Jordan reviews the Vazen 40mm T2, the first anamorphic lens designed for Micro Four Thirds cameras. In the process, he gives us a great primer on using anamorphic optics for both video and stills.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Articles: Digital Photography Review (dpreview.com)
$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3068214413″,”galleryId”:”3068214413″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
The Leica SL2 is a major update of the company’s original full-frame mirrorless camera, the SL, which was introduced four years ago. The SL2’s design isn’t a dramatic departure from the original, though the hard edges have been softened, the grip has been refined and a new three-button rear interface is similar to that of the Q2. Build quality and weather-sealing has improved to the point where the SL2 has earned an IP54 rating.
The real differences between the SL2 and SL can be found on the inside. The SL2 has a 47MP full-frame CMOS sensor – likely similar to what’s in the Q2 and Panasonic’s S1R – and a 5-axis sensor-shift IS system that can also be used to produce 187MP Raw images. Its contrast detection autofocus system has been improved according to Leica, and a ‘Smart AF’ feature can automatically switch between focus and shutter release priority.
$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3364066639″,”galleryId”:”3364066639″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Photos can be composed via a 3.2″ touchscreen display with 2.1 million dots or a large 5.76M-dot electronic viewfinder. As before, a small status display on the top plate shows important shooting information.
The SL2 can shoot bursts at 20 fps with the electronic shutter and 10 fps with the mechanical shutter, both with AF locked. For continuous focus and exposure, you’ll need to drop to 6 fps. The camera has dual SD card slots, both of which are capable of UHS-II speeds. The official battery life rating for the SL2 is 370 shots per charge, but as always, you’ll likely do better.
The SL2 can shoot DCI or UHD 4K at up to 60p from nearly the full width of the sensor. Both 60p and 50p footage are captured as 8-bit 4:2:0, while 30p and below can be recorded or output as 10-bit 4:2:2 streams. There’s also an option to shoot 5K at up to 30p from a 4:3, roughly 1.6x, cropped region of its sensor. The camera will let you shoot using a proprietary L-Log gamma curve for any of its 10-bit modes and the standard, ready-for-use HLG curve in its 10-bit 4:2:2 modes.
The Leica SL2 will be available on November 21st at a list price of $ 5995.
View our SL2 sample gallery
Go hands-on with the SL2
Watch DPReview TV’s first impressions
Press release:
New camera resets the tone for the mirrorless market
November 6, 2019 – Building on the foundation established in 2015 with the visionary Leica SL-System, Leica Camera proudly introduces the Leica SL2, the storied brand’s new icon and next evolutionary step towards building the perfect all-purpose camera. By listening closely to the valued feedback of photographers and existing SL owners, Leica made many efforts to push the envelope of technological innovation and performance while respecting its heritage of design and legacy. In addition to a technical marvel of pure performance and unmatched build quality, the Leica SL2 is also a joyous experience to use with improved ergonomics and more comfortable grip married to the well-established, simplified three-button control layout, further unifying the Leica design language across multiple product lines. While cutting-edge new features such as in-body image stabilization unlocks newfound potential from legendary Leica M-Lenses, it simultaneously augments the growing selection of SL-Lenses which are some of the finest optics Leica has ever produced. The Leica SL2 is the natural evolution of the innovative Leica SL, serving as a groundbreaking embrace of the future of digital photography and videography while paying homage to its respected history and lineage.
The unprecedented resolution of the SL2’s CMOS image sensor in full-frame format results in an unparalleled level of detail rendition and image quality. Enormous dynamic range, a color depth of 14 bits per RGB channel and a sensitivity of up to ISO 50,000 enable outstanding image quality in all lighting conditions. Even when combined with Leica TL lenses, which are designed for the smaller sensor format of the Leica TL2 and CL, the SL2’s sensor still delivers an excellent image resolution of over 20 megapixels.
In a major evolution of the SL, the Leica SL2 features a suspended sensor which adjusts its position in order to quickly and efficiently compensate for camera shake. This in-camera method even makes image stabilization available to lenses that are not equipped with their own.
Additionally, in multishot mode, the tripod-mounted camera can record up to eight consecutive frames, whereby the sensor is shifted in half-pixel increments in between every exposure. This key feature results in images with an incredible quadrupled resolution of around 187 megapixels, leading to an extreme increase in detail resolution.
