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  • Lens sample gallery: Tamron 17-35mm F2.8-4 Di OSD

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    The Tamron 17-35mm F2.8-4 Di OSD is a compact and light-weight lens for full-frame Canon and Nikon DSLRs. This wide angle zoom features a nearly-silent AF motor and coatings to repel water and grime. We took it on a grand tour of Seattle’s best tourists destinations and found it makes a pleasant, albeit wide, walking around lens.

    See our Tamron 17-35mm F2.8-4 Di OSD lens gallery

    Articles: Digital Photography Review (dpreview.com)

  • GoPro Fusion beta firmware brings resolution bump and 24fps recording

    GoPro has announced a major beta firmware update for its Fusion 360-degree camera. With the new firmware the camera gets a resolution bump from 5.2 to 5.8 video (5.6K when stitched) and the new resolution also supports 24fps frame rates, making it easier to incorporate the Fusion into TV and film production processes.

    In addition the gets a new 5.6K/24fps time lapse video mode and RAW photo support for night and time lapse modes with intervals of 5 seconds or longer.

    The Fusion Studio and Adobe Premiere and After Effects plug-ins have been revamped as well. Fusion Studio v1.4 gets 5.6K exports for the new higher resolution 24fps mode and a range of updated controls and options. GoPro’s VR plug-ins have been updated for use with Adobe Premiere CC 2019 and Adobe After Effects CC 2019.

    A full list of new features can be found on the GoPro website.

    Articles: Digital Photography Review (dpreview.com)

  • Lessons from the Masters: Morley Baer

    The post Lessons from the Masters: Morley Baer appeared first on Digital Photography School. It was authored by Adam Welch.

    Portrait of Morley Baer

    Each time I find myself cruising down Highway 1 in California between Big Sur and San Francisco, the urge to make photographs instantly strikes me. It’s an easy feeling to encounter. The rocky beaches and rolling hills tend to beg for a lens. Accompanying this sense of photographic wanderlust is a recognition of walking in the footsteps of some of the greatest American photographers that the twentieth century ever produced. Names like Weston, Adams, and Cunningham all seem to linger in this area of the country. However, there’s another name connected to the deep photographic past of the west coast that you might not know quite so well but should: Morley Baer. In this installment of “Lessons from the Masters,” we’re going to take a closer look at the prolific work of Morley Baer and learn some valuable lessons about how he went about the business of photography that you can use to improve your images.

    Morley Baer

    Morley Baer came into this world on April 5th, 1916 in Toledo, Ohio. After graduating from the University of Michigan with a BA in English and an MA in Theatre Arts, he briefly worked in advertising in Chicago until fate pressed him into his life’s work. After seeing an exhibition of Edward Weston’s work, Baer became captivated by the medium of photography. He left his position with the advertising firm he worked to educate himself in the art of photography. After working in commercial photography briefly, he soon made the journey to Carmel, California to track down Edward Weston.

    After serving in the Navy as war photographer from 1941 to 1946, Morley and his now wife Frances (also an artist and photographer) embarked on a decades-long exploration into photography in and around the Bay Area of California until finally settling in their home/studio near Garrapata Beach. Baer became one of the most desirable architectural photographers of his time. His landscape and seascape works are also still widely regarded as some of the finest photographic representations of the west coast of California ever to be recorded on film.

    Here are some, but certainly not all, of the lessons you can’t learn from Morley Baer.

    Total proficiency with the tools you use

    For the main body of his landscape and architectural studies, Baer used one camera and one camera only; the Ansco 8x10S view camera. In our modern day photography jungle, we are constantly harangued by the marketing mentality that if our cameras are not the newest, then they are somehow lacking. Of course, that’s just an opinion.

    In any case, Morley was an expert operator of his Ansco to the point when it became almost an appendage and an extension of his physicality. Similar in practice to Ed Weston, the fact that Baer became so monogamous with his singular 8×10 view camera speaks volumes to us today.

    Portrait of Morley Baer and his Ansco by David Fullagar

    Whatever your camera or tools, make yourself so familiar with their functions that you can control them without hesitation. The adage “the best camera is the one you have with you” is not enough. We must strive to become absolute masters of the tools we use to make our photographs. The tool is secondary to the ability of the user. No matter what gear you happen to be using it is essential that you understand how to use it and use it well.

