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Chinese lens company TTArtisan has announced the availability of its new 11mm F2.8 fisheye lens for Sony E-mount camera systems.
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The lens’ optical formula consists of 11 elements in 7 groups. It’s constructed of aluminum and brass and features an aperture range of F2.8-F16 with clicked aperture points.
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It has a minimum focusing distance of 17cm, a ten-blade aperture diaphragm and weighs in at 485g. It is currently available to order for $ 215.
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| Resolve 16, a tool for all creators? |
The explosion of user generated video content for websites like YouTube has led to the launch of several competing non-linear-editors (NLEs) aimed at consumers, which vary in terms of price, feature set and upgradability. So, how do you choose which one to use?
One great option is DaVinci Resolve 16 from Blackmagic Design. The software is available for free from Blackmagic, but it’s not the only low-cost entry in the NLE arena, so what makes it different, and why is it so attractive to users getting into video editing for the first time?
First, a little bit of history. Originally created by da Vinci Systems in 1985, the software was designed mainly for color grading and color correction and ran on hardware costing more that $ 150,000. It has evolved both in terms of features and pricing model since Blackmagic Design acquired it in 2009. The most recent version, Resolve 16, introduces a more streamlined and less complicated workflow for many users, particularly those new to using NLEs, to edit video.
Opening up the software for the first time can be rather intimidating for those who haven’t used an NLE before. The sheer number of windows and buttons can be rather daunting. The only NLE I can think of which doesn’t introduce this sort of shock is iMovie, however that program has limitations for users who might want to move their work into the professional arena.
When opening Resolve you’re initially greeted with a window that allows you to open an existing project or create a new one. Once you have a project open in the main interface, you’ll see a row of workspaces for various parts of your edit along the bottom of the window. Blackmagic calls them ‘pages’. These are termed Media, Cut, Edit, Fusion, Color and Deliver, and are arranged left to right in order to assist with the workflow. You can jump between pages at any point.
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| The newly introduced Cut page allows a more simplified workflow. |
The introduction of the new Cut page in Resolve 16 has simplified some of the traditional workflow that was visually complicated. The inclusion of a page with fewer options will attract a number of new users. It’s very easy to quickly add shots to the timeline and trim them without having to invoke the more complicated Edit page, which can be a little complicated.
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| The quick export option allows access to some render presets without the need for the Deliver page. |
That’s not to say that you have to use the Cut page since at any time you can jump between any of the pages. This might seem confusing at first, but it’s done in a way that allows you to use the more complicated features when you’re ready. When you start out, for example, you may find that you don’t need to use the Fusion page (for VFX work) or Fairlight page (for audio), but inevitably you will probably want to use some of the features these pages offer as your skills and requirements change. The other great thing about the Cut page is that a number of common functions can also be accessed there. For example, there’s no need to go into the Deliver page to render files as you can export your edit within the Cut page.
One thing you don’t get is any sort of guided workflow. Some basic previous knowledge is assumed, but there are plenty of excellent online tutorial videos available on YouTube from channels like learncolorgrading and JayAreTV.
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As with any new version of software , the launch of Resolve 16 brings a lot of added features and improvements. For example, with previous versions it was easy to start editing only to realize later that the key settings – resolution and frame rate – had not been set correctly. In the past this could mean that you had to start again for optimal results. This is no longer a problem with Resolve 16 as a new timeline can be created with the correct settings without the need to create a new project.
I mentioned this selling point in a previous paragraph, but what exactly is the cost of Resolve 16?…$ 0. Yes, that’s correct, you can download and use Resolve 16 for free. No time limited trial, no logo burn in and no limitation to the length of your final output.
Yes, that’s correct, you can download and use Resolve 16 for free.
The free version of DaVinci Resolve does have some limitations, although a lot of these may not be important for those just starting out or even the more advanced user. Some key limitations are that the free version doesn’t offer HDR support or timelines with a resolution greater than UHD 4K. You’re also limited to using a single GPU, and I’ve found that the rendering speeds with the studio version are appreciably quicker. This is because you can select native Cuda acceleration in the Deliver page if you have an Nvidia graphics card.
There are other limitations as well which are detailed here, although the linked table should only be used as a guideline since, at the time of writing, it hasn’t been updated to Resolve 16 yet.
