Last year, Samyang1 released the AF 85mm F1.4 FE prime lens for Sony full-frame mirrorless cameras. Now, the lens has been updated with a Canon RF mount to work with Canon’s line of full-frame mirrorless cameras, too.
Aside from the new mount, the lens remains unchanged from its Sony FE predecessor. The lens is constructed of 11 elements in 8 groups, including one Extra-Low Dispersion (ED) element and four High Refractive Index (HRI) elements to help minimize chromatic aberration. The optical elements also use Samyang’s Ultra Multi Coating (UMC) to keep flares and ghosting under control.
Autofocus is driven by Samyang’s Dual Linear Sonic Motor (DLSM) and the sole button on the lens is the AF/MF button for switching between auto and manual focus. The lens features weather-sealing, a nine-blade aperture diaphragm and a 77mm front filter thread. Below is a sample photo, provided by Samyang:
The Samyang AF 85mm F1.4 RF is expected to ship in June for $ 800, with pre-orders opening up before then. The RF version comes in at $ 100 more than the Sony FE version was launched at and $ 200 more than what the Sony FE is currently selling for. We will update this page when pre-orders become available.
1Samyang is also sold under the Rokinon and Bowens brand names, depending on your region and the retailer you purchase from.
DJI’s Mavic 2 Pro is one of the products that could potentially become unavailable in the U.S., as early as July, on account of Autel’s claims.
With close to an 80% share in the U.S. consumer drone market, DJI holds a substantial lead over its competitors. News arose, several weeks ago, that some of its best-selling models plus accessories could be banned from being sold and imported into the U.S., as early as July, on account of a preliminary Autel Robotics victory.
DJI and its law firm, Finnegan, recently responded to Autel’s claims and secured their own victory in the latest round of an ongoing, years-long patent battle. For perspective, DJI filed a patent infringement complaint against Autel, who currently holds an 0.8% share of the U.S. drone manufacturers market, back in 2016. DJI alleged that Autel copied the ‘look and feel’ of its Phantom UAVs with its X-Star Premium drone.
DJI filed a patent infringement complaint. They claim the Autel X-Star Premium copies the ‘look and feel’ of their Phantom series.
On August 30, 2018, Autel mounted its own offense by requesting the International Trade Commission (ITC) investigate DJI, pursuant to Section 337, for selling drones infringing on Autel’s US Patent No. 9, 260,184. Months later, on October 2nd, the ITC set its investigation in motion based on Autel’s assertion of the following 3 patents:
’174 patent – obstacle avoidance
’184 patent – rotor blades
’013 patent – batteries that clamp onto the drones
The ITC’s chief administrative law judge (CALJ) issued a favorable initial determination (ID) to DJI on March 2nd of this year, according to Finnegan. CAL Judge Bullock found that ’174 patent claims, involving obstacle avoidance technology, were not infringed as they were not practiced by any domestic industry product and therefore invalid under 35 U.S.C. § 101. He declared that many of the accused DJI products also did not infringe on the ‘184 patent involving rotor blades. The ‘013 patent claim on batteries that clamp into the drone was also declared invalid.
‘Ultimately the Commission may decide that Autel deserves no remedy at all, but at a minimum, the Commission is unlikely to enforce any exclusion order or cease-and-desist order based on the three invalid patents.’
Finnegan’s post also claims a win for DJI with the Patent Trial and Appeals Board (PTAB). On May 13th – 21st of this year, the PTAB found all 3 patents (‘174, ‘184, ‘013) declared in Autel’s ITC proceeding unpatentable. ‘The Commission is currently deciding whether to review the CALJ’s ID. Ultimately the Commission may decide that Autel deserves no remedy at all, but at a minimum, the Commission is unlikely to enforce any exclusion order or cease-and-desist order based on the three invalid patents. DJI’s sales in the U.S., therefore, will not be affected by Autel’s claims,’ DJI’s legal team concludes.
The entire IP update from DJI’s law firm can be viewed here. Representatives from the drone manufacturer declined to comment.
Tamron already has six full-frame Sony E-mount lenses in its lineup, but there’s another on the way. In a video shared on its YouTube channel earlier today, Tamron teased a new full-frame E-mount lens that appears to be a mid-range zoom lens.
