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DPTH app applies simulated bokeh effect to any image

04 Mar

Artificial bokeh modes in smartphone camera apps that simulate a shallow depth of field are getting better and better, but there are still a lot of older devices around that don’t offer the feature. Equally, the users of bokeh-mode-equipped phones might have images on their camera roll that were captured in standard mode and could benefit from a simulated depth treatment.

In both cases the new DPTH app should be worth a closer look. Its makers promise the app can add adjustable depth of field and 3D photo effects to any image, whether taken on a single lens device or captured on a triple-cam high-end smartphone. The app uses artificial intelligence to detect foreground and background elements in an image and create a depth map which is then used for creating the effects.

The makers of the app don’t provide much information about how exactly how the process works but the demo video below gives you an idea of what the final results can look like. The app is available for iOS and Android devices and uses a subscription model, either $ 1.49 per month or $ 7.49 per year. A free trial is available. Head over to the DPTH website for app store links.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Hands-on with Tokina Opera 16-28mm F2.8 FF

03 Mar

CP+ 2019: Hands-on with Tokina Opera 16-28mm F2.8 FF

The second lens in Tokina’s new ‘Opera’ range is the 16-28mm F2.8 FF for full-frame Nikon and Canon DSLRs. We saw a mockup of this lens in late 2019, but we just got our hands on a working sample at the CP+ show in Yokohama, Japan. Click through for a closer look.

High-quality wideangle zoom

Described by Tokina as ‘next generation, premium full-frame lenses’, the Opera range is designed to deliver optimal results on modern high-resolution Canon and Nikon DSLRs. Optical construction comprises 15 elements in 13 groups, three of which are of aspherical, and three are made of Low Dispersion glass.

Automatic / manual focus switch

A long-standing feature of Tokina lenses is a direct manual/automatic focus switch. To select manual focus, simply pull the entire focus ring towards the camera. This shot also shows off the large focus distance scale, marked in feet and inches.

Fast continuous maximum aperture

As one of two premium Opera lenses in Tokina’s lineup, the 16-28mm F2.8 is an appropriately solid lens, and balances nicely on the Canon EOS 5D Mark III that we tried it on in Yokohama. The zoom and focus rings operate smoothly, with no play, and the overall impression we got was of a very well-constructed lens.

The petal-shaped lens hood is integral to the lens, which unfortunately means that screw-in filters cannot be used.

No rear-mounted filter support

While some wideangle zoom lenses of this type offer support for rear-mounted drop-in filters, unfortunately that’s not an option on the Tokina Opera 16-28mm F2.8, either. While some photographers won’t care, dedicated landscape shooters might find this limiting.

On the plus side, the 16-28mm does feature sealing against dust and moisture incursion. You can just make out the black rubber gasket around the lens mount in this image.

Upgraded AF system

The Tokina Opera 16-28mm F2.8 weighs 940g (~2lb) and measures 89 x 133.5mm. It offers a nine-bladed iris for improved rendering of out-of-focus highlights and an upgraded AF system that is claimed to be both faster and more accurate than the original AT-X 16-28mm F2.8 PRO FX. Although we only had a few minutes with the lens at CP+, automatic focus on a Canon EOS 5D III seemed reasonably fast for a lens of this type, albeit not entirely silent.

The Tokina Opera 16-28mm F2.8 is shipping this month, for a very reasonable $ 699.

Articles: Digital Photography Review (dpreview.com)

 
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Review of the Sigma 28mm f1.4 Art DG HSM for Canon

03 Mar

The post Review of the Sigma 28mm f1.4 Art DG HSM for Canon appeared first on Digital Photography School. It was authored by Karthika Gupta.

A couple of weeks ago I got my hands on the Sigma 28mm f1.4 Art DG HSM for Canon (also  available for Nikon, and Sony) and got to play with it for a couple of weeks. Let me tell you; it was a tough one to give back. This lens is quite amazing in terms of build, weight, and, most importantly, performance.

