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  • Terry Richardson banned by major magazine publisher, according to leaked email

    Photo by Christopher Macsurak (cc-by-2.0)

    Following a scathing piece by The Times, a leaked Conde Nast email reveals that controversial photographer Terry Richardson has been banned from working with the company’s many publications—including major names like Vogue, Vanity Fair, Glamour, and GQ. The leak comes via The Telegraph, which claims that the email was “circulated within the media group Conde Nast International”, and follows years of sexual misconduct allegations against Richardson.

    Richardson has long been one of the photographers of choice in the fashion industry for his ‘raw’ style, this despite the allegations against him. Entities working with Richardson were recently called out by The Times, which asked why the photographer is still ‘feted by fashionistas’ despite being known as ‘the Harvey Weinstein of fashion.’

    The leaked Conde Nest email mentions neither The Times’ piece nor the allegations, instead reportedly stating:

    I am writing to you on an important matter. Condé Nast would like to no longer work with the photographer Terry Richardson. Any shoots that have been commission[ed] or any shoots that have been completed but not yet published, should be killed and substituted with other material.

    The Telegraph claims the email was signed by Conde Nast International Executive VP James Woolhouse.

    The publication itself has not made any official comments about the matter; however, a representative for Richardson issued a statement about the report to the Huffington Post, saying:

    Terry is disappointed to hear about this email especially because he has previously addressed these old stories. He is an artist who has been known for his sexually explicit work so many of his professional interactions with subjects were sexual and explicit in nature but all of the subjects of his work participated consensually.

    Articles: Digital Photography Review (dpreview.com)

  • FLM unveils Berlin 38.4 carbon tripod on Indiegogo

    The US and Canada arm of tripod manufacturer FLM is planning to introduce a new carbon fibre tripod with a maximum load capacity of 40kg/88.18lbs, but that that weighs only 2.25kg/4.96lbs itself. The forthcoming Berlin 38.4 has four-section legs made from 10-layer carbon fibre and an apex that accepts a flat screw plate or two sizes of leveling bowl.

    FLM has launched the Berlin 38.4 on Indiegogo in the second of its crowdfunded projects—the company has already successfully launched the CP26-Travel tripod this same way. It hopes to raise $ 9,500 to get production underway, and says it has already completed prototyping for the legs.

    It is unusual for a tripod apex to be able to handle more than one size of leveling bowl, but FLM says the Berlin 38.4 can be used with both 75mm and 100mm bowls via adapters. Leveling bowls are ideal for video users, while most stills shooters will want the flat base plate so a normal tripod head can be attached.

    With no centre column, the Berlin 38.4 stands at a maximum height of 143mm/56.29in, but can support the camera from 8cm/3.14in off the ground via the three-position legs. It folds to 52cm/20.47in and the widest leg has a diameter of 38mm.

    FLM expects the Berlin 38.4 to retail for $ 809, but is offering it to crowdfunding backers for packages starting as cheap as $ 558. For more information, visit the Berlin 38.4 Indiegogo campaign page.

    Articles: Digital Photography Review (dpreview.com)

  • Weekly Photography Challenge – Sunrise Sunset

    Shooting the sunset or sunrise is a great way to come back with spectacular images. This week it’s time to get out there at dawn or dusk and make some magic.

    Sunset in Nicaragua.

    If you need some tips to help you on this one you can find a good video here and links to several articles on shooting the sunrise and sunset.

    Remember you don’t have to have the sun in your photo to make it an effective shot. Use the nice soft directional light at these times of day to your advantage.

    Sunrise in the beach in a fishing village in Nicaragua. I used the soft warm light to show the subject – this young girl taking home a fish for her efforts helping the fishermen on the boats coming in.

    Another Nicaraguan sunset. Add an interesting subject in front of your sunset for a more dramatic photo.

    Weekly Photography Challenge – Sunrise Sunset

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

    Share in the dPS Facebook Group

    You can also share your images on the dPS Facebook group as the challenge is posted there each week as well.

    The post Weekly Photography Challenge – Sunrise Sunset by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Leica’s ‘new’ Thambar-M 90mm F2.2 costs $325 per aperture blade

    Hands-on with Leica’s new classic 90mm Thambar

    Leica’s newest lens is actually one of its oldest. The Leica Thambar-M 90mm F2.2 is a (slightly) modernized recreation of a classic 1930s design, famed for decades thanks to its unique soft focus rendering for portraits. At $ 6500 it costs a pretty penny too, which for our own amusement we figured works out to $ 325 for each of its 20 aperture blades.

    We’re at the Photo Plus Expo show in New York, where we just got our hands on Leica’s latest crazy diamond. Click through for a closer look.