    Find what works best for you

    Not only was Baer’s proficiency of his 8×10 camera finely tuned in, but he was also quite fixed in the way he presented his photographs. Morley was a darkroom master printer, and he virtually always printed his photographs using the contact method and seldom used an enlarger. This meant the negative was exposed directly in contact with the paper resulting in an image the same size as the negative. Contact printing remains one of the most simple and pure forms of printing even today. Regardless of its merits or limitations, this was the vehicle Baer found worked best for him and his creative expression.

    By Morley Baer

    While we should all continue to learn and grow with our photography, there must also be a conscious recognition of the methods and techniques that tend to produce the best results time and time again. Hone in on the processes that allow you to reach your fullest potential and pay no mind to whether or not they are popular or follow certain “rules.” When it comes to photography the so-called “rules” are there to guide us, not limit our flight.

    Healthy competition can help you grow

    Every so often I get an email or a Facebook message from someone asking whether or not they should enter a particular photography contest. I’ve always had a love-hate relationship with the idea of grading one photograph against another. This is because I feel it causes us to miss the purpose of photography altogether. At the same time, a photograph is a visual medium, and as photographers possess an inescapably inherent narcissism; we want our work seen by others.

    By Adam Welch

    I mentioned earlier that Baer’s wife, Frances, was also a camera jockey. Not only did she make photographs herself, but she was also remarkably accomplished in her own right to the point where Morley and Frances were essentially domestic competitors with their photography. There is a famous tale of them reaching an agreement for rights to photograph scenes when they were on road trips. The agreement they reached thereby declared that everything on the left side of the road belonged to the driver while everything on the right belonged to the passenger.

    It’s important for us to reach a certain level of catharsis with our photography so that we produce work that is representative of our vision. At the same time, healthy (and I do stress the “healthy” part) competition with other photographers not only keeps our creative juices flowing but also serves to engage us with our fellow shooters. We learn and better ourselves through interaction with the work we love and respect. With the correct perspective, competition with our peers promotes dynamic artistic growth.

    Parting words on Morley Baer

    As with all esteemed photographers, seeing the work in person brings about a level of appreciation that cannot be obtained by merely viewing a photograph on a computer screen. I’ve recently been fortunate enough to visit select galleries in and around the areas where Morley Baer lived and operated. As usual, it’s easy to look and see the beauty of Baer’s photographs, but as perpetual students of photography, we should always seek to find what we can learn from those whose work we admire.

    The lessons listed here are just a few to glean from Morley. Digest them and put them into practice with your own work. However, don’t stop there. Learn all you can, when you can and where you can. Never stop exploring the incredible world of photography.

     

    You may also find the following articles interesting:

    Lessons you can learn from master photographers – Minor White, Ansel Adams, and Syl Arena

    More Lessons from the Masters of Photography: Edward Weston

    Lessons from the Masters: Robert Capa and Jerry Uelsmann

    More Lessons from the Photography Masters: David Burnett and Vivian Maier

    Cartier-Bresson and Stieglitz – Study the Masters of Photography to Become a Better Photographer

    Masters of Photography: Bruce Davidson, Master of the Subway

    The post Lessons from the Masters: Morley Baer appeared first on Digital Photography School. It was authored by Adam Welch.


    Digital Photography School

  • NASA’s OSIRIS-REx spacecraft captures image of Earth from 71 million miles away

    NASA’s OSIRIS-REx spacecraft, which achieved a record orbit at asteroid Bennu earlier this month, has returned an image that, at first glance, is unremarkable. The photo, below, features two bright dots — the larger one on the right is Bennu, and the smaller one on the left is Earth and the moon as seen from a distance of 114 million kilometers / 71 million miles.

    The image was captured by OSIRIS-REx’s black and white NavCam1 camera on December 19, 2018, according to the Bennu mission website. The asteroid’s brightness is due to the image’s five second exposure time, which was long enough to make both the Earth and moon visible.

    Photo provided by NASA

    The OSIRIS-REx probe has been tasked with exploring Bennu, a large asteroid located around 70 million miles from Earth. On December 31, OSIRIS-REx became the first spacecraft to successfully orbit an object as small as Bennu, where it will remain before briefly touching down in 2020 to acquire a small sample.

