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Adobe Lightroom February update adds AI Enhance Details feature, HDR and HDR Panos

Adobe has updated Lightroom CC, Lightroom Classic CC, and Adobe Camera Raw with a new AI-powered feature called Enhance Details. The feature is made possible by Sensei, Adobe’s artificial intelligence and machine learning platform, and it works on nearly any raw image file to improve fine detail and color rendering, as well as resolving issues that some users with Fujifilm X-Trans cameras have reported.

The new Enhance Details feature utilizes a convolutional neural network (CNN) that was ‘extensively trained,’ according to Adobe, to deal with issues like zippering and false colors while improving the overall quality of fine details. The feature ‘works well’ on X-Trans and Bayer raw mosaic files, which can have their resolutions increased by up to 30%. Adobe digs into the technical details here.

An example panorama stitched together using the updated Lightroom CC application. Provided by Adobe.

In addition to the Enhance Details feature, Adobe has updated Lightroom CC for Windows and Mac with new HDR, Pano, and HDR Pano merge tools, histogram clipping indicators, and a Target Adjustment tool. The HDR and Pano features support both raw and non-raw images, though the company points out that merged raw files retail the adjustment benefits inherent to the file type.

A screenshot of HDR exposures ready to be stitched together into a panorama. Provided by Adobe.

The HDR and HDR Pano tools are best used with a camera’s auto exposure bracketing mode, which captures images with varying exposure. Lightroom automatically merges the images for HDR and, in the case of panoramas, automatically adjusts alignment and corrects distortion. These features are joined by the Target Adjust Tool for precisely controlling an image’s tonality and color, as well as the histogram clipping indicators.

As far as mobile is concerned, the update enables users to create ad-hoc photo shares on Lightroom CC for iOS. Finally, Lightroom Classic users received improved Nikon camera tethering stability and performance. The updates are available now.

Articles: Digital Photography Review (dpreview.com)

February 13, 2019
Olympus 12-200mm F3.5-6.3 pre-production sample gallery

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Covering a 24-400mm equivalent range, Olympus’ new zoom covers an awful lot of bases. It’s an ideal candidate for travel, whether you’re somewhere exotic or playing tourist in your hometown. That’s exactly how we put this lens to work – take a look at some samples from a pre-production lens.

See our pre-production Olympus 12-200mm F3.5-6.3 sample gallery

Articles: Digital Photography Review (dpreview.com)

February 13, 2019

Olympus M.Zuiko Digital ED 12-200mm F3.5-6.3 boasts 16.6x magnification

Olympus has unveiled a super telephoto zoom for its Micro Four Thirds cameras: the M.Zuiko Digital ED 12-200mm F3.5-6.3. It’s a 24-400mm equiv. zoom boasting a class-leading 16.6x magnification. Though it lacks the ‘Pro’ designation of higher-end Olympus optics, the company claims that it offers the same dustproof and splashproof build quality as those lenses.

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The 12-200mm F3.5-6.3 does not offer built-in stabilization, and will rely on camera body IS. The lens uses Olympus’ MSC (Movie and Still Compatible) focusing mechanism and provides quieter operation – particularly useful for shooting video. The company’s ZERO (Zuiko Extra-low Reflection Optical) coating is also employed to reduce flare and ghosting.

The 12-200mm will go on sale in March for $ 900.

Official Olympus 12-200mm F3.5-6.3 sample images

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Press release

OLYMPUS ANNOUNCES M.ZUIKO® DIGITAL ED 12-200mm (35mm EQUIVALENT 24-400mm) F3.5-6.3 LENS

Powerful 16.6x Zoom is the Highest Magnification Available on an Interchangeable Lens for Mirrorless Systems

CENTER VALLEY, PA., February 13, 2019 – Olympus is pleased to announce the M.Zuiko Digital ED 12-200mm F3.5-6.3 (35mm equivalent 24-400mm) super telephoto zoom lens. Conforming to the Micro Four Thirds® System Standard, this lens features the highest magnification zoom available on an interchangeable lens for mirrorless systems at 16.6x . Users will experience excellent depictive performance across the entire focal length from wide-angle to telephoto, making it the perfect travel companion, packing high-speed and high-precision autofocus into an amazingly compact, lightweight form. The M.Zuiko Digital ED 12-200mm F3.5-6.3 lens features a dustproof and splashproof construction, making this lens durable enough to withstand the toughest shooting conditions, especially when paired with a weathersealed Olympus OM-D® camera body.