Karthika Gupta Photography Sigma 28mm f1.4 review

Ergonomics and build

The Sigma 28mm f1.4 Art DG HSM is a very standard Sigma lens when it comes to the ergonomics. Many of their primes more or less follow the same formula when it comes to the exterior design. In this case, and with pretty much most cases, there is a large rubber ring that makes up the focusing ring. This rubber ring helps greatly when it comes to the grip and overall ergonomic feel of the lens. The front of the lens has a 77mm filter thread and comes with a lens hood. The side of the Sigma 28mm f1.4 Art DG HSM has a switch for autofocus control.

The Sigma 28mm f1.4 Art DG HSM has weather sealing built into the lens. I was able to test this when I took it out in the snow. We have had an unusual cold spell here in Chicago, and when I was walking around downtown with this lens, the temperatures dipped, and it started to snow. I was a bit apprehensive taking out my gear in the snow, but I am glad I did because this lens performed beautifully with my weather resistant Canon 5D MkIII. Photographers who regularly operate in the outdoors with rain and snow will find this beneficial.

When you hold the Sigma 28mm f1.4 Art DG HSM, you feel a solid lens. My primary everyday lens is a Canon 24-70mm f/2.8. This lens has been in my bag for the past 9 years, and I like the feel of the solid form and am comfortable with the weight. The Sigma 28mm is a bit smaller, and a little lighter than I am used to, so switching to it was a non-issue for me.

Karthika Gupta Photography Sigma 28mm f1.4 review

The canon 24-70mm f/2.8 is on the left and the Sigma 28mm f/1.4 is on the right.

Technical Specifications (from Sigma)

These specifications are from Sigma’s website.
Typical photography applications for this lens is listed as Creative, Travel, Landscape, Wedding & Events, Family. 
  • Best-in-class performance
  • Dust- and splash-proof structure
  • Designed to minimize flare and ghosting
  • Designed to meet all shooting conditions
  • Compatible with Canon Lens Aberration Correction
  • Nikon electromagnetic diaphragm mechanism included
  • Manual Override (MO) capable of switching two full-time manual modes
  • Lens angle is 75.4deg
  • Filter size is 77mm
  • Minimal aperture is f16
  • Minimal focusing distance is 28cm/11in

Performance

I gauged the performance of this lens in three different areas:

  • Low light performance
  • Color output
  • Wide angle

Low light performance

The Sigma 28mm features a very fast lens design at f/1.4. This makes it an ideal low light photography lens. Moreover, the mechanics of the lens also delivers incredible sharpness even at its widest aperture. I love photographing at wide apertures and am generally at f/2.8 or f/4.0. So the f/1.4 was attractive to me, especially in low light. I tested the low light performance at a couple of places in Chicago and was very happy with the results. The lens was also quite fast at focusing in these low light situations.

Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review low light Chicago Atheletic Club Location

The Chicago Athletic Club Hotel is beautiful but so dark. The low light was an easy gig for the sigma lens

Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review low light Chicago Athletic Club Location Portrait

Thank you to my friend Sandy Noto (www.sandynoto.com) for snapping this photo of me with the Sigma. The wide angle at closeup range did not distort the image at all.

Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review Chicago Museum Of Science and Industry Interiors

The interiors of the museum of science and industry in Chicago are quite dark but I was at ISO 320 and f/1.4. The 28mm captured the entire shuttle in the frame.

Color output

Sigma’s Art series is known for its superb color rendition, and the 28mm Art lens did not disappoint in this area. I tested the lens in a variety of lighting conditions, both indoors and outdoors, as well as on bright sunny days and overcast days. In each scenario, the lens output was beautiful.

Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review low light Chicago Downtown

Even at f/1.4 the image output and quality was exactly what I was hoping for. The lens is tack sharp even at f/1.4

Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review Chicago The Bean wide angle photo Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review Downtown Chicago Yellow Taxi Cab

Wide angle

The Sigma 28mm f/1.4 is a fixed zoom lens. Unlike my Canon 24-70mm zoom which gives me more flexibility and freedom in the range of focal lengths, the fixed zoom does take a little bit getting used to. But if you were to use this as a walking-around-everyday-travel lens, which is what I use my 24-70mm, the fixed zoom is not an issue. The wide angle does take a little getting used to, but all the other features like fast focusing, low light, and superb color output make up for the wide-angle fixed zoom.

Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review Chicago The Bean Wide Angle Photo in winter

The 28mm focal length was just perfect to get the entire Chicago bean a.k.a as the cloud gate in the frame.

Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review Chicago Downtown L train photo

Karthika Gupta Photography - Memorable Jaunts Sigma 28mm lens review Chicago Riverwalk in winter

Additionally, I found minimal to no chromatic aberration around the edges of the frame that is predominant in most wide-angle lenses.

Conclusion

Overall, I was very pleased with this lens. It is a good solid lens from the Sigma Art series and well worth the investment, making it an ideal lens for street photography and wide-angle photography.

The post Review of the Sigma 28mm f1.4 Art DG HSM for Canon appeared first on Digital Photography School. It was authored by Karthika Gupta.


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CP+ 2019: Olympus shows super-tele zoom and 2.0 TC under glass

03 Mar

Olympus M.Zuiko Digital ED 150-400mm 1:4.5 TC1.25x IS PRO

Olympus announced its intent to make a 150-400mm F4.5 zoom back in January. There was a demonstration sample on show at CP+ in Yokohama. The Olympus M.Zuiko Digital ED 150-400mm 1:4.5 TC1.25x IS PRO has a name that matches its considerable size.

Features (of some sort) galore

The side of the lens shows five switches, which we’d expect to give direct access to AF/MF, IS, focus limiting and two other things. Possibly including the control to engage and disengage the 1.25x teleconveter that’s built in. Bringing the TC into the optical path turns the lens into a 187.5-500mm F5.6. That’s 375-1000mm F11 equivalent, if those numbers aren’t already big enough for you.

Sensibly sized

Considering the range it covers it’s a relatively compact lens. While it’s easy to point out that it’s an F9 or F11 equivalent, it’s worth remembering that there aren’t many 300-800mm/375-1000mm lenses for other formats. If you need that impressive reach in a lens that you can actually pick up, this will be one of the only options.

There’s a predictably large lens hood/bucket to go with it.

Who’s it for?

Olympus says the lens will be available in 2020 and is intended for sport, wildlife and bird photographers.

M.Zuiko Digital 2x Teleconverter MC-20

Also on show was a non-built-in teleconverter: the MC-20, which will be available in Summer 2019. This doubles the focal length of a lens it’s attached to, but at the cost of 2 stops of light. The MC-20 can be used with 150-400mm F4.5 TC1.25x IS PRO as well as the existing M.Zuiko Digital ED 300mm F4.0 IS PRO and M.Zuiko Digital ED 40-150mm F2.8 PRO.

Combined with the forthcoming zoom and its internal teleconverter, we believe you’d get a 375-1000mm F11 lens (equivalent to a 750-2000mm F22 lens on full frame). Though the combination seems rather specialist.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Panasonic shows 10-25mm F1.7 mockup

03 Mar

Panasonic Leica Vario-Summilux 10-25mm F1.7

Panasonic announced that it would be building a 10-25mm F1.7 zoom back at Photokina in later 2018 and has a mockup on show at CP+ in Yokohama. The red box on the label says ‘Development Announcement’ in Japanese. If nothing else, it’s a striking way to confirm the company’s commitment to the Micro Four Thirds system as a high-end format.

Scarce details

Very little additional information has been given, but the mockup shows it will have a dedicated aperture ring like the Panasonic Leica 15mm F1.7 prime. The mockup also makes clear just how much larger it’s going to be than the 12-60mm F2.8-4.0.

Five primes in a tube

Panasonic seems committed to its ‘five primes in one lens’ concept, by marking the 10, 12, 14, 18 and 25mm focal lengths on the zoom ring, representing 20, 24, 28, 35 and 50mm equivalent focal lengths that are popular choices for prime lenses. This shouldn’t be taken to mean the lens will only offer these focal lengths, though.

