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  • Leica’s M10 Monochrom is a discreet black and white rangefinder

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    Leica has introduced its latest dedicated black and white rangefinder camera, the M10 Monochrom. It uses a new 40MP sensor that Leica says was ‘designed from the ground up’ to handle black and white photography. The new sensor has lowered the base ISO from 320 to 160, and Leica also claims an improvement in dynamic range.

    To go along with its black and white pictures, Leica has removed any hint of color on the camera body. The neutral gray body has no red Leica badge or any scripting on top, giving it a stealthy appearance. The body is just as thin as the other M10 models and has the ISO dial they introduced. It also has the same silent shutter and touchscreen display as the M10-P. Photos can be transmitted via Wi-Fi and Leica’s Fotos app.

    The M10 Monochrom is now available for $ 8295.

    Official sample photos

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    Press Release

    Leica Camera Advances its Dedication to the Art of Black & White Photography with the Leica M10 Monochrom

    The highly anticipated camera enters a new dimension of innovation in the world of monochrome photography

    January 17, 2020 – Leica Camera continues to be a trailblazer in the world of black-and-white photography with the announcement of the new Leica M10 Monochrom. Photographers are now able explore their subjects in vivid tones of monochrome due to the omission of a color filter, resulting in an unparalleled black-and-white photography experience. The newly developed 40-megapixel true black-and-white sensor, new Wi-Fi capabilities and expanded ISO range make room for added creativity with light and contrast, bringing photographers back to the basics with the most up-to-date technology.

    Black-and-white photography lends itself to establishing emotional connections between the photographer and subject matter being conveyed. With the absence of color, a photograph conveys intense, vulnerable and timeless messages that speak to the foundation of a scene without the distractions of color.

    The ultra-high resolution black-and-white sensor of the M10 Monochrom delivers images with impeccable sharpness and unrivalled resolution of details in all lighting conditions. While reaching these new feats of resolving prowess, the new M10 Monochrom is even more versatile than its black-and-white forebears, with a broadened sensitivity range at both extremes, now achieving ISO 160 to ISO 100,000 – ensuring that its unmatched imaging strengths can be used in new avenues, from the brightest of days to uncovering light in the darkest of nights. Images captured at all ISO settings offer fine-grained rendition of details with a more analog look and feel than a typical color camera set to black-and-white mode. As is the case with all Leica M-Cameras, the new black-and-white sensor pairs perfectly with the full breadth of Leica M-Lenses, showcasing their contrast, resolution and rendition of the finest details. With this combination, photographers can rest assured that the exceptional quality of the monochrome images they capture holds true to the luminance of their subject.

    Based on the Leica M10-P, the M10 Monochrom now benefits from a bevy of newfound abilities for the Monochrom line, including a slimmer body, dedicated ISO dial, touchscreen controls, the quietest mechanical shutter of all Leica M rangefinders – analog or digital – and built-in Wi-Fi for wireless connectivity to the Leica FOTOS app on iOS, iPadOS and Android. For the first time in the history of Leica M Monochrom cameras, users can utilize a mobile workflow that gives them direct access to authentic black-and-white images straight from the camera to their favored social media platform – no digital filters required. The FOTOS 2.0 app helps bring Leica users from the decisive moment of taking the picture to the creative moment of processing and sharing the finished photo as seamlessly as possible. This new freedom ensures no boundaries when it comes to capturing and sharing photographs with a Leica camera.

    The design of the M10 Monochrom camera body is as loyal to the strict adherence to the black-and-white aesthetic as the image sensor that lives within it. The camera has no Leica red dot logo on the front and all of the usual bold red engravings found on most M cameras have been desaturated to a neutral gray, creating a sleek monochromatic contrast against its bright white engraved numbers. A subtle black-on-black logotype of “Leica M10 Monochrom” on the top plate gives the camera the most minimal branding to avoid distractions. The black-and-white design details combined with the newly blacked-out shutter button and lens release make the M10 Monochrom the stealthiest serial production camera yet from Leica, emphasizing its focus on blending into the heart of the action and capturing the decisive moment.

    The M10 Monochrom is built to the highest quality standards expected of a Leica M camera, made almost entirely by hand through the passionate labor of experienced specialists in Wetzlar, Germany with the finest materials, ensuring it can bear even the toughest conditions of use in its stride. The new Leica M10 Monochrom promises to be a long-term companion that delivers an unparalleled experience and impeccable image quality, as timeless as the classical black-and-white photos it creates.

    The Leica M10 Monochrom is available beginning today for $ 8,295 at Leica Stores, Boutiques and Dealers.

    Articles: Digital Photography Review (dpreview.com)

  • Why Leica’s M10 Monochrom is more than just a gimmick

    The M10 Monochrom is Leica’s third mono-only digital rangefinder, but the lower base ISO of the latest camera extends its flexibility.

    The Leica M10 Monochrom is the company’s third mono-only rangefinder. It uses an entirely new 40MP sensor, rather than borrowing the 24MP chip from the other M10 models.

