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Aujourd’hui — 16 juin 2021Photo

New 7artisans 55mm f/1.4 II lens also available (APS-C/MFT for E/Z/X/MFT/EOS-M mounts)

16 juin 2021 à 19:03
Par : PR admin





In addition to the new 10mm f/2.8 and 60mm f/2.8 II lenses, the 7artisans 55mm f/1.4 II lens (APS-C/MFT for E/Z/X/MFT/EOS-M mounts) is now also listed for sale at several online stores (has been available in the Photo Rumors Online Store for a while with free worldwide shipping):

Please note that this is the new version II of the lens – it is different from the version currently listed for sale at B&H. Here are the details:




Focal length:

55mm

Maximum aperture:

F1.4

Minimum aperture:

F16

Lens construction:

5 groups, 6 elements

Minimum focusing distance:

0.42m

Frame type:

APS-C

Aperture ring:

De-clicked aperture

Lens anti-shake:

Without anti-shake

Blades numbers:

9 pcs

Angle of view:

29.5°

Filter size:

52mm

Lens material:

Metal

Lens length:

65mm

Lens diameter:

60mm

Weight:

358g

Focusing method:

Manual

Mount:

E/FX/M43/EOS-M/Z

7artisans 10mm f/2.8 fisheye full-frame mirrorless lens pre-orders open again (also for the new 60mm f/2.8 II lens)

The post New 7artisans 55mm f/1.4 II lens also available (APS-C/MFT for E/Z/X/MFT/EOS-M mounts) appeared first on Photo Rumors.

DPReview TV: Five best Fujifilm Film Simulation modes

One of our favorite features on Fujifilm cameras is their Film Simulation modes, which let you quickly adjust the color and tone of photographs. The always-opinionated Chris and Jordan have their own favorites, which they cover in this episode of DPReview TV.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Hier — 15 juin 2021Photo

Kosmo Foto launches Kickstarter for a noir-inspired 35mm 400 ISO black-and-white film stock

Kosmo Foto has announced the release of Agent Shadow, a noir-inspired ISO 400 panchromatic black-and-white 35mm film stock currently being crowdfunded on Kickstarter.

According to Kosmo Foto, ‘the film is made by one of the most famous names in film production, with nearly 150 years’ experience making film and photographic products.' While the box speed is ISO 400, Kosmo photo shows sample images that have been pushed to ISO 6400 with respectable results.

On the topic of development, Kosmo Foto says any standard black-and-white developer should get the job done and notes there will be an accompanying development table once the film ships. At box speed, Kosmo Foto says the grain is ‘fine.’ When pushed, both contrast and grain increase. As for comparable films, Kosmo Foto says it’s similar to Ilford PAN 400 and Delta 400.

An image of the Agent Shadow Briefcase Box set, available exclusively through the Kickstarter campaign.

‘Agent Shadow is a tried-and-tested emulsion perfectly happy to be shot in lower light, letting you capture life at the dark end of the street,’ says Kosmo Foto. ‘Capture witching-hour cityscapes with glorious grain; shine your lens on night-time escapades without needing the attention-grabbing announcement of a flash. Take portraits in shade and overcast window light. Step into the shadows and find a world in black-and-white just waiting to be documented.’

Below are a collection of sample photos captured with the film:

The film will be available in sets of four, as well as discounted sets of 10 and 20. A €20 (~$24) pledge will secure you an ‘Early Bird’ four-pack. For a €38 (~$46) pledge, you can get an exclusive ‘Agent Shadow Briefcase Box,’ which includes five rolls of Agent Shadow and an exclusive graphic novella titled ‘The 36 Frames’ (illustrated by designer My Mate Does Art), all packaged in a briefcase-inspired box.

You can find out more and make your pledge on the Agent Shadow Kickstarter campaign. The first rolls are expected to ship in October 2021.


Note/disclaimer: Remember to do your research with any crowdfunding project before backing it. Pledges to crowdfunding campaigns are not pre-orders. DPReview does not have a relationship with this, or any such campaign, and we publicize only projects that appear legitimate, and which we consider will be of genuine interest to our readers. You can read more about the safeguards Kickstarter has in place on its ‘Trust & Safety’ page.