The 18-second clip, embedded below, doesn’t divulge any additional details about the lens, but it does link to Tamron’s E-mount lens lineup page that shows how the forthcoming lens will stack up in size compared to the six current full-frame E-mount lenses — three primes and three zooms.
You can also see in the lineup photo the new lens will have what appears to be a focus locking switch sandwiched between the focus and zoom rings. Tamron’s 70–180mm F2.8 Di III VXD lens is the only current full-frame E-mount lens in the lineup to offer this switch.
We’ll keep you up to date, but you can also keep an eye on Tamron’s website for more information. There’s also Tamron Japan’s website, which sometimes posts press releases ahead of the U.S. site.
The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.
If you’ve read my previous review of the Loupedeck+, you’ll know I am a massive fan and it is now a firm part of my editing routine. As I said in that review, it was something that I was honestly wary of before trying it, but something I do edit without now. So when I got the chance to do the new Loupedeck CT review, I jumped at it.
The Loupedeck CT is a completely new editing station. Loupedeck has marked this as their professional tool, designed to deliver a premium editing experience. Along with the dials and buttons familiar to those who have used the Loupedeck+, the Loupedeck CT features a touchscreen interface system of virtual buttons, that you can fully customize to your editing needs.
Compatibility
The CT is compatible with a wide range of software right out of the box. And it has the ability to add even more software via an ever-growing library of custom profiles.
Here is a list of compatible software out of the box (takes deep breath):
Abelton live
After Effects
Audition
Capture One
Final Cut Pro
Adobe Illustrator
Adobe Lightroom Classic
Adobe Photoshop
Premiere Pro
System (Windows & Mac)
Profiles exist for many more programs, including Davinci Resolve, Photomechanic, and Logic Pro X, amongst others. This is a serious list of professional software, and the ability to customize the Loupedeck CT means that there is an almost limitless opportunity to create your very own tailored workspace.
Design and build quality
The Loupedeck CT is very different from the Loupdeck+. It is much more compact in its footprint. The size is about the same as two mobile phones placed side by side. This smaller footprint not only makes having the CT on a smaller desk much easier, but it also means it is simple to add to your bag when editing on the road or on location.
The packaging looks and feels premium. It reminded me of an Apple device in the way that the quality oozes out before you even see the product.
Jet black packaging with an embossed and foiled logo on the side really does make this product feel luxurious. It may sound silly, but when packaging is this good, I feel that it shows the importance of attention to detail to the company.
Once the Loupedeck CT is removed from the packaging and those, oh so satisfying, clear plastic covers get removed, the quality of the Loupedeck CT shines through.
The build quality on this device is excellent, with the device itself comprised of an aluminum top plate (save the virtual buttons workspace) with a solid plastic underside. All buttons and dials are all reassuringly firm, with the dials having a tactile click when turning, whilst the virtual buttons have haptic feedback, which you turn on or off.
The center dial is used as a touch screen interface for some adjustments, and again, it works perfectly. It is responsive and has worked flawlessly during my time with the unit.
This is a very well-made piece of equipment that is another step forward in quality from the already well-made Loupedeck+.
The Loupedeck CT also has a Bluetooth chip, which will eventually, via an update, make the unit connect wirelessly.
It also comes with 8GB of storage, which mounts as an external drive when you connect the Loupedeck CT. This storage allows you to save all settings and preferences within the device. So, when you transport the product, all your settings travel with you. This is great for those that travel regularly or use different computers for different projects.
Ergonomically, the unit is made for one-handed operation. This is not to underestimate the amount of editing this thing can do on its own. Whilst the Loupedeck+ feels like something that is aimed to replace your keyboard, the CT feels like an addition to your keyboard and mouse. It is an incredibly powerful enhancement to your workflow.
Buttons on the Loupedeck CT are backlit in a way that aids your use of the device. The buttons’ color shows how it is mapped at a glance. The three colors are green, purple, and blue.
Green buttons are assigned to workspaces (of which you can have multiple per application). The purple buttons are assigned to actions (such as applying a preset or creating a copy of the image, etc.). Finally, the blue buttons are there to take you into page-based layouts. This allows you to create sub-menus within a workspace, such as a page dedicated to your image presets, without the need to change the entire workspace.
Installing the Loupedeck CT
Installing the Loupedeck CT is a simple affair. You just download and install the software from the Loupedeck website, then connect the Loupedeck.