    We think the Bayer filter array is an amazing creation, producing results that massively outweigh its drawbacks, but there are a few reasons why going without color filters is more than just a gimmick.

    Higher detail capture

    The obvious benefit of a monochrome sensor is that you don’t need to demosaic: each pixel you capture becomes one pixel in your final image. You don’t need to interpolate missing color values for each pixel, so you don’t need to call on neighboring pixels, so don’t experience the slight blurring effect that this has.

    The final image will be inherently sharper than most color cameras can achieve (Foveon sensors being the key exception to this).

    Higher base ISO

    The color filters used on most sensors absorb around 1EV of the light, since each filter has to absorb the two colors it’s not allowing to pass through to the sensor (the green filter absorbs the red and blue light, for instance).

    The M10 Monochrom’s base ISO of 160 is lower than previous mono cameras but higher than a camera with a color filter array would be.

    This means that the silicon of a monochrome sensor receives around one stop more light at any given exposure. The consequence is that it becomes saturated and clips highlights around one stop earlier, at its lowest amplification setting. The result is that its base ISO tends to be rated one stop higher than a chip with a CFA would be. On the M10 Monochrom, the base ISO is given as 160 (rather than 320 on previous models).

    This can be challenging, since it means having to use exposures that are 1EV lower than you’d expect on a color camera. In bright light, this is likely to mean stopping down when you hit the M10’s 1/4000th sec maximum shutter speed. But it’s worth noting that there isn’t any image quality cost to this.

    Better tonal quality, ISO for ISO

    Usually, reducing exposure by 1EV results in photon shot noise being one stop more visible (this reduction in light capture is the main cause of high ISO images looking noisier).

    But, although the M10 Monochrom’s base ISO of 160 means using an exposure that’s half as bright as the ISO 80 exposure you’d expect to need on a color version, the Monochrom’s sensor still experiences the same amount of light: there’s no filter stealing half of it.

    The tonal quality of this ISO 12500 shot is likely to be more comparable to that of an ISO 6400 shots on a color camera, since the sensor will be seeing the same amount of light, despite a darker exposure. The dynamic range is likely to be similar, too, since less amplification will have been applied.

    In other words, you’ll get the same tonal quality as a color camera shot at 1EV lower ISO. And, while the higher base ISO presents an exposure challenge in bright light, it means you get tonal quality that’s a stop better in low-light situations.

    And that’s before you consider the fact that all noise will present as luminance noise, rather than the chroma noise that most people find more objectionable. So you get a one stop improvement in noise in low light and the noise that is present is less visually distracting, which means less need to apply detail-degrading noise reduction.

    New sensor

    The big unknown with the M10 Monochrom is the specific sensor performance. We’ve not seen a 40MP full-frame sensor before, so can’t yet be sure what its performance will be like. The 24MP sensor used in the existing M10 models is pretty good, but slightly underperforms the standard set by the 24MP sensor in cameras such as the Nikon D750, meaning it’s even further behind the newer chip used by the likes of Nikon, Panasonic, Sigma and Sony.

    We can’t yet be sure how Leica has managed to reduce the base ISO, compared to the previous model. An ISO of 160 is very low for a Mono camera, since it would equate to around ISO 80 if a color filter array was applied. So it’ll be interesting to assess the dynamic range, when the camera becomes available.

    We won’t know how well the M10 Monochrom’s sensor performs until we get a chance to go out and shoot with it. Probably out in one of the classic sports cars Leica seems to expect us to have.

    All Leica has said is that the chip in the M10 Monochrom has been ‘designed from the ground up with Mono in mind,’ which we’re a little skeptical about. It’s true that we’ve not seen this 40MP chip elsewhere, but it’s hard to imagine that (even at Leica prices), the M10 Monochrom will ever generate enough money to cover the cost of the development of a dedicated chip.

    What is true, though, is that the smaller pixels of a 40MP sensor will make it less prone to aliasing than a 24MP sensor would be, since higher resolution sensors can accurately portray higher frequency detail, before getting overwhelmed and rendering an alias, rather than a correct representation. That said, simply being a monochrome sensor massively reduces the risk of aliasing (Bayer sensors sample red and blue at 1/4 their full pixel count, so can produce color aliasing with relatively low frequency detail).

    Beyond the technical

    It feels a bit strange writing about the technical advantages of a Leica rangefinder, since that’s not historically been an area in which they’ve excelled, and probably isn’t high on the list of why anyone buys one.

    Of course, we’re DPReview, so we’re always going to consider the technical aspects of camera performance. But we recognize that a monochrome camera is about more than this. If you go out knowing that every photo has to be black and white, you look at the world in a different way: you start to concentrate on compositions of light and shade, not just compelling color or the warmth of the light. It’s a different way of thinking.

    Which is to say: we’re really looking forward to getting a chance to go shooting with the M10 Monochrom.

