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These hilarious photos are the winners of the 2019 Comedy Wildlife Photography Awards

15 Nov

2019 The Comedy Wildlife Photography Awards

The winners for the 2019 Comedy Wildlife Photography Contest have been announced, showcasing some of the more humorous wildlife photos from around the globe.

This year, more than 4,000 entries from 68 countries were whittled down to 40 finalists. Of the finalists, Sarah Skinner’s photo titled ‘Grab life by the…..’ took home Overall Winner, as well as the Creatures of the Land Award. The painfully funny image was captured in the plains of Botswana and depicts a little lioness ‘playing’ in the most unfortunate sense of the word.

In response to taking home the Overall Winner prize,, as well as the Creatures of the Land Award, Skinner had the following to say:

‘I am absolutely delighted to be awarded the title as Overall Winner in the Comedy Wildlife Photography Awards 2019. It certainly warms my heart to know that this image will spread some laughter and happiness around the world. I am happy to report that this lioness continues to thrive in the pride, having seen her again in October this year. I can only hope and encourage everyone, as a collective to each do our part in the conservation of all wildlife species so that future generations can enjoy them, in the same way that I have done during my career as a wildlife photographer. Long may lions walk the plains……….’

In addition to Skinner’s winning photograph, we’ve rounded up the winning photographs from each of the categories as well as the Highly Commended Winners and presented them in the following gallery with permission from the Comedy Wildlife Photography Awards.

As funny a the contest may be, the organization also takes a very serious role in conservation, saying ‘is at the heart of our competition.’ To help kickstart conservation efforts, the Comedy Wildlife Photography Awards offers three tips:

SHOP RESPONSIBLY.?

Try to shop locally and avoid buying un-recyclable products and one-use plastics/packaging.

RESTRICT WATER USE AT HOME.?

Ok, this is the thing, each time you flush the loo we send approx. 20?litres?of water down the drain – seriously, it’s crazy. Have shorter showers, water your garden less and stop flushing the loo every single time. This would save billions of litres of fresh water that could support our environment as well as supply homes and food for a global plethora of wildlife.?

BECOME A “WILD INFLUENCER.”?

This is a special person?who?may be not a mega activist, but really, really cares about the environment and wants to do something to help. For more ideas, please go to: www.comedywildlifephoto.com

Overall Winner/Alex Walker’s Serian Creatures on the Land Award Winner

©Sarah Skinner / Comedy Wildlife Photography Awards 2019 — Grab life by the…..

Image description: African Lion, Savuti (Chobe National Park) Botswana

Spectrum Photo Creatures in the Air Award

©Vlado-Pirsa/ Comedy Wildlife Photography Awards 2019 — Family disagreement

Image description: Birds, Croatia

Olympus Creatures Under the Water Award/Affinity Photo People’s Choice Award

©Harry Walker/ Comedy Wildlife Photography Awards 2019 — Oh My!

Image description: Sea Otter, Seward, Alaska

Amazing Internet Portfolio Award

©Elaine Kruer / Comedy Wildlife Photography Awards 2019 — First comes love…then comes marriage

Image description: Cape Squirrels, Kalahari, South Africa

Highly Commended Winner

©Tilakra Nagaraj / Comedy Wildlife Photography Awards 2019 — Warning! Territory marking, follow at your own risk

Image description: White Rhino, Egret, Nairobi National Park, Nairobi, Kenya

Highly Commended Winner

©Corey Seeman / Comedy Wildlife Photography Awards 2019 — Who would like a peanut?

Image description: Fox Squirrel, University of Michigan, Ann Arbor, Michigan, USA

Highly Commended Winner

©Geert Weggen / Comedy Wildlife Photography Awards 2019 — Squirrel Wishes

Image description: Red Squirrel, Sweden

Highly Commended Winner

©Tom Mangelsen / Comedy Wildlife Photography Awards 2019 — Chest Bump

Image description: King Penguin & Antarctic Fur Seal, South Georgia Island

Highly Commended Winner

©Alastair Marsh / Comedy Wildlife Photography Awards 2019 — Waltz Gone Wrong

Image description: Red Fox, Amsterdam, Holland

Highly Commended Winner

©Martina Gebert / Comedy Wildlife Photography Awards 2019 — Dancing Yeah!

Image description: Marmot, Austria

Highly Commended Winner

©Eric Keller / Comedy Wildlife Photography Awards 2019 — Inconspicuous

Image description: King Penguin, South Georgia Island

Highly Commended Winner

©Elmar Weiss / Comedy Wildlife Photography Awards 2019 — Surfing, South Atlantic Style!

