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Yasuhara announces Anthy 35mm F1.8 lens for Canon RF, Nikon Z and Sony E mount cameras

24 Sep

Budget Japanese optics manufacturer Yasuhara has announced the Anthy 35mm F1.8 manual lens for full-frame mirrorless camera systems.

The Anthy 35mm F1.8 lens (translated) is constructed of nine elements in seven groups and features a nine-blade aperture diaphragm with an F1.8 to F16 range. The front filter thread is 52mm, it has a minimum focusing distance of 40cm (15.75in) and the lens weighs 409g (14.3oz).

The lens is entirely manual and doesn’t feature electrical contacts, meaning no metadata will be sent to the camera it’s attached to and, if applicable, the ‘release without lens’ setting will need to be turned on.

The lens is set for a fall 2019 release and will be available in Canon RF, Nikon Z and Sony E mounts. No pricing information has been given at this time. We have contacted Yasuhara and will update this article if we hear back about pricing information.

Below are three full-resolution sample images captured with the lens on a Canon EOS R:

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We haven’t heard much about Yasuhara in the past and its lens lineup is rather limited, so we can’t attest to the image quality or durability of its lenses, but the company recently celebrated its seventh year in business. Yasuhara also has Anthy-branded 50mm and 85mm lenses in development (translated).

Articles: Digital Photography Review (dpreview.com)

 
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The ultra-wide camera in the iPhone 11 models is fixed-focus, doesn’t support Raw capture

24 Sep

Last week, Apple debuted its new iPhone 11 devices, all three of which feature an ultra-wide camera module. This marks the first time Apple has put an ultra-wide camera in an iOS device and with the new camera comes all-new capabilities and shooting modes.

Not all of the cameras are made equal though. In addition to not having optical image stabilization, it’s been revealed the ultra-wide camera unit on all three models isn’t yet capable of capturing Raw image data or manual focus, unlike the wide-angle camera (and telephoto camera on the iPhone 11 Pro models).

Revealed by Halide developer Ben Sandofsky, the ultra-wide camera has a fixed-focus lens and doesn’t offer any Raw photo output. The reasoning isn’t yet known, but as noted by a number of responses to Sandofsky’s tweet, it’s possible the reason for not offering Raw output from the ultra-wide camera is due to the barrel distortion present in the uncorrected images from the ultra-wide camera. If not corrected, the distortion would be dramatic considering the 13mm (35mm equivalent) focal length, and without having iOS apps with that correction built-in it would result in rather distorted images.

It’s possible Apple could turn on Raw support in a later iOS update, but for now, Raw capture is limited to the other two camera modules.

Articles: Digital Photography Review (dpreview.com)

 
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Rock Bar is a sleek and slim weighting system designed to replace sandbags

24 Sep

California company Rock Bar has introduced a much tidier solution to weighing down tripods and light stands with a new weight case that straps securely to legs and center columns to provide extra stability.

The Rock Bar system comprises a nylon zip-up tube that comes filled with seven pounds of recycled steel and which uses straps at either end of its body to attach to legs without swaying in windy conditions.

The number of weights in the body can be adjusted by the user depending on the conditions and the equipment being supported, and the slim-line pouch is designed not to get in the way or to catch the wind itself. Rock Bar is aimed at tripod users, and those hanging lights on high stands and boom arms, and is intended to replace sandbags and other types of hanging ballast.

The case measures 31.75×6.35×6.98cm (12.5×2.5×2.75in) and costs $ 45. For more information see the Rock Bar website.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Camera Raw, Lightroom add support for newer Sony, Panasonic and Fujifilm cameras

24 Sep

Adobe recently released the September update for its Camera Raw plugin, the software that enables users to import and edit Raw images in the company’s creative software applications like Photoshop and Bridge.

Camera Raw version 11.4.1 adds support for four additional camera models: Fujifilm X-A7, Sony A7R IV (ILCE-7RM4), Panasonic Lumix DC-S1H, and the Sony RX100 VII (DSC-RX100M7). The new camera support is also available in Lightroom and Lightroom Classic starting with versions 2.4.1 and 8.4.1, respectively.