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| The Deliver page enables multiple exports for different platforms. |
There are, of course, some minimum hardware requirements for Resolve but these are quite reasonable. (It would be great to get a definitive requirements list from Black Magic Design, but that doesn’t seem to be available.)
To give you an idea of what’s possible, I previously ran version 14 on a 2012 Macbook Pro and, although a little slow, it did work. My current setup uses an AMD Ryzen 1700x with 32GB of RAM, along with an Nvidia GTX 1070Ti, and it works well for me. That’s not to say things wouldn’t be much quicker with better hardware but that’s a nice thing to have rather than a necessity.
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| One of the many upgrade options: the dedicated Resolve 16 keyboard, which includes a real jog shuttle wheel. |
So why does Blackmagic offer such a full featured video editor for nothing? Well, they’re hoping that you like the free version of Resolve so much that you want to buy into their ecosystem. The upgrade path to Resolve Studio costs $ 299, but Blackmagic also sells a number of related hardware products that will assist you in your editing. These range from a dedicated editor keyboard at $ 995 to a control grading surface at $ 1025, and even a full production suite which retails at a staggering $ 30,805. This might seem like overkill for people just starting out, but you should know that Resolve is also used in professional post production facilities world-wide. There are options for all budgets.
The next question is which version should you get, the free version or Studio? There’s no penalty in trying the free version and then upgrading later if you need features in the Studio version. Why upgrade? For me it meant faster renders, and time is money. I also considered some of the additional VFX filters that are included for $ 299 and it made sense for me.
You can also upgrade the Studio version without cost to the next version. I went from 15 Studio to 16 Studio without paying any extra. Traditionally, this has been a selling point of Resolve.
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| Resolve 16 offers comprehensive color grading tools, including power windows |
In addition to YouTube there’s a very active user community via the Blackmagic forums where developers and industry professionals with hundreds of years of combined experience can help you out. There are always more features that could be included, and as the number of users of Resolve has expanded so have the feature requests. Blackmagic is listening, hence the introduction of the Cut page and the ability to create timelines in the same project that have different frame rates and resolutions.
There’s also the recently published Beginner’s Guide to Using Resolve 16, but at 444 pages it may take some time to get through.
The short answer is, it depends. I’d say give it a go, after all it costs nothing to try it. If you find it difficult to use then try watching some of the videos linked above. I find myself watching some of them when new features are introduced or if I need to look at a function that I’ve never used.
There are many functions you may never use, but it’s great to know they’re available if you ever need them. If you’re not limited by the software, you can develop your skill set as and when required.
When DJI announced the Mavic Mini, its 249-gram drone that doesn’t require registration (unless used for commercial purposes), the general public was disappointed with the fact that it was missing some important features. One of those was the inability to unlock GEO Zones. Right in time for the New Year, DJI has released its latest firmware update, v01.00.0400, which also includes two important safety features.
The latest firmware update for v1.0.4, or later, of the iOS and Android version of the DJI Fly app now allows you to unlock GEO Zones. DJI also added in a feature that prevents you from taking off when the GPS signal is weak (GPS <8) and the environment light is too weak to safely operate the aircraft. This feature has been missing from all previous firmware updates, including those created for the DJI GO app, and will hopefully be implemented there, as well, going forward.
Another pertinent safety update is the requirement for compass calibration before takeoff if environment light is not sufficient or if the compass experiences magnetic interference. The latter is a leading cause of flyaways. The Mavic Mini is an entry-level drone that appeals to beginners who are especially susceptible to losing a drone. Anyone who remembers the disaster that took place in Las Vegas, when a drone flew off and landed on an airport runway, will appreciate this feature. To properly calibrate a compass, make sure you do so in an area absent of any magnetic interference.
A few other new features in the firmware update include:
DJI has also noted that ‘the update may reset various main controller settings, such as the RTH altitude and the maximum flight distance, to default settings. Before updating, take note of your preferred DJI Fly settings, and readjust them after the update.’ If the update fails, it is recommended that users restart the aircraft, remote controller, and DJI Fly or DJI Assistant 2 for Mavic, and retry.