Despite significant technical improvements, the Leica SL2 is neither larger nor heavier than its predecessor and feels particularly compact to handle. This is due to the fully redesigned camera body, whose handgrip and the edges have been subtly refined for easier handling.
Improved body design paired with increased durability make the SL2 the perfect companion for all forms of shooting. The SL2’s IP54 certification ensures an elevated weather sealing for more rugged situations, while a new option to turn off noise reduction during long exposures allows for more hands-free shooting. Less worry about the weather and environmental situations means photographers can focus more on getting the shot.
Overall the design of the SL2 recalls more of the iconic Leica identity and traditional design DNA elements that the brand has become known and loved for.
The Leica SL2 offers an innovative user interface whose efficient design allows photographers to focus their attention on the creative process. The design alignment with the existing M and Q systems makes the adjustment even easier for existing Leica photographers.
The main recording parameters can be viewed on the rear display and adjusted quickly and easily with a simple finger tap. A click wheel, a joystick and three strategically placed, individually configurable buttons also contribute to a straightforward operation. Thanks to two dedicated status menus for stills and video recording, the parameters for either shooting mode can be adjusted entirely separately from each other.
Featuring an L bayonet lens mount, the Leica SL2 is not only compatible with the ever-growing portfolio of SL-System lenses, but also with lenses of the TL-System and with the legendary lenses of Leica’s M, S and R-Systems via adapter, providing more than 170 Leica lens options, guaranteed to offer the right fit for any photographic scenario. The L-Mount Alliance expands this scope of possibilities even further, by giving SL2 photographers access to L-mount-compatible lenses from Sigma and Panasonic.
The new Maestro III processor facilitates a superior operating speed that shines in many aspects of the SL2’s performance. The autofocus is significantly faster and allows for a virtually lag-free shutter release in any shooting situation, which is further complemented by the new Smart AF mode, which autonomously switches between focus priority and shutter release priority. Full-resolution recordings of consecutive images are possible at 10 frames per second with the focal plane shutter, and 20 frames per second with the electronic shutter. Thanks to two UHS-II-compatible SD card slots, raw files can be saved simultaneously in DNG and JPEG format.
The camera’s electronic viewfinder now boasts a resolution of 5.76 megapixels, allowing for a large, entirely natural-looking viewfinder image. Simultaneously, the experience is further enhanced when using the touchscreen, which has increased in size to a 3.2-inch diagonal, and now offers a significantly higher resolution of 2.1 megapixels.
In addition to its great appeal for photographers, the Leica SL2 speaks the language of cinematographers, as the camera is able to record up to 60 frames per second in Cine 4K mode, and up to 180 frames per second in Full-HD mode. Activating Cine mode transforms the SL2 into a manually controlled cine camera as ISO becomes ASA, the shutter speed is marked in degrees on the rotary disk shutter, and the f-stops indicating the aperture ratio are replaced by T-stops, which measure the actual amount of light transmitted through the lens. Connecting audio equipment to the Leica SL2 no longer requires the use of adapters, as the camera now features a build in headphones and mic jack, complemented by a fully-fledged HDMI connector for external monitors.
The Leica SL2 is available in Leica Stores and Leica Boutiques beginning November 21, 2019, at a recommended retail price of $ 5,995.