When shooting wide, the closest focusing distance is approximately 22 cm (approximately 10 cm from the end of the lens) from the main subject for capturing the subject along with an expansive background. When shooting telephoto, the maximum magnification of 0.46x (35mm equivalent) for close-up photography and for significant background defocusing. This do-it-all lens is perfect for close-ups of children’s expressions, indoor and outdoor situations and a variety of other subjects.

The M.Zuiko Digital ED 12-200mm F3.5-6.3 lens features the same reliable dustproof and splashproof performance as the M.Zuiko PRO lens series. When combined with a dustproof and splashproof camera , it can function in the most punishing of environments.

This lens is equipped with the MSC (Movie and Still Compatible) mechanism, an advanced inner focusing mechanism providing fast, smooth, quiet and accurate auto-focusing, ideal for video shooters. Users will enjoy a short shooting time lag, so split-second photo opportunities are not missed. Amazingly high-speed, precise autofocus performance on this high-magnification zoom lens will provide comfortable, fun shooting.

ZERO (Zuiko Extra-low Reflection Optical) coating, Olympus’ cutting-edge thin-coating technology, cultivated from multilayer film disposition technology used in microscopes, has been applied to the M.Zuiko Digital ED 12-200mm F3.5-6.3 lens to drastically reduce ghosts and flares, contributing to a clear, high-contrast image.

Separately Available Accessories

LC-72C Lens Cap: Equipped with a 72mm filter diameter that can be attached and removed without the need to remove the lens hood.

LH-76B Lens Hood: Protects the lens and reduces unnecessary light entering the lens when shooting in backlit conditions.

LSC-0914 Lens Case: A pouch-style lens case that protects lenses with three-layer construction. Lenses can be stored with the lens cap, protection filter and lens hoot (stored) attached.

ZUIKO PRF-ZD72 PRO Protection Filter: A lens filter equipped with ZERO coating and blackened glass edges, used to suppress flares and ghosting caused by reflections. The frame consists of a satin finish black aluminum. This filter is also compatible with other lenses of a 72mm filter diameter.

Specifications are subject to change without notice. Company names and product names contained in this release are trademarks or registered trademarks of their respective companies.

U.S. Pricing and Availability
The Olympus M.Zuiko Digital ED 12-200mm F3.5-6.3 lens has an expected availability of late March 2019 with suggested retail pricing of $ 899.99 (USD) and $ 1,149.99 (CAD). The LC-72C Lens Cap will retail for $ 14.99 (USD & CAD). The LH-76B Lens Hood will retail for $ 49.99 (USD) and $ 64.99 (CAD). The LSC-0914 Lens Case will retail for $ 31.99 (USD & CAD). The ZUIKO PRF-ZD72 PRO Protection Filter will retail for $ 79.99 (USD & CAD).

Olympus M.Zuiko Digital ED 12-200mm F3.5-6.3 specifications

Principal specifications
Lens type	Zoom lens
Max Format size	FourThirds
Focal length	12–200 mm
Image stabilization	No
Lens mount	Micro Four Thirds
Aperture
Maximum aperture	F3.5–6.3
Minimum aperture	F22
Aperture ring	No
Number of diaphragm blades	7
Optics
Elements	16
Groups	11
Special elements / coatings	3 Aspherical lenses, 2 Super ED, 2 ED, 1 Super HR, 2 HR elements + ZERO coating
Focus
Minimum focus	0.22 m (8.66″)
Maximum magnification	0.46×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Focus distance limiter	No
Physical
Weight	455 g (1.00 lb)
Diameter	78 mm (3.07″)
Length	100 mm (3.94″)
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	No
Filter thread	72 mm
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

February 13, 2019

DJI brings its Geospatial Environment Online 2.0 system to airports in 32 European countries

DJI has launched its Geospatial Environment Online (GEO) 2.0 system in 32 European countries, the company has announced. Under this expansion, DJI has brought its more advanced bow tie-shaped runway safety zones as a replacement for its previous circle-based geofences. The drone company has tapped Altitude Angel as its partner for geospatial data on airports, Temporary Flight Restrictions, and other ‘sensitive areas.’

DJI first revealed its updated geofencing system for US airports in October 2018. With this version of the software, DJI’s system enables airports to better protect their runways and other sensitive areas from unwanted drones, helping avoid future incidents like the UK’s holiday airport shutdowns.