The Loupedeck itself is USB-C, which helps future-proof the product. However, it comes packaged with a USB-C to USB-A braided cable, which will be welcomed by a lot of people. The cable itself is of high quality, reinforcing the attention to detail that Loupedeck has put into this product.
The installation and setup is easy. But you will need to spend some time with the software to set the Loupedeck CT to your preferences.
Learning curve
The learning curve is the part of Loupedeck CT that is the thing that you will find hardest. It’s not that the CT is hard to use, in fact, it is the total opposite of that. It is more about remembering which button is where, how you have your dials set, and moving your hands away from existing workflows.
With the Loupedeck+ everything is set and you quickly become accustomed to where everything is. However, whilst the flexibility of the Loupedeck CT is its strongest feature, it does mean you have a larger learning curve. As an example, when moving from Lightroom to Photoshop, the button layout changes, so it takes more time to become a power user across multiple software.
The initial setting up of custom workspaces will take time and effort from the user. However, this is the step that is essential for those looking to get the most out of this device.
The software makes it simple to set up, but you need to customize the layout of the deck for your specific editing style. You will then need to do this on a software-by-software basis. This process may take a few hours, but it is so worth it. The profiles supplied by Loupedeck are great and get you started instantly, but every editing workflow is different and the Loupedeck profiles are unlikely to match your specific workflow.
As with the Loupdeck+, the CT makes using software easier. It does have a learning curve though, one for each software you use it with.
The Loupdeck CT in use
The first thing I noticed about the Loupedeck CT was its software awareness. Switching over to Photoshop from Lightroom, the Loupedeck instantly changed to its Photoshop workspace. There was no lag or waiting. It was ready to go. This smoothness is the same for every software. You can even set it up to control your Spotify, so you can keep your hands on the Loupedeck whilst you decide what music you want to listen to whilst you edit.
This key feature makes the Loupedeck CT amazing for those who work in several different pieces of software. It really does make this device a huge step up from the Loupedeck+.
I know when I reviewed the Loupedeck+, I said that video editing wasn’t great. With the CT, it really performs.
Moving to Premiere Pro, you get the tools you use the most right at your fingertips. As someone who isn’t a huge video editor, it makes editing easier for me. I have also been experimenting with Final Cut Pro, and again, the Loupedeck saves me having to search through menus when I am looking for a tool.
I am sure that in the hands of a more capable editor, this tool will be huge in speeding up workflow. For an amateur like me, it makes things easier and encourages me to dig deeper.
This is also true of Adobe Illustrator and Adobe Audition, which I profess to be completely lacking in in-depth knowledge. However, I can see how this, in the right hands, will be incredibly useful.
The centre wheel is one of the highlights of the CT. Being able to use it for things such as colour grading is so intuitive.
Moving on to photography (the reason I am sure most of you are reading this), to sum it up, it is amazing. If the Loupedeck+ is a high-quality, off-the-peg suit, the CT is a custom-tailored suit from Saville Row; every button and dial customized to fit your editing needs.
In Lightroom Classic, it performs beautifully. Editing is effortless and the Loupedeck makes the whole process quicker, easier, and more tactile. The ability to customize a setup to be exactly how you want is something that gives this an advantage over the Loupedeck+ for those who use more advanced features regularly. This is shown in the ease of adding your own presets to buttons. Simply create the preset, then ask Lightroom Classic to update, and instantly, it is available to add to your layout.
It is when you move to Photoshop that the Loupedeck CT really shines. The ability to customize your button layout combined with size means using this with a mouse or graphics tablet is a joy. Also, the ability to use the touchscreen center button makes working in color an amazing experience. The Loupedeck CT is a much more enhanced experience than the Loupdeck+ when it comes to Photoshop.
The integration with Adobe products is still deeper than with other software, though. Switching to Capture One Pro, the experience is simply not quite as fluid. Capture One is in Beta mode even though it comes pre-installed. In use, it lacks the level of integration found in Lightroom and can’t offer the same functionality.
This is due to Loupedeck relying on keyboard shortcuts rather than the software API. Loupedeck has released an enhanced plugin profile, which allows greater integration for Capture One users. This does help, but it relies on you having to set your keyboard to the US setting, which as a UK user, is an annoyance.