    Hands-on with Leica’s new classic 90mm Thambar

    Cosmetically, the new Thambar is virtually identical to the original. The biggest difference is that now, it’s designed natively for the M-mount rather than the original screw-mount (and 6-bit coded). As such, it can be used on modern rangefinders (like the M10 pictured above) without adaptation.

    Sorry about the weird color balance in this image by the way. I have no excuse.

    Hands-on with Leica’s new classic 90mm Thambar

    Yes, that is a 20-bladed aperture. The optical construction of the new lens is the same as the original – four elements in three groups – but in a concession to the needs of 20th Century photographers, the elements are now single-coated.

    Hands-on with Leica’s new classic 90mm Thambar

    There are two reasons the original Thambar is famed among Leica collectors. One is its scarcity, and the other is its unique rendering. ‘Soft-focus’ would be a bit of an oversimplification – its more of an ethereal glow. I can’t describe the appearance very well in words, but people who love it really love it. The effect can be varied by stopping down the aperture. There are some sample images at the end of this writeup.

    Note the twin stepless aperture scales – that will be explained a minute.

    Hands-on with Leica’s new classic 90mm Thambar

    The white aperture ring refers to the effective aperture when the special ‘center-spot’ filter is attached. This filter allows photographers to modify the unique rendition of the Thambar.

    Hands-on with Leica’s new classic 90mm Thambar

    A dedicated screw-in hood can be reversed on the lens for storage. Without the hood or filter, the new Thambar weighs in at a respectable 500g (1.1lb) and is available now, for $ 6500.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma 16mm F1.4 DC DN ‘C’: hands-on and additional details

    Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

    Sigma has used the Photo Plus Expo show in New York as a launchpad for an all-new lens – the 16mm F1.4 DC DN | Contemporary is a fast, high-quality prime for cropped-sensor Sony E-mount and M43 cameras.

    In person, the new lens is a relatively small, but beautifully well-made prime that fills a useful gap in focal lengths for both systems. On a Sony E-mount APS-C format camera, it is equivalent to 24mm, while on a Micro Four Thirds ILC it becomes an effective 32mm medium-wide.

    Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

    Sigma claims that despite being a ‘C’ (Contemporary) class lens, the new 16mm should have performance in line with the company’s premier ‘Art’ series. As far as build quality is concerned, that’s definitely true. Mechanically, this lens is gorgeous – something that is exemplified in the large, very smooth manual focusing ring.

    Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

    At 92.3mm (3.6 inches) long, the 16mm is relatively compact, but becomes a lot bigger with the included hood attached, beginning to dwarf the Sony a6300 shown in this image. But at 405g (14 oz) it’s relatively heavy for its size.

    Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

    Optical construction comprises 16 elements in 13 groups, including two aspherical, two SLD (super-low dispersion) and three FLD (“F” low dispersion) elements. That’s an impressive number of specialized elements and the just-published MTF graphs suggest that sharpness at optimal apertures will be impressive.

    Nine rounded aperture blades should ensure pleasant bokeh at wide apertures.

    Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

    While Sigma typically doesn’t make any specific claims about weather-sealing, a thin rubber ring around the lens throat should help keep dust and moisture from entering the camera. As you can see from the engraved text in this shot, minimum focus is 0.25m (about 10 inches).

    Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

    No details on pricing and availability of the 16mm F1.4 have yet been released, but we’re looking forward to trying out a production sample as soon as they become available.

    Articles: Digital Photography Review (dpreview.com)

  • Hands-on with new Fujifilm X and GF lenses

    Hands-on with new Fujifilm X and GF lenses

    We’re at the Photo Plus Expo show in New York, where Fujifilm is showing off its new XF 80mm F2.8 R LM OIS WR and GF 45mm F2.8 R WR prime lenses.

    First up is the snappily-named XF 80mm F2.8 R LM OIS WR. It’s equivalent to a 122mm prime on X-series bodies, and as you can see, it’s a big lens. It also fills an appropriately big gap in Fujifilm’s historical lens lineup, being the first of Fuji’s X-mount lenses to give full 1:1 macro reproduction.

    Hands-on with new Fujifilm X and GF lenses

    As usual for Fujifilm’s current lenses, the 80mm offers the option of manual aperture control via a dedicated dial, and a large focusing ring provides very fine control over focus, if required.

    Hands-on with new Fujifilm X and GF lenses

    The XF 80mm F2.8 R LM OIS WR is optically stabilized, and is rated to provide around 5 stops of correction. This should help greatly in the macro focusing range, as well as making the lens more usable in general, in lower lighting conditions.