As the company previously explained, GEO 2.0 offers 3D safety zones with bow tie shapes, including low, medium, and high risk models that accommodate different security needs. Of the 32 European countries covered by this expansion, 19 weren’t previously included in DJI’s 2016 launch of its original GEO system; the other 13 countries were using its older software.

According to DJI, European countries will start getting access to GEO 2.0 this month. DJI drone owners in these countries will need to update their drone firmware and DJI GO 4 app to accommodate the new geofencing technology.

Articles: Digital Photography Review (dpreview.com)

February 13, 2019
Canon quietly released firmware update for the EOS R
It appears Canon has managed to sneak one past us here at DPReview with the quiet release of firmware version 1.1.0 for its Canon EOS R full-frame mirrorless camera on January 25th, 2019.

The first firmware update for its first full-frame Mirrorless Camera, firmware version 1.1.0 is a rather insignificant one with only a few bug fixes and minor tweaks and changes.

The only addition in firmware version 1.1.0 is the inclusion of silent shutter mode when using continuous shooting. Aside from that, the firmware simply corrects the following issues seen in version 1.0.0:
- Corrects a phenomenon in which an error may occur if there is a large number of files in a specific format on the memory card.
- Corrects a phenomenon in which an error may occur when silent shutter has been enabled.
- Corrects a phenomenon in which horizontal linear noise may occur when using specific lenses together with certain recording image quality settings.
- Corrects a phenomenon in which the information displayed in the viewfinder may become abnormal.
The firmware is available to download here. Once downloaded, the ZIP file includes the firmware file, as well as a folder with installation instructions in English, French, Japanese, Spanish and Chinese.

Articles: Digital Photography Review (dpreview.com)
February 13, 2019
Best Vlogging Cameras for 2019

The post Best Vlogging Cameras for 2019 appeared first on Digital Photography School. It was authored by Suzi Pratt.

What’s the best vlogging camera for 2019? That’s a tough question to answer given the wide variety of cameras on the market. In this article, I’ll talk about traditional vlogging camera rigs. I’ll also introduce three non-traditional cameras that also serve as modern vlogging options. Which is the best for you? Read on for some ideas, and let me know your thoughts in the comments below!

Traditional vlogging cameras

Before we go any further, let’s define vlogging as a video blog. The traditional way to film a vlog is to point the camera at oneself, while also inserting B-roll (supplemental footage). Thus, most modern vloggers need a camera that allows them to film themselves, and also gather alternative shots.

Popular vloggers such as Casey Neistat and Peter McKinnon use traditional vlogging tools: a DSLR camera with a wide angle lens and shotgun mic, all attached to a Gorilla Pod. This is a tried and true vlogging rig, but it can also be modernized or made simpler by switching out the camera. Mirrorless cameras such as the Panasonic GH5 and Sony a6400 offer a slightly smaller footprint while also giving you a flip screen to monitor yourself. Or you can opt for even smaller point and shoot cameras such as the ever-popular Canon G7X or Sony RX100.

Modern vlogging cameras

While the traditional vlogging cameras mentioned above are still ubiquitous among vloggers, there are newer, more modern cameras worth considering. Here are three fairly new cameras that might fit the role as best vlogging camera of 2019.

Contender #1: GoPro Hero 7 Black

GoPros are traditionally known as action cameras. However, many people use GoPros for everyday usage, including vlogging. This actually makes a lot of sense given GoPro’s tiny footprint, and its wide-angle lens that is perfect for capturing the first-person perspective. The brand new GoPro Hero 7 Black also adds several new features that work in a vlogger’s favor.

HyperSmooth and Timewarp

First, HyperSmooth. GoPro claims gimbal-like stabilization when HyperSmooth is in use, and it’s hard to argue. When shooting in HyperSmooth, bumpy footage is nearly completely eliminated. This means you can walk, run, drive, or perform just about any movement and get buttery smooth video. You can also shoot at up to 4K 60 frames-per-second with HyperSmooth enabled. Second, Timewarp. This is basically a timelapse video with HyperSmooth applied, resulting in a stabilized moving timelapse. It’s perfect for shooting B-roll and transitional scenes for a vlog or video.