    Articles: Digital Photography Review (dpreview.com)

  • How to Photograph Travel Icons With Success

    The post How to Photograph Travel Icons With Success appeared first on Digital Photography School. It was authored by Jeremy Flint.

    how-to-photograph-travel-icons

    With far-reaching places more accessible than ever, many more people are traveling around the world. Seeing the many pictures people post of popular landmarks on social media, it seems everyone has traveled to the same places. Amongst some great shots of the famous travel icons that are frequently shared, there are many below average shots. So how should you photograph travel icons successfully? Here are some useful travel photography tips to help you return with better shots.

    Photograph Travel Icons

    Taj Mahal, India

    Research

    To photograph travel icons well, start by doing a bit of research to identify some of the world’s famous sights.

    Some of the most popular places include the Taj Mahal, the Eiffel Tower, Machu Picchu, Angkor Wat, the Houses of Parliament and the Grand Canyon.

    During your research, think about when and where you want to go and the best times of day to visit. Some of the top travel sights in the world are only open during certain hours, so do your research and time your visit accordingly.

    Explore on foot

    One way to get around on your travels is to explore on foot. What are the benefits of doing so?

    A benefit of walking around is that it is more enjoyable than being confined to a vehicle. You may also come across things to photograph that you wouldn’t see from a car.

    Exploring on foot is a great way to photograph travel icons as you have the ability to move around freely and can change your perspective with ease. By exploring on foot, you can find other interesting points of view to shoot. For example, you can shoot at ground level or find a higher elevation to shoot from.

    Image: Blue Mosque, Turkey

    Blue Mosque, Turkey

    Use a tripod

    If there are too many people at your chosen sight, there are other ways to photograph travel icons, such as using a tripod and doing long exposures to blur people out of the shots entirely. You may need to use a neutral density (ND) filter to slow your exposure down in bright conditions.

    Other benefits of using a tripod besides blurring people out are that it will help to minimize the risk of movement in your shots and allow extra light to enter the frame making your pictures brighter than if you were taking pictures by hand. It also helps to take the weight off your shoulders if you carry a heavy camera bag and allows you to return to a place and replicate shots at different times of the day.

    If you do use a tripod to photograph travel icons, be aware that certain travel locations, such as the Taj Mahal, won’t allow you to bring in a tripod, so consider this when planning your trip.

    Capture the moment

    Photograph Travel Icons

    Iguazu Falls, South America

    Capturing the moment is about choosing when to shoot and anticipating the right moment to press the shutter button to get a great image.

    The best time to capture the moment and make an image stand out is at a decisive moment. This could either be the instant something interesting happens or a sequence of events that occur quickly – that disappears in the blink of an eye.

    A fleeting occasion could be some dramatic light hitting the side of a well-known building, a rainbow suddenly appearing and adding drama to the background of a travel icon or when the northern lights (Aurora Borealis) appear and dance in the night sky before the moment fades.

    Whatever moment you want to capture, think about how you could present your travel icon at the decisive moment.

    Look for new angles

    Research the travel icon on social media and see how most photos represent it. Then look for new angles to photograph travel icons successfully and capture the sight uniquely. Consider what makes the icon so special and change your composition to capture the most exciting parts.

    Image: Taj Mahal, India

    Taj Mahal, India

    Storytelling

    To photograph travel icons well, try telling the story of the icon through wide shots, details shots, and both interior and exterior images. This can add interest to your pictures and show a famous landmark in a new light.

    Conclusion

    In summary, to photograph travel icons well, do your research and plan ahead. Think about where and when you want to go. Bringing a tripod can be useful for shooting longer exposures and to create more blur in your shots. Try capturing a new angle and shoot a variety of pictures to tell a story of a familiar landmark including a wide-angle and close-up shots.

    With these tips, get out and capture a travel icon near you or during your next holiday. Share your pictures with us below and any tips you have for photographing travel icons well?

    The post How to Photograph Travel Icons With Success appeared first on Digital Photography School. It was authored by Jeremy Flint.


    Digital Photography School

  • Techart releases TZC-01, an EF-to-Z adapter that offers full autofocus, image stabilization support

    In June 2019, camera accessory manufacturer Techart released its TZE-01 adapter, which allowed Nikon Z mirrorless camera users to mount Sony E-mount lenses to their systems without losing the ability to use autofocus. Now, Techart is back at it again with the announcement of the TZC-01, an adapter that makes it possible to mount and use autofocus Canon EF lenses on Nikon Z mirrorless cameras.

    Techart says the TZC-01 will work with EF-mount lenses from Canon, Sigma, Tamron, Tokina and Zeiss. In addition to ‘native’ autofocus performance, the lenses will also maintain aperture control, stabilization features and EXIF data. In total, Techart lists 62 lenses it says are proven compatible with the adapter:

    Below is a demonstration of the adapter from Richard Wong:

    Techart has also included a dedicated function button that lets you save a focusing distance to recall with the press of the button and an accompanying lens dock that will let you upgrade the firmware of the adapter.