I know discussions have taken place with Phase One on fully integrating the Loupedeck CT, and for many professionals who use Capture One, this would be a game-changer. Until that happens, the best way to describe the Capture One experience is good, but not as good as Lightroom.
What I love
There is a lot to love about this product. The main things for me are:
Size
Look and build quality
Unlimited customization options
Multi-software usage
What could be better
Integration with non-Adobe products
No wireless option (although this may be coming)
Is it worth it?
This is the big question. This Loupedeck CT is not cheap. It currently retails at £469.
It warrants that money to those who spend a lot of time editing and those who use a variety of software daily. It is much more suitable for a wider variety of programs than the Loupedeck+. If you use Adobe products, it is pretty much flawless.
However, if you mainly edit in Lightroom, you will possibly be better served with the Loupedeck+. It has all the features you need and comes at a lesser cost.
The other question is whether it is better to invest in the Loupedeck CT or a graphics tablet. Again, this depends on your usage and editing style. Personally, I would make more use of the Loupedeck CT. However, you may not.
The Loupedeck CT is aimed at a certain group of people. To those that will get the most out of this product, the £469 price tag is easily justified in the time saving and workflow enhancements the CT will give them. The Loupedeck CT is no mere editing gadget – it is a tool that takes your editing workflow to another level.
I really suggest you try a Loupedeck before dismissing it out of hand. Be warned though, you will probably fall in love.
The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.
Last month, Canon released the EOS Webcam Utility Beta for Windows that enabled PC owners to turn their compatible EOS and PowerShot cameras into webcams for use in video conferencing apps such as Skype and Zoom.
Now, Canon has announced the same utility is now available for macOS users, bringing the functionality to Apple owners wanting to up their video conferencing game. According to Canon, ‘tens of thousands’ of downloads were made for the Windows version and the most-requested feature was support for macOS computers.
A list of cameras currently compatible with the EOS Webcam Utility Beta for macOS and Windows computers.
The macOS version works identical to the Windows version and requires little more than one of the above compatible cameras and a USB cable for your specific camera model. Canon is requesting feedback on its forums if you encounter any problems or have a feature request.
If you’re wondering how well the EOS Webcam Utility Beta works, check out our rather unnecessary and absolutely overkill of a test went. You can download both the macOS and Windows versions on Canon’s website.
Just two weeks after Ricoh revealed more details of its long-teased portrait prime, the HD Pentax-D FA* 85mm F1.4 ED SDM AW has officially been released. The new lens offers numerous special elements, a new AF motor and the build quality we’ve come to expect from high-end Pentax lenses.
The 85mm F1.4 contains a total of 12 elements, including ‘Super ED’ and aspherical glass. An HD coating is used to reduce flare and ghosting. The lens has a new ring-type SDM lens motor to drive the focusing elements, which delivers 1.3x more torque than the motor on the 50mm F1.4, according to Ricoh. The lens has a nine-blade aperture that is electronically controlled.
Minimum focus distance is 0.85m (2.8ft) and the maximum magnification is 0.12x. It’s sealed against dust and moisture in eight places (that’s the ‘AW’ designation – standing for ‘All Weather’) and can be used in tough conditions when paired with a weather-resistant Pentax camera.
The FA* 85mm F1.4 will be available in mid-June for $ 1899.
Press release:
Ricoh announces HD PENTAX-D FA?85mm F1.4ED SDM AW for K-mount digital SLR cameras
Second fixed focal-length model added to next-generation, high-performance Star lens series
PARSIPPANY, NJ, May 27, 2020 ? Ricoh Imaging Americas Corporation today announced the HD PENTAX-D FA?85mm F1.4ED SDM AW lens, the second fixed focal-length lens in the new-generation PENTAX Star (?) lens series. Designed for use with PENTAX K-mount digital SLR cameras, Star-series lenses boast the highest imaging performance of all PENTAX lens lineups.
PENTAX developed a new, ring-type SDM (Supersonic Direct-drive Motor) exclusively for this new lens to enable flawless, high-speed autofocus operation, with an exterior design that assures a firm grip for manual-focus operation. The HD PENTAX-D FA?85mm F1.4ED SDM AW lens is designed not only to assure the highest imaging power currently possible, but also to optimize the joy of picture-taking.