    The spacecraft has returned a number of images to its team on Earth, including close-up shots of the asteroid’s rocky surface. The latest image joins the iconic Pale Blue Dot photo as a rare example of space photography that puts Earth’s tiny place in the universe into perspective. Future images from OSIRIS-REx will be shared in the mission’s Gallery.

    Articles: Digital Photography Review (dpreview.com)

  • Tamron confirms compatibility with Nikon Z6 for six of its Di, Di II lenses

    Lens maker Tamron has confirmed new firmware issued at the end of last year to make certain lenses compatible with Nikon’s Z7 camera will also work for owners of the Z6. The firmware applies to six lenses from the Di and Di ll ranges, and allows the following lenses to be used with the cameras via the Nikon FTZ adapter:

    • SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Nikon
    • SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Nikon
    • 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Nikon
    • SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Nikon
    • SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for Nikon
    • 17-35mm F/2.8-4 Di OSD (Model A037) for Nikon

    (Links to firmware below)

    Tamron initially faced issues with compatibility when the company’s lenses were used on the new Nikon mirrorless cameras, and issued new firmware for certain lens models at the end of last year to make them work with the Z7. This latest announcement appears to come after tests have confirmed that the same firmware also works when the lenses are mounted on the Z6.

    Users need the Tamron TAP-in to update lens firmware – or a visit to a Tamron service centre. The TAP-in console costs around $ 60.

    For more information see the Tamron support pages.

    {pressrelease}

    Notice about compatibility for Nikon Z6 with Tamron lenses for Nikon mount

    Dear users and potential purchasers of Tamron interchangeable lenses.

    Thank you for using Tamron products and for your continuous support.

    We would like to announce that we have clarified compatibility for general operations (*1) of the following Tamron Di & Di II lenses with the latest version of lens firmware (*2) when used with the Nikon Z6 and Nikon mount adapter FTZ.

    *1 Defined to work on existing DSLR cameras
    *2 Firmware for Nikon Z7 (announced on November 16th and 22nd, 2018)

    1. Compatible models for general operations

    • SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Nikon
    • SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Nikon
    • 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Nikon
    • SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Nikon
    • SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for Nikon
    • 17-35mm F/2.8-4 Di OSD (Model A037) for Nikon

    The lens firmware can be updated with the separately sold TAP-in Console.

    If you do not have a TAP-in Console, please contact your nearest Tamron distributors.
    For a list of Tamron distributors, click here.

    2. Lens Update Service Information
    https://www.tamron.jp/en/support/release_note.html

    3. How to Update
    https://www.tamron.jp/en/support/update.html

    4. For other models, once we confirm the compatibility with Nikon Z7 and FTZ adapter, we will announce the models sequentially at our support website.

    We are sorry to keep you waiting, and also ask for your understanding of the situation.

    {/Pressrelease}

    Articles: Digital Photography Review (dpreview.com)

  • Hands-on with the Sony a6400

    Hands-on with the Sony a6400

    The Sony a6400 is a refresh of the company’s midrange APS-C mirrorless camera. Sony has taken the design of the a6300, retooled the LCD so it can now flip up 180° (for vlogging and selfies) and say it’s made the body a bit more durable.

    If that doesn’t sound exciting, it’s because we haven’t told you about the a6400’s most notable feature: its state-of-the-art autofocus system. But more on that – and a lot more – in the slides that follow.

    But first, pricing. The a6400 will have an MSRP of $ 900/€1050 body only, $ 1000/€1150 with the 16-50mm F3.5-5.6 PZ lens and $ 1300/€1450 with an 18-135mm F3.5-5.6 lens.

    Design

    If you’ve used a Sony a6xxx series camera then you’ll feel right at home with the a6400, since nearly everything is in the same place. While they have the same height and width, the a6400 is deeper than the a6300 due to the parts required to tilt the LCD all the way up. Something that serious vloggers may not like is that the LCD will be completely blocked by an external mic (or recorder). Even without those, the screen is slightly blocked by the top plate and EVF eye cup.

    The a6400 has a magnesium alloy body and is sealed against dust and moisture. Sony says that the build has been ‘upgraded,’ but doesn’t say exactly how.