    The TZC-01 is available on Techart’s website for $ 250.

    Articles: Digital Photography Review (dpreview.com)

  • What is Ambient Light in Photography? An Explanation for Beginner Photographers

    The post What is Ambient Light in Photography? An Explanation for Beginner Photographers appeared first on Digital Photography School. It was authored by Lily Sawyer.

    what-is-ambient-light-in-photography

    Have you ever wondered what ambient light in photography means? You may have heard phrases such as “capture the ambiance,” “allow ambient light,” and have wondered how to do that. This article explains exactly that!

    So let’s get started.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 3200, 1/60th

    Simply stated, ambient light means the light already available in the space before you add any other lighting. Yes, any light already available and that could be many types!

    Types of ambient light in photography

    1. Natural light from outdoors

    The first type of ambient light in photography is natural light from outdoors. This is the daylight that comes through side windows, ceiling windows, and open doorways.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 6400, 1/60th (This was shot on a very dark and overcast winter day in a north-east facing kitchen)

    Compare the two images above and below. The image above was taken using purely natural light from outdoors whilst the image below incorporated neons, lamps and spotlights.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 4000, 1/60th

    2. Natural light from indoors

    Candle lights and the glow of light coming from fireplaces are natural lights that can already be indoor sources rather than the natural sunlight coming from outdoors.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 1600, 1/60th

     

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 1000, 1/60th

    3. Artificial lights in the home

    This is a range of lights commonly seen in homes and spaces. It includes ceiling down-lighters, spotlights, ceiling pendants, chandeliers, table lamps, floor lamps, neon lights, lights from mirrors, fluorescent lights, and wall sconces.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 6400, 1/30th

    Which light/lights do you require?

    In photography, the question is, what light is needed to achieve the image the photographer wants to capture? I dare say there are no hard and fast rules as the success of an image depends on getting the correct lighting combination required, regardless of the type of lighting.

    Let’s explore some lighting scenarios in various spaces.

    Portraits

    Just like any type of lighting, whether it be natural or artificial, ambient light is just one option for photographers.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    Left: f/2.8, ISO 1000, 1/100th  Lens 24-70mm Right: f/4, ISO 400, 1/125th with off-camera flash

    In portraits, ambient light could be purely the sunlight coming through a side window. To shoot this, a photographer would only need a camera. And, if it helps to achieve the image, a few accessories such as a reflector, a diffuser, and a backdrop – or use an existing wall.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    Left: f/2.8, ISO 1000, 1/100th  Lens 24-70mm Right: f/4, ISO 400, 1/125th with off-camera flash

    Conversely, the photographer may choose not to use ambient light at all and solely utilize electronic flashes or vice versa in the same space above.

    Sunlight from windows is not usually strong (depending on the size of windows and the position of the sun). It’s definitely not as strong as electronic flashes can be, so sometimes there is no need to block it out fully. Electronic light can cancel out any natural light from the windows or can add a touch of light to any ambient light where needed. The outcome depends on the settings used by the photographer.

    The images on the left above have been shot using natural light filtering through the diffused window and a reflector to increase the shadows. The images on the right have been shot using electronic flash in a softbox. Here is an article on how to achieve both set-ups. My typical settings for portrait shots are around f/2.8 – f/4, ISO 200 – ISO 400, SS 1/100 – SS160.

    Events

    Ambient light is your best friend when it comes to events. Weddings and parties are often busy and buzzing with people. Here in the UK, space for large equipment at such events is not always available and often the photographer has to rely on just a camera and a speedlight to capture these events.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/2.8, ISO 3200, 1/100th  Flash power 1/32 Lens 24-70mm

    Letting the ambient light in is key to capturing the ambiance of the room and the atmosphere of the party. This means allowing background lights such as fairy lights, festoon lights, wall sconces etc to seep into the image.

    The resulting look has depth rather than a flat dark backdrop. My typical settings for events range between f/4 – 5.6, ISO is rather high especially indoors in dark areas around 3200 – 6400, SS rather low around 1/60 – 100.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 3200, 1/100th  Lens 70 – 200mm

    The last thing a photographer wants to do is to kill any ambiance by using a strong flash to mitigate low light – especially in events where dry ice is used to create smoke effects and various colored lighting for a party atmosphere.

    You don’t want to completely obliterate these just to light your subjects’ faces.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/8, ISO 2000, 1/30th, Lens 24-70mm, off-camera flash

    Balancing speedlight flash power and shutter speeds is key to achieving images like these as well as incorporating existing ambient light.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 3200, 1/125th, Lens 24-70mm with off-camera flash

    You can read more about dragging the shutter here, a technique used often to produce these images.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 2500, 1/60th,  Lens 70 – 200mm with off-camera flash and on-camera flash

    You can use ambient light in the background to create silhouettes.