Image description: Gentoo Penguin. Bleaker Island, Falkland Islands

Highly Commended Winner

©Roie Galitz / Comedy Wildlife Photography Awards 2019 — Space Man

Image description: Japanese Snow Monkey

Highly Commended Winner

©Txema Garcia Laseca / Comedy Wildlife Photography Awards 2019 — To be or not to be

Image description: Snow Monkey, Japan

Articles: Digital Photography Review (dpreview.com)

 
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DJI developing app that will allow anyone to identify a drone with their smartphone

15 Nov

Chinese company DJI, the world’s leading drone manufacturer, is developing technology that will allow anyone with a WiFi-enabled smartphone to access information on unmanned aerial vehicles flying nearby.

The industry, in general, has been under scrutiny following high profile disruptions, including incidents at Gatwick and Heathrow airports that left flights grounded for days. In a bid for more transparency, DJI wants the public to be able to access basic info on a drone including its remote ID, altitude, speed, and location. The app will be available sometime in 2020, pending regulatory approval.

‘Remote ID functions as an electronic license plate for drones, allowing anyone who is curious about a drone in the sky to learn more about what it’s doing,’ said Brendan Schulman, DJI Vice President of Policy & Legal Affairs. ‘Around the world, aviation authorities have said remote ID is the key to allowing more complex drone use, and to solving concerns about safety and security. DJI’s direct drone-to-phone remote ID shows we’re committed to providing a solution in a way that is instantly usable worldwide without any additional infrastructure.’

The direct drone-to-phone remote ID system was first demoed to participants this week at a park in Montreal, Canada, during the International Civil Aviation Organization’s third annual Drone Enable conference. Smartphones from Samsung, Google, and Xiaomi received Wi-Fi Aware signals from DJI Mavic Air and DJI Mavic 2 Enterprise drones. The app, in its current form, is able to identify drones operating within a 1 kilometer (0.62 miles) range.

DJI currently holds over 70% of market share worldwide for consumer-grade drones. Global spending on consumer-grade unmanned aerial vehicles is expected to reach $ 12.3 billion in 2019, up from $ 9 billion the previous year, according to research firm IDC. As demand continues to increase, aviation regulators including the Federal Aviation Administration (FAA) and European Union Aviation Safety Agency (EASA) are pushing for a requirement on remote ID systems for drones. The FAA is on track to complete a mandatory proposal by year’s end, but rulemaking will take another year to complete. EASA will start imposing requirements by June 2020.

‘As more drones take to the skies every day, remote ID addresses the public’s interest in understanding what’s happening in the airspace,’ said Christian Struwe, DJI Policy Director, Europe. ‘DJI’s drone-to-phone implementation helps accomplish that by allowing drone pilots to broadcast a simple description of their flights, so anyone viewing the smartphone app can understand that they are inspecting a roof, surveying a construction site, or performing another beneficial task with a drone.’

Some remote pilots are already skeptical of allowing anyone to access information about their flights.

DJI developed AeroScope back in 2017 to address similar concerns. It’s a much more powerful system, offering a range of up to several miles away. While other drone manufacturers rejected the system, it’s being used by prisons, stadiums, airports, and even car dealerships to detect any unauthorized drone usage. Now, they want to eliminate the requirement for adding telecommunications equipment, subscribing to an ID service provider, connecting to a cell tower, or buying a data plan in order to fly safely and legally. DJI plans to make their latest drone-to-phone technology available to competing manufacturers, though a list hasn’t materialized yet.

Articles: Digital Photography Review (dpreview.com)

 
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Facebook fixes iOS bug that triggered the camera app on iPhone

15 Nov

Facebook has released an update that fixes a bug in its iOS app related to the iPhone camera app, something that had raised privacy concerns among users.

On Tuesday, a report from CNET highlighted a complaint from some Facebook users on iPhone who shared videos showing a bizarre bug involving the phone’s camera app. At least two different scenarios were found that would cause the Facebook app to become off-center on the phone’s display.

The iPhone’s camera app with its live view would be visible next to the offset Facebook app, spurring conspiracy theories that the social network may have been deliberately using the device’s camera to collect data on the user. In a tweet, however, Facebook VP of Integrity Guy Rosen explained that a recently published bug fix for a different issue caused the Facebook app to ‘partially’ navigate to the iPhone’s camera.

Soon after on Wednesday, November 13, Facebook released a fix for the problem through the App Store. Users will need to download and install the latest update to fix the bug. Some users have reported an inability to trigger the camera bug after updating, indicating that it is an effective fix.

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Tokina announces redesigned ATX-i 100mm F2.8 1:1 Macro lens for Canon EF, Nikon F mounts

15 Nov

Tokina has announced the release of its new ATX-i 100mm F2.8 Macro lens for full-frame Canon and Nikon DSLR cameras.

