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Sigma confirms Log picture profile, Raw over HDMI coming to its fp camera via firmware update

In an interview with Cinema5D, Sigma confirmed it’s bringing a firmware update to its full-frame fp camera that will add Log picture profile and Raw recording over HDMI.

The interview with Takuma Wakamatsu, Sigma’s product planner, took place during Inter BEE 2019. In the interview, Wakamatsu addresses a number of features that have already been confirmed to be on the horizon, such as in-camera CinemaDNG playback and still photo modes while recording video, but he also confirmed a future firmware update will include a Log picture profile in MOV mode and Raw recording over HDMI.

The Log picture profile should improve the dynamic range of the fp and offer more flexibility in post-production, while Raw recording over HDMI would allow external recorders, such as the popular Atomos Ninja V, to record ProRes RAW footage.

No specific timeframe is given for the firmware updates, but Cinema5D notes the updates will arrive in 2020 and be free of charge.

Our previous coverage of the Sigma fp includes a look inside the Aizu factory where it’s assembled, a video-centric hands-on and a photo gallery of images captured with the world’s smallest full-frame camera.

Articles: Digital Photography Review (dpreview.com)

November 27, 2019
ACLU files First Amendment lawsuit against US government on behalf of 5 photojournalists

The American Civil Liberties Union (ACLU) has sued the United States government on the behalf of five photojournalists who allege their rights were violated ‘on multiple separate occasions’ while reporting on conditions at the US-Mexico border. According to the ACLU, the Department of Homeland Security made a database of journalists and photojournalists who were reporting on US-Mexico border conditions and used this database to target, detain, and interrogate them.

The lawsuit was filed on the behalf of Bing Guan, Go Nakamura, Mark Abramson, Kitra Cahana and Ariana Drehsler, all of whom are professional photojournalists and U.S. citizens, according to the ACLU. The lawsuit alleges these individuals were among the journalists included in Homeland Security’s secret database.

The database allegedly contained the photojournalists’ names, birth dates, headshots, and information about whether they’d been interrogated. An ‘X’ was allegedly used to cross out the individuals who had already been interrogated, indicating that the ‘random’ secondary screenings and interrogations they were subjected to weren’t actually random.

Bing Guan said in a statement to the ACLU:

‘I was being targeted by my own government for reporting on conditions at the border.‘

The ACLU explains that photojournalists were detained when they attempted to reenter the United States, at which point they were allegedly interrogated about various matters ranging from their observations of the condition of the border and shelters to whether they could identify people from a series of headshots. Multiple photojournalists claim they were forced to reveal the images they had taken and that at least one officer had used a phone to snap images of the photos.

Forcing the photojournalists to disclose details about their sources and observations was a violation of the First Amendment, according to the ACLU, which calls the ‘disturbing actions’ a potential deterrent that may prevent other journalists from pursuing similar work.

The ACLU said in its announcement of the lawsuit:

‘That the government’s actions occurred at the border makes them no less unlawful … When the government tries to circumvent constitutional protections, we must hold it accountable. No journalist should have to fear government interference for having the persistence, courage, and commitment to expose the truth.’

The lawsuit can be read in full on the ACLU’s website. Plaintiffs seek an official declaration that their First Amendment rights were violated; they also want the records related to their interrogations to be expunged and more.

Via: ACLU

Articles: Digital Photography Review (dpreview.com)

November 27, 2019
Moment launches new ultra-wide Fisheye 14mm Lens with ‘bi-aspherical’ lens design

Smartphone lens manufacturer Moment has announced its new Fisheye 14mm Lens, an add-on lens that Moment claims ‘is the widest, crispiest shot you can have on a phone.’

The lens features an all-new optical design made specifically for the latest smartphones from Apple, Google, OnePlus and Samsung. It features a bi-aspheric design that Moment claims uses 15-percent more of the image sensor than its existing Fisheye 15mm lens.

This design results in a 170-degree field of view that’s 30% wider than the 120-degree field-of-view found on most ultra-wide-angle lenses in newer smartphones, such as the iPhone 11 Pro.

The resulting image can be de-warped using a new distortion correction filter in Moment’s Pro Camera app (Android, iOS). The de-warping feature is available in the iOS app today and the feature will make its way to the Android app ‘in the next few weeks.’

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Below is a sample video captured with the new Fisheye 14mm lens:

The Moment Fisheye 14mm lens costs just $ 89.99 for the first 48 hours, after which it will jump up to $ 119.99. It will work with Moment’s line of M-series cases, which include options for a handful of iPhone, Pixel, OnePlus and Galaxy devices. You can order yours now and find out more information on Moment’s website.