Vastly Improved Sound

GoPros have always had atrocious sound quality. For a long time, this was due to the fact that GoPros had to be put into a plastic cage to become waterproof. All of this changed with the Hero 5, which was the first GoPro camera to be waterproof without the cage. The Hero 7 Black is also waterproof without a cage, and it adds much-improved sound. There are now 3 microphones dispersed throughout the camera, and they do a pretty good job at picking up voices. The Hero 7 Black is still without a built-in microphone jack, but if you really need one, GoPro sells a (rather ridiculous and expensive) mic jack adapter.

Contender #2: DJI Osmo Pocket

Brand new to the camera world is the DJI Osmo Pocket. Made by the same manufacturers of DJI drones, the Osmo Pocket employs nearly the same camera found on the Mavic Pro drone. The camera has just a 1/2.3-inch sensor with a f/2.0 aperture. It can shoot at up to 4K/60fps at 100 Mbps. It can even shoot 12-megapixel photos. Best of all, the camera comes mounted on a 3-axis gimbal so that you can record buttery smooth footage.

There are a host of other features worth mentioning about the Osmo Pocket. But two features in particular that relate to vlogging are FPV and Active Track. FPV allows you to quickly reorient the camera to face yourself, while Active Track is intelligent in-camera tracking. Both of these features are incredibly handy for vlogging. And just in case the Osmo Pocket screen is too small for you, you can also plug in your phone for a much bigger touchscreen interface.

Two Downsides

There are two major downsides to the Osmo Pocket as they relate to vlogging. The first is that the built-in sound quality is bad. No matter what side of the camera you’re on, it doesn’t pick up voices very well, especially if you’re filming in a noisy area. Currently, there are also no adapters or ways to install a microphone to enhance the sound. The second downside is the Osmo Pocket’s fixed 24mm camera lens. While 24mm is great for taking more cinematic footage without distortion, it’s not the best focal length for vlogging. You have to hold your arm out pretty far to get yourself in the frame, and even further if you have a buddy.

Contender #3: Modern Smartphone

A third camera to consider using to vlog is any modern day smartphone. Phones today are jam-packed with impressive camera specs with both front and rear-facing cameras. Many phones such as flagship Apple and Samsung phones also have in-camera stabilization, and the ability to shoot 4K video. They also have superior built-in sound since they are still phones, after all. You can also purchase a few accessories to take your smartphone photography and videography a step further. Investing in a smartphone gimbal gives you added stability, while Moment lenses increase image sharpness and offer wider angles.

The only real downside to using your phone to vlog is that you can’t use your phone to do other tasks while filming. Smartphone videos can also take up tremendous space on your phone, eating into your storage.

In Conclusion

So what is the best vlogging camera? It comes down to your shooting preferences. Personally, I find myself oscillating between the GoPro Hero 7 Black and my Samsung Galaxy S8 with a fisheye Moment Lens. These two cameras are so compact and easy to take anywhere, and they have been great for spontaneous vlogging.

If you’re looking for the best vlogging camera in 2019 and beyond, the good news is that you have lots of options. You can opt for tried and true DSLR or point-and-shoot rigs. Or you can look at modern, super compact options such as the GoPro Hero 7 Black or DJI Osmo Pocket. Or you can use the camera you have on you – a modern-day smartphone – and buy a few extra accessories to make your phone a pretty awesome vlogging rig. The choice is yours!

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You may also find this articles helpful:

Essential Tools for Making Videos on Your Mirrorless Camera

Equipment List for Making Better Smartphone Videos

The post Best Vlogging Cameras for 2019 appeared first on Digital Photography School. It was authored by Suzi Pratt.

Digital Photography School

February 13, 2019
Capture One Pro 12 Review – Whats New and Should You Upgrade?

The post Capture One Pro 12 Review – Whats New and Should You Upgrade? appeared first on Digital Photography School. It was authored by Carl Spring.

Capture One have recently released version 12 of their image editing software. Capture One have made a name for their high quality imaging software that offers professional users the best control of their images. But does version 12 deliver this? And, more importantly, is it worth upgrading to from version 11?

What’s new?

Capture one say “Capture One 12 delivers better, faster, and more creative control. New features includes advanced masking functionality, an even more efficient and intuitive user experience, plug-in compatibility, and much more”

In any software, a speed increase is always welcome. In use, Capture One 12 is slightly quicker on my machine, which is nice. Is it enough on it’s own to make me upgrade? Probably not. However, there are lots of other features that make it much more appealing. These include an updated interface, new masking options, intelligent adjustments copying and much more. Let’s look at each of the updated features in more detail.