The ATX-i 100mm F2.8 Macro lens is constructed of nine elements in eight groups and features a 1:1 reproduction ratio at 30cm (11.8in) from the sensor with a minimum focusing distance of 11.5cm (4.5in). Tokina has used a ‘flat-field’ optical design which it claims ‘suppresses the field-of-view curvature to zero [for] excellent edge-to-edge sharpness at all focus distances and apertures.’

The lens uses Tokina’s One-Touch Focus Clutch Mechanism for quick switching between auto and manual focus by snapping the focus ring forward (for autofocus) or backward (for manual focus). The lens weighs 490g (17.28oz) and measures 9.5cm (3.74in) long and 7.3cm (2.87in) diameter.

Below are three sample photos captured with the lens and shared with us by Tokina:

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The redesigned 100mm F2.8 Macro is the second lens in the ATX-i lineup, joining Tokina’s redesigned ATX-i 11-16mm F2.8 lens. It is avaialble to pre-order today (B&H) and will begin shipping December 6, 2019 for an estimated price of $ 429.

Press release:

Kenko Tokina announces the release of the NEW atx-i 100mm F2.8 Macro F

Same great optics, brand new look – The atxi 100mm f/2.8 Macro FF lens for full-frame Canon and Nikon DSLR cameras

Huntington Beach, CA, November 15, 2019: Kenko Tokina, Japan’s leading manufacturer of premium camera accessories, is releasing the Tokina atx-i 100mm f2.8 Macro FF lens for full-frame DSLR cameras from Nikon and Canon. Distributed in the US exclusively by Kenko Tokina USA, this new lens provides unparalleled versatility with the award-winning optics.

The Tokina atx-i 100mm F2.8 FF Macro is a versatile mid-range auto-focus telephoto lens with excellent close focusing capabilities reaching life-sized (1:1) reproduction at 11.8 inches (30cm) from the sensor plane. Engineered for Canon EF and Nikon F mount full-frame DSLR cameras.

At (1:1) reproduction, the lens provides a very comfortable 4.5 inches of working distance between the front of the lens and your subject. The fast f/2.8 aperture makes it easy to focus in low light and renders soft beautiful bokeh. Making it an excellent choice for portraits, landscapes, video, and small world photography.

The Tokina atx-i 100mm F2.8 Macro is a “flat-field” optical design that suppresses the field-of-view curvature to zero. This means the lens yields excellent edge-to-edge sharpness at all focus distances and apertures. The lens’ multi-coatings render natural color with extremely low light falloff, perfectly controlled chromatic aberration, flare and ghosting.

The One-Touch Focus Clutch Mechanism makes switching from auto-focus to manual focus simple. While in AF mode the user only needs to snap the focus ring back toward the camera to engage “real” manual focus control. This gives photographers an authentic tactile MF feel with hard stops on either side of the focus range like traditional manual lenses. Additionally, the directional rotation of the focus ring matches the direction of proprietary Nikon and Canon lenses.

“This is the second lens offering in the new atx-i series.” says Yuji Matsumoto, President at Kenko Tokina USA. “It combines the award-winning optics of the original ATX model with a sleek new look that matches the cosmetics of today’s advanced DSLR cameras.”

Worldwide sales of the Tokina atx-i 100mm F2.8 FF Macro lens will begin on December 6, 2019 with authorized Tokina USA retailers taking pre-orders November 15, 2019.

Estimated USA Street Price of $ 429.00

More information is available at https://tokinausa.com.

Articles: Digital Photography Review (dpreview.com)

 
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A closer look into the latest financial reports from Canon, Nikon and Sony

15 Nov

It’s no surprise the camera market is in a decline, earmarked by continuously-decreasing unit sales, revenue and operating income. It seems as though no company is safe from the impact of both smartphones and the general decline in demand for DSLRs, but while the numbers are indeed in a freefall, the reality is the actual macro-level outlook is far more nuanced than catchy headlines alone can tell.

To take a more overhead view of the camera industry, we’re dug into the industry-wide numbers from CIPA and broken down the most recent results from Canon, Nikon and Sony to compare them year-over-year (Y/Y) to see how things are shaping up.

CIPA

CIPA provides an overarching view of how the camera industry is doing through the participation of nearly a dozen camera companies that report their production and unit shipments to CIPA on a monthly basis. Since we’re only looking at the last two quarters from Canon, Nikon and Sony, we’re only going to dive into the numbers for the corresponding months of CIPA’s data.

CIPA’s September graph showing interchangeable lens camera unit sales over the past three years.

From April 2019 to September 2019 (the latest statistical data CIPA has made available), CIPA reports 8M total digital camera shipments: 4.4 million interchangeable lens cameras and 3.6 million cameras with built-in or fixed lenses. This is an overall decrease of 22-percent Y/Y with a 23-percent decrease for interchangeable lens cameras and a 20-percent decrease in cameras with built-in or fixed lenses.

CIPA’s September graph showing interchangeable lens unit sales over the past three years.