Articles: Digital Photography Review (dpreview.com)

November 27, 2019
Back to Basics: Deciphering Shutter Speed and Motion
The post Back to Basics: Deciphering Shutter Speed and Motion appeared first on Digital Photography School. It was authored by Adam Welch.

One of the things I love about photography is its simplicity. Now, I know that might be a contested statement in today’s seemingly endless world of digital photography. There are hundreds of cameras, likely thousands of lenses and virtually limitless combinations of the two. Not only that, but there are so many ways we can use our cameras. Landscapes, portraiture, street photography, architectural, abstract, wildlife, nature…the list continues. And yet, for all it’s technological and creative facets, the basics of photography remain alarmingly simple even today.

The principles of aperture, shutter speed, and ISO constitute something called the “Exposure Triangle” and yes, I know, you’ve probably heard of it before today. The thing is, it is often these most fundamental nuances of photography that present themselves with the most difficulties, especially for beginners (and some pro) in photography.

It’s shutter speed and motion that we will be discussing today in this edition of “Back to Basics”. To be more precise, we’re going to be talking about the ways shutter speed relates to motion so that you will gain a more concrete understanding of how shutter speed affects your photos.

Shutter speed or shutter time?

Many years have passed since then, but I still remember how confused I was the first time I understood that shutter speed had absolutely nothing to do with how fast the shutter of my camera opened and closed.

Up until then, I had intuitively assumed that some cameras were simply made with faster shutters than others. I mean, come on, give me a break! I was new.

Anyway, I finally realized that shutter speed refers to the amount of time the shutter remains open…and not how fast it mechanically opens or shuts. So many concepts about shutter speed seemed to click (pun intended) in my mind.

One of the greatest epiphanies brought about by this sudden revelation was the direct relationship between the time the shutter is open and how apparent subject motion became within my images. In reality, Einstein was right when he put forth that everything is indeed relative.

So, in a way, there are no slow or fast shutter speeds. There are only longer or shorter shutter times relative to the inherent motion of your camera and subject.

Let’s drill down a little deeper on this.

Shutter speed and the effects of motion

For just a moment, let’s pretend you are the fastest runner in the world – absolutely no other human can beat you in a race. That’s great.

But now I want you to picture yourself running next to a cheetah.

Suddenly, your speed doesn’t seem quite so fast, but let’s not stop there. Let’s say that cheetah decides to race the world’s fastest jet plane, and the jet wins every time. Then put that furiously fast jet up against the speed of light, and, well, you get the idea.

The point is, your camera’s shutter speed interacts with motion in the exact same fashion.

A shutter speed (or think shutter time) of 1 second is no problem at all when your camera is mounted securely on a tripod. Take the camera off the tripod and shoot handheld at the same shutter speed, and it becomes difficult not to introduce camera shake into the image.

The same is true for subject movement; we can blur or freeze motion depending on our selected shutter speed.

Perceivable subject motion is due to the relationship between the amount of time the shutter is open and the speed of the subject itself.

Practical examples

Let’s pick a shutter speed randomly; we’ll say it’s 1/60th of a second. If you’re shooting a still object which has absolutely no motion in relation to your camera, like this switched off ceiling fan, then everything appears calm and still.

For the time being, we’re just going to pretend that you love shooting photos of ceiling fans. So you decide to snap another image with the fan now switched on, and the situation changes.

The blades of the fan are now moving through space much faster than 1/60th of a second shutter speed can capture with the result being perceived blurring of the blades.

At 1/60th of a second, the blades have blurred

This is where Einstein sweeps in to save us. All we have to do to take control of the motion of the blades is to make our shutter speed faster than the speed of those ceiling fan blades. Let’s dial it in.

At 1/125th of a second, the motion begins to become less pronounced…

…and 1/500th of a second all but completely freezes the motion of the blades. Another stop faster (1/1000th) and the motion would be completed arrested.

The implications of this are absolutely profound for you and your photography. Once you understand that shutter speed is the deciding factor in controlling the amount of perceived subject motion in your images, you can then control how apparent that motion appears in your photo.

How does shutter speed relate to ISO and aperture?

So how exactly does the shutter speed play into the whole Exposure Triangle thing? I’m glad you asked.

All of the pieces of the Triangle: ISO, aperture, and shutter speed; all of them determine the amount and duration of light that enters your camera. Each of these factors complements each other in that you can achieve similar exposure outcomes by adjusting the variables in relation to one another. In our case, since we’re dealing with shutter speed, we’ll be needing to adjust our aperture and/or ISO to compensate for our shutter speed selection.