For video, as well as stills

While the ‘five primes’ idea is a great way of appealing to photographers, we suspect plenty of videographers will also be interested in the idea of a lens that gives them a wide-angle to normal field of view with a constant F1.7 aperture, meaning no need to change lenses (or change any rigging built around the camera), between shots. Sadly there are still no details of either price or availability.

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CP+ 2019: Hands-on with the Sigma MC-21 SA / EF to L-mount adapter

03 Mar

Hands-on with the Sigma MC-21

One of the items on display at the Sigma booth at this year’s CP+ show in Yokohama was the newly-announced MC-21 adapter that allows Sigma lenses to be used on L mount cameras. There are two versions of the adapter: one that accepts Sigma SA-mount lenses and another that takes Sigma’s EF-mount lenses.

Here’ we’ve got an SA-mount version of Sigma’s 50mm F1.4 Art adapted to a Panasonic S1.

Adds compatibility for 29 Global Vision lenses

The company says both the SA- and EF-to-L adapters can be used with 29 existing Sigma lenses, including 23 full-frame lenses taken from the Global Vision range. These lenses span the Sport, Contemporary and Art series. It features a built-in tripod mount, but don’t be fooled by the pair of allen bolts on this example: we’re told this won’t be removable.

Single-AF only, for now

The MC-21 only allows AF-S mode to be used at present. This is likely to be a result of the existing SA and EF mount lenses being primarily designed for being focused by phase detection, whereas all the current L-mount bodies use variants of contrast-detection AF, which may lead to slower, less reliable performance.

Won’t need firmware updates for future lenses

The inside of the adapter features a black flocking fabric to prevent internal reflections occurring within the adapter tube. An LED on the side of the adapter shows whether the attached lens is compatible and whether it needs a firmware update. Sigma says the MC-21 comes pre-loaded with the data needed for the 29 listed lenses supported at launch but that future lenses will contain the necessary data, so the MC-21’s firmware won’t need updating to support future lenses.

SA and EF mount support

Sigma had the MC-21 on show with representative models from its L-mount Alliance partners: Leica and Panasonic. Although there are references to it around the booth, there’s no sign of even a prototype of the full-frame Foveon camera Sigma has said it will make.

As usual, Sigma makes no claims when it comes to Canon’s EF-mount lenses, but they generally work well with its MC-11 EF-to-E-mount adapter.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Ricoh GR III shown with firmware 1.0, Theta goes 1″

03 Mar

GR III dominates the Ricoh booth

Ricoh formally launched the GR III earlier this week, so it’s no surprise that its presence dominates the company’s stand at CP+. The units on display are running firmware 1.0 and we’re told we’ll be able to get our hands on one in the next few days to go shooting with.

Familiar controls

Many of the camera’s features will immediately be familiar to users of previous GR models. The ADJ lever controls exposure compensation or brings up a customizable menu of core camera functions. Several of the camera’s buttons can also be re-assigned, including a dedicated Fn button, the left and right presses of the four-way controller and the movie/Wi-Fi button on the side (which can control a second function in response to a long press). And, of course, there’s the ‘Full Press Snap’ focus option that leaves the camera pre-focused to your chosen distance, to maximize responsiveness. The improved speed of being able to position the AF point that the touchscreen brings may not wholly outweigh the loss of the rocker that’s featured on the back of GR cameras up until now for experienced users.

New lens, new autofocus

The GR III adds phase detection autofocus but, interestingly, still appears to use a unit focus design, where the entire lens is moved back and forth as the camera focuses. This helps maximize image quality, as the lenses maintain their relationships to one another, but slows down the process, since it means moving more mass. The addition of phase-detection autofocus helps with this, since it means the lens can be driven straight to the desired location, but the autofocus of these firmware v1.0 cameras wasn’t especially speedy.