    In the photo below, there was no light whatsoever on the balcony. I used the light inside the building to create a silhouette of one of the guests. This was an unposed shot so it was a rather hasty one.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/11, ISO 2000, 1/200th,  Lens 24-70mm

    Interiors

    Most photographers and magazines require natural light only in the interiors images they use.

    Most often this would need a tripod and the use of slow shutter speeds to mitigate dark areas in the space that need capturing. But if the space is characterized by light features such as neon and lamps that make the atmosphere of the room, then I’m for capturing these with the lights on too.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 2000, 1/100th,  Lens 24-70mm

    In my opinion, it is necessary to be selective with the amount of artificial ambient light to allow in a photographic composition to ensure a harmonious and natural-looking image.

    More importantly, it is a must to edit out the lights that are unnecessary in the space for the image you want to achieve. Below are three different lighting set-ups in one space. All three dramatically change the look and feel of the same room.

    My typical settings for interior shots depend on the time of day and how much natural light the room gets but range between f/5.6 – f/8, ISO is quite high around 2000 – 4000, SS usually really low around 1/30 – 60 or 100 depending on light availability.

    On the photos below, the top photo utilized only natural light. The photo in the middle had all sorts of lights going on like festoon, lamps, fairy lights, candlelight, and neon but without the main ceiling chandelier, which is very bright. The third photo had the chandelier switched on on top of everything else, but because it got too bright, it killed the ambiance in the room.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 3200, 1/80th,  Lens 24-70mm

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 4000, 1/80th,  Lens 24-70mm

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 3200, 1/60th,  Lens 24-70mm Highlights taken down in editing.

    I lean towards a selective mixture of lighting in my interiors.

    Some areas are so hard to capture. For example, really dark areas where there is no ambient light at all and using a long shutter speed will overexpose the areas with light and correctly expose the unlit area.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 2500, 1/60th, Lens 24-70mm

    Of course, this can be rectified by bracketing and compositing in Photoshop. But I don’t always want to be doing that! Besides, I think adding some form of ambient light brings some charm in. Take these photos above and below, for example, illustrating this point.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 6400, 1/30th,  Lens 24-70mm

    Color temperature

    One of the most common problematic issues when using mixed lighting, especially when including electronic flash into the mix, is color temperature disparity. Natural light from sunlight is usually around 5600K range, while tungsten lights indoors are usually around 3200K.

    This means that when shooting outdoors, you need to set your white balance to around 5000 – 5750 Kelvin. That way, the resulting image looks similar to what you see with the naked eye. If you were to set the white balance to 3000K, for example, everything will look very blue (nothing worse than a white wedding dress looking blue!).

    The same is true when shooting indoors with tungsten or incandescent lights on. The temperature required to shoot this image is around 3200K, but if you shoot it with the white balance set at 5650K, you will end up with an image looking very orange.

    dps-ambient-light-in-photography-beginners-guide-tutorial

    f/5.6, ISO 3200, 1/80th,  Lens 24-70mm

    The most important thing to remember is to shoot with the correct white balance setting.

    However, when using mixed lighting, you will still get color disparity. Here are three ways to solve this, depending on what you require for your images.

    1. You can adjust the white balance in post-production (shoot with a gray card or specified color temperature in your white balance)
    2. Use gels for your artificial lights to match the ambient temperature
    3. Change the bulbs in your indoor lamps to match the sunlight temperature and then adjust everything evenly in post-production if required.

    As for me, I try to match what I see in real life to the outcome of the images. Then they are warmed up in post-production for a natural color with the added touch of a film look to best capture what my eye sees.

    I hope this little article has helped you in your understanding of ambient light in photography as well as balancing color temperatures when dealing with mixed lighting.

    If you have any tips to add about ambient light in photography, do share in the comments below.

    The post What is Ambient Light in Photography? An Explanation for Beginner Photographers appeared first on Digital Photography School. It was authored by Lily Sawyer.


    Digital Photography School

  • Tokina launches 85mm F1.8 FE prime for full-frame Sony cameras

    Tokina has announced the release of its new atx-m 85mm F1.8 FE lens for full-frame Sony E-mount mirrorless camera systems. This lens marks the debut of Tokina’s new ‘atx-m’ mirrorless lens series, which will offer various lens designs for different mounts and sensor formats.

    The 85mm F1.8 FE lens is constructed of ten elements in seven groups and features one low-dispersion (SD) element. Tokina has also used its Super Low Reflection Multi-coating throughout the lens, which Tokina claims ‘provides natural color and excellent contrast along with superior water, oil and dust repellant properties.’

    Autofocus is driven by Tokina’s ST-M motor technology and the lens was designed in accordance with Sony’s licensed specifications, meaning it’ll work with in-body image stabilization, as well as all of Sony’s AF modes.

    Below is a gallery of sample images, provided by Tokina:

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    The Tokina atx-m 85mm F1.8 FE lens will hit shelves around the world on February 7, 2020 for an estimated street price of $ 500.

    Kenko Tokina announces release of the NEW atx-m 85mm f/1.8 FE

    New Series, New optics, New look – The atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras.