| Price | |
|---|---|
| MSRP | $ 5999 |
| Body type | |
| Body type | SLR-style mirrorless |
| Body material | Magnesium alloy |
| Sensor | |
| Max resolution | 8368 x 5584 |
| Image ratio w:h | 3:2 |
| Effective pixels | 47 megapixels |
| Sensor size | Full frame (36 x 24 mm) |
| Sensor type | CMOS |
| Processor | Maestro III |
| Color space | sRGB, Adobe RGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, 100-50000 (expands to 50-50000) |
| Boosted ISO (minimum) | 50 |
| White balance presets | 8 |
| Custom white balance | Yes |
| Image stabilization | Sensor-shift |
| CIPA image stabilization rating | 5.5 stop(s) |
| Uncompressed format | RAW |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Manual focus | Yes |
| Number of focus points | 225 |
| Lens mount | Leica L |
| Focal length multiplier | 1× |
| Screen / viewfinder | |
| Articulated LCD | Fixed |
| Screen size | 3.2″ |
| Screen dots | 2,100,000 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 0.78× |
| Viewfinder resolution | 5,760,000 |
| Photography features | |
| Minimum shutter speed | 1800 sec |
| Maximum shutter speed | 1/8000 sec |
| Maximum shutter speed (electronic) | 1/40000 sec |
| Exposure modes |
|
| Built-in flash | No |
| External flash | Yes (via hot shoe) |
| Flash X sync speed | 1/250 sec |
| Drive modes |
|
| Continuous drive | 20.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | -3–5 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±3 (3, 5 frames at 1/3 EV steps) |
| Videography features | |
| Format | MPEG-4, H.264 |
| Modes |
|
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage included | Dual SD card slots (UHS-II supported) |
| Connectivity | |
| USB | USB 3.1 Gen 1 (5 GBit/sec) |
| HDMI | Yes (10-bit output) |
| Microphone port | Yes |
| Headphone port | Yes |
| Wireless | Built-In |
| Wireless notes | 802.11ac + Bluetooth |
| Remote control | Yes (via smartphone) |
| Physical | |
| Environmentally sealed | Yes |
| Battery | Built-in |
| Battery description | BP-SCL4 |
| Battery Life (CIPA) | 370 |
| Weight (inc. batteries) | 835 g (1.84 lb / 29.45 oz) |
| Dimensions | 146 x 107 x 42 mm (5.75 x 4.21 x 1.65″) |
| Other features | |
| Orientation sensor | Yes |
| Timelapse recording | Yes |
| GPS | None |
Articles: Digital Photography Review (dpreview.com)
Chris and Jordan are off to Germany to try the new Leica SL2 at Leica headquarters. Will Chris get to keep a camera for his birthday? Will Jordan declare it the best Leica ever for video? Tune in to to get the answers to this and more.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2631304070″,”galleryId”:”2631304070″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)
$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2631304070″,”galleryId”:”2631304070″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Leica invited our team from DPReview TV to Germany to test drive the new Leica SL2 – and test drive they did. Check out these samples captured with a pre-production SL2 body.
View DPReview TV’s Leica SL2 pre-production sample gallery
Articles: Digital Photography Review (dpreview.com)
 |
The people at Sony’s image sensor division have posted a teaser video for an upcoming new smartphone image sensor, the IMX686, on the Chinese social media site Weibo. The new chip is the successor to the IMX586, which was one of the first 48MP Quad-Bayer sensors and has been deployed in several high-end smartphones.
Sony does not reveal the sensor resolution or other specifications in the video but based on rumors about phones that will supposedly use the sensor GSM Arena estimates it to be between 60 and 64MP.
$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5978174378″,”galleryId”:”5978174378″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
The video reveals that the new sensor will be released in 2020 and shows a selection of still images captured in a variety of light conditions. The images are not full size, so it’s hard to make any judgements about image detail or noise, but they do look quite impressive in terms of exposure and dynamic range.
Given no phone is using the new sensor yet, Sony has used a prototype board connected to a computer to capture the samples. Have a look at the gallery above and check out the full video over on Weibo.
Articles: Digital Photography Review (dpreview.com)
 |
Optical manufacturer Zeiss has announced a new set of lenses based on its Supreme Prime range but which are designed to produce attractive flare easily and in a controlled manner. The Zeiss Supreme Radiance Prime lenses will only be available as a set of seven focal lengths and can only be ordered between now and the end of March 2020.
The lenses have been created to enable cinematographers to introduce a controlled amount of flare into their productions without losing optical quality. The company claims the Supreme Radiance lenses will provide consistent effects and won’t compromise contrast or light transmission. A new T*Blue coating has been used to generate the flare in the lenses, which are otherwise exactly the same as the existing Supreme Primes.
 |
The flare from the lenses has a blue tone, and those quoted as having used the lenses talk of a look that is sharp but soft at the same time and highlights the glow. The coating also lends a slightly warmer tone to the footage.
The set of seven lenses will cover focal lengths from 21mm to 100mm, and a wide covering circle means they are suitable for large format sensors. All are compatible with the ZEISS eXtended Data metadata system and Cooke’s i/Technology for recording shooting information on along with each frame to help special effects teams integrating additional content into the picture.
Zeiss hasn’t yet announced a price for the lenses but says they will start shipping April 2020. For more information see the Zeiss website.
Press Release:
A Modern Lens, based on ZEISS Supreme Prime lenses, with Controlled Flares – orders possible by 31st March 2020!