These decreases are concerning, but still less dramatic than the Y/Y change from 2017 to 2018. This change could be due to a few factors, but the most obvious one is that both Canon and Nikon introduced their full-frame mirrorless systems in late 2018, which likely helped to slow down the declining market as consumers hopped onboard the newer systems. However, it’s clear from the following numbers that neither Canon nor Nikon saw their full-frame mirrorless options replace the declining sales of DSLRs as both companies might ultimately be hoping.

Canon

For its FY2019 Q2 and Q3 numbers, Canon reported 2.06 million unit sales for interchangeable lens cameras and 1.36 million compact camera sales during its FY2019 second and third quarters, a decrease of 16-percent and 13-percent respectively Y/Y for the same time period.

A breakdown from Canon’s Q3 financial presentation that highlights the units sold in Q3 as well as the net sales and operating income of its Imaging Systems division.

This 16-percent decrease is less than the industry-wide 22% decrease as noted in CIPA’s data, but these two quarters last year were before Canon’s EOS R (and EOS RP) was announced and it’s possible that DSLR sales were depressed in expectation of the new cameras being around the corner. So, while the numbers are better than the market in general, with all of the development and marketing that went into making its new RF-series gear, it’s merely softened the blow rather than boost unit sales.

In regards to finances, Canon has reported ¥394B ($ 3.6M) in revenue and ¥23B in operating profit over the past two quarters, a decrease of 19-percent and 59-percent, respectively. It’s worth noting the drop also includes the loss of revenue and profit from the broadcasting and cinema gear that was included in last year’s numbers and has since been moved elsewhere within Canon’s business structure.

A breakdown of the net sales and operating income of Canon’s respective business divisions for its third quarter.

Throughout its presentation for investors, Canon specifically references the ‘deterioration of [the] macro-environment,’ which is more or less investor spin for the camera market is in decline—a fact backed up by CIPA numbers, as well as numbers from other camera manufacturers during the same time period. Canon also echos the sentiment that you’ll see in Nikon and Sony’s report below, saying there is ‘intensifying price competition.’ Interestingly though, Canon isn’t downgrading its forecast for the remainder of the year—something Nikon has done for two straight quarters now as you’ll see below.

Canon also notes that it’s working to lower inventory before the end of FY2019. Based on numbers provided, Canon has ¥157B worth of inventory as of the end of FY2019 Q3; less than it had this time last year (¥174B), but still higher than previous FY2019 quarters.

A breakdown from Canon’s Q3 financial presentation that discloses current inventory levels compared to previous quarters and last year.

Something always worth keeping in mind is that Canon’s Imaging Systems business accounts for a relatively small percentage of its overall income. Based on the numbers from FY2018, Canon’s Imaging Systems division represents 25-percent of its overall revenue and 37-percent of its operating profit.

Also, Canon’s FY2019 numbers are skewed when looked at Y/Y, as it moved its broadcasting equipment and cinema-use video cameras from its Imaging System division to its Industry & Others division.

Nikon

Moving onto Nikon, the numbers don’t get any prettier. In its most recent financial statements covering the past two quarters, Nikon says it sold 800K interchangeable lens cameras, 1.3M interchangeable lenses and 500K compact cameras. These numbers are down 25-percent, 21-percent and 41-percent Y/Y, respectively.

Revenue, Operating income and unit sales broken down in Nikon’s Q2 financial presentation.

In its financial presentation for investors, Nikon has updated its forecast for how many units it expects to ship this coming fiscal year, as well as the number of units it expects the digital camera market as a whole to bear. Nikon believes it will sell 1.5M interchangeable lens cameras, 2.5 million interchangeable lenses and 900K compact cameras, down 100K units across the board compared to its previous forecast from August 2019 and down 28-percent Y/Y.

Comparing Nikon’s numbers to Canon show the situation is more dire for Nikon. Canon’s EOS R and EOS RP haven’t done as well as Canon expected, but Canon is forecasting unit sales to drop 17-percent Y/Y whereas Nikon’s forecasting nearly double that at 28-percent. This means Canon is expecting a decline less than the market as a whole according to CIPA’s numbers whereas Nikon is six percentage points worse than what CIPA is reporting.

A chart from Nikon’s Q2 financial presentation that breaks down the sales of its ILCs, interchangeable lenses and compact camera unit sales.

In addition to unit sales, Nikon’s revenue and operating income aren’t cheery either. Over the first half of its FY2020, Nikon reported 119B yen in revenue and an operating profit of just 2B yen. Compared to the first half of its FY2019, those numbers are a 21-percent and 85-percent decrease, respectively.

Much like Canon with its RF-series, the cost Nikon has sunk into its Z-mount system and accompanying lenses has likely contributed to the massive decrease in operating profit. It’s not cheap to develop new systems and lenses, especially considering the amount of capital required to get new factories and fabrication up and running at full scale.