    Hands-on with new Fujifilm X and GF lenses

    Toggle switches on the lens barrel allow the photographer to restrict the lens’s focusing range, as well as activate / deactivate the OIS stabilization system. The XF 80mm F2.8 R LM OIS WR is weather sealed (that’s what the ‘WR’ means) and like all of Fujifilm’s high-end lenses, it’s built to a very high standard of construction.

    The Fujifilm XF 80mm F2.8 R LM OIS WR will be available next month for $ 1200.

    Hands-on with new Fujifilm X and GF lenses

    The Fujinon GF 45mm F2.8 R WR is a very different beast. Designed for Fujifilm’s medium-format GFX 50S, it offers an equivalent field of view to 36mm on a full-frame camera.

    Hands-on with new Fujifilm X and GF lenses

    At 490g (1.08 lb) the 45mm F2.8 is small and light by the standards of medium format lenses, and should be a useful prime lens for everyday shooting. A broad focusing ring and dedicated aperture control dial allow for manual control if desired.

    Hands-on with new Fujifilm X and GF lenses

    Optical construction comprises 11 elements in eight groups, including one aspherical and two ED elements. Again, the ‘WR’ designation means that this lens is sealed against dust and moisture incursion – just like the GFX 50S.

    The Fujinon GF 45mm F2.8 R WR will be available next month for $ 1700.

    Articles: Digital Photography Review (dpreview.com)

  • First look at upcoming Pentax ‘star series’ lenses and silver edition K-1

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    Ricoh is showing off two upcoming lenses at the Photo Plus Expo show in New York this week. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame cameras, while the HD Pentax-DA* 11-18mm F2.8 is intended to be paired with the company’s APS-C DSLRs.

    We weren’t able to get our hands on the new lenses, sadly – they’re still under glass – but we’re told that they’re cosmetically near-final. Click through for a closer look.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    We’ve known about the HD Pentax-D FA* 50mm F1.4 SDM AW for a while, but the last time we saw it (also under glass) it was little more than a lens-shaped lump of plastic. Things have advanced since then, and the copy on show here appears to be a working prototype.

    The upcoming 50mm is one of a new generation of ‘star series’ lenses that Ricoh intends for high-resolution imaging with its flagship K-1 and (presumably) follow-up full-frame models.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    The 50mm F1.4 will come with a generously proportioned lens hood. The ‘AW’ in the designation stands for ‘All Weather’ and denotes environmental sealing, which should mean that like the K-1, it will stand up to use in harsh conditions.

    A new ring-type SDM autofocus drive promises fast, quiet focusing. Pricing has yet to be announced, but the new 50mm should be available in spring of next year.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    Meanwhile, the HD Pentax-DA* 11-18mm F2.8 is intended to be paired with the company’s APS-C DSLRs, and covers an effective focal length range of ~17-28mm. The fast maximum aperture of F2.8 is fixed across the zoom range, and while it hasn’t been spelled out anywhere, the sample on show appears to feature a switch for optical image stabilization, covered in black tape.

    This would be a bit odd, given that Pentax’s DSLRs are stabilized in-body but could point towards hybrid stabilization. The alternative explanation (and probably more likely) is that it’s either a zoom lock or simply a vestigial bump which will be removed in shipping lenses.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    Beyond the usual hyperbole (photographers should be able to ‘effortlessly capture breathtaking landscapes’ with this lens, apparently) details of the exact specification are sparse. Along with the mystery switch, the focus scale has also been obscured.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    No pricing information has been shared, but we’re told that the 11-18mm will be available next summer.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    Here’s the new K-1 ‘Silver Edition’, announced in August. This special edition of Ricoh’s flagship full-frame DSLR features a special silver coating, to match the silver versions of Pentax Limited lenses.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    This is the kind of thing that often looks great in manufacturer-supplied renderings, but a bit tacky in real life. We’re pleased to see that in person, the silver K-1 looks pretty classy.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    A special silver hotshoe cover is an especially nice touch. The K-1 silver edition is limited to 2000 copies worldwide.

    First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

    Alongside its conventional cameras and lenses, Ricoh is also showing off its new Theta V 360-degree camera, which improves on the original model with much better resolution and advanced video features. Learn more about the Ricoh Theta V

    Articles: Digital Photography Review (dpreview.com)

  • Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

    Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

    The new Tamron 100-400mm F4.5-6.3 Di VC USD is a lightweight telezoom aimed at enthusiast full-frame and APS-C DSLR users. The lightest zoom in its class (minus the optional tripod foot) the 100-400mm trades brightness for portability, weighing in at 40 ounces (roughly 1.1 kilograms).

    Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

    Optical construction comprises 17 elements in 11 groups, including extraordinary LD (low dispersion) elements. Minimum focus is a respectable 59 inches (1.5m) which works out at a a maximum magnification ratio of 1:3.6.

    The optical Vibration Correction system offers the equivalent of 4 stops of correction, which should make a big difference to usability for telephoto shots, at and around 400mm. We’ve been impressed by the performance of Tamron’s stabilization in the past, and in theory, the new 100-400mm should be hand-holdable down to 1/60sec at 400mm.

    Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

    Despite being a full-frame zoom, the 100-400mm feels relatively light, and very well-balanced. In the 100mm zoom position, the lens is 7.8 inches long.

    Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

    Zoomed out to 400mm, the 100-400mm gets longer by roughly 50%, but still feels well-balanced. The large zoom ring moves smoothly throughout the zoom range. A smaller focus ring is positioned behind it, but separated by enough space that you probably won’t grab the wrong ring by mistake.

    Automatic focusing is powered by twin processors, and judging from a very quick test on the show floor (with a Nikon D500) AF seems fast and positive, at least in single-shot mode.

    Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

    Although the sample we tried out didn’t display any ‘zoom creep’ there is a lock on the barrel to prevent the lens extending when carried.

    Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

    The tripod ring is optional, but recommended. Although it makes the 100-400mm slightly heavier, it offers a very solid platform for tripod use. Although you can’t tell from this image, the base of the foot is Arca-SWISS compatible.

    Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

    The Tamron 100-400mm F4.5-6.3 Di VC USD is fully compatible with Canon and Nikon DSLRs, both full-frame and APS-C. We had the chance to use it (briefly) on a Nikon D500 and it balances well, both at 100 and 400mm positions. This view gives a sense of the relatively small size of the lens. Despite its telephoto reach, it’s about the same size and weight as a typical 70-200mm F4.

    As we’d expect, the Tamron 100-400mm F4.5-6.3 Di VC USD is compatible with Tamron’s TAP-in Console and 1.4X and 2X teleconverters (although don’t expect stellar AF performance at the long end of the zoom with either!). It will be available starting November 16th for $ 800.

    Articles: Digital Photography Review (dpreview.com)

  • Adobe will release the last update to Lightroom 6 ‘towards the end of the year’

    The countdown to the end of Lightroom as a standalone product is officially ticking, and the deadline is drawing near. Earlier today, Adobe released a fresh compatibility update for Lightroom 6, but in addition to adding support for cameras like the Nikon D850 and Fuji X-E3, Adobe also answered a burning question in the release notes: Is this the last upgrade of Lightroom perpetual product?

    The answer, it seems, is no… but that last upgrade will arrive “towards the end of the year.” Here is Adobe’s answer in full:

    As we align our investments in the direction of supporting our subscription-based products, the last version of Lightroom 6 will be coming out towards the end of the year. If there is a camera not supported in Lightroom 6, you can use the DNG converter before importing your images into Lightroom 6.

    Once that final upgrade goes live, Lightroom 6 will become an ‘unsupported’ product, and if you intend to keep using Adobe Photoshop Lightroom you’ll either have to subscribe to CC or deal with the less-than-ideal workflow described above… while you can. It might not take too many operating system upgrades before unsupported LR6 breaks entirely.

    Not everybody is happy about this state of affairs… as Senior Reviewer Richard Butler pointed out last week:

    RIP Lightroom 6: Death by Subscription Model

    Articles: Digital Photography Review (dpreview.com)

  • Report: Snapchat has hundreds of thousands of unsold Spectacles sitting in storage

    In late 2016, Snap launched Spectacles: a wearable camera embedded into a pair of sunglasses. At first, Spectacles could only be purchased from a special yellow vending machine, making the availability very limited. Long lines and high eBay resale prices seemed to indicate high consumer demand, and eventually Snap decided to start selling the glasses through major retailers.

    But a new report indicates that initial demand had more to do with novelty than actual desire… and now Snap is in trouble.

    Since first launching Spectacles, including the wider Amazon launch this past summer, Snap has sold more than 150,000 units; however, a new report by The Information claims that “hundreds of thousands” of Spectacles units sit unsold in warehouses, eclipsing the number Snap has already sold. Snap misinterpreted the initial demand, and now they’re stuck with a lot of unsold (and possibly unsellable) camera glasses.

    To make matters worse, The Information’s sources also claim that Snap has abandoned plans to launch its own drone. Pair this news with mediocre stock performance since going public, and the rising popularity of Instagram Stories, and things don’t look good for Snap Inc. … not at all.

    Articles: Digital Photography Review (dpreview.com)