The new lens incorporates three Super ED (Extra-low Dispersion) glass optical elements to effectively minimize chromatic aberration, and a glass-molded aspherical optical element to effectively compensate for spherical and chromatic aberrations and field curvature to deliver extra-clear, high-contrast images with edge-to-edge sharpness, even at open aperture. This design also reduces distortion to nearly zero at a focusing distance of four meters to deliver well-defined, distortion-free images over the entire focusing range, from the minimum focusing distance to infinity.
The HD PENTAX-D FA?85mm F1.4ED SDM AW lens boasts an F1.4 maximum aperture, useful with many different subjects in a range of applications, including portraiture with an effectively defocused background, handheld shooting of indoor scenes and scenic photography. The extra-large aperture produces a bright, clear viewfinder image that will surely inspire photographic creativity and imagination.
Developed as an AW (All Weather) model, the new lens features dustproof, weather-resistant construction with eight special seals to prevent the intrusion of water into the lens barrel. When paired with a dustproof, weather-resistant PENTAX digital SLR camera body, it assures a durable, reliable digital imaging system that performs superbly in demanding shooting settings — even in rain or mist, or at locations prone to water splashes or spray.
| Pricing and Availability |
The HD PENTAX-D FA?85mm F1.4ED SDM AW lens will be available in mid-June at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets for a manufacturer’s suggested retail price of $ 1899.95.
Main Features of the new HD PENTAX-D FA?85mm F1.4ED SDM AW
1. New-generation, high-performance Star-series lens to deliver ideal image quality
Anticipating the further advancement of SLR camera bodies in the future, PENTAX has designed this lens to deliver extra-clear, high-contrast images with edge-to-edge sharpness by compensating various aberrations to a minimum, while greatly enhancing resolving power — two factors absolutely essential in the next-generation Star series. It provides exceptionally high imaging performance even at open aperture, a beautiful bokeh (defocus) effect and outstanding image rendition at close ranges — all reasons why it produces high-quality, well-defined images. It also boasts an extra-large F1.4 maximum aperture, useful with many different subjects in a range of applications, including portraiture with an effectively defocused background, handheld shooting of indoor scenes and scenic photography. It helps the camera to produce a bright, clear viewfinder image that will inspire the photographer’s creativity and imagination.
2. State-of-the-art optical technology
This lens incorporates three Super ED (Extra-low Dispersion) glass optical elements to effectively minimize chromatic aberration, and a glass-molded aspherical optical element to effectively compensate for spherical and chromatic aberrations and field curvature to deliver extra-clear, high-contrast images with edge-to-edge sharpness, even at open aperture. It also reduces distortion to nearly zero at a focusing distance of four meters to deliver well-defined, distortion-free images over the entire focusing range, from the minimum focusing distance to infinity. This lens is also treated with high-grade, multi-layer High-Definition (HD) Coating, which reduces average reflectance in the visible ray spectrum to less than 50% of conventional multi-layer coatings, effectively reducing flare and ghost images to a minimum even in demanding lighting conditions such as backlighting.
3. Newly designed, large ring-type SDM
To deliver the highest image quality possible over the entire focusing range — from the minimum focusing distance to infinity — this lens features a newly designed, large ring-type SDM to efficiently drive the focusing mechanism, which consists of a larger number of optical elements than ordinary lenses, and is required to shift heavy rear-optical-element groups in unison. Generating a torque approximately 1.3 times that of the unit installed in the HD PENTAX-D FA?50mm f1.4 SDM AW, this new SDM assures flawless, high-speed autofocus operation.
4. Dustproof, weather-resistant construction
Developed as an AW (All Weather) model, this lens features a dependable dustproof, weather-resistant construction with eight special seals to prevent the intrusion of water into the lens barrel. When paired with a dustproof, weather-resistant PENTAX digital SLR camera body, it assures a durable, reliable digital imaging system that performs superbly in demanding shooting conditions — even in rain or mist, or at locations prone to water splashes or spray.
5. Other features
Nine-blade, round-shaped diaphragm to produce a natural, beautiful bokeh (defocus) effect up to the F2.8 aperture setting, while minimizing the streaking effect of point light sources
Exterior design that facilitates focus-ring operation in manual-focus shooting and provides a firm hold
Electromagnetic diaphragm-control mechanism** for flawless, high-precision exposure control during video recording
SP (Super Protect) coating to keep the front surface free of dust and spots
** This mechanism is available when the lens is mounted on a K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-50, K-S2 or K-S1 camera body.