With the updated support, users can edit RAF images from the Fujifilm X-A7, as well as RW2 files from the Lumix DC-S1H and ARW files from the two newly added Sony cameras. Adobe Camera Raw 11.4.1 is available to download for Windows and macOS for free from Adobe’s website. The Lightroom and Lightroom Classic updates should be available through Adobe’s Creative Cloud desktop app.

Articles: Digital Photography Review (dpreview.com)

 
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Rumor: The Olympus E-M5 III to be launched October 17th, use same 20MP sensor as E-M1 II

24 Sep

According to the most recent report from 4/3 Rumors, Olympus’ next camera, presumed to be the E-M5 III, will be announced on October 17, 2019, and feature the same 20-megapixel sensor that’s inside the E-M1 II.

In its report, 4/3 Rumors breaks down the summary of the rumored information it’s received thus far saying with ’99 percent’ certainty that the announcement will be made on October 17, 2019, and with ’80 percent’ certainty, the new camera will feature the same 20MP 121 cross-type phase-detection sensor as the E-M1 II.

The report also states with ’90 percent’ certainty the new camera will come with a new processor that should, in theory, result in better image quality despite using the same sensor. Other details in the report say with ’60 percent’ certainty that the camera will have a ‘lighter, more plasticky but still weather-sealed body’ and use the same BLS-50 battery also used by the Olympus PEN and E-M10 cameras.

If this information does end up holding true, the E-M5 III is shaping up to be an incremental improvement rather than a revolutionary advancement.


Update (September 23, 2019): Corrected to reflect the 20MP sensor the rumored E-M5 III will be based on is in fact the E-M1 II, not the E-M5 II.

Articles: Digital Photography Review (dpreview.com)

 
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Sony E 16-55mm F2.8 G sample gallery

23 Sep

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The 16-55mm F2.8 provides Sony APS-C shooters with a useful 24-82.5mm equivalent range and a bright, constant aperture. We put it on a6500 to see if Sony’s claims of excellent edge-to-edge sharpness hold up – take a look for yourself.

See our Sony E 16-55mm F2.8 G
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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How To Protect Your Camera Against Lens Fungal Damage

23 Sep

The post How To Protect Your Camera Against Lens Fungal Damage appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Protecting your expensive camera against lens fungal damage is necessary to prevent lasting damage. Left unchecked, fungal growth can damage the glass elements in lenses forever.

Fungus is a living, growing microorganism which can form on camera lenses. This type of mold is most common in humid climates. Often the damage it causes is only minor, but a rampant fungal growth can ruin a lens.

How To Protect Your Camera Against Lens Fungal Damage

Cleaning fungus on exterior elements of lenses can be relatively easy. However, you need to catch it before it becomes too advanced. Growth of mold on interior lens elements is more difficult to detect and it requires a skilled technician to be able to remove it. The lens must be stripped down, cleaned and then rebuilt – which is a costly process.

Prevention of fungal growth on lenses is far more preferable than having to remove mold. If left unrestrained, fungus can permanently damage a lens because it eats into the glass. Once cleaned, furrows remain in the lens and affects the way light refracts through it.

Methods for preventing lens fungus

Taking proper care of your camera equipment is always good practice. Well-kept equipment will last longer and retain higher used resale value.

Here are some ideas to help you avoid encountering the problem of fungal growth in your lenses.

How To Protect Your Camera Against Lens Fungal Damage

Clean your lenses often

Many photographers are in the habit of cleaning only the front element of their lenses, or the filters that screw on to cover them.

Wiping down your whole lenses with a damp microfiber cloth from time to time is good for them. Particularly if you’ve been photographing in a hot, humid climate. The atmosphere and sweat from your hands can affect your lens.

Using a microfibre cloth helps to avoid leaving unwanted lint deposits on the lens. Once you’ve wiped your lens down with a damp cloth, have a dry one on hand to wipe it down once more. Using a hairdryer on a low heat will also help any moisture evaporate from your lens.

Don’t leave your lenses in the sun to dry them. This can cause other problems.

Store your lenses in a dry box with silica gel

An airtight box is a good place to store your lenses. It’s convenient to leave all your gear in your camera bag, but left there it’s susceptible to affect by moisture.