    Huntington Beach, CA, January 17, 2020: Kenko Tokina, Japan’s leading manufacturer of premium camera accessories, is releasing the Tokina atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras. It is the debut lens for Tokina’s atx-m series of mirrorless lenses that will include lenses for multiple mounts and sensor formats.

    The atx-m 85mm f1.8 FE lens features a clean design with high quality optics housed in a beautifully anodized, semi-satin black metal lens barrel. The fast f/1.8 aperture is perfect for portraits, low light shooting and produces beautiful bokeh.

    The optical design has 10 glass elements in 7 groups including 1 SD (Low Dispersion) lens that offers excellent resolution, sharp edge-to-edge results, and well controlled chromatic aberrations. Tokina’s exclusive Super Low Reflection Multi-coating provides natural color and excellent contrast along with superior water, oil, and dust repellant properties.

    The new ST-M auto-focus motor is quiet, fast, and accurate in still and video modes and thanks to an all-metal focus unit and high-quality lubricants; manual focus is tactile, smooth and precise.

    The atx-m 85mm FE is developed and manufactured in accordance with Sony-licensed specifications and communicates all required data to the camera to take full advantage of the latest Sony features including 5-axis image stabilization, Face/Eye Priority AF, Real-time Eye AF, MF assist, and electronic distance scale.

    “This is a very exciting new lens series for Tokina” says Yuji Matsumoto, President at Kenko Tokina USA. “The mirrorless camera market continues to expand and the atx-m series will address the needs of photographers using different camera mounts and sensor sizes.”

    Worldwide sales of the Tokina atx-m 85mm f/1.8 FE lens will begin on February 7, 2020 with authorized Tokina USA retailers taking pre-orders January 17, 2020. Estimated USA Street Price of $ 499.00

    Articles: Digital Photography Review (dpreview.com)

  • Researchers develop lithium-sulphur battery that can power a phone for five days

    Image courtesy of Monash University

    Researchers led by Monash University in Australia have developed what they say is the ‘most efficient’ version of a lithium-sulfur battery; one capable of powering a smartphone for five full days of continuous use. The team has filed a patent for the manufacturing process they developed and they report interest from ‘some of the world’s largest manufacturers.’

    Prototype lithium-sulfur power cells were manufactured in Germany, according to an announcement from the university published last week. The technology holds promise for revolutionizing everything from consumer gadgets like cameras and phones to larger systems involving vehicles and solar power. The newly developed lithium-sulfur battery offers more than four times the performance of the market’s current most efficient batteries.

    With this level of battery performance, photographers and filmmakers could spend weeks in remote locations with only power banks as their power source, eliminating the need to tote around and use solar chargers, which are dependent on direct sunlight and often take several hours or more to recharge a battery.

    In addition to improved performance, the Li-S battery technology is also said to have less of an environmental impact than the lithium-ion battery products currently in use. The new battery prototype utilizes the same materials used to manufacture ordinary lithium-ion batteries; as well, the process is said to have lower manufacturing costs.

    According to the university, additional testing of the technology with solar grids and cars will take place in Australia early this year. Major lithium battery manufacturers in Europe and China are interested in upscaling the production of these lithium-sulphur batteries.

    Articles: Digital Photography Review (dpreview.com)

  • Kessler Mag Max 3A adapter uses ordinary power tool batteries to charge cameras

    Kessler, a company that specializes in accessories for filmmakers, has launched a new product called the Mag Max 3A, an adapter that works with select DeWalt power tool batteries for charging cameras, smartphones and certain other equipment. The adapter can be used with the DeWalt 20v Max and 60/20V Flex Volt models.

    The adapter is quite unusual, but it’s easy to see how some users may benefit from this arrangement. Power tool batteries are available at most hardware stores, are fairly affordable, compact and something many people already own.

    Kessler explains the reason it launched this product, saying, ‘The Mag Max 3A was developed to fill a void in the market for an inexpensive battery solution with a readily available common battery that can be found in almost every country in the world and at most hardware stores.’

    The company selected DeWalt batteries for its adapter due to the brand’s popularity in a variety of industries, according to Kessler, including filmmakers and audio recordists.

    The Mag Max 3A adapter is capable of powering DSLR and mirrorless cameras, Kessler’s motion control systems, LED accessory lights, monitors and other common gear that draw up to 3 amps of power. The device is made from high-grade aluminum, includes multiple 3/8-16 and 1/4-20 mounts, embedded neodymium magnets, as well as optional accessories that include a gold mount stud kit, V-lock kit and belt clip.

    The Mag Max 3A adapter is available from Kessler now for $ 250, though it is currently discounted to $ 200. The DeWalt Flex Volt battery costs around $ 129 from most retailers, meanwhile, and the DeWalt 20V Max battery costs around $ 189.