HD Pentax-D FA* 85mm F1.4 ED SDM AW specifications
Stock photography company Shutterstock is taking heat after announcing in a post on its contributor forum that it’s putting a new earnings structure in place starting June 1, 2020.
Under the new structure, photographers and videographers will get compensated via a percentage of the sales price based on the ‘level’ their photo and/or video are rated, with the level being determined by the number of times their content is licensed. Previously, there were lifetime earnings tiers, which took into account total sales made during the lifetime of the contributor, but Shutterstock will do away with that and instead reset all contributors to ‘level 1’ for both images and videos every year on January 1.
Shutterstock breaks down what the various levels consist of in the two graphics below — one for photos and one for video, each of which are calculated independently of one another:
This effectively means that no matter how many sales a contributor has made, on January 1 each year, said contributor will always be demoted back to ‘Tier 1’ wherein they only receive a 15% commission on sales.
Shutterstock says it’s ‘making this adjustment in order to reflect changes in the market for creative content, help to create fair opportunities for all our contributors, and reward performance with greater earnings potential.’ But contributors aren’t convinced and are voicing their concerns and frustrations in the announcement forum post; especially members who have been long-time contributors with massive lifetime earnings numbers, as they will be most affected by this change.
Shutterstock member Richard Whitcombe, who’s been a member since 2010 and has posted more than 3,200 pieces of content, replied to the announcement post saying, ‘Just when you think Shutterstock couldn’t completely and utterly screw the contributors more you’ve gone and done it.’ He continues, ‘Effectively with a January reset everybody gets a cut of 20% or more of earnings to a new laughably tiny amount and it’ll take months to claw back the level they’ve been earning previously. So most people are going to go most of the year for half or less than they currently get.’
He shared in a later post that a Shutterstock team member sent him a private message suggesting they will be moderating his posts for his feedback. The private message read:
‘Hi Richard,
I know you have a lot of questions and you’re fighting for clarity. But you are refuting and questioning everything I post today, and not very constructively.
I’m going to start hiding your posts.
Thanks,
[Shutterstock team member]’
Other members have also chimed in on the changes, echoing Whitcombe’s concern and disbelief about the new earnings structure. As of publishing this article, there are 66 pages of replies to the original forum post, few of which are positive.
Panasonic has announced its new Lumix S 20-60mm F3.5-5.6 lens for L-mount bodies. Its 20-60mm focal length is shorter but significantly wider than most variable aperture standard zooms, which are typically around the 28-80mm range.
Of the 11 elements on this unstabilized lens, two are aspherical, three are extra-low dispersion and one is ultra-high refractive index. The lens has a minimum focus distance of 15cm (just under 6″) with a maximum magnification of 0.43x.
Panasonic says the lens has been designed to suppress focus breathing (the change of effective focal length at different focus distances) for video shooters, who are likely to appreciate its wide-angle capabilities.
The lens weighs in at just 350 grams (12 ounces) and is dust and splash resistant, and functional down to –10°C (14°F). A fluorine coating on the front element repels water and oil.
The Lumix S 20-60mm F3.5-5.6mm lens will ship in late July for $ 599.
Press release
Panasonic Launches a New L-Mount Interchangeable Lens for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera
LUMIX S 20-60mm F3.5-5.6 (S-R2060)
Newark, NJ (May 27, 2020) – Panasonic is proud to introduce a new interchangeable standard zoom lens, the LUMIX S 20-60mm F3.5-5.6 (S-R2060) based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera. Designed for professional use, the LUMIX S Series pursues uncompromising photographic expression with its high-quality cameras and lenses.
The new LUMIX S 20-60mm F3.5-5.6 is a compact, lightweight standard zoom lens that covers from ultra-wide 20mm to standard 60mm focal length for versatile use including landscape photography. The wide viewing angle makes it easier to shoot indoors where space is limited and stunning close-up capability of 5.9 inches / 0.15m (maximum magnification 0.43x) supports still life photography. The new LUMIX S 20-60mm F3.5-5.6 also ensures smooth, high quality video recording because of a mechanism that suppresses focus breathing, which can an issue in interchangeable lenses designed for still image photography.