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| Red Zones are Restricted Zones. Users will be prompted with a warning and the flight won’t be authorized. Anyone who believes they have permission to operate in a Restricted Zone has to contact flysafe@dji.com or go through the Online Unlocking portal on DJI’s Fly Safe site. |
When it comes to GEO Zones, unlocking a low-risk area requires a few taps or clicks. High-risk zones require prior approval, along with proof of credentials, and can’t be accessed within the Fly app. Basically, don’t attempt to unlock a high-risk or Red Zone, especially in close proximity to an airport, unless you know what you’re doing. Information, and other safety tips, can be found on DJI’s Fly Safe portal.
Insta360, the company behind consumer 360-degree cameras, such as the Insta360 Go or One X, as well as professional models like the Pro 2, has posted a teaser video hinting at the launch of some kind of multi-purpose or modular camera on the 7th of January.
In the video footage of several electronics items being shredded in a blender is interspersed with various action-cam and drone-filmed scenes and viewers can read the sentence ‘our next camera combines an action-cam, a 360 cam, a drone, a 1-inch cam into one.’
It appears the company is close to launching a camera that is capable of providing the functionality of a GoPro-style action cam, presumably a consumer-level 360-cam like the One X, and a camera with 1″ sensor, like the Sony RX0. And presumably this camera or modular camera system can be used for aerial filming in conjunction with a drone.
This sounds like quite a unique concept that, depending on pricing, accessory compatibility and other factors, has the potential to appeal to a very wide range of customers. We’ll know more on the 7th of January when the new product is scheduled to launch.
The post Photoshop Sharpening for Beginners – Unsharp Mask, High Pass and Smart Sharpen Explained appeared first on Digital Photography School. It was authored by Nisha Ramroop.
With the constant improvement of technology, it is realistic to expect tack sharp images straight out of your camera. Many times, though, the image appears sharper on your camera than when uploaded to your computer. This is because images need to be sharpened for their specified output. In Photoshop sharpening for beginners, we look at why and how to sharpen your images. Also, you will review some of the sharpening filters and techniques that help make a huge difference to the overall quality of your final edit.
F/5.6 1/200/ ISO800 @420mm
Before we delve into the photoshop sharpening tools, it is important to know why and when you need to sharpen your images. The premise of sharpening is that it increases the contrasts around the edges in your image.
As previously mentioned, you need to sharpen images for their specific output types. This means you sharpen an image displayed on the internet differently than one meant for print.
Sharpening is also very useful when it comes to correcting smaller focus issues. For example, if you are shooting a portrait and the focus is on the ear instead of the eyes.
Sharpening the subject’s eyes brings the attention back where you intended. In other genres of photography, use sharpening in pretty much this same way. Sharpen the areas you want to draw the viewer’s eyes to and decrease the sharpness in areas you want to “fall away”.
Sharpen for your respective output: web vs print. Details make a difference F/11 1/250 ISO200 @10mm
Keep in mind that while sharpening takes your image to the next level, there are times when it is not needed. While sharpening a person’s eyes and lips can take their portrait to the next level, you want to avoid sharpening their skin!
As with other editing techniques, Photoshop sharpening filters are destructive (when applied directly to your image). Use layers and smart objects, to maximize the following sharpening tools and avoid permanently changing it.
Bonus Tip: When post-processing, save the application of your sharpening technique for last.
While the name “unsharp” sounds like a tool that would make your images less sharp, this counter-intuitively named filter is, in fact, a sharpening tool. Interestingly enough, it was regarded as the best tool to sharpen images in earlier iterations of Photoshop.
While it is still useful, some of the other tools afford you a greater amount of control.
Photoshop sharpening for beginners notes: When you sharpen an image too much, it starts to look a little noisy.
To use Unsharp Mask:
Remember, we said that sharpening basically increases the contrasts around the edges in your image? Well, building on that will make these sliders easier to understand.
Use the Amount slider to increase or decrease the amount of contrast in the edges of your image.
Radius manages the level of detail. So a smaller radius will manage the smaller details, while a large radius affects a bigger area.
The last slider, Threshold, affects the areas of higher contrast.
When using these sliders, a good starting place is to figure out your radius first. Do you want to sharpen the smaller details or the larger ones? If you are still unsure how to work with Photoshop sharpening for beginners, experiment!
In this example, push your radius up and then work back down until you affect the areas that you want. From here, you can start moving around the other two sliders until you get your desired results.