New updated interface

The menu system in Capture One Pro 12 is more customizable than before. The new icons have been upgraded, which does make it look fresh. I like the new design, but this is nothing to get excited about. There is a redesigned keyboard shortcuts panel though, which is useful for those who like to create their own. I’m not someone who delves deep into creating my own shortcuts, but I do appreciate the new design. If you are so inclined, you have the option to create more than 500 customizable commands.

The updated interface. Yes, it is a little nicer, but not a massive difference. V12 is on the left.

New masking options

New masking options are something to get excited about. The Luminosity masking allows you to create a mask based on the Luma Range of the file. This makes it really simple to create a mask to bring back only the darkest of shadows or add clarity to the lightest part of the image. It is a straightforward system that works well in practice.

Linear gradient masks have also been transformed to give more precise control, which many of us will really find useful. The addition of Radial Gradient Masks is another handy option for those who like to create custom vignettes on their images.

Luminosity masks are a great time saver and probably my favourite new feature in Capture One 12

Intelligent adjustments copying

I love this update. I use Capture One for about 80% of my editing. This includes minor skin retouching and cropping, etc. It used to be that when I copied the adjustments and pasted across to a batch of images, I then had to go in and undo the crop and remove the retouching on each image. Now, the copy-paste tool ignores options such as crop and spot healing by default, but if you want to add them, it is simple to do so. A great timesaver and a feature I love.

A small thing, but a massive timesaver. Copy/paste adjustments without adding the crop is huge for my workflow. What about yours?

Plugins

Plugins are the one feature that I love from Lightroom. Finally, Capture One is allowing plug-ins to work with their system. With this being new the range is limited, but obviously, this will increase over time. A great time saver, I can’t wait to see the potential of this increase going forward.

At launch the plugins are limited, but this will grow and become a great time saver for many users.

Fuji Film simulations

I don’t currently shoot Fuji (I do lust over their Medium Format Cameras) but for those that do, Capture One have now developed (alongside FujiFilm) the different Film simulations available in their cameras. This means you can add the FujiFilm preset onto your images and use this as a starting point in your editing. Now if only I can get DPS to fund the rental of a a Medium Format Fuji, I can do an in depth test for you all (editor’s note: I wouldn’t mind one myself). Please comment below to help me out. In all seriousness though, this is awesome for all you Fuji Owners.

Mac OSX Mojave support

As a Mac user, this is my biggest pet peeve with Capture One. With the release of version 12, support for version 11 has now ended. This means that if you want to use Capture One with OsX Mojave, you need to upgrade to version 12. Obviously if you pay monthly this isn’t a big problem, but if you own the software outright, the upgrade price of £150 (US$ 195) feels a little steep just to use the latest version of an OS.

Whilst I understand it from a business point of view, it does feel like, as a Mac user, you are forced to upgrade every year. I love that you can purchase Capture One outright, but it does feel like they are slowly creeping towards the subscription model like everybody else.

Should I upgrade?

The million dollar question. I have upgraded. The plugin support for JPEG mini and intelligent copy paste features will save me enough time to easily justify it. The added benefits of better masking is also great for the way I work. However, it is not that simple for a lot of people. If you are PC based, you may want to skip this version unless, like me, there are features that will help your workflow. However, if you use a Mac, this is more of a do you want to upgrade to Mojave. If the answer is yes, then you really do need to upgrade. There are many reports of version 11 working fine in Mojave, but as a professional, I cannot risk it. Capture One have also ceased their discount codes, which again seems to be a little harsh. You used to be able to easily find a 10% voucher, but since the end of 2018, Capture One seem to have cut them. Obviously I am not privy to why, but I am sure they have their reasons.

Should I move from Lightroom?

If you are thinking of moving from Lightroom, I would say give it a go. Capture One have a generous 30 day trial of the software, which is time to get to grips with it and see what it can do. Give it a try, you have nothing to lose.

Do you use Capture One? If so, share your thoughts below.

The post Capture One Pro 12 Review – Whats New and Should You Upgrade? appeared first on Digital Photography School. It was authored by Carl Spring.

Digital Photography School

February 12, 2019
Kamlan announces new 7.5mm F3.2 fisheye lens for Micro Four Thirds systems

Chinese optical manufacturer Kamlan Optical has announced its next lens will be a 7.5mm F3.2 fisheye for the Micro Four Thirds system. The lens joins an existing line-up of manual focus primes for APS-C and MFT systems, and will be shown at the CP+ show later this month.