With 11 elements in 9 groups, the use of 2 aspherical lenses and 3 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with these aspherical lenses, achieving high resolving performance. Furthermore, a UHR (Ultra-High Refractive Index) lens achieves uniform image quality from the center to edges of the image while contributing to downsizing of the lens unit.
With its compact, approximately 12.3 oz / 350g of light weight, the LUMIX S 20-60mm F3.5-5.6 features stunning mobility. The rugged dust/splash-resistant* design withstands use under harsh conditions even at 14°F / -10°C for high mobility. In addition, a fluorine coating on the front element repels water and oil and prevents them from attaching. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm.
Panasonic and L-Mount system alliance are committed to the development of L-Mount lenses for the further expansion of its lineup to fulfill the needs of end users .
The LUMIX S 20-60mm lens will be available at the end of July for $ 599.99.
*Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water. •Design and specifications are subject to change without notice.
Following in the footsteps of Canon, Fujifilm has released a Windows-only program for turning your Fujifilm camera system into a webcam.
Fujifilm X Webcam, as it’s being called, makes it possible to turn nine different Fujifilm X Series and GFX System digital cameras into webcams for use with video conferencing software such as Skype and Zoom. We previously shared how you can do this through more convoluted means, but this first-party program should make it easier and guarantee better integration with the supported Fujifilm systems, including the GFX100, GFX 50S, GFX 50R, X-H1, X-Pro2, X-Pro3, X-T2, X-T3 and X-T4.
Much like Canon’s webcam software, Fujifilm’s is Windows-only for now, so macOS users will still have to use third-party means of accomplishing this. You can download Fujifilm X Webcam for free on Fujifilm’s website.
The post The New Corona Photography Workflow- Shoot Privately but Share and Participate Publicly appeared first on Digital Photography School. It was authored by Herb Paynter.
The bad medical virus
While the planet seeks a solution to the pandemic problem, may I suggest we use this opportunity to participate in an innovative photographic exercise? This might be just the spherical ray of light (corona) we photographers need in the midst of a dark and scary time. Fortunately, photography is a very personal process. We all use digital devices to capture interesting subjects and express emotions, but none of those devices are multi-person in function. So why not step up your personal photography and share your projects more openly online with a Corona photography workflow.
There are two obvious opportunities available to everybody that are both extremely safe while being very public. Why not join both the Facebook groups of your local photo club as well as the DPS Facebook group and (safely) start sharing more openly with thousands of your closest friends?
I’m appealing to the leadership of every photo and camera club to provide online assignments and challenges based on the subject of light. Publish each submission publicly and give recognition to all entries.
The assignments and challenges can be announced on club Facebook pages and posted (in larger sizes) on club websites. This will not only promote activity within the clubs but will share those talents with the rest of the world’s photo enthusiasts. This kind of effort will show the heart of the digital photo community and will widen the family circle and lift the spirits of millions.
Digital photography is a very dynamic and growing lifestyle, especially with the increased photographic capabilities of today’s camera phones. Photo clubs are comprised of all echelons of experience and all levels of equipment and now includes a growing number of phone photographers.
We’ve all seen some pretty amazing examples of great pictures captured by camera phones, with several clubs even featuring dedicated internal groups. The software features within these phones are both mind-boggling and beyond the capabilities of many very expensive dedicated digital cameras.
Add to this the ability of camera phones to immediately (and extensively) edit and post images to all forms of social media.
The good digital viral process
Lifestyle photography is widely accepted, and the sharing of images is commonplace in our world culture. Since we all travel with these mini-marvels, virtually everybody can participate in this Corona photography workflow project, and with little effort, it will go viral quickly. This kind of virus is good. This way, personal creativity can be unleashed and shared almost without limits in either subject matter or interpretation.
If well-coordinated, it can unite the minds and emotions of people and redirect emotions to a positive place while the medical world works diligently on an effective solution to the medical problem.
Social community should be a goal that is openly promoted and encouraged by local photo clubs sponsoring “socially distanced” group activities and photo opportunities. Photo challenges can be organized online through a number of social media. During a time of world crisis like we are currently facing, the nervous human psyche can either suffer fear-overload or be creatively redirected. This is one avenue that we can all travel safely.