A chart from Nikon’s Q2 financial presentation showing revenue, operating income and unit sales figures compared to last year, as well as the forecast for the remainder of this fiscal year.

Nikon specifically calls out its Imaging Products Business in the presentation, saying it was the only division that wasn’t ‘mostly in line’ with its estimates. The materials specifically say the camera market ‘has deteriorated further as market shrinkage accelerates and competition intensifies.’ It also cites the increased cost of its Z-mount system lineup expansion as ‘a burden’ to its operating profit and notes it overestimated the sales forecast of its Z-series cameras.

For a company that’s stated in the past that its Z-series is more or less the future of the company, continually low numbers isn’t the best look, especially considering how much Nikon relies on its camera division compared to the likes of Canon and Sony. Nikon goes so far as to say it hopes to ‘fundamentally transform’ its Imaging Products Business to ‘generate enough profits to justify [the Imaging Products Business] existence as a business unit.’

Sony

Of all the financial results we look at, Sony’s has consistently been one of the most challenging to gain details insights on. Due to how they structure their business segments, we can’t really delve into the figures in detail as we can with Canon and Nikon. However, Sony didn’t specifically mention anything too positive or negative about its camera division, which hints that there wasn’t anything too notable about its latest quarters.

A breakdown of sales and operating income for Sony’s Electronics Products & Solutions division. This division includes Sony’s camera sales, as well as mobile devices, televisions and other electronics.

According to Sony’s current Q2 and Q3 reports, its Electronics Products & Solutions EP&S segment — which includes digital cameras amongst other electronic products — pulled in 977.4B yen in revenue and 66.5B yen in operating profit. This is a decrease of 13-percent and an increase of 35-percent Y/Y, respectively. Sony doesn’t elaborate much on the sales of camera gear, aside from saying that overall unit sales have decreased year over year.

A breakdown in sales and operating income for Sony’s Imaging & Sensing Solutions division, which is responsible for the manufacturing of its imaging sensors.

Moving onto Sony’s Imaging & Sensing Solutions (I&SS) segment, which is a separate — but related — business responsible for making its image sensors, the latest reports put its cumulative Q2 and Q3 earnings at 541B yen and 126B yen. This is an increase of 18-percent and 64-percent, respectively. Sony says a ‘significance increase in sales of image sensors for mobile products,’ mostly due to smartphone manufacturers now putting multiple camera units in their devices, as the main reason for such dramatic growth Y/Y in both revenue and operating profit

Conclusion

All in all, there’s plenty to take away from the latest numbers and results. The digital camera market continues to shrink and although full-frame mirrorless cameras from Canon and Nikon are somewhat picking up the slack in sales, they’re not entirely mitigating the decrease in DSLR shipments—especially for Nikon.

Furthermore, the cost of research and development (not to mention marketing and promotional material) that goes into launching cameras and lenses with new mounts has dramatically impacted the operating profits of the imaging divisions. As Canon and Nikon continue to pump money into their newer systems, operating profit will likely stay low until economy of scales kicks in and the new fabrication components are paid off. But declining DSLR and compact sales without corresponding growth in the mirrorless market isn’t going to make the transitions any easier to get through.

The market appears to be dropping at a slower rate than it has in past years, but it’s still not great news. At what point it will stabilize remains to be seen, but with an Olympic year next year and more mirrorless developments in the works across the entire industry, it’ll likely be a while until we find out.

Articles: Digital Photography Review (dpreview.com)

 
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Leica CL ‘Edition Paul Smith’ brings a unique colorful style to 900 limited-edition sets

15 Nov

Leica is back with another special edition product, this one featuring its Leica CL model launched in collaboration with British designer Paul Smith. The new Leica CL ‘Edition Paul Smith’ model’s tech specs are identical to that of the regular production model. Unique to the special edition, however, are ‘one-of-a-kind’ design elements inspired by Smith’s work.

According to Leica, this is the second special edition camera launched in collaboration with Smith. The designer’s handwriting is used as the font for the phrase ‘Look and see’ located on the back of the special edition camera, joining a ‘bold blue’ top plate and the use of ‘vibrant accent colors’ on the top buttons.

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Rounding out the special design is a large eye illustration on the viewfinder and stripes along the camera’s bottom edge. Leica has limited the production of its Edition Paul Smith variant to 900 sets globally; they’re shipped with the Elmarit-TL 18mm F2.8 ASPH lens and a neon rope strap featuring both Leica and Smith branding.

The Leica CL ‘Edition Paul Smith’ set can be purchased from Paul Smith retailers, Leica Stores, and Boutiques for $ 3,995 USD.

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Sony adds Real-Time Animal Eye AF to the RX10 IV via firmware update

15 Nov

Sony, today, released a firmware update for its RX10 IV camera that gives it Real-Time Animal Eye AF and improves the overall stability of the camera.