Entire articles (and books) here at Digital Photography School have been written on each of these subjects, so I’ll be brief. But be sure to check out this cool cheat sheet on the Exposure Triangle for more info.

Simply put, for every full stop of adjustment in shutter speed you make, you are either doubling or halving the amount of light which enters your camera. This means a shutter speed of 1/250th of a second is twice as fast and lets in half the amount of light as 1/125th of a second.

Alternatively, a shutter speed of 1/60th of a second is approximately twice as slow as 1/125th, and therefore lets in double the amount of light. So, 1/250th of a second is one stop faster than 1/125th of a second with 1/60th of a second being one stop slower.

You still might be saying, “but what does this have to do with aperture and ISO?” We’re about to find out, I promise.

The connection comes into play when you realize that ISO and aperture are also measured in stops, albeit in slightly different ways, but in stops nonetheless. This means that we can directly relate shutter speed to our ISO and aperture by thinking in terms of stops.

Let’s say we are shooting a moving subject at 1/60th of a second at F/5.6 and ISO 100. The image is exposed correctly, but the subject is blurred. We find that a shutter speed of 1/250th of a second (two stops faster) will freeze the motion, but it also leaves our scene underexposed by two stops since we have effectively decreased the amount of light by a factor of four.

To maintain our exposure, we must somehow compensate for the reduced amount of light from the faster shutter speed by either increasing the ISO by two stops or shoot an aperture that is two stops wider than F/5.6. So to maintain the same exposure, our new exposure settings would be either 1/250th of a second at F/2.8 and ISO 100 or 1/250th of a second at F/5.6 and ISO 400.

Some considerations for shutter speed

Here are a few helpful tips that you should keep in mind when it comes to shutter speed. Some of these are simply good everyday practices, and others might be new to you.
- The longer the focal length of your lens (higher zoom), the more apparent subject motion and camera shake will become. So plan accordingly if you are intending to employ longer shutter speeds by making sure you have a sturdy tripod and even a remote shutter release for your camera.
- At times there will be situations when you can’t equalize your exposure using your camera settings alone and still achieve the level of motion you want for your final photos. This is where a good quality neutral density filter will truly be worth its weight in gold. I recommend keeping at least one in your bag no matter what sort of photography you shoot.
- When shooting long exposures of the night sky, make use of the “600 Rule” to approximate the longest shutter time possible before stars begin to streak based upon your lenses’ focal length. The 600 Rule states that 600 dived by your focal length will give you an approximate maximum shutter speed from which you can base your other exposure factors.
- Reduce camera shake when shooting handheld by implementing what’s known as the “Reciprocity Rule”. Simply put, this guideline states that you should not shoot a shutter speed which is slower than 1 over your focal length. This means that with a full-frame sensor and an 85mm lens, you should never shoot slower than 1/85th of a second. If you’re using a crop sensor camera, then the formula would be 1 over (focal length x sensor crop factor). You can find the crop factors for virtually all digital camera sensors with a quick web search.
- Use mirror-lockup (if your camera has this feature) when making long exposures. In DSLR/SLR cameras, the mirror mechanism flips out of the way during exposure. This can cause camera shake, especially when using a lightweight camera and lens setup. Mirror-lockup moves the mirror out of the way prior to exposure so that the camera remains as steady as possible.
- Cover your viewfinder during extremely long exposures. Much like mirror-lockup, DLSR/SLR cameras make use of an optical viewfinder which means light can creep in through the viewfinder during long exposures. It’s a good idea to cover the viewfinder with tape, a lens cloth, or the dedicated viewfinder cover that comes attached to some camera straps should you be shooting ultra-long exposures (upwards of a minute or more) to ensure stray light doesn’t ruin your exposure. Some older film DSLR cameras actually have a build-in viewfinder cover for this exact reason.
Summing up shutter speed

If you’re just getting into photography, I hope this article on deciphering shutter speed and motion helps to demystify some of the enigma surrounding shutter speed (time) and aids you in becoming a more confident photo maker.

If you’re a seasoned photographer, then hopefully the information here will serve as a gentle refresher course on just how simple it is to control your photos using only the most basic of photographic principles.

Shutter speed is directly related to motion and therefore becomes a relative construct based on the inherent motion in our scene (or camera). Depending on the desired outcome, we can control the perception of this motion using our shutter speed.