Shared activities need not stop; they simply need to be redefined as virtual group activities. This new sharing can become interpersonal and actually create stronger bonds between individuals who otherwise might not participate in typical meetings.
Social media has proven to provide a community sharing process that is even more inclusive than literal clubhouse meetings. This digital extension of the photo community clubhouse has a very real chance to involve persons from all aspects of society and age groups.
Keeping your distance
Digital cameras offer the ability to capture images from a distance and thus maintain and observe the six-foot protection rule. Even if you don’t have a telephoto or zoom lens, the higher resolution of cameras and phones allows image enlargement to reveal distant detail – especially since Internet images are usually restricted to around 1500 pixels (long dimension). No longer are photographers restricted to close proximity to the subject to capture significant detail.
This resolution restriction can actually work to your advantage in this respect: you can enlarge images to a greater magnification with no noticeable loss of detail.
Keeping your distance also allows you to capture images more candidly and thus more naturally. This is how you turn a limitation into an advantage.
While the normal reticence of sharing in public is a barrier that holds back some from participating in public meetings, with this online Corona photography workflow, sharing ideas and experiences might just break that barrier for some and provide them a fresh opportunity to participate. Now they can share a voice and increase personal involvement in a (socially and medically) safe environment.
In social media, everybody is on level ground and has an equal chance to “speak up” and participate. Sharing is a vital part of the human experience, and this unique opportunity could provide that social spark that we need to get through this situation and be better for it.
The Internet provides both good and not-so-good subject material and expression, but within the individual online club environment, this behavior can be more carefully monitored and even protected.
The challenge
Here’s what I propose that we adopt and promote without hesitation…
Individuals:
If you are not currently a photo club member (either local or online), join (at least) one right now; I am a member of several.
Each local club has a website and a Facebook page. Even if you only read DPS articles and rarely comment, this will give you a chance to speak out (in a silent way) and let us hear from you!
Search your favorite social media for online groups and clubs. There are dozens available, and many are geared to unique kinds of photography. There is rarely a fee involved, and your involvement is welcomed.
I just started an online Facebook group called “Corona Camera Club” just to push back on the negative connotation and put a new twist to the term. This will be a group based on light, not darkness. The basic “focus” of the group will be on the lighter side of photography. I invite everyone to join in and start sharing photos and posting positive experiences. There’s enough negative energy in the world right now, let’s turn up the light and keep it positive.
Club and group leaders
Post challenges to your members based on weekly (or monthly) themes. Keep these themes upbeat and creative. Provide online access to articles and presentations that would normally be presented in your local club meetings.
Contact all your members individually and encourage them to enlist one friend every week to join the group. This Corona photography workflow effort is like an old fashioned block party where all neighbors gather and share food and activities. Okay, we can’t eat online, but we can interact more frequently.
Don’t hesitate to research group sharing opportunities available to businesses and online schools to conduct interactive meetings and turn them into online clubhouses. I certainly invite your current members to join our CCC Facebook group too. Let’s make this a universal family project.
Get creative
Take this opportunity to show your creative imagination. Share images that are upbeat, positive, and inspiring. We all need to be realistic about the problems and risks and our physical activities are restricted, but our minds can run wild. Use this time to brighten eyes and uplift spirits. I’m using this post to try out a personal interpretation of some of my nature shots.
Finally, make your contributions and comments often and regular. Since this Corona medical crisis has limited our physical gatherings, let’s just gather online and channel our energies in a more positive collective enthusiasm. Use your computer, your tablet, and your phone to connect with friends and loved ones using all the services that are available. Love and camaraderie are contagious too, and this kind of infection is all good.
Let’s determine to find the lighter side of this dark cloud and turn the threatening negative into a big positive. When this scary time is over, the new friendships and associations will be all the deeper, and we can resume our lives on a higher level.
Remember, the word corona only recently has been defined by a virus. One of the dictionary definitions of corona describes the super bright crown of light that surrounds the Sun. It’s time to get out of the darkness and dive into the light.
Let’s participate in this Corona photography workflow and give this word a new meaning as we lighten up.
The post The New Corona Photography Workflow- Shoot Privately but Share and Participate Publicly appeared first on Digital Photography School. It was authored by Herb Paynter.
