-FS12032) lens. Meanwhile, “LUMIX Streaming (Beta)” and “LUMIX Webcam Software” enhance work-at-home activities using LUMIX cameras.

    1. Firmware update programs for DC-GH5, GH5S, G9, G95, G85 and GX9

    Model

    Firmware Version

    ?Tripod grip DMW-SHGR1 can be used.

    ?Improved operational stability with the Panasonic LUMIX G VARIO 12-32mm / F3.5-5.6 ASPH. /MEGA O.I.S.(H-FS12032)

    DC-GH5

    Firmware Version 2.7

    Yes

    Yes

    DC-GH5S

    Firmware Version 1.6

    Yes

    –

    DC-G9

    Firmware Version 2.2

    Yes

    Yes

    DC- G95

    Firmware Version 1.2

    Yes

    Yes

    DC- G85

    Firmware Version 1.5

    Yes

    Yes

    DC-GX9

    Firmware Version 1.5

    –

    Yes

    The firmware program will be available at LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ on July 21, 2020.

    2. LUMIX Streaming (Beta) for Mac

    Followed by the release of “LUMIX Streaming (Beta)” for Windows, the “LUMIX Streaming (Beta)” for Mac has also been released. It is derived from conventional “LUMIX Tether (Ver.1.7)” with an additional display option for the cases where this software is used for live streaming purposes. It may help user convenience in the growing self-streaming opportunities.

    As “LUMIX Tether” is a software program originally designed for tethered shooting, GUIs such as a focus area mark as well as control panels are displayed with live view images on the PC monitor during USB tethering. However, these graphic items become a hindrance when the software is used to capture camera view for live streaming. In response to the demands of customers to resolve this issue, LIVE VIEW mode has been added on “LUMIX Streaming (Beta)”. It enables displaying camera view only, making it easy for the separate streaming software to read it. Users can choose to show or hide these graphic items during USB tethering according to the usage purpose.

    “LUMIX Streaming (Beta)” is provided as a pre-release version that is currently still under development. Please note that this software is not eligible for operation warranty and customer support.

    Compatible models: DC-S1H, DC-S1R, DC-S1, DC-GH5S, DC-GH5, DC-G9

    LUMIX Tether for Streaming (Beta) for Mac Operating Environment

    OS

    Mac OS X 10.11,

    Mac macOS 10.12, macOS 10.13, macOS 10.14

    *Operation with macOS 10.15 Catalina is under verification but some issues are reported. https://av.jpn.support.panasonic.com/support/global/cs/dsc/info/macos_tether.html

    (When to officially support macOS 10.15 Catalina is yet to be fixed.)

    CPU

    Intel CPU of 1 GHz or higher

    Display

    1024 x 768 pixels or more

    RAM

    1GB or more (32bit),2GB or more (64bit)

    HDD

    Free space of 200 MB or more for installation

    Interface

    USB 3.0/3.1

    LUMIX Tether for Streaming (Beta) web page with download link

    https://www.panasonic.com/global/consumer/lumix/lumixtether.html

    3. LUMIX Webcam Software

    While the “LUMIX Streaming (Beta)” is basically a software for tethered shooting that can also be used to capture camera views for live streaming, the upcoming “LUMIX Webcam Software” makes it possible to use an applicable LUMIX camera as a webcam over a USB connection not only for live streaming, but also for video conferencing, etc.

    Compatible models: DC-S1H, DC-S1R, DC-S1, DC-GH5S, DC-GH5, DC-G9, DC-G100 *

    Release Date*: End of September (for Windows) / End of October (for Mac), 2020

    *The release date of LUMIX Webcam Software for DC-G100 is yet to be decided.

    Panasonic is committed to continuous improvement with its LUMIX product line, including the Full-Frame S Series and the Micro Four Thirds G Series, by providing customers with valuable products and services, a part of which are these firmware and software update programs.

    Articles: Digital Photography Review (dpreview.com)

  • Sony FE 70-300mm F4.5-5.6 G OSS sample gallery

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    The Sony 70-300mm F4.5-5.6 G OSS is a tele-zoom lens for full frame E-mount cameras. It’s a good fit for applications that require a versatile zoom range with a bias toward longer focal lengths, and it’s well-suited for everything from travel use to wildlife photography.

    It may not compete optically with Sony’s best prime lenses throughout the range, but what it can deliver is a useful range with solid performance. Thanks to all-metal construction, dust and moisture sealing, and a zoom lock to prevent lens creep, it should hold up through a lot of adventures with you and your camera.

    See our Sony 70-300mm F4.5-5.6 G OSS sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens

    The post Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    dps news sony 12-24mm f/2.8 lens announcement

    Sony has officially announced its FE 12-24mm f/2.8 GM lens, which is impressively wide, and offers a very fast aperture for such a wide-angle zoom.

    While Sony did release a 12-24mm zoom back in 2017, it packed an f/4 maximum aperture, which just doesn’t offer the same low-light utility as a wide-angle f/2.8.

    But now, with the new 12-24mm f/2.8, Sony shooters have the opportunity to work with an ultra-fast wide-angle lens, which is perfect for any sort of night photography, and astrophotography in particular.

    Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens

    In terms of the lens’s specs:

    A lens offering a maximum f/2.8 aperture is bound to be somewhat large, but Sony has kept both the size and the weight fairly reasonable:

    5.5 in (137mm) long, 29.9 oz (847 g) heavy.

    This means that landscape photographers and travel shooters won’t have too much trouble carrying the 12-24mm f/2.8 around in their bag.

    The lens comes with a permanent hood, and the front element is unsurprisingly big, which means you won’t be able to use standard filters. However, Sony has designed the lens with a rear filter mount, which allows photographers to work with cut gel filters.

    As for the optics:

    Given that this is a GM lens, you can expect quite a lot, and early reviews seem to bear this out. The Sony 12-24mm f/2.8 is incredibly sharp, in the centers to the corners, both wide-open and stopped down.

    Now, if you’re in need of a fast wide-angle zoom, you have two main options:

    The new Sony 12-24mm f/2.8.

    Or the Sony 16-35mm f/2.8 GM, which is a very impressive lens in its own right.

    Ultimately, picking between these lenses will come down to personal choice, but the extra 2 mm on the wide end can be pretty significant, especially for landscape and astrophotographers.

    That said, while the Sony 12-24mm f/2.8 is a truly excellent new piece of glass, the cost ensures that only the most serious of photographers will be able to add it to their bags.

    It’ll ship in mid-August with a starting price of around $ 3000 USD.

    Bottom line:

    If you’re looking for a pro-level, fast, wide-angle lens for landscape photography, then this is going to be a good option, assuming you can afford the price.

    The post Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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