One of the downsides of using Unsharp Mask is that it is Layer specific. This is because it affects your entire image, so you need Layer Masking to discard areas that you don’t want sharpening.
The Smart Sharpen tool is like a child of Unsharp Masks, as it gives you some more options. One of the cool things with Smart Sharpening is that it ignores skin detail and focuses on areas with higher contrasts e.g. eyes, eyebrows, lips.
Use the same workflow as above to access the Smart Sharpen filter. The dialog box gives you more advanced options than the previous Unsharp Mask. Amount and Radius work the same way as previously described.
F/5.6 1/1600 ISO100 @420mm
A drop-down menu allows you to remove different types of blurs such as Gaussian, Lens and Motion blur. Lens blur is the most common removal used in this menu.
In Photoshop CC, your menu looks a little differently but has all the same options. Additionally, it includes a useful option to reduce noise.
Smart Sharpen also allows you to create presets. This is helpful if you are sharpening a batch of images at similar focal lengths. Remember, when you apply your filters/filter preset to a Smart Object, you can further adjust/refine it.
Another photoshop sharpening for beginners is the High Pass Sharpening technique. While it is a little more advanced than the other tools, you can still easily apply it. It is not a filter found in the Sharpen Menu like the Unsharp Mask and Smart Sharpen filters. What it is, however, is a combination of steps that sharpens your image.
To process with High Pass Sharpening:
Left: Using High-Pass in the default normal mode, see how your edges are defined. Right: Using High-Pass in Overlay Blend Mode allows you to see your changes in real-time
There is, of course, an alternate way to this gray image where you see your edit in real-time.
Prior to the last step above:
At full size, you don’t always see that the eyes are not as sharp as they can be. Like Smart Sharpen, the eyes and lips are sharpened, but the skin is unaffected. F/7.1 1/125 ISO100 @70mm
Note: This sharpening technique is the only one that lets you apply sharpening with different blend modes.
Remember, sharpening should be the last step in your post-processing workflow. These filters and techniques in Photoshop Sharpening for Beginners will take your image to that next level. It helps to know when and why to sharpen an image and as with all processing, applying correctly makes a huge difference to your final image.
Do you have any other photoshop sharpening for beginners tips you’d like to share? Please do so in the comments!
The post Photoshop Sharpening for Beginners – Unsharp Mask, High Pass and Smart Sharpen Explained appeared first on Digital Photography School. It was authored by Nisha Ramroop.
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Sony’s a6100 is the perfect entry-level camera for folks looking to step up their photography game to something more powerful than their phone. We’ve updated our sample gallery to give you a better sense of its capabilities.
See our Sony a6100 sample gallery
The post New Year’s Resolutions for Creative Photographers appeared first on Digital Photography School. It was authored by Charlie Moss.
It’s that time of year when your friends and family begin to bug you for your New Year’s resolutions. So, in this article, I’ll share with you some possible New Year’s resolutions for creative photographers.
Apparently, humans started making New Year’s resolutions four thousand years ago. So you’re in good company if you want to make some this year!
You might be considering pledging to go to the gym more or stop biting your nails (but we know you’ll never last past January). So instead, why not think about how you might use the new year to make some changes to your photography? You never know, they might even stick for longer than a month!
Take some time to review the photos that you’ve taken during the past year. Pick out the ones that you like the most and try to think about why they make you feel that way. Are they perhaps full of happy memories? Or did they mark a moment when you understood a new technique?
Consider turning your favorite photos from the year into a photo book to permanently make a record of what you achieved. Think of it as being like a journal of your hobby that you can look back on in the future to see how much your approach to taking photographs has changed.
It could be that many of the things you enjoyed most about photography over the past year were the experiences. Maybe you enjoyed spending time with certain other friends who are into photography or going to different places. Make a note of those experiences you enjoyed the most, and we’ll come back to it later!
Taking risks with your photography can be a useful tool to help you improve. Cameras are tools that are meant to be used and they can always be replaced.
But taking risks doesn’t have to be about putting yourself and your equipment at risk. Sometimes it can be about pushing your boundaries and taking creative risks.
The worst that can happen when you take a creative risk is that you get a photograph that isn’t as good as you hoped it would be. And if that happens, you don’t have to show anybody! But when a creative risk takes off… that’s when risk-taking really becomes worth it.