Shutter speeds that are relatively slower than the motion in the scene will cause blurring. Shutter speeds relatively faster than the motion within the scene will freeze that motion. That is truly priceless knowledge, and once you learn how shutter speed interacts with aperture and ISO, you will be able to have virtually complete control over your photography. Once you understand the basic fundamentals of photo making, everything else becomes almost secondary.

Do you have any other tips on shutter speed and motion that you would like to share? Please do so in the comments!

The post Back to Basics: Deciphering Shutter Speed and Motion appeared first on Digital Photography School. It was authored by Adam Welch.

Digital Photography School
November 27, 2019
Sony forms new AI organization to develop new tech for cameras and more

Sony has announced it’s consolidating its artificial intelligence work under a new organization called Sony AI. Sony AI will focus on the ‘fundamental research and development’ of artificial intelligence; it will have offices located in Japan, the US, and Europe.

According to Sony, its new Sony AI organization will initiate ‘multiple world-class flagship projects,’ among other things. The division will launch with projects involving Sony’s Imaging & Sensing Solutions division, as well as its Gaming division and the field of gastronomy. Sony already uses AI in a variety of products, including to power its Eye AF feature.

Sony says the new organization will ultimately create new AI technologies that will be ‘critical’ for its sensor business. The organization will work closely with other Sony business units on its projects, but the company hasn’t provided details about specific R&D initiatives at this time.

Articles: Digital Photography Review (dpreview.com)

November 27, 2019
Pixelmator has made its flagship iPad photo editing app free for 24 hours

As a pre-Black Friday teaser, Pixelmator is running an absolute steal of a deal on its flagship photo editing app Pixelmator Photo. For the next 20 hours (as of this article going live), Pixelmator Photo for iPad will be free to download in the iOS App Store.

The deal appears to be a teaser for Pixelmator’s upcoming Black Friday sale, where its desktop Pixelmator Pro program will be 25% off. Pixelmator Photo normally costs $ 4.99, so free-ninety-nine sounds much more appealing, especially for a photo editing app as feature-rich as Pixelmator Photo, which was recently updated with new support for Apple’s iPadOS.

The deal is available worldwide and currently live in the iOS App Store. For more information about Pixelmator Photo, head on over to Pixelmator’s product page. The deal will and at 9am ET, November 27, so get the app while you can.

Articles: Digital Photography Review (dpreview.com)

November 26, 2019
Meike releases 35mm T2.2 cinema lens for Micro Four Thirds camera systems

Meike has announced a new 35mm T2.2 cinema lens for Micro Four Thirds (MFT) camera systems.

The fully-manual lens is constructed of 10 elements in 8 groups, features an aperture range of T2.2-T22, has a minimum focusing distance of 42cm (16.5in) and is the equivalent of a 70mm lens on a full-frame camera. Its focus ring offers 270-degrees of rotation, its front filter thread is 77mm and it weighs 660g (23oz).

The Meike 35mm T2.2 is available to purchase on Meike Global’s website for $ 359.99.

Articles: Digital Photography Review (dpreview.com)

November 26, 2019

Which online printing service should I use this holiday season?

Introduction

The holidays are right around the corner, and if you plan to send out cards or make prints as gifts you’re probably in the midst of figuring out where to get your photos printed. There seem to be more options than ever when it comes to online printing services, which makes choosing one a bit overwhelming.

So to figure out what service you should use, we tested out five popular online printing companies and assessed them based on their ease of service, price, turnaround time and most importantly, print consistency/paper quality.

Print services:

Printique
MPix
Amazon Photos*
Shutterfly
Snapfish

We placed an order for three 8×10 and three 4×6 prints on the same day (October 23rd) from Snapfish, Amazon, Shutterfly, MPix, and Printique (formerly known as AdoramaPix). We used the automatic ‘smart crop’ feature on each website when preparing the prints and, when it was possible, requested that the image be printed on Lustre paper. All prints were shipped with the economy shipping option.

After receiving and assessing our prints, the service you should use this holiday season is…

Our choice: Printique or MPix

We recommend ordering your holiday prints from either Printique or MPix. These companies had the most consistent results and were the truest representation of the digital files that we uploaded.

Although all of the print services are fairly easy to use, the winners are pretty clear. Based on our print orders we would gladly recommend ordering from Printique or MPix. These companies had the most consistent color results, the best paper quality and were the most true to the digital files that we had uploaded through the sites. They aren’t the cheapest options on the list, but they are also not the most expensive – at $ 16.72 (Printique) and $ 13.96 (MPix), they both fell in the mid-range level in terms of pricing. MPix did offer a nice 25% discount on our order and it arrived a few days before the order from Printiques. But we preferred Printique’s overall photo/paper quality.