Firmware version 2.00 adds the same functionality we’ve seen Sony add to a number of its other mirrorless cameras. As with the other cameras, the update makes it possible to use Sony’s AI-powered eye-tracking feature on certain animals. Sony doesn’t specifically say what animals the functionality is limited to, but does note in the firmware changelog that ‘Eye detection may not be possible depending on the environment, animal type or the movement of the animal.’

Below is a brief explainer video of the feature shared by Sony on its YouTube channel:

Firmware version 2.00 for the RX10 IV is available to download for macOS and Windows computers on Sony’s RX10 IV support page.

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News: ACDSee Photo Studio Ultimate 2020 Released

14 Nov

The post News: ACDSee Photo Studio Ultimate 2020 Released appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

News: ACDSee Photo Studio Ultimate 2020 Released

ACDSee has just released its latest post-processing software, Photo Studio Ultimate 2020. ACDSee’s software is meant to pose a challenge to some of the big-name programs out there, most notably Lightroom and Photoshop, though Ultimate 2020 is somewhat unique in that it aims to take on both programs at once.

While Adobe’s Lightroom plus Photoshop package has remained a favorite of photographers over the past few years, programs like ACDSee continue to give them a run for their money. Especially when you can do with a single program that Lightroom and Photoshop can only do in conjunction.

ACDSee Ultimate 2020 isn’t just a full-fledged photo editor (like Photoshop), nor does it confine itself to digital asset management with moderate processing capabilities (like Lightroom). Instead, it offers both file management and advanced, layer-based editing for those photographers who’d like to keep their workflow all in one place.

ACDSee Ultimate 2020 promises a host of new and upgraded features in order to improve both organization and editing workflows, including:

  • Enhanced face detection features, which allow you to easily find photos of specific people within the ACDSee database
  • An HDR function that allows you to combine several exposures to create one high-quality HDR image
  • Focus stacking capabilities, in order to produce a deep depth of field image out of several photos focused at different distances
  • And a Blended Clone tool, which allows you to quickly and efficiently remove distracting areas from your photos for a seamless result

ACDSee Ultimate 2020 also offers RAW support for a slew of additional cameras, including Sony, Panasonic, Fujifilm, Hasselblad, and Canon bodies.

The most unfortunate thing about ACDSee Ultimate 2020 is that it’s only available for Windows. But if you’re already a PC user, there’s a lot to love about this program. You can download a copy of ACDSee Photo Studio Ultimate 2020 for $ 150 USD, or for $ 69 per year as part of a subscription program.

Now I’d like to know your thoughts:

Are you planning on purchasing ACDSee Photo Studio Ultimate 2020? If not, what is your favorite photo editor, and why? Do you think that single programs like ACDSee will ever be able to take the reigns from Lightroom and Photoshop?

The post News: ACDSee Photo Studio Ultimate 2020 Released appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

14 Nov

The post Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount appeared first on Digital Photography School. It was authored by Anabel DFlux.

sigma-35mm-f1-2-art-lens-review

Considering the amount of articles I’ve written about shallow depth of field, it is safe to say that anything wider than f/1.8 is my sweet spot. However, Sony has found itself severely lacking in my favorite fast aperture: f/1.2. Well, my friends, Sigma has come to save the day with the brand new Sigma 35mm f1.2 ART Lens for Sony E Mount! It’s the fastest autofocus lens available for Sony mirrorless cameras to date.

I had the pleasure of taking this lens out for a spin on my Sony A7r IV and Sony A7r III and making all of my creamy bokeh dreams come true.

Lens build

Sigma-35mm-f1.2-ART-lens-review

Upon first glance, this lens is large and heavy. Many people wouldn’t realize this is a wide-angle 35mm focal length. The weight is a bit daunting when you use a mirrorless system, especially since one of the big selling points of mirrorless is the small size of the camera. However, the benefit of mirrorless is that all you’re carrying is the weight of the lens, which I don’t mind.

The weight of the Sigma 35mm f/1.2 ART lens is very worthwhile. The following are the reasons why.

In true ART fashion, the lens is solid, sturdy, and what I’d consider shock-resistant. Give it a bump, you’ll see (no, please don’t do that intentionally!). The lens features a dust and splash-proof structure with additional water and oil-repellent coating on the frontmost surface of the lens. I can personally attest to these, having already taken this optic out in some dire conditions. I put lenses through the wringer, and if they can’t survive me, they aren’t a worthy build!

Also, akin to the ART line is the beautiful glass that is vibrant, sharp, clear, and perfect. It’s very reminiscent of the Canon L-series glass, which I was obsessed with, and was thrilled to find similar in the Sigma ART line.