Including a quantity of silica gel in the box helps to absorb any residual moisture. Small packets of silica gel often come with consumer goods. These do not contain enough to make a significant difference.

Silica gel can be purchased at a store or online, in larger quantities. I prefer the type of gel that can be used more than once. It changes color from blue to an orange color once it’s absorbed moisture. It can then be dried out by placing it in a microwave oven for a few minutes at medium power setting.

lens-fungal-damage-protection

Moist and Dry Silica Gel

A cup full of silica gel placed in an old or stray sock with a knot tied in it will help keep your gear dry in a box. You’ll want to make sure the sock has no holes worn in it.

lens-fungal-damage-protection

Sealed Storage Box

Food storage boxes with good seals are useful. I use this type of box to store my film cameras and older lenses I don’t use often. Every so often I dry out the silica gel in the microwave oven.

A more expensive and robust option is a Pelican case. These rugged camera cases are completely airtight when closed. Depending on the size of the case you may need to add more than one sock of silica gel.

lens-fungal-damage-protection

Pelican Case

Keep your lenses in an air-conditioned room

If you have an air-conditioned room, this is also a good location to store your lenses and other camera gear.

Air conditioning not only keeps the air in a room cooler, but it lowers the humidity. Ideally, you do not want the temperature of the room to be too cold. If you live in a hot climate, this can be problematic when you take the lenses outside. They will fog up.

When a lens is very cold and then taken into a very warm environment, condensation can form quickly. You’ll have to wait for it to clear before you’re able to take any photos.

Use a dehumidifier

This is the type of household appliance which sucks water from the air. It will not cool the room, but it will draw out any moisture in the air.

Running a dehumidifier for a few hours a day in a small room in wet weather is usually enough to dry the air.

They are often portable and cheaper than an air conditioning unit. They also consume less electricity.

lens-fungal-damage-protection

Buy a dehumidifier dry cabinet

This appliance is a dedicated piece of equipment. It’s designed for the task of helping prevent lens fungal damage in your camera equipment.

A dehumidifier dry cabinet is usually a glass-fronted cabinet. They are available in various sizes to accommodate as much or as little equipment as you have to store.

These units are digitally controlled so you can regulate them.

Conclusion

Taking good care of your precious lenses is well worth it. Finding mold in your favorite lens would be soul-destroying.

Investing in an appropriate storage solution can be far cheaper than having to pay for lens cleaning.

Please let me know in the comments below if you have any other tried-and-true ways of keeping your lenses from becoming mold farms.

 

lens-fungal-damage-protection

The post How To Protect Your Camera Against Lens Fungal Damage appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Canon 1D X Mark III: Includes IBIS, Increased Resolution, and More

23 Sep

The post Canon 1D X Mark III: Includes IBIS, Increased Resolution, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon 1D X Mark III: Includes IBIS, Increased Resolution, and More

The Canon 1D X Mark III may be the last of its kind, but it won’t go down without a fight.

Information has leaked regarding the Canon flagship camera, predicting a 2020 release. This follows on the heels of Nikon’s D6 announcement and its claim that the D6 will be Nikon’s “most advanced DSLR to date.”

The Canon 1D X series and the Nikon D6 series have been longtime competitors, aimed at professional photographers in need of rugged, high-performing camera bodies. Hence, it’s no surprise that the 1D X Mark III should come out in 2020, most likely in time for the Summer Olympics in Tokyo.

The leak also suggests that the Canon 1D X Mark III will have in-body image stabilization (IBIS), a feature traditionally offered by mirrorless models but kept out of DSLRs. This will be appreciated by low-light shooters who need to eke out every bit of stability they can get.

The Canon 1D X Mark III is also said to feature significantly increased resolution “for an EOS-1 series camera.” Note that Canon’s EOS-1 line is short on resolution but high on autofocus capabilities and shooting speed, which explains why the 1D X Mark II tops out at 20.2 megapixels, despite its ‘flagship’ label.

What would count as significant?

My guess would be a jump in the 4-megapixel range, to put the 1D X Mark III at 24 megapixels. But it could be less, considering the low bar for 1D X resolution.