    LCD and EVF

    Look familiar? The a6400 has the usual rear thumb wheel / directional controller, a few buttons, and a button whose function can toggle between AF/MF and AE-Lock at the flip of a lever. The camera has eight customizable buttons and dials and the ‘My Menu’ can store up to 30 of your favorite settings.

    The 3″, 921k-dot LCD on the camera still has a 16:9 aspect ratio, which is great for video, but results in black bars on either side of the image when shooting stills. Unlike the a63000, the screen is touch-enabled which allows you to tap-to-focus, shoot and track a subject. You can also use the screen as a touchpad to adjust the position of the focus point with your eye to the finder. The display can tilt down to nearly 90° and all the way up to 180°.

    The a6400 uses the familiar 2.36M-dot / 0.7x magnification (equiv.) OLED EVF as the a6300 and a6500.

    In-N-Out

    There are a total of three I/O ports on the a6400: micro-HDMI, USB 2.0 and mic-in. There’s also a ‘Multi Interface Shoe’, which is a hot shoe with electronic contacts for using an external mic, flash or XLR adapter. There’s no way to connect headphones to monitor audio, though.

    For those looking to transfer their photos onto a smartphone, you can use Sony’s brand new ‘Imaging Edge’ app. The app, which replaces PlayMemories Mobile, offers a new UI, 4K video transfer and remote control. In theory it should support auto image transfer (at 2MP), but Sony currently lists the a9 as the only camera compatible with that feature.

    In addition to Wi-Fi and Bluetooth, the a6400 also offers NFC, for quick pairing with compatible Android devices. Again, not much has changed over the a6300.

    Memory card / Battery

    In case you were wondering where Sony put the memory card slot, it’s on the bottom, next to the battery (as usual). The a6400 supports SD cards (with UHS-I support) as well as yes-they-still-make-it Memory Stick Duo media.

    We were a bit disappointed to see that the a6400 hasn’t received a battery upgrade, instead relying on the old NP-FW50 for power. The official CIPA ratings for battery life are 410 shots with the LCD and 360 shots with the EVF, which are still respectable (you’ll often get more than the rated number of shots). The battery can be charged over USB or with an external charger (not included).

    Sensor

    Sony confirms the 24.2 effective Megapixel APS-C CMOS sensor on the a6400 is the same as the one in the a6300. And that’s not a bad thing, as we found the image quality on that camera to be near the top of its class.

    The a6400 incorporates the latest version of Sony’s Bionz X processor, which allows for a wider ISO range. The native range is 100-32000, which can expand up to 102,800. Sony says that skin tones and ‘plant colors’ have been improved over previous models.

    The a6400 has a fully electronic shutter option, allowing for silent shooting. The burst rate drops from 11 to 8 fps when using it, though that’s still more than enough for most photography. Speaking of shutters, Sony rates the shutter life at 200,000 cycles: double that of the a6300.

    Something that we really hoping for was sensor-shift image stabilization, like on Sony’s a6500 and current full-frame models. Unfortunately, you won’t find IBIS on the a6400, so you’ll need to spend the additional money ($ 200 at the time of writing) if that feature is important to you.

    Autofocus

    We could write a thesis paper about the autofocus system on the a6400, but we’ll keep it brief to preserve your sanity.

    First, the basics: the a6400 has a hybrid AF system, combining 425 phase-detect points with a traditional 165-point contrast-detect system. Those phase-detect points cover 84% of the image area. So far, so familiar.

    Now, the fun part. The a6400’s AF system is based largely on the sports-oriented a9: at least after it receives a pair of firmware updates this Spring and Summer. Besides a speed boost compared to the a6300, the camera can take advantage of Sony’s Real-time Eye AF and Real-time Tracking features.

    Real-time Tracking claims to use ‘Speed X AI’, with the AI portion really being an umbrella for a host of predictive and recognition algorithms, as well as machine learning trained face and eye detection. This allows for fast subject recognition and tracking. Users can specify the subject on which to focus by placing it under the AF point, then initiate AF and have the camera track the subject no matter where it moves to in the frame. If the subject is a face, the camera will automatically perform face and eye detection on that subject. But even if your subject looks away, the camera continues to track it by automatically reverting to the more generic ‘Real-time tracking’ mode, ready for the decisive moment you want. If your subject looks back at the camera, it will automatically switch to Eye AF. And this tracking works well for nearly any subject: a human, a dog, a soccer ball. Its performance and usability means it may be the only AF mode you ever need. After an update this summer, the a6400’s Eye AF will be expanded to work for pets and wildlife.