Innovation and legacy

Ricoh was keen to show that, while the GR III is a relatively major update to the series, it understands that it needs to fit into a series that goes back over twenty years. It’s an important reminder that, even relatively recently, the GR series attracted a dedicated audience even when they were built around relatively modest 1/1.7″ sensors. Anyone who enjoyed one of the GR Digital models is likely to be impressed with what the GR III offers. And we’re looking forward to getting a closer look at the final JPEGs soon.

Ricoh Theta goes 1″

The Theta VR camera has been something of a success for Ricoh and it’s been progressively iterating on the design for a number of years. Back at Photokina 2016 they told us one of the big challenges they faced was trying to cope with the heat generated by 4K capture without having to change the popular form-factor of the device. The Theta Z1 shows how far things have come since then. The Theta Z1 is not only capable of 4K video capture but does so from a pair of 1″-type sensors.

Ricoh Theta Z1 with DNG Raw

The Theta Z1 is a little taller and a little thicker than previous models but they’re relatively minor changes, considering how much larger the sensors its using are. Bear in mind that the Theta’s 360° capability is formed by having two of these chips mounted back-to-back, it’s not surprising that the Z1 had to get a little (~6mm) thicker. Despite this slight extra separation, its lenses are able to give an overlapping view to form a 360° view. And, unlike previous versions, the Z1 can shoot DNG Raw stills.

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What’s The Highest ISO You Can Use? How To Find Out For Yourself

03 Mar

The post What’s The Highest ISO You Can Use? How To Find Out For Yourself appeared first on Digital Photography School. It was authored by Peter West Carey.

Do you know the limits of your camera’s ISO?

By limit, I mean the point at which, egads!, it’s just too much noise. If not, or if you’ve never bothered to figure out your camera’s limits, I have an easy experiment for you to try.

Each camera model is different and camera manufacturers are improving ISO performance with every new release. This is why it’s important not to assume that Mark IV version is mostly the same as the Mark III.

What is ISO?

ISO stands for the International Organization for Standardization. Do big, long governmental-style names make you fall asleep? I’ll make this quick.

The ISO group sets standards so 100 speed Kodak film is the same as ISO 100 Fuji or Agfa or any other manufacture. It’s good to have standards otherwise you wouldn’t know how to set your shutter speed and aperture.

Carry that concept over to digital and ISO is a measure of the sensitivity of your camera’s sensor. The lower the number, the less sensitive, therefore, you need more light to make an exposure. A higher ISO allows for less light in the same situation, which can result in a faster shutter speed or more optimal aperture setting.

Why should you care?

Increasing your ISO setting has one big drawback: the increased sensitivity can create unwanted artifacts called “noise.”

In the days of film, higher ISO meant added grain in an image, something some of us enjoy in our photos. Noise, on the other hand, is disliked by all. It discolors images, mostly in the dark and black areas. It muddles things.

Let me show you the difference with two shots, the first was taken at ISO 12,800 and the second at ISO 80.

Can you see the green and purple discoloration? That’s noise.

Use the lowest ISO you can

Knowing that a higher ISO can create this ugly noise, it’s a good idea to almost always take photos at the lowest ISO that still gives you a crisp image. For instance, landscape photographers in the days of film loved ISO 50 film and some still return to their film gear for the amazing smoothness that film lends to its images.

There are many DSLRs that can utilize ISO 50, such as the older Canon EOS 5D.

Machermo and the Moon – Nepal’s Himalayas – Canon 5D ISO 50

Unless you can’t

But what about dark situations? For instance, what about when you have a dimly lit auditorium or stage? Parents with kids in indoor sports or drama classes and school plays or holiday programs know this situation well. Here’s an example:

ISO 5000

In situations like this it is good to know what your camera’s maximum useable ISO is. It’s also a great idea to know how much noise you will encounter if you go above that self-imposed maximum, because sometimes the emotions and memories are more important than worrying about noise-free images.

Or perhaps you need a high shutter speed given the current lighting conditions and a flash would ruin the scene.

ISO 5000

A simple experiment

The experiment to find out the highest ISO you should use, without gaining too much noise beyond your tastes, is quite easy.