Now let’s take a closer look at each of these print services including the process of ordering, the speed of delivery, the condition prints arrived and the overall quality of our purchase. First up is Printique…

*FULL DISCLOSURE: DPReview.com is a wholly-owned subsidiary of Amazon but is editorially independent of our parent company.

Articles: Digital Photography Review (dpreview.com)

November 26, 2019

How to Take Beautiful Product Photos for Your E-Commerce Website

The post How to Take Beautiful Product Photos for Your E-Commerce Website appeared first on Digital Photography School. It was authored by Matthew Grahame.

The internet is a very visual medium. You could have the most beautifully written copy, but photos convert customers. In this online shopping era, visitors rely on photos to prove the quality and value of your products. So they can mean the difference between a sale and a pass. To make your products stand out in a sea of e-commerce sites, here’s a guide to taking beautiful product photos like a pro:

What makes beautiful product photos?

The best product photos are clear and detailed, with no distracting backgrounds or features. To make sure the focus is on the products, take your photos against a white background. This not only draws the viewer’s attention to the item they’re thinking about purchasing, but it allows for consistency across your range and website.

Speaking of consistency, try to photograph your products in the same light. And to help your shoppers better visualize the products, snap them from as many angles as possible. This is the next best thing to seeing the products in person.

By experimenting with different angles, it’ll also give you an idea of which photo should be the main or ‘hero’ image.

Practical tips and techniques for product photography

1. Use the right gear

If you have a choice between a smartphone and a mirrorless or DSLR camera, reach for the dedicated camera. As sophisticated as smartphones are these days, a professional camera will help you to do your product justice.

You don’t need to spend a fortune on a camera. All modern mirrorless and DSLR cameras capture high-quality photos and are fitted out with manual features that you can play around with for your shoot (more on this in a minute).

To improve your e-commerce site, consider investing in these accessories, too:

Suitable camera lens

Depending on your camera, you may be able to switch out the lenses as needed. If you’re photographing products close-up, a macro lens will help you to showcase the finer details. On the other hand, prime lenses are capable of shallower depths of field, so they’re brilliant for highlighting specific parts of your product. They also separate the foreground from the background for crisper photos.

Avoid wide lenses (like the ones you might use for landscape photography), because they’ll distort your products.

Tripod

A sturdy tripod will leave you with sharp, blur-free photos and allow you to comfortably shoot from all angles. A standard tripod with a three-way head should do the trick. If you’re setting up a product photography table, a mini tabletop tripod is a cheaper option.

White background

As we mentioned, a plain white background is the best starting point for professional product photography. You can purchase a high-quality background. Alternatively, if you’re going down the DIY route, a roll of white paper from your local art store will work just as well.

Set up the paper as a sweep, and use strong tape to hang your makeshift background. The major benefit of a sweep is that if it gets dirty, you can just cut off the dirty part and roll a new piece down.

Lighting

Whether you’re using natural light or artificial lighting, to get the best shot, you’ll need to eliminate harsh shadows. A reflector or bounce card is an inexpensive and effective way to direct light in your favor and minimize shadows.

If you choose artificial lighting, try to avoid the built-in camera flash – it may produce dark shadows. Instead, go for external lighting options, such as a camera-mounted flashgun, LED lights, or a larger studio lighting setup.

The goal is soft, even lighting, so experiment with fill-light and bounce to find what works for you and your products.

Pro Tip: Think about your workspace. You’ll need a table to display your products on. We suggest positioning it in front of a wall and preferably by a window to make the most of the natural light.

2. Adjust your shooting style for product photography

Now that you’re all set up, it’s time to start shooting! If you’re new to photography, or attempting product photography for the first time, patience is key. Like any type of photography, it can take a while to get the hang of it – but these tips should help.

Switch on Manual Mode

Many of us are used to letting the camera do the work for us, but shooting in manual is a valuable skill.

By tweaking the settings, you’re more likely to end up with photos that suit your desired style. If you’re familiar with manual settings, start by changing your f/stop to a higher number (for the greatest depth of field), and adjust your exposure until you’re happy with the preview image.

If you’re not completely comfortable with manual mode, try using Aperture Priority. With this setting, all you have to do is set the aperture – and your camera does the rest. Again, a smaller aperture will keep your products crisp and in focus.