Apparently, the Canon flagship will also include 6K video (without a crop) and an upgraded DIGIC processor, as well as dual CFExpress card slots.

As of now, the 1D X Mark III is looking on par with the Nikon D6, which is rumored to drop in 2020.

Both cameras will undoubtedly be pricey; the Canon 1D X Mark II retails at $ 5500 USD, and the Nikon D5 sits at nearly $ 6000.

But for the professional action photographer, the cameras will undoubtedly be worth the cost.

Are you looking forward to the Canon 1D X Mark III announcement? What specs are you hoping to see? Share your thoughts in the comments!

The post Canon 1D X Mark III: Includes IBIS, Increased Resolution, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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GoPro is teasing its upcoming action cam, 360º camera set for an October 1st announcement

23 Sep
This screenshot from the teaser video appears to show off what we presume will be the GoPro HERO8 Black.

GoPro has posted a new teaser on its website showing off a few renderings and clips from what we believe to be its next-generation action cams.

Earlier this month we saw leaked product images, but this is the first official info we’ve seen regarding the impending launch. The announcement reads ‘This is Action’ and notes October 1, 2019, which we presume will be the official announcement. Below is the teaser in its entirety:

Two distinct devices appear to shown in the footage, as noted in the above screenshots, which echoes leaked information and images that in addition to a GoPro HERO8, GoPro will also reveal the GoPro Max, a second-generation 360º cameras that will be the successor to the GoPro Fusion.

A screenshot depicting what we assume, based on leaked images, will be the GoPro Fusion successor, the GoPro Max.

GoPro has also posted a video to YouTube where a livestream will take place for the announcement of what’s anticipated to be two new devices.

Articles: Digital Photography Review (dpreview.com)

 
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Landscape photography with a drone: the advantages – part 1

22 Sep

In the first article of this series I explained what drones are, how they are built and controlled by the user. The next question to naturally arise is “Why does one need a drone?” What is a drone good for, and why should you get one?

The answer to this question is long and complicated, but could be summed up by saying that a drone gives the photographer opportunities for shots not achievable in any other way. That’s quite the statement, but I stand firmly behind it, and I intend to explain this position in depth in this article and in the ones to follow.

The first order of business would be to compare the drone to the ubiquitous tool of the photographer: the DSLR, or any hand-held camera for that matter. Indeed, I have written extensively about the advantages of aerial photography in a previous series, but that was in the context of hand-held shooting from an aircraft, and in any case, these advantages need to be presented here if this series is to be self-contained. I’ll rephrase them shortly in a way that better relates to droning.

What the drone offers compared to ground-based shooting is as follows: you have a miniature friggin’ helicopter in your hands, and it allows you to shoot aerials, get the shots from any angle, get there quickly and safely, all without any real danger to your body (caveats to that coming in the future).

Need to separate compositional elements that overlap from the ground? No problemo – take the drone higher and viola – objects are separated. Want to shoot flowing lava without burning your ears off? The drone feels no pain. Can’t walk on water? Can’t breathe toxic fumes? Can’t fly? Too lazy to hike? Send the drone. You get the idea, let’s explore some examples.

Infinite Perspectives

Landscape photography is all about composition – the base layer to any image. Good light and colors are nice, but without an underlying arrangement of objects that’s appealing to the eye, you have nothing. An aerial perspective and the choice over the height, angle and distance from which an image is taken allow for an unprecedented degree of control over composition.

The towers of this ice-castle fit perfectly in the dents in the cloud-cover. I took the drone up to a height which would show this concordance, yet allow separation of the elements.
DJI Mavic II Pro, 1/30 sec, F8, ISO 100. Disko Bay, Greenland

Natural elements often look totally different from the ground level and from the air, but it’s also true that different aerial angles also result in completely distinct compositions. The two images below are the same exact iceberg. Both were taken from the air during one shoot. Would you have guessed? This goes to show the extent of diversity offered by shooting from the air.

More examples: Mount Zinn is a beautiful mesa erosion-mountain in Israel. Taking the drone around it during morning twilight and sunrise resulted in several distinct compositions.