    Articles: Digital Photography Review (dpreview.com)

  • London’s Heathrow Airport installs anti-drone system to prevent threats

    Heathrow Airport, based in London, is the United Kingdom’s busiest airfield. After a recent spate of incidents involving drones, including an unsuccessful attempt by climate activists to ground flights, officials have decided to take action. A bespoke anti-drone system, developed by Aveillant Limited, a subsidiary of France’s Thales SA, has been deployed at Heathrow to detect and prevent unauthorized drone use.

    ‘The safety and security of our passengers and colleagues is our number one priority. That is why we’re investing in this new cutting-edge technology which will enhance our capabilities in the detection and deterrence of drones in and around our airfield. We’re delighted to have this unique system keeping our skies safe and helping passengers and cargo to get to their destinations on time,’ says Jonathan Coen, Director of Security for Heathrow Airport.

    A similar system is also in place at Paris’ Charles de Gaulle Airport. Rogue drones can be detected at a distance of up to 5 kilometers (3.1 miles) away. The one installed at Heathrow can also pinpoint the exact location of offending remote pilots. From there, appropriate countermeasures can be deployed, though it’s not yet clear what those will be. Anyone caught flying in a Flight Restriction Zone, which extends out to 5 kilometers of any airport boundary, can face up to 5 years in prison if they have not secured permission ahead of time.

    Articles: Digital Photography Review (dpreview.com)

  • Best Photos of 2019 by JMG-Galleries Blog Readers

    Hoary marmot – Glacier National Park, Montana

    A hoary marmot (Marmota caligata) in wildflowers at Logan Pass, Glacier National Park in Montana.

    I’m excited to share the results of my 13th annual Best of Photos project.  112 photographers from around the world (amateur and professional alike) have shared their best photos of 2019.  I’m always amazed at the quality of work shared and I hope it’s a source inspiration to you for the coming year.

    For those who are new to my blog project, photographers taking part span the gamut of photo enthusiasts to professionals. The great thing about photography is that no matter what your skill level we all can relate equally in our love for the art of photography and visually exploring. With that in mind I encourage you to reach out to photographers whose work you enjoy to keep sharing & growing as an artist.  I am incredibly thankful that this tradition has been embraced and enjoy seeing how familiar faces have evolved their work & grown over the years.  I hope reviewing your best photos of the year and comparing them to years pasts keeps you inspired and aware of your progress as a photographer.

    If you’d like to take part next year and be informed when submissions open for the “Best Photos of 2020” blog project add your name to my mail list. You won’t be spammed. I send out newsletters quite infrequently.

    Thank to everyone who took part!  I invite you to visit each link below as I have and introduce yourself to many of the participating photographers.