ZEISS has unveiled the ZEISS Supreme Prime Radiance lenses, an exclusive new set of seven high-end cinematography lenses. The lenses are based on the high-speed ZEISS Supreme Prime lens family with the benefit of the new T*blue coating, which offers a distinctive look and consistent flares without any compromises.
“The ZEISS Supreme Prime Radiance lenses deliver stunning, consistent flares across all focal lengths that cinematographers can create at will,” says Christophe Casenave, Product Manager for Cinema Products at ZEISS. “The new lens family has been infused with ZEISS’s experience and passion for premium-quality cinematography lenses – combined with its aspiration to support filmmakers throughout the creative process,” says Casenave.
ZEISS Unveils New High-End Cinematography Optics: ZEISS Supreme Prime Radiance Lenses
Controlled images that exude artistic flair
The ZEISS Supreme Prime Radiance lenses are available as a set of seven focal lengths of between 21 and 100 millimeters, all with a maximum aperture of T1.5. This makes it possible to capture subtle nuances, even in poor light.
“When we spoke to filmmakers and industry experts, we took a close look at the appeal of flares and their unique impact on the atmosphere of a movie,” says Casenave. He describes how ZEISS is responding to users’ needs to integrate flares to ensure greater creative freedom with the lenses: “We didn’t just want to reproduce the effects, but to create tools that would allow this effect to be achieved at any time and in a controlled manner, and so the T* blue coating was born.” The new coating allows users to create flares in the right light without any losses in contrast or transmission – and in the high quality that customers have come to expect from ZEISS.
The versatility of the lenses can be used to create this visual look, which is due to the smooth depth of field and elegant bokeh, thus meeting users’ every artistic wish – from a blockbuster to a high-end commercial or a film d’auteur.
Compact, lightweight full-frame lenses
In addition to their flare behavior, the new lenses offer all the benefits of the ZEISS Supreme Primes. Thanks to their image circle diameter of 46.3 millimeters, they cover the current large-format cinematography sensors and are as such compatible with the latest camera models, such as the Sony Venice, ARRI Alexa LF, and Mini LF and RED Monstro. Moreover, they feature a front diameter of 95 millimeters with consistently positioned focus and aperture rings. They weigh around 1,500 grams on average.
The lenses are equipped with the ZEISS eXtended Data metadata technology launched in 2017, providing frame-by-frame data on lens vignetting and distortion in addition to the standard metadata provided using the Cooke /i technology1 protocol. This simplifies and speeds up workflows, particularly for VFX and Virtual Production.
Limited availability
The ZEISS Supreme Prime Radiance lenses are available to order from announcement until March 31st, 2020. The seven focal lengths – 21 mm T1.5, 25 mm T1.5, 29 mm T1.5, 35 mm T1.5, 50 mm T1.5, 85 mm T1.5 and 100 mm T1.5 – are available exclusively as a set from ZEISS Cinema dealers. The lenses will be delivered from April 2020 after the end of the ordering period.
From November, 9th -16th ,2019, ZEISS will be unveiling its ZEISS Supreme Prime Radiance lenses for the first time before a large audience at the CAMERIMAGE International Film Festival in Toru?, Poland. The short film R&R by Rodrigo Prieto (DOP of movies like The Irishman, The Wolf of Wall Street and Brokeback Mountain) shot with ZEISS Supreme Prime Radiance lenses, will also be shown at the festival. After CAMERIMAGE, ZEISS will be running a series of events at various rental houses around the world to give cinematographers the chance to try out the new lenses.
To find out more, please visit: www.zeiss.com/cine/radiance.
Articles: Digital Photography Review (dpreview.com)
A team with German university HTW Berlin has published a new project called Wikiview, a website that makes it easy to search for images in the Wikimedia Commons. With Wikiview, anyone can search for images related to a subject, then narrow down the results by adding other search terms, such as looking specifically for photos of old cars that are located outdoors.
 |
Wikiview enables users to zoom in and out of the 2D image map used to present grid-based image results. When the user selects a particular image, it appears in a viewer sidebar alongside its title, the date it was taken, the license under which it was published, its author, and links to both its Wikimedia page and to similar image results. Users are able to directly download the image from Wikiview.