    Real-time Tracking uses all kinds of data – color, depth, pattern recognition – to recognize and track subjects at up to 11 fps, and we’ve been impressed by what we’ve seen of it so far. This video from Sony does a great job at demonstrating the two new real-time AF features.

    Video

    The video features, mostly shared with the a6300, are pretty good for a $ 900 camera. It captures oversampled 4K UHD footage (30, 25 or 24p) at bit rates of up to 100Mbps using the XAVC S codec. If it’s slow motion video you’re after, a 1080/120p option is available. As on existing models the 30p 4K capture is taken from a cropped region of the sensor.

    One concern we have about video quality is with regards to rolling shutter. The a6300 had a lot of it, particularly at 24p and, since the a6400 appears to use the same sensor, we’re not optimistic.

    Video users do get many of the benefits of the new AF system though, with fast speeds, Touch Tracking and adjustable sensitivity, rather than the unreliable ‘Lock-On AF’ system in older models. Capture tools include focus peaking, zebra patterns, time code, clean HDMI output, proxy movie recording, and more. The a6400 is Sony’s first APS-C camera to offer an 8-bit version of the HLG (Hybrid Log-Gamma) picture profile, which sits alongside S-Log2/3.

    Finally, the a6400 has an interval shooting mode (about time) which can be edited into a time-lapse movie on the camera or via Sony’s Imaging Edge desktop application.

    Wrap-up

    On the surface it might appear that not much has changed since the a6300, with the addition of a flip-up touchscreen and an HLG option for high dynamic range video not seeming to signal a major update. But then there’s the stills and video autofocus.

    To say that the autofocus system got an overhaul would be an understatement. We’ll be spending plenty of time photographing bikes, running children and who knows what else in the next few days, but our early impressions of the Real-time Eye AF and Tracking features are extremely positive.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma updates lens compatibility notice for Canon EOS R after further testing

    Sigma has made a number of amendments to its lens compatibility notice for Sigma lenses when used on Canon’s EOS R mirrorless camera.

    After further testing, Sigma has concluded both autofocus and optical image stabilization (for applicable lenses) work ‘without any issues’ on the following lenses when used with Canon EOS R mirrorless cameras via the EF-EOS R mount adapter or Control Ring EF-EOS R mount adapter:

    DG Lens
    – SIGMA 12-24mm F4 DG HSM | Art
    – SIGMA 14-24mm F2.8 DG HSM | Art
    – SIGMA 24-35mm F2 DG HSM | Art
    – SIGMA 24-70mm F2.8 DG OS HSM | Art
    – SIGMA 24-105mm F4 DG OS HSM | Art
    – SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports
    – SIGMA 70-200mm F2.8 DG OS HSM | Sports
    – SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary
    – SIGMA 120-300mm F2.8 DG OS HSM | Sports
    – SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary
    – SIGMA 150-600mm F5-6.3 DG OS HSM | Sports
    – SIGMA APO 200-500mm F2.8/400-1000mm5.6 EX DG
    – SIGMA APO 300-800mm F5.6 EX DG HSM
    – SIGMA 8mm F3.5 EX DG CIRCULAR FISHEYE
    – SIGMA 14mm F1.8 DG HSM | Art
    – SIGMA 15mm F2.8 EX DG DIAGONAL FISHEYE
    – SIGMA 20mm F1.4 DG HSM | Art
    – SIGMA 24mm F1.4 DG HSM | Art
    – SIGMA 28mm F1.4 DG HSM | Art
    – SIGMA 35mm F1.4 DG HSM | Art
    – SIGMA 40mm F1.4 DG HSM | Art
    – SIGMA 50mm F1.4 DG HSM | Art
    – SIGMA 85mm F1.4 DG HSM | Art
    – SIGMA 105mm F1.4 DG HSM | Art
    – SIGMA 135mm F1.8 DG HSM | Art
    – SIGMA 500mm F4 DG OS HSM | Sports
    – SIGMA 70mm F2.8 DG MACRO | Art
    – SIGMA MACRO 105mm F2.8 EX DG OS HSM ?
    – SIGMA APO MACRO 150mm F2.8 EX DG OS HSM ?
    – SIGMA APO MACRO 180mm F2.8 EX DG OS HSM ?