You will need:

  • Camera
  • Table or tripod
  • A variety of objects, with dark and black colors, maybe some shadows too
  • Ample lighting (but not overly bright)

  1. Set up your camera either on a table or tripod. You’re going to want it steady because some of the photos you take might have a slow shutter speed. Blurring will ruin the results.
  2. On the other end of the table set up your objects. I suggest objects without much gloss and as solid a field of black as you can find. Black fur on your kids’ stuffed animals might hide some noise and so will flecks of fabric in a shirt of the like.
  3. Make sure there is enough light in your scene.
  4. Set your camera to Program mode unless you have a favorite.
  5. Also turn off any in camera noise reduction options.
  6. Set your ISO to 100 or L if it goes lower than 100.
  7. Focus on your black objects and take a photo.
  8. Now change the ISO to 200 and take another photo.
  9. Continue moving up your ISO by one stop (a doubling of the number) while snapping an image each time.
  10. Stop when you reach the highest limits of your camera. This may be ISO 3200 or maybe ISO 512,000.

Examine the results

Transfer your images into a computer so you can pixel-peep the results. As your camera was in Program mode, the overall exposure of your images should be close to the same. If you’re using photo editing software like Lightroom, I suggest turning off any automatic noise reduction widgets.

Now zoom in on your images.

ISO 12,800

As the ISO gets higher you will notice more and more noise creep into the dark areas. As mentioned, it’s discoloration that is often purple and green in color. It doesn’t look right and it is not the grain that was characteristic of high ISO films.

At some point, and the choice is yours, the noise gets to be too much. Each camera model is a little different and in the 18 years I’ve been using digital cameras, the quality consistently gets better and better. This is why this experiment is one of the first things you should do with a new camera.

Examples

Let me give you a few examples of what looks like too much noise. These are just my opinion, but I hope the examples can help you get a better idea of where your camera has its limits.

ISO 12,800

ISO 12,800

ISO 12,800

ISO 40,000

Conclusion

Knowing the ISO limits of your camera is important in any type of photography. There are times that might warrant a higher ISO, such as shooting in very low light. How much noise is too much for your situation and camera is a level best tested before the situation arrises.

One additional note: This experiment does not take into account the wonderful ability of most modern photo editing software to greatly reduce the negative aspects of noise. That’s a whole other article!

The post What’s The Highest ISO You Can Use? How To Find Out For Yourself appeared first on Digital Photography School. It was authored by Peter West Carey.


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Costco says it will close the photo departments at several stores in April

03 Mar

American retailer Costco is shutting down the photo labs in a growing number of its stores, according to letters the company has sent to its customers. The most recent letter to surface comes from the company’s store in Woodland, California, which plans to close its photo department on April 25.

The letter, which was recently published by PetaPixel, cites low demand as the reason for the closure, stating, ‘the need for printing photos has steeply declined, even though the number of pictures taken continues to grow.’ The retailer will continue to offer photo printing through its Photo Center website and at select other locations, however.

Photo Center customers who receive the letter from Costco are offered a $ 50 credit for use with the company’s photo website. This is the latest among a growing number of Costco photo department closures. According to The Dead Pixels Society, the company will also shutter all but one photo department in its Massachusetts stores, as well as the photo lab at its busiest Hawaii location, the Iwilei store.

Though Costco has made the decision to repurpose its limited floor space in stores with low consumer printing demand, select other retailers continue to offer in-store photo printing services, including Walgreens and Walmart. Online photo printing services remain ubiquitous, and Costco is still counted among them.

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CFexpress Type B memory cards double read speed to 1.7GBps, write speed to 1.4GBps

03 Mar

Sony has announced it will introduce the next generation CFexpress memory cards this summer, and promises read speeds of up to 1.7GB per second and write speeds up to 1.48GB/s. The Type B cards will use the third generation PCI-E interface that allows them to read and write at twice the rates of current models.

To make the most of the new cards a faster card reader will be launched — called the MRW-G1 — that will be backward compatible with existing CFexpress cards as well as XQD memory cards. The new cards will be more drop-proof than their predecessors and will be able to withstand a force of 70N.