    Best Photos of 2019

    1. Best Photos of 2019 – JMG-Galleries – Jim M. Goldstein
    2. My Top 10 Photographs Of 2019 – Michael Russell
    3. My Ten Favorite Photos of 2019 – ADVENTR – Randy Langstraat
    4. Favorite Photos of 2019 – T.M. Schultze
    5. My Favorite Photos from 2019 – Alexander S. Kunz
    6. Best of 2019 – Dave Wilson
    7. Harold Davis—Best of 2019 – Harold Davis
    8. 2019: A Photographic Retrospective – Johann A. Briffa
    9. Top 10 Favorites of 2019 – Stefan Baeurle
    10. My Best Natural History Photos of 2019 – Phil Colla
    11. My Best Photos From 2019 – Daniel Brinneman
    12. Best Photos of 2019 – Peter Tellone
    13. Rétrospective des meilleures photos de l’année 2019 – Francis Gagnon
    14. Best of 2019 by Rachel Cohen – Rachel Cohen
    15. Photo Highlights 2019 – Alan Majchrowicz
    16. My Top 10 Nature Photos of 2019 – Greg Vaughn
    17. 2019 – The Year in Pictures | Russ Bishop Photography – Russ Bishop
    18. 2019 Favorites – A Split Year – Joseph Smith
    19. My 12 Favorite Photos of 2019 – Chuq Von Rospach
    20. Wild Drake Photography – Drake Dyck
    21. Matt Payne Photography – Matt Payne
    22. My Favorite Images Of 2019 – Werner Priller
    23. Favourites from 2019 – Bryn Tassell
    24. My Favorite Photos of 2019 – A Year-End Retrospective – Gary Crabbe / Enlightened Images
    25. 2019 Favorite Photographs – Pat Ulrich
    26. Without reflection we go blindly on our way – Bjorn Kleemann
    27. 2019 – Ten moments – Ramen Saha
    28. top photos :: 2019 – Denise Goldberg
    29. Changing Perspectives – Best of 2019 – Jenni Brehm
    30. Island in the Net – Khürt Williams
    31. Best Photos of 2019: My Favorites of the Year – Todd Henson
    32. My Ten Best of Images of 2019 – Mike Chowla
    33. 2019 Favorite Photos – Alan Dahl
    34. Tech Photo Guy – Best Photos 2019 – Aaron Hockley
    35. 2019 Favorites – Martin Quinn
    36. Best of TheDarkSlides 2019 – TheDarkSlides
    37. 2019 Jim Goldstein Project – J.J. RAIA
    38. My Favorites of 2019 – Rich Greene
    39. My Favorite Images of 2019 (aka ‘Best of 2019’) – Pete Miller
    40. 2019 Year in Review, Decade in Review – Robin Black Photography
    41. Under Pressure Photography – Scott McGee
    42. My favorite Slovenia photos of 2019 – Luka Esenko
    43. 5 Moments in Time – 2019 – Gavin Crook
    44. My favorite photos of the decade – Matt Payne
    45. My Ten Favourite Images of 2019 – Jens Preshaw
    46. 2019 in Pictures – Milan Hutera
    47. Twelve from 2019 – Tom Whelan
    48. My Favorite Photos of 2019 – Jeff Hubbard
    49. 2019 Favorites – Rick Holliday
    50. Best of the Best 2019 – Richard Valenti
    51. Best Landscape and Nature Photos of 2019 – Clint Losee
    52. Best of 2019 – My Favorite Images of the Year – Rob Tilley
    53. 2019 Year in Review – Greg Russell | Alpenglow Images
    54. Best of The Decade Including 2019 – Adrian Klein
    55. Best of 2019 – Brian Knott
    56. Natural History Photography – Highlights from 2019 – Gabor Ruff
    57. Best of 2019 – Jeff Dupuie
    58. Top 2019 – Eric Chan
    59. Best of 2019 – Greg Clure
    60. Twenty Nineteen: In retrospect – Charlotte Gibb
    61. Favorite Blog Photos of 2019 – Jim Coda
    62. My Favorites 2019 – Beth Young
    63. Living Wilderness: Best of 2019 – Kevin Ebi
    64. 2019 Favorites – Mike Cleron
    65. Best of 2019 – Romain Guy
    66. 2019 Favorite Images – Sam Folsom
    67. Michael Katz Photography – Michael Katz
    68. Twenty Nineteen – Mark Graf
    69. 2019 in Review – and Happy New Year”
    70. Photography & Travel – brent huntley
    71. Top 10 Favorite Images from 2019 – Derrald Farnsworth-Livingston
    72. My Photo Highlights of 2019 – Caleb Weston
    73. Lagemaat Photography – Best images of 2019 – Jao van de Lagemaat
    74. Favorites from 2019 – Kyle Jones
    75. A Baker’s Dozen – Mike Christoferson
    76. 10 Favorites of 2019: An Amazing Year – Kurt Lawson
    77. Top 20 Photographs of 2019 – Year-End-Retrospective – Landscape Photography Reader/David Leland Hyde
    78. Favorite Photos of 2019 – Deb Snelson
    79. Favorites – 2019 – Daniel Leu
    80. Best of 2019 – Steve Cozad
    81. Fog from Above in 2019 – Andrew Thomas
    82. Favorites of 2019 – Mick McMurray
    83. Some Favorites from 2019 – Josh Meier
    84. Top 10 Images of 2019 – Stephen L. Kapp
    85. Top Ten of 2019 – Holly Davison
    86. Best 2019 – Barbara Michalowska
    87. The Creative Photographer – Andrew S. Gibson
    88. My Favorite Photos of 2019 – Patricia Davidson
    89. A Thousand Words – Lucy Autrey Wilson
    90. 2019 Top Twelve Photographs – David J Grenier
    91. Urban Dinosaurs – Steven M. Bellovin
    92. Best of 2019 – Thomas Yackley
    93. Carol’s Little World – Best of 2019 – Carol Schiraldi
    94. My favourite shots of 2019 – Catalin Marin
    95. Top 2019 Photos – Matt Conti
    96. Top Ten 2019 – Phyllis Whitman Hunter
    97. Favorites from 2019 – Tim Aston
    98. Robb Hirsch- Best of 2019 – Robb Hirsch
    99. 2019 Top 25 Images – Yesitis – Harold Klein
    100. Environment Alyssa – Alyssa Bueno
    101. Jeff Sullivan Photography – Jeff Sullivan
    102. My Top Favorites of 2019 – Sara M. Photos
    103. 2019 Year in Review & Favorite Black & White Photos – Sarah Marino
    104. 2019 Year in Review & Favorite Photos – Ron Coscorrosa
    105. Favorite 8 Photos from 2019 – Maria Struss
    106. Top Photos Of 2019 – Bryan William Jones
    107. Favorite Photos 2019 by Lori Hibbett – Lori Hibbett
    108. Bob’s Best of the Best 2019 – Bob Blakley
    109. Best Overall 2019 on Flickr – Sue Shuey
    110. 2019 A Year in Review – Jim Patterson
    111. Photo Blog – Ron Niebrugge – Ron Niebrugge
    112. Expeditions Alaska 2019 Tour Ramblings – Expeditions Alaska

    Have a great 2020!


    JMG-Galleries – Landscape, Nature & Travel Photography