Snap lots of photos

The more options you have at the end of the day, the better! For a photographer, there’s nothing worse than flipping through your photos later on, only to realize that your hero shot isn’t as good as you thought it was, or you’ve forgotten to shoot from a certain angle.

Step outside for some lifestyle photos

Seal the deal with a few photos of your product in action. These are called ‘lifestyle’ or ‘in-context’ images, and they’re great for reminding viewers why they clicked through to your site in the first place. They add life to your products, and you could probably do with the air by now anyway!

Make sure the backdrop matches the products. For example, whimsical summer clothes work well with natural landscapes, while suitcases might suit a busy city setting.

3. Spend time on post-production

Post-production is crucial for putting the finishing touches on your images. It doesn’t need to be complicated. Once you’ve chosen a set of images you’re happy with, edit them for polish. This could mean tweaking the exposure, correcting the color, or removing flaws or mannequins.

To begin, learn the post-production basics, including levels and curves. When you’re ready, consider enrolling in an editing course.

Pro Tip: For uniformity, choose a size to crop and output your images at, and stick with that across your website.

Take product photos like a pro

Entice your customers to click ‘add to cart’ with beautiful product photos. With these tips, you’ll be well on your way to creating beautiful product photos – and save money in the process!

The post How to Take Beautiful Product Photos for Your E-Commerce Website appeared first on Digital Photography School. It was authored by Matthew Grahame.

Digital Photography School

November 26, 2019
Tetenal to offer ‘Magic-Box’ single-roll film developing kits for testing the waters
The revived photochemistry company Tetenal has announced the impending release of a one-roll development kit for those wanting to try out film photography or those wanting a kit to take on-location. The Magic-Box series will include all the chemicals needed to process a roll of negative film, a transparency film or 23 sheets of 8x10in color paper, with the chemistry arriving in pre-measured quantities.

Available only in German-speaking regions at first, the company says it will extend distribution in time, as it gets production up to speed. The new company, Tetenal 1847, has risen from the ashes of the former Tetenal business after employees got together to take on the company after it faced collapse at the beginning of the year. The new business has an online store already and is beginning, it says, to work on new products – including tablet form photochemistry. In fact, though, the old Tetenal used to produce tablet chemicals as well as one-shot processing kits some time ago, but it is great to see them come back to life again.

According to the website Emulsive prices for the new Magic-Box kits will be:
- TETENAL Magic Box RA-4: €14.95
- TETENAL Magic-Box E6: €15.95
- TETENAL Magic-Box C-41: €12.95
The kits aren’t listed in the online store but will be found in German retailers. For more information see the Emulsive report and the Tetenal website.

Press release:

{pressrelease}

Discover the Magic of developing your own film and colour papers with Tetenal Magic Box.

New Products for analog photography from Tetenal 1847.

In the meantime, the employee-based initiative to save Tetenal has developed to a more than 40 people strong and still growing StartUp, in order to continue Tetenal ?s pivotal role in the analog photography industry. Out of the old Tetenal, the new company, Tetenal 1847, has formed with the claim to develop innovative and new products for analog photography.

Vinyl records and instant photography have shown that a new demand for “nostalgic” products has formed with a target audience that did not grow up with these very technologies initially. This is the case with analog photography as well. Be it a camera found on the grandparent ?s attic, or bought directly from the used equipment dealership, cameras, film and the overall “style” of shooting connected with it are increasingly in demand again. “The fascination of analog photography does, however, not end with the exposure of the film”, says Carsten Gehring, who together with Stefania Grimme has taken over leadership of Tetenal 1864 GmbH. He points out that the team in Norderstedt have made it their expressed goal to proliferate the fascination about analog photography even to households not previously associated with developing film. This claim is clearly visible on the new products leaving the factory in Norderstedt as well: “Magic-Box – Discover the magic of film development.”

The Magic-Box C-41 and Magic-Box E6 contain pre scaled concentrates to develop exactly one colour negative or colour slide film in 135 or 120 formats conveniently at home. The product line is completed by the Magic-Box RA-4 for 23 8×10 sized colour enlargements on photographic paper.

For the time being, the products are being launched in the German speaking market but will successively be made available in other markets as well.

This, however, is not the end, but merely the beginning. Product developers in Norderstedt already are working on the next innovation – tabletized photochemistry. Already leaked here and there, and even part of Tetenal ?s rich history, these tablets will again simplify developing film substantially.

Something is developing in Norderstedt again. This time, literally.

{/Pressrelease}

Articles: Digital Photography Review (dpreview.com)
November 26, 2019