The famous hockey player Wayne Gretzky said that you’ll miss one hundred percent of the shots you don’t take. He’s not wrong – if you don’t have a camera with you, then you won’t be taking any photos!
Two years ago, I realized that I wasn’t taking my camera out and about with me because it was too big and heavy. Shortly after, I ‘side-graded’ to a more compact camera that was easier to take with me everywhere that I went.
My photography improved almost immediately. I was simply taking more photographs and getting more practice. Over time I also found that I was finding more excuses to take photographs because I was enjoying photography more than I ever did previously!
It’s too easy to say no to opportunities that crop up. You might think about the other things that you ‘should’ be doing. You might think about the money that you could be using for something else. But how much would it really hurt if you said ‘yes’ a few more times during the upcoming year?
Say yes to a photographic adventure with a friend. Say yes to a new kind of photography. Also, say yes to new styles and techniques that someone offers to show you. And, say yes to things that are outside of your comfort zone.
You might not enjoy everything that you photograph as a result of saying yes, but then you’ll certainly know for the future when to say no!
Each year I buy an almanac, and I first use it as a convenient list of key dates and celebrations that I might want to explore photographically. But a good almanac book will have so much more than just a calendar.
Divided into monthly chapters, almanac’s have tide tables, information about the night sky, and what flowers are in bloom that month. It’s a guide to what you should see in nature, and some almanacs even have seasonal recipes.
Imagine if you let the almanac be your guide for photography over the coming year? You’d shoot everything from seascapes, wildlife, and cultural celebrations to food photography.
The first thing to know about passion projects is that they don’t have to change the world. They don’t have to be big, dramatic, and meaningful; they just have to satisfy you and your desire to take photographs.
I like to use passion projects as a way to help me be more attentive to the world around me or to work on skills.
This year I have been setting aside the time to shoot a self-portrait every month to improve my portrait photography. While working in London as a photographer, I documented my changing walk to work for several months, as industrial development happened around me.
Use it as an excuse to get out and about and photograph things that you might not normally photograph. A friend of mine, this year, has been visiting every UK Cathedral and photographing them all. He sees parts of the world that he’s never seen before – despite them being virtually in his backyard!
Setting goals for your photography can be a good way to figure out how you’re going to spend the next year. Goals can help inform the trips you take, the accessories you buy, and ultimately the pictures you make.
Take a few minutes to consider what you really want out of your photography hobby. Is it perhaps more time for yourself with a camera? Or do you want to win a local photography club competition? Think about what you wrote down when you considered what you’d enjoyed most over the past year photographically.
Once you’ve come up with a few goals, start thinking about how you can achieve them. Do you need to take a specific trip to photograph some wildlife? Or do you need to book a workshop with a photographer who’s style you love?
Whatever you write down, make sure you tuck these ideas away in a safe place so that you can keep looking at them throughout the year. That way, you’ll find it easier to stay on track and achieve your goals.
Everything I’ve talked about in New Year’s Resolutions for Creative Photographers is just a way to try and help you shoot more photographs that you love over the coming year.
By working out what you enjoy photographically, and where you want your journey to go over the coming year, you can start to make a plan to help you achieve your photographic goals.
Do you have any New Year’s resolutions for creative photographers you’d like to share? What are your goals for the upcoming year? What are you doing to try and do differently? Don’t forget to tell us in the comments!
The post New Year’s Resolutions for Creative Photographers appeared first on Digital Photography School. It was authored by Charlie Moss.
Camera bags. Who knew there would be so much choice? I certainly didn’t as I took my first steps into the world of photography. From small camera shaped bags which perfectly fit the contours of your camera to large wheeled suitcases designed to store and transport a whole range of photographic equipment the choice can be overwhelming. Then, after talking Continue Reading
The post How Many Camera Bags Do You Need? appeared first on Photodoto.
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About this time last year we sat down as a team to write some new year’s resolutions. But not for us – where’s the fun in that? No, we wanted to help our favorite camera and lens manufacturers out, by writing some for them.
Wishful thinking? Sure. Reasonable? Not at all. Borderline condescending, from a group of keyboard warriors who would struggle to complete a moderately complex jigsaw puzzle, let alone make a digital camera? Absolutely.