Hidden parts of the photographed natural elements can be discovered and conveyed to the viewer in a visually pleasing way when shooting them from the air. It’s sometimes unbelievable how many phenomenal features are hidden in plain sight, simply because we lack the aerial perspective.

This amazing whirlpool was hiding about 10-20 meters from where I was standing. There was no way I could’ve detected or shot it without the drone.
DJI Mavic II Pro, 1/80 sec, F4, ISO 100. Haukland Beach, the Lofoten Islands, Arctic Norway

Top-down shooting, albeit sometimes over-done, can also be a good creative tool for imagery. It doesn’t always work, though – bear that in mind when trying it.

Amazing natural colors and patterns in the Argentinean high-altitude desert. Shooting this top-down gave the image a painting-like appearance.
DJI Mavic II Pro, 1/240 sec, F9, ISO 100. Puna De Argentina
Lava surface-flows in Kilauea Volcano, Hawaii. A top-down perspective resulted in a deliberate lack of depth, which in turn allowed me to concentrate the viewer on the shape of the flows.
DJI Phantom 4 Pro, 1/25 sec, F6.3, ISO 400. Taken outside of Volcanoes NP, Island of Hawaii.

Separation

A specific aspect of composition is the separation between the different compositional elements. Separation serves to make the composition more appealing. Not having subjects obscured by others is satisfying for the eye, and helps the image have a cleaner, more ordered feel.

A gigantic iceberg floating in Disko Bay, Greenland. The position of the iceberg meant is was impossible to get separation of its two parts when still showing the light passing through the arch and hitting the back segment from the water level. Another clear advantage is the fact that the submerged part of the iceberg is beautifully showing, in addition to debris from a recent collapse in the arch.
DJI Mavic II Pro, vertical stitch, 1/40 sec, F6.3, ISO 100

Separation is especially important where the photographer struggles to convey the grandeur of a location. When shooting Cono Arita (see below) from the ground, it’s impossible to convey the cone’s true shape or its place in the salt flat, not to mention separate it from other elements.

Cono Arita is a sandstone hill in the middle of the Arizaro salt flat in the Argentinean Puna (high-altitude desert). When morning light strikes, the beautiful shadow is cast upon the plain. Taking the drone up allowed me to show this, while creating separation between the cone, its shadow and the surrounding hills and mountains.
DJI Mavic II Pro, 1/60 sec, F8, ISO 100. Salar De Arizaro, Argentina

Just as a ground-based photographer tries to separate his or her foreground and background, the aerial photographer has the same exact considerations – only many more options, as the height constraint is relaxed. See, for example, the near-far composition below.

The drone allowed me to separate the five volcanoes visible in this image: in the bottom of the frame is Ijen crater. To its left, the lush, green Gurung Ranti. Then farther away, from left to right: Pendil, Raung and Suket. There was even room for the shadow (bottom-left to mid-right) cast by Gurung Merapi, just behind the camera.
DJI Mavic II Pro, F8, 1/25 sec, ISO 100. Kawah Ijen, Indonesia

Separation doesn’t always mean the subjects aren’t touching – it can mean a subtler expansion of the distances between the subjects, to create a more pleasant arrangement.

I used the aerial perspective to expand the distances between these interlacing hills and their shadows at sundown.
DJI Mavic II Pro, 1/60 sec, F10, ISO 100. Desierto Del Labirinto, Puna De Argentina

In the next article, I will continue discussing the advantages of the drone, specifically its availability.


Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you’d like to experience and shoot some of the world’s most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Argentinean Puna, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

More in This Series:

  • Landscape Photography with a Drone – Part 1: Forward / What is a Drone?

Selected Articles by Erez Marom:

  • Parallelism in Landscape Photography
  • Winds of Change: Shooting changing landscapes
  • Behind the Shot: Dark Matter
  • On the Importance of Naming Images
  • On Causality in Landscape Photography
  • Shooting K?lauea Volcano, Part 1: How to melt a drone
  • The Art of the Unforeground
  • Whatever it Doesn’t Take
  • Almost human: photographing critically endangered mountain gorillas

Articles: Digital Photography Review (dpreview.com)

 
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