    DC Lens
    – SIGMA 8-16mm F4.5-5.6 DC HSM ?
    – SIGMA 10-20mm F3.5 EX DC HSM ?
    – SIGMA 17-50mm F2.8 EX DC OS HSM ?
    – SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary ?
    – SIGMA 18-35mm F1.8 DC HSM | Art ?
    – SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary ?
    – SIGMA 18-250mm F3.5-6.3 DC MACRO OS HSM ?
    – SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary ?
    – SIGMA 50-100mm F1.8 DC HSM | Art ?
    – SIGMA 4.5mm F2.8 EX DC CIRCULAR FISHEYE HSM ?
    – SIGMA 10mm F2.8 EX DC FISHEYE HSM ?
    – SIGMA 30mm F1.4 DC HSM | Art ?

    *Camera’s “Scene Intelligent Auto mode” cannot be used.

    Sigma notes when Digital Lens Optimizer, located within the EOS R settings menu, is switched to ‘OFF’ but peripheral illumination correction, chromatic aberration correction and distortion correction are turned on, those corrections will be made for each lens, specific to their optical characteristics. ‘This is applicable to DG and DC lenses from Contemporary, Art and Sports line listed below which were released after March, 2018, or those of which firmware has been updated to Ver.2.0 or later,’ says Sigma in the press release.

    Sigma also clarifies that any DC lenses where the image circle is made to match APS-C sensors is used, the EOS R won’t automatically switch to its built-in 1.6x crop shooting mode, meaning it will have to be set manually. A future firmware update, expected to be ‘announced at a later date,’ will make this switch automatic and add support for the EOS R’s Scene Intelligent Auto mode.

    Testing also confirmed three lenses had the potential to show ‘some phenomena’ that required special handling. The Sigma 60-600mm F4.5-6.3 DG OS HSM, 24-70mm F2.8 DG OS HSM and 100-400mm F5-6.3 DG OS HSM all experienced a problem wherein on particular occasions the camera battery needed to be taken out and put back in place if the lens was removed while the optical stabilization is running.

    Likewise, the 24-70mm F2.8 DG OS HSM and 100-400mm F5-6.3 DG OS HSM experienced an issue where autofocus would stop working from infinity to closer focus distance while shooting video.

    Upcoming firmware updates to address these issues for these three lenses are expected ‘at a later date.’

    Articles: Digital Photography Review (dpreview.com)

  • Sony a6400 first impressions video

    Our intrepid team is in San Diego, for the launch of the new Sony a6400. In this short overview video, Carey, Chris and Jordan talk through the main specifications of the new camera, and what they might mean for photographers and videographers.

    Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

    Articles: Digital Photography Review (dpreview.com)

  • Olympus teases upcoming sports-oriented camera once more

    Olympus has released teaser number three for the sports-oriented camera the company is releasing in a week. The previous teasers only gave a quick glimpse of the camera, instead focusing on what it can do: sports.

    In this latest episode, the camera is seen out in nature (including the rain). We’ll have a lot more on this intriguing new camera when it launches on the 24th!

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm announces 100-200mm F5.6 lens for GFX system

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    Fujifilm has announced its new GF 100-200mm F5.6 R LM OIS WR tele-zoom lens, for medium format. When attached to a GFX body, the lens covers an equivalent focal length range of 79-158mm (the GF 1.4x teleconverter is supported if you need extra reach). The lens is stabilized, with Fujifilm claiming 5 stops of shake reduction. Optical construction comprises 20 elements in 13 groups, including one aspherical and two super ED elements.

    The 100-200 uses a linear motor for ‘silent and high-speed autofocus’ which locks in place when the camera is powered down. The minimum focus distance is 0.6m at wide-angle and 1.6m at telephoto, with a max magnification of 0.2x. The lens is weather-sealed and weighs just over a kilogram (2.3 pounds).

    The GF 100-200mm F5.6 will be available in late February for $ 2000.