We didn’t get everything we wanted in 2019, but some of our resolutions / wishes / predictions (just go with us on this one, and don’t think about it too hard) did come true.
Feel free to play along at home via the comments.
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Our 2019 resolutions for Canon:
How things panned out: 2.5/6
Our resolutions for Canon in 2019 were ambitious, and probably for the most part unrealistic. What can I say? We’re big picture people.
The RF mount isn’t going to be opened up any time soon (why cede those lens sales to third parties when you don’t have to?), the EOS 5D Mark IV wasn’t really due for an upgrade, and while we know that IBIS is coming to the EOS R lineup, it didn’t happen in 2019.
But Canon did develop a very nice new sensor, in the form of the 32MP APS-C sensor used in the EOS 90D and EOS M6 Mark II. Not only does it offer excellent resolution and good dynamic range, it also works with an updated processor to allow for un-cropped 4K video. There are rumors starting to float around of an upscaled version of this sensor coming in the RF line possibly next year, so we’ll see. Canon also (sort of) dumped the M-Fn bar, omitting it from the EOS RP.
It remains to be seen whether the controversial control will be re-introduced in a future R-series model but we won’t be sad if it isn’t. We’re not against the concept of a touch-sensitive control of this kind, we just want one that works.
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Our 2019 resolutions for Fujifilm:
How things panned out: 2/5
Well, we didn’t see that full-frame X100-series in the end, but honestly that was probably a stretch. Fujifilm was pretty focused on its medium-format GFX range in 2019, but the company did release the unique X-Pro 3 (we didn’t see that one coming!) and update its entry-level X-A7 lineup. We were very pleased to see that the X-A7 finally offers proper 4K video. No more 15fps!
Fujifilm has also continued to work on its autofocus. A major firmware update was released for the X-T3 in spring, specifically aimed at improving face and eye-detection AF performance. Fujifilm has also improved the implementation of Face/Eye AF in the X-Pro 3, which presumably will filter down into future models.
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Our 2019 resolutions for Leica:
How things panned out: 1.5/4
Asking Leica to stop making special editions is like asking a Kuh not to muh. This year saw the launch of the ‘Safari’ edition M10-P, the Lenny Kravitz ‘Drifter’ edition M Monochrom (with snakeskin finish, no less) three limited edition versions of M-mount lenses, and no fewer than three special edition CLs: ‘Bauhaus’, ‘Urban Jungle’ and ‘Edition Paul Smith’.
Ouch. It’s almost as if Leica wanted to put us in our place.
Meanwhile, although we’re still waiting for an M11 with an EVF, Leica did release the Q2, which comes with some really welcome upgrades compared to the original Q. Ditto the SL. The company also claims to be continuing to invest in improving service times, which, because we’re feeling generous, we’ll say earns them a 0.5.
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Our 2019 resolutions for Nikon:
How things panned out: 1/4
We didn’t do a great job of anticipating Nikon’s moves in 2019, but nobody said that new years’ resolutions were easy, especially when you’re making them for other people. Nikon didn’t add a version of 3D AF tracking to the Z-series this year, but it did introduce a new camera, in the form of the APS-C Z50. Pending some final testing, we’ve been pretty impressed by its performance so far, but it basically has the same autofocus behavior as the Z6 and Z7.
The only one of our resolutions on behalf of Nikon which ended up becoming reality was perhaps the most obvious one – continued development of the Z-mount lens lineup.
We’ve really been impressed by the Z-series lenses so far, and 2019 saw the release of the standout Z 24-70mm F2.8 S and Z 85mm F1.8 S, with more still to come on the roadmap.
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Our 2019 resolutions for Olympus:
How things panned out: 3/5
Olympus didn’t release a whole lot of products this year, but the OM-D E-M5 lineup did see a refresh in the form of the very powerful E-M5 Mark III. Despite being packed with powerful features (many of which were inherited from the E-M1 Mark II) it is even smaller than its predecessor, and features on-sensor phase-detection autofocus.
Sadly it still features a dense and complicated UI / menu, but 3/5 ain’t bad.
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Our 2019 resolutions for Panasonic:
How things panned out: 2/3
With so many announcements in late 2018, it was hard to make too many specific resolutions for Panasonic in 2019, but the company did check off two items from our wishlist: An (apparent) move away from field-sequential and towards OLED electronic finders, and a full-frame 4K video camera, in the shape of the Lumix DC-S1H.