Wikiview is one of multiple sites that enables users to more easily find images shared under various licenses. Earlier this year, for example, Creative Commons launched an overhauled CC Search tool that serves as a portal to more than 300 million photos.
Articles: Digital Photography Review (dpreview.com)
 |
Select Adobe users who have access to the company’s Fresco digital painting and drawing app are currently testing a new live-streaming feature that enables them to broadcast their work in real-time. The live-streaming feature was announced at the Adobe Max conference and recently detailed by The Verge, which reports that Adobe views this as a way to make creators and its products go ‘viral.’
The live-streaming feature will be built into Adobe Creative Cloud apps, according to the company’s Chief Product Officer Scott Belsky. With it, users will be able to launch a live stream of their session and share a link with others either privately or on social media platforms. Viewers will have the ability to leave comments during the stream.
Other details, such as which live-streaming platforms will be supported and which Creative Cloud apps will get the feature, remain unclear at this time. Only select users have access to the beta feature in Adobe Fresco; the company hasn’t provided a time frame for when it plans to deploy the feature for all users.
Articles: Digital Photography Review (dpreview.com)
The post Weekly Photography Challenge – Street Markets appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
This week’s photography challenge topic is STREET MARKETS!
Photo by: Kav Dafar ©
Street markets happen day and night and are filled with bustling crowds, fresh produce, and hand-made arts and crafts.
You can do detail shots of items for sale, or capture portraits in the crowd. Alternatively, try using long exposures to blur the crowd and really capture the hive of activity. Snap vendors interacting with customers, or the colors of the gazebos or fresh fruit and vegetables.
Play with black and white or work with contrasting light and shadows.
So, check out these inspiring pics by some of the dPS writers, have fun, and I look forward to seeing what you come up with!
Photo by: Kevin Landwer-Johan. ©
Photo by Simon Bond ©.
Check out some of the articles below that give you tips on this week’s challenge.
10 Tips for Photographing Street Markets
7 Tips to Help You Take Better Photos of Markets
How to Photograph Markets
5 Essential Shots You Need to Get for Street Market Photography
21 Images That Show a Trip to the Market
Tips for Getting Started in Street Photography
7 Ways to Become More Spontaneous with Your Street Photography
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSstreetmarkets to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
The post Weekly Photography Challenge – Street Markets appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post Canon Announces the EOS Ra, Its First Mirrorless Astrophotography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon has announced its first astrophotography camera since the Canon 60Da, which is also its first-ever mirrorless astrophotography camera:
The Canon EOS Ra.
The EOS Ra isn’t a particularly flashy camera; it’s the Canon EOS R, along with a few special features designed for astrophotographers. But if you’re looking to take photos of the night sky, the Canon EOS Ra may be exactly what you need.
What makes this camera special?
First, Canon has added a special IR filter in front of the sensor, one that promises to increase transmission of the H-alpha wavelength by approximately four times the amount of the standard EOS R. Most cameras include an IR filter that reduces H-alpha wavelength transmission. But the H-alpha wavelength features heavily in celestial phenomena such as diffuse nebulae; the enhanced transmission should make for clearer, sharper images of these astronomical objects.
And second, Canon added enhanced EVF and LCD viewing. You can zoom in to 5x or 30x magnification using either the LCD or the electronic viewfinder, which allows you to focus on celestial objects with increased precision.
Note that the Canon EOS Ra offers all the other features of the EOS R, including a 30.3 MP sensor, the DIGIC 8 processor, continuous shooting at 8 frames per second, and Canon’s amazing Dual Pixel autofocus.
So who should get the Canon EOS Ra? And how does it perform when shooting subjects other than the night sky?
The Canon EOS Ra is designed for astrophotographers, and I recommend you keep it that way. While all the EOS R features are present, the altered IR filter may cause issues when photographing non-celestial subjects. Plus, the EOS Ra has a few hundred dollars added to its price tag, selling for $ 2499 USD compared to the $ 1799 USD Canon EOS R. For non-astrophotographers, purchasing the EOS Ra will be throwing away unnecessary dollars.
But for astrophotographers, the Canon EOS Ra is a fantastic option.
The camera is currently available for preorder and should debut in mid-December 2019.
What do you think about the Canon EOS Ra? And for all the astrophotographers out there: Will you be using it for astrophotography?
The post Canon Announces the EOS Ra, Its First Mirrorless Astrophotography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
You must be logged in to post a comment.