The cards are aimed at industrial users as well as professional photographers. The first cards will come in a capacity of 128GB, but later units will offer 256GB and 512GB of space. For more information see the Sony website and the Compact Flash Association.

Press release:

Sony develops CFexpress Type B memory card boasting ultra-fast read and write speeds of up to 1700MB/s[1] and 1480MB/s1

  • Incomparably fast speed, designed for professional and industrial use, supports future evolution of digital devices
  • High reliability in extreme conditions thanks to TOUGH performance and smart software
  • New Sony CFexpress card reader, MRW-G1, takes full advantage of Sony CFexpress Type B’s high-speed performance
  • The Sony CFexpress Type B memory card and the CFexpress Card Reader will be in the market in early summer 2019

Sony today announced the development of the CFexpress Type B memory card (CEB-G128), a new ultra-fast next generation memory card2 that is ideal for professional and industrial use. With its super-fast speed of up to 1700MB/s (read) along with highly reliable toughness, this memory card supports the future evolution of digital devices.

Enhancing Sony’s high performance, value-added memory card line-up, the CFexpress Type B is designed based on a new specification which adopts the latest interface, PCIe®3 Gen3, standardised by the CompactFlash Association.

The Sony CFexpress Type B memory card offers a 128GB capacity, with higher capacity models of 256 GB and 512 GB planned for the future.

Incomparably fast
The Sony CFexpress Type B memory card is around 3 times faster than Sony’s fastest CFast memory card (with 530MB/s read speed). With a write speed of up to 1480MB/s, this card meets future requirement needs for secure industry data-recording or requirements from professionals to capture hi-resolution images or high-bitrate video.

With an ultra-fast read speed of up to 1700MB/s, even large-sized data files can be transferred quickly, when compared to existing memory cards. For example, when making copies or backing up large-sized data from multiple memory cards, transfer time will be dramatically reduced. This greatly improves work efficiency.

The new CFexpress Card Reader, MRW-G1, is optimised for Sony CFexpress Type B memory card and takes full advantage of the card’s fast read speed. This reader is also compatible with Sony XQD card G series and M series.

TOUGH performance
The Sony CFexpress Type B memory card has superior strength, surpassing the CFexpress standard by a factor of three, being able to withstand 70N of force in bend, and five times greater withstanding falls from up to 5m high.

The card is also temperature proof, X-ray proof, anti-static and has a UV guard so it can perfectly support usage in tricky or tough environments.

Peace of mind
Media Scan Utility and Memory Card File Rescue are available as a free download to Sony CFexpress card users.

Media Scan Utility is PC software that automatically scans your Sony CFexpress memory card every time you connect it to a PC via your MRW-G1 card reader4. The software keeps you informed of the condition of your card and lets you know if you’re nearing or have reached the flash memory limit.

Memory Card File Rescue eradicates every photographer’s worst nightmare – deleting photos accidentally and losing your precious work. The software recovers accidentally deleted files including RAW or high-resolution images and videos, so your work is safe from whatever obstacles are thrown your way.

The Sony CFexpress Type B memory card and the CFexpress MRW-G1 Card Reader will be on the market in early summer 2019.

– Ends –

[1] Based on Sony internal testing. Actual performance may vary and is dependent on environment and usage.
2 Based on memory card standard announced from the CompactFlash Association in 2017 as the next generation of XQD memory card and CFast memory card. CompactFlash is a trademark of CompactFlash Association.
3 PCIe is a registered trademark of PCI-SIG.
4 MRW-G1 is required to scan Sony CFexpress memory card

[1] Based on Sony internal testing. Actual performance may vary and is dependent on environment and usage.
2 Based on memory card standard announced from the CompactFlash Association in 2017 as the next generation of XQD memory card and CFast memory card. CompactFlash is a trademark of CompactFlash Association.

3 PCIe is a registered trademark of PCI-SIG.
4 MRW-G1 is required to scan Sony CFexpress memory card

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