The FS 7.5mm f/3.2 will provide an angle of view of 160° with a construction that consists of seven elements in six groups. It will focus as close as 10cm and will have a minimum aperture of F16. The manufacturer says the lens will measure 48x58mm, will weigh 250g and it will be impossible to mount a filter in the conventional way because of the shape of the built-in hood.

According to DC Watch, the price in Japan will be about 25,000 yen, which is approximately $ 230. For more information see the Kalman website

Articles: Digital Photography Review (dpreview.com)

February 12, 2019
Glyph launches new Atom NVMe SSD and Thunderbolt 3 dock with dual 4K display support

Glyph Production Technology has introduced its new Thunderbolt 3 Dock and Atom NVMe SSD products, enabling graphics professionals to expand the number of ports and storage available on their MacBook Pro or any other computer with Thunderbolt 3 support.

The new Glyph Thunderbolt 3 dock connects to a laptop via its USB-C Thunderbolt 3 port, enabling the user to both charge their device and transmit data using a single cable. The dock features an SD UHS-II card slot, a pair of USB 3.0 ports, as well as one USB-C 3.1 Gen2 port.

The model also offers separate audio jacks for microphone out and audio out, Gigabit Ethernet connectivity, and support for either one 5K display at 60Hz or two 4K displays at 60Hz. Users can also upgrade an NVMe SSD drive in a dedicated slot; the dock supports read and write speeds up to 1500MB/s.

Joining the dock is Glyph’s new Atom Pro NVMe SSD, a drive offered in capacities up to 2TB with read speeds up to 2800MB/s and write speeds up to 2400MB/s. According to Glyph, its new SSD is designed to handle demanding workflows, including projects involving 4K/8K video and VR. The drive’s case is MIL-Standard 810F rated to withstand exposure to sand, dust, shock, and vibration.

Glyph offers its products through a number of online retailers, including Filmtools, B&H Photo, and Adorama. The Thunderbolt 3 dock is available with 500GB – 2TB capacities starting at $ 299.95 USD, and the NVMe SSD is available in 1TB-2TB capacities starting at $ 499.95 USD.

Articles: Digital Photography Review (dpreview.com)

February 12, 2019
Leica releases M10-P ‘ASC 100 Edition,’ a still camera for cinematographers

Leica has released a limited edition model of its M10-P digital rangefinder to celebrate the 100th anniversary of the American Society of Cinematographers. In February 2019, the ASC will be presenting its awards for the 33rd time which Leica says is ‘an ideal occasion to present an exclusive tool for filmmakers: the Leica M10-P ASC 100 Edition.’

Leica has been linked to the world of cinematography since its very early days when Oskar Barnack took 35mm motion picture film strips to use them in still cameras. He also used the original Leica camera to test exposure settings for cinema cameras with a still camera.

According to the company ‘the Leica M10-P “ASC 100 Edition continues Barnack’s ingenious idea and translates it into modern times,’ making it the ‘ideal camera to recreate the authentic look of the cinema in still pictures.’

The limited edition set comes with a Leica M10-P body and a Summicron-M 35 f/2 ASPH lens. The camera includes two cinema-look software modes which have been developed in collaboration with ‘some of the world’s most influential cinematographers and members of the ASC.’ The ASC Cine Classic mode simulates the analog 35 mm motion-picture film look while the ASC Contemporary mode creates a contemporary digital movie look.

In addition the M10-P ASC 100 Edition lets users select from different aspect ratios used in cinematography. Aspect ratios are visible as a bright-line frame in Live View mode.

With the camera and lens buyers of the set receive a Visoflex electronic viewfinder and a Leica M-PL-Mount which allows for the use for most PL mount cine lenses with the camera. This means cinematographers can view and test scenes with a cine lens before motion picture shooting begins.

As one would expect, the limited edition camera also features a unique design, with black engravings on black chrome surfaces and leathering which is similar to the Leica SL. With its gold-colored anodized finish the design of the lens was inspired by the ‘Ur-Leica’ brass look. The final touch is the ASC logo on the top plate.

The Leica M10-P ‘ASC 100 Edition’ will be available beginning autumn 2019. No pricing information has been released yet but expect it to be expensive. More information is available on the Leica website.

Articles: Digital Photography Review (dpreview.com)

February 12, 2019