    Press release:

    FUJIFILM INTRODUCES NEW TELEPHOTO ZOOM LENS FOR THE GFX MEDIUM FORMAT MIRRORLESS SYSTEM

    The FUJINON GF100-200mm F5.6 R LM OIS WR lens is a welcome addition for outdoor photographers

    Valhalla, New York, January 17, 2019 – FUJIFILM North America Corporation today announced that it will release the FUJINON GF100-200mmF5.6 R LM OIS WR lens for the GFX Medium Format mirrorless digital camera system on February 14th, 2019. Designed with outdoor enthusiasts in mind, the camera has a durable, lightweight design paired with Fujifilm’s excellent image quality and five stop image stabilization features.

    “Outdoor photographers need to consider a plethora of challenges including lighting, environment and timing – all while battling the natural elements,” said Yuji Igarashi, General Manager, Electronic Imaging Division & Optical Devices Division, FUJIFILM North America Corporation. “As the first GF telephoto zoom lens that has a 35mm equivalent focal range of 79-158mm in a compact, weather-resistant design, this lens will meet the needs of outdoor and landscape photographers.”

    Ideal to shoot landscape, travel and nature photography, the new telephoto zoom lens is resilient with its ability to operate in extreme temperatures (down to 14 °F) and sealed lens to resist dust and moisture –all without sacrificing image quality.

    Key features of the FUJINON GF100-200mmF5.6 R LM OIS WR lens:

    Ultra-High Image Quality: The lens is made up of 20 elements in 13 groups including two super Extra Low Dispersion Glass lenses and one aspherical lens to reduce chromatic and field curvature aberrations.

    Powerful Image Stabilization: Equipped with an excellent five stop image stabilization (CIPA guidelines), the lens allows photographers to make the most of the GFX’s high image resolution performance even without the use of a tripod.

    Silent and High-Speed Autofocus: The linear motor which drives the focus is accurate, quiet and fast. The lens also includes an enhanced mechanism for fixing the linear motor position when turning the power off or using playback mode to avoid any additional vibration.

    Robust Durable Design, Appropriate for Tough Shooting Environments: The lens is sealed across 10 areas for dust and weather resistance allowing photographers to shoot with stability in tough environments.

    GF1.4X TC WR Compatible: The 1.4x teleconverter (GF1.4X TC WR) extends the telephoto shooting range to 140-280mm (equivalent to 111-221mm in 35mm format) while maintaining superior image quality.

    The GF100-200mmF5.6 R LM OIS WR lens complements the FUJIFILM GFX 50S and FUJIFILM GFX 50R as well as the full lineup of GF lenses for the Fujifilm GFX mirrorless digital camera system. GF lenses are known for top image quality using the finest optical design and production technologies to achieve high-resolution and rich tonal reproduction, making them popular among professional photographers and photo enthusiasts.

    The GF100-200mmF5.6 R LM OIS WR lens will be available in late February 2019 in the U.S. and Canada for USD $ 1,999.95 and CAD $ 2,599.99.

    Fujifilm GF 100-200mm F5.6 R LM OIS WR specifications

    Principal specifications
    Lens type Zoom lens
    Max Format size Medium Format (44x33mm)
    Focal length 100–200 mm
    Image stabilization Yes
    CIPA Image stabilization rating 5 stop(s)
    Lens mount Fujifilm G
    Aperture
    Maximum aperture F5.6
    Minimum aperture F32
    Aperture ring Yes
    Number of diaphragm blades 9
    Optics
    Elements 20
    Groups 13
    Special elements / coatings 1 aspherical + 2 super ED elements
    Focus
    Minimum focus 0.60 m (23.62″)
    Maximum magnification 0.2×
    Autofocus Yes
    Motor type Linear Motor
    Full time manual Yes
    Focus method Internal
    Distance scale No
    DoF scale No
    Focus distance limiter Yes
    Physical
    Weight 1050 g (2.31 lb)
    Diameter 90 mm (3.52″)
    Length 183 mm (7.2″)
    Materials Magnesium alloy
    Sealing Yes
    Colour Black
    Zoom method Rotary (extending)
    Power zoom No
    Zoom lock No
    Filter thread 67 mm
    Hood supplied Yes
    Tripod collar Yes

    Articles: Digital Photography Review (dpreview.com)