Lens features

Sigma-35mm-f1.2-ART-lens-review

If you’re a native Sony G-Master user who picks up the Sigma 35mm f1.2 ART lens for the first time, you’ll likely see a familiar feature – an aperture ring. This smooth and easy to use manual adjustment of the aperture is quite a useful feature (especially for those who dabble in video and cinema).

Additionally, what’s really interesting about this lens is the ability to click/de-click the aperture ring, allowing complete silence or clicks to let you know you have turned the ring.

The inclusion of the AFL button adds to the lens’s functionality as you can assign it to various operations.

Lens communication

Sigma-35mm-f1.2-ART-lens-review

You don’t invest thousands of dollars on a camera like the Sony Alpha to not use those features, yes? So why would you grab a lens that isn’t compatible? You just don’t. As such, my deal breaker is whether or not the Sigma 35mm f/1.2 ART lens can speak the Alpha’s native tongue (being a non-Sony-brand lens).

Well, the answer is one that I certainly hoped for: The Sigma is fluent in Sony speak!

As one of the first ART lenses designed exclusively with mirrorless in mind, it’s communication with the popular Sony mirrorless system is key (considering the lens only comes in Sony E mount and L mount). All autofocus features (including eye-tracking [human and animal] and AI autofocus) translate brilliantly between the camera body and optics.

Autofocus

Sigma-35mm-f1.2-ART-lens-review

First of all, the autofocus of the Sony Alpha 7r IV and 7r III are just fantastic. Paired with this lens that is great at communicating with the camera, and you have a recipe for winning. My photo sessions have been so much smoother as a result.

Autofocus has been fast, accurate, and a dream. I have had a hard time putting this lens down, and can always find at least one excuse to bring it along for the ride.

I’ve gone as far as to shoot canine sports with it, even though a focal length of 35mm requires me to get closer to my subject than I’d usually like. However, it’s well worth it for that creamy bokeh, because canine agility fields tend to be quite cluttered with obstacles (which makes for a busy frame without the bokeh).

Whether your subject is running at you, away from you, or to the side, there is no discrepancy in autofocus.

Sharpness

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Edge to edge sharpness doesn’t even begin to describe how crystal clear the Sigma 35mm f/1.2 ART lens is. If I closed my eyes, I’d swear I was shooting with Canon L glass. The ART glass has been truly tremendous, especially in recent lens releases.

I found that my subject was just as sharp in the center point as any corners. This is great for those that want to take advantage of the 35mm focal length width and do some off-center frames.

The full-frame capability gives it a further wow factor. When attached to my Sony A7r IV – a 60+ megapixel camera – the images viewed on a massive print-calibrated 4k screen equals some jaw-dropping moments. Pairing tack sharpness with this lens’s visual sharpness results in an image that would make even the ultimate pixel peepers happy. From my own use, I’d say peak sharpness was around f/2.0 – f/2.8.

What you see is what you get, as the sharpness translated to prints beautifully.

Bokeh

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

You don’t buy an f1.2 lens not to use it at its widest aperture! It took a bit of effort on my part to ever take it off f/1.2.

The bokeh is creamy, beautiful, and completely effortless. The subject separation is superb, and the client’s response to these magical images is pure bliss. I loved using this lens with cluttered backgrounds as the distraction smoothed away. Even when the aperture is widened to f/2.8, the bokeh continues to be smooth and satisfying.

There is some slight vignetting at the corners, but I quite enjoy this look and add a bit more of it in post-production. Those photographers that are miffed by vignetting may not be too thrilled. However, the 35mm wide focal length does allow for a wee bit of cropping so you can remedy that situation with some corner snips.

The bokeh balls produced with the Sigma 35mm f1.2 lens are very smooth and lovely. You won’t find yourself trapped with no onion-ring bokeh in the editing room, as seen in many other types of similar lenses.

Chromatic aberration

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Much to my positive surprise, I have not experienced any chromatic aberration or fringing with this lens – even on extremely contrasting subjects. This tends to be a common problem with very wide apertures. Whatever magic Sigma did to this particular lens clearly works because I have yet to encounter fringing.

With that said, I’m not saying there isn’t going to be fringing in some peculiar situations, but just that I have not yet personally encountered it. I have encountered fringing immediately with several f/1.4 and f/1.8 lenses from Sony (even the G-Master), unfortunately.

Pros

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

  • Fast and beautiful f/1.2 wide aperture.
  • Full-frame lens.
  • Physical aperture ring with click/de-click switch.
  • Excellent communication between Sony E-mount cameras and this Sigma lens.
  • Beautiful creamy bokeh with no onion-ring issues.
  • Fast autofocus and vibrant output.
  • Little to no chromatic aberration.
  • Price is still very competitive, despite being in the four-digit range.