The S1H is an interesting product, coming so quickly after the launch of the S1R and the more video-oriented S1 – itself a hugely capable camera for shooting video, especially with Panasonic’s paid DMW-SFU2 update. The S1H can shoot perfectly good still images from its 24MP sensor, but it’s really a video-first product, and the first ‘consumer’ camera to be certified by Netflix for broadcast-quality recording. Impressive stuff.
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Our 2019 resolutions for Ricoh / Pentax:
How things panned out: 0/3
It was a very quiet year for Ricoh in the end, with the GR III the only significant new Pentax-branded product released in 2019 (actually late 2018, but it became available this year).
There were some signs of life though – Ricoh did unveil a new wide zoom for APS-C – the HD Pentax-DA 10-17mm F3.5-4.5 ED fisheye. This year also saw a small refresh of the HD Pentax-FA 35mm F2 AL, with new coatings and a redesigned aperture diaphragm. Will we ever see a K-1 III, or a reimagined Pentax-branded mirrorless ILC? Nothing is impossible but we get the sense that 2020 will be a make or break year for the Pentax brand.
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Our 2019 resolutions for Sigma:
How things panned out: 3.5 / 5
Well, either we got unusually good at guessing, or Sigma listened to us (I’ll leave you to figure out which is more likely) because of our five resolutions for Sigma in 2019, three of them became reality. This year we saw the porting of Sigma’s popular DC DN range of fast prime lenses to Canon’s EF-M mount (hey, they’re F2.2 equivalent), the release of the distinctive and very compact (albeit not for everybody) 45mm F2.8 for E and L-mount, and the launch of two high-performance ‘DN’ zoom lenses, also for E and L – one of which sort of counts as a second try at the older 24-70mm F2.8 Art.
The only one of our resolutions which definitely didn’t come to pass is reverse-engineering the Nikon Z and Canon RF mounts, which to be fair may be a decision out of Sigma’s hands. Meanwhile the full-frame fp earns a 0.5 for being pretty close (in spirit) to a full-frame Merrill, while offering so much more, especially to videographers.
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Our 2019 resolutions for Sony:
How things panned out: 4/5
Another very good showing for the resolutions crew in the end, but Sony has been releasing so much new technology every year that we felt pretty optimistic about this one.
2019 saw the release of some really welcome E-mount APS-C lenses, including the excellent (albeit pricey) E 16-55mm F2.8. And we finally got that FE 35mm F1.8! Meanwhile the company did make efforts to improve the UX of its latest cameras, particularly in the a7R IV, which also offers a more consistent stills / video autofocus and user experience,
It’s a shame about the RX1R III, though. Maybe in 2020.
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Our 2019 resolutions for Tamron:
How things panned out: 2/3
Again, the decision whether (or when) to reverse-engineer the Nikon Z and Canon RF mounts is probably down to Canon and Nikon, so we’ll let Tamron off the hook for that one. Ultimately, while the physical dimensions of the mounts themselves can be copied, the protocols governing data transfer between camera and lens are protected by IP, and licensing will happen on Canon and Nikon’s respective schedule (if it happens at all).
As for the other two resolutions, we’re pleased to see that Tamron did indeed continue to develop new native E-mount glass, in the form of the 70-180mm F2.8 Di III VXD and 17-28mm F2.8 Di III RXD. Meanwhile, the company announced three lightweight (I’ll get in terrible trouble in the comments section again if I suggest they’re ‘compact’) F2.8 primes. But alongside these small (ish) lenses, Tamron also sneaked in one of the highest-performance 35mm F1.4s we’ve ever used, in the form of the SP 35mm F1.4 Di USD.
We’ll forgive it.
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So there you have it – not all of our 2019 resolutions became reality, but if there’s one thing we’ve learned in 2019 it’s that we don’t always get what we want. Another thing we’ve learned is that lexicologically speaking, things get really complicated when you start trying to make resolutions, which are really requests, but also kind of predictions, on behalf of third-parties.
Lesson leaned. So what does 2020 have in store? As always, the future is hard to predict, but that doesn’t mean we can’t try. Here are some resolutions predictions from the DPReview team – feel free to add your own in the comments.
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