Cons

Sigma-35mm-f1.2-ART-lens-review

  • Heavy, bulky, and large for a 35mm lens (especially on a mirrorless system).
  • Only available in Sony E-Mount and in Sigma/Leica/Panasonic L-Mount (the lens is designed exclusively for mirrorless systems. Some may see this as a con if they don’t own a mirrorless system).

Conclusion

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Sigma 35mm f/1.2 Art Lens Review: Conclusion

My final thought is simple: “this lens will be permanently attached to one of my mirrorless cameras.” The investment is well worth the amount of use you’ll likely get out of this lens, even if you don’t shoot at extremely wide apertures such as f/1.2. I have always found it more worthwhile to invest in lenses that grant you more options and versatility rather than less.

The Sigma 35mm f/1.2 Art Lens can easily become a staple of any kit, with an incredibly vast array of uses from portraits, pets, events, fine art, and everything in between. With the popularity of prime lenses, this one is definitely a top contender.

Have you used the Sigma 35mm f1.2 ART Lens? Share your thoughts with us in the comments below!

The post Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount appeared first on Digital Photography School. It was authored by Anabel DFlux.


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Fujifilm confirms release date for Neopan 100 ACROS II emulsion for 35mm, 120 formats

14 Nov

In April 2018, Fujifilm announced it was discontinuing its much-loved Acros 100 film stock. Now, more than a year later, Fujifilm has announced that its new Neopan 100 ACROS II film, first teased in June of this year, will start shipping in Japan on November 22, 2019 in 35mm and 120 formats.

According to Fujifilm, the newly developed Neopan 100 ACROS emulsion features the company’s ‘Super Fine particle technology,’ which better retains highlight gradation and improves overall sharpness that ‘emphasizes the contour of the subject.’

Fujifilm hasn’t shared any pricing information, but as noted by Emulsive, Rakuten Japan has both the 35mm and 120 versions listed for 1,045 Japanese yen, which equates to roughly $ 9.50 a roll.

Press Release (machine-translated):

Black and white film “Neopan 100 ACROS (Across) II

Fujifilm Co., Ltd. (President: Kenji Sukeno) realizes ultra-high image quality with world-class graininess and three-dimensional gradation reproduction, and is suitable for shooting a wide range of fields, and is suitable for photographing a wide range of fields, and is suitable for photography in a wide range of fields, and is used by “Neopan 100 ACROSII” (hereinafter referred to as “Acros II”). will be released in Japan on November 22, 2019. “Across II” will be available in two types: 35mm size and browny size.

The Neopan 100 ACROSII, which will be released this time, uses our unique technologies, including “Super Fine-Particle Technology” As a black and white film with sensitivity ISO100, we have achieved a three-dimensional gradation reproduction that can clearly express the world’s highest level of graininess and the tint of the subject, and excellent sharpness. By precisely controlling the structure of the silver halide to form an image by capturing light and making it highly sensitive, and by efficiently placing the photosensitive particles of different sizes in the light receiving layer of the film […] It is possible to describe finely down to the details of the texture. We respond to the needs of photography in a wide range of fields, from landscape and mountain photography, portraits, product photography, architectural photography, to astronomical and night view photography of long exposure photography.

In the future, we plan to hold events and photo exhibitions where you can experience the charm of “Across II” where you can enjoy deep and quaint expressions. We will also consider overseas sales.

As a leading company in the imaging field, Fujifilm will continue to provide better products and services in response to diversifying customer needs in a wide range of fields, from analog to digital. The power and splendor of a single photograph will be conveyed.

A technology that contributes to high print quality by precisely controlling the size and composition of silver halide particles contained in photographic films, which achieves both sensitivity and excellent graininess.

A layer that is photosensitive to the light entered from the lens during shooting and forms a black-and-white silver image during the development process.

Book

1. Product Name
Neopan 100 ACROSII
35mm size (36 shots) / Brownie size (12 shots)
2. Release Date
November 22, 2019
3. Price
Open price

Features of “Neopan 100 ACROSII”

  • By adopting our proprietary “Super Fine-Particle Technology”, we have achieved the world’s highest level of graininess as a black and white film with sensitivity ISO100.
  • Compared to our conventional product “Neopan 100 ACROS”, the gradation of the highlight part is designed with a sharp, three-dimensional gradation reproduction is possible.
  • The world’s highest level of sharpness enables the contours of the subject to be described.

History of the release

We ended sales of black and white film in autumn 2018 due to a decrease in demand for black and white film and difficulty in obtaining raw materials that are essential for production. However, many people who like photography with the unique texture of black and white film have received many voices that want us to continue selling black and white film, so we have been considering re-opening sales from all angles. In addition, we have been able to develop and sell the black and white film “Across II” through research on alternatives to raw materials that have become difficult to obtain and a drastic review of the manufacturing process tailored to new raw materials.

Articles: Digital Photography Review (dpreview.com)

 
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