7artisans 10mm f/2.8 fisheye full-frame mirrorless lens pre-orders open again (also for the new 60mm f/2.8 II lens)

15 juin 2021 à 20:08
Par : PR admin



A few weeks ago 7artisans temporarily suspended the pre-orders for the new 10mm f/2.8 fisheye lens (full-frame) and 60mm f/2.8 II lens (APS-C/MFT). The pre-orders are now open again at the Photo Rumors Online Store (the free shipping is expected to start in June):


7artisans 10mm f/2.8 fisheye lens (select mount):





7artisans 60mm f/2.8 II APS-C/MFT lens (select mount):




Here are some pictures of the new 7artisans 10mm f/2.8 lens (available for E/R/Z/L mounts):

Next are some sample photos taken with the 7artisans 10mm f/2.8 fisheye full-frame mirrorless lens (direct link to Flickr, more sample photos available here):

7artisans 10mm f/2.8 fisheye full-frame mirrorless lens sample photos

Additional information on the two new lenses can be found here:

7artisans 10mm f/2.8 fisheye lens (full-frame)



Focal length:

10mm

Maximum aperture:

F2.8

Minimum aperture:

F22

Lens construction:

8 groups, 11 elements

Minimum focusing distance:

0.17m

Frame type:

Full-frame

Aperture ring:

De-clicked aperture

Lens anti-shake:

Without anti-shake

Blades numbers:

8 pcs

Angle of view:

178°

Lens material:

Metal

Lens length:

68mm

Lens diameter:

87mm

Weight:

570g

Focusing method:

Manual

Mount:

E/R/Z/L

7artisans 60mm f/2.8 II lens (APS-C/MFT)


Focal length:

60mm

Maximum aperture:

F2.8

Minimum aperture:

F22

Lens construction:

8 groups, 11 elements

Minimum focusing distance:

0.175m

Frame type:

APS-C

Aperture ring:

De-clicked aperture

Lens anti-shake:

Without anti-shake

Blades numbers:

9 pcs

Angle of view:

26.4°

Image diameter:

28.4mm

Lens material:

Metal

Lens length:

80.5mm

Lens diameter:

60mm

Weight:

339g

Focusing method:

Manual

Mount:

E/FX/M43/EOS-M/Z

Sample photos of the new &artisans 60mm f/2.8 lens can be found here.

The post 7artisans 10mm f/2.8 fisheye full-frame mirrorless lens pre-orders open again (also for the new 60mm f/2.8 II lens) appeared first on Photo Rumors.

Leica M11 camera rumors

15 juin 2021 à 19:22
Par : PR admin


Leica is rumored to announce a new M11 rangefinder camera. Here is are the rumored details:

  • The Leica M11 will not have a baseplate (setup like the Leica Q2)
  • The official announcement is still expected on 11/11/2021 (the M9 was announced on 09/09/2009)
  • A new rumor suggested that the Leica M11 sensor will have a variable resolution in RAW (50MP/36MP/15MP)
  • The Leica M11 will support USB-C
  • No IBIS
  • A new Visoflex will be announced that will work also with the current M10 models
  • I was told that the Leica M10, M10P, and Leica M10D cameras are already discontinued – see current listings at Adorama and B&H

The M11 has been registered as a trademark by Leica since 2012 (pictured above).

Via LeicaRumors


The post Leica M11 camera rumors appeared first on Photo Rumors.

This photograph illustrates how quickly the International Space Station orbits Earth

The International Space Station (ISS) moves fast. Very fast. The modular space station has an orbital speed of 7.66 kilometers per second, which is roughly 17,100 mph. It takes the ISS a mere 92.68 minutes to orbit Earth, meaning it goes around Earth nearly 16 times per day. It's hard to conceptualize that amount of speed, but French astronaut Thomas Pesquet is aboard the ISS now and wanted to help those of us on terra firma understand the speed at which the ISS moves.

Pesquet has been experimenting with different photographic techniques to show the ISS's speed. He recently shared an image shot with a 30-second exposure that shows ISS stationary in the frame while the Earth's surface streaks behind in the background.

A picture from some tryouts of a photo technique I’ve been experimenting with. It gives the impression of the speed we fly at (28 800 km/h!). This image is one 30-second exposure of Earth at night. The trails you see are stars, and city lights. More to come! 📷🤓 #MissionAlpha pic.twitter.com/h2GJScy6mk

— Thomas Pesquet (@Thom_astro) June 13, 2021

During the 30 second exposure, the ISS traveled about 235km. Despite the speed of the space station, Pesquet says that the crew doesn't have the impression of moving that quickly due to the orbital path's distance from Earth. The ISS perigee altitude is 418km (259.7mi) and its apogee altitude is 422km (262.2mi).

With the ISS orbiting Earth so many times during the day, there are numerous opportunities to spot the station as it orbits Earth. NASA has set up a dedicated alert system (https://spotthestation.nasa.gov) to let you know when the ISS is passing overhead. You can view the ISS with the naked eye, no need for a telescope.

Pesquet is very active aboard the ISS and regularly posts new photos on Twitter. You can also stay to date with all the activities on the ISS on Twitter. NASA regularly posts videos from the ISS on YouTube.

Sigma fp L initial review update: Studio scene analysis

Sample photoSample photoSample photoSample photoSample photo

Product shots by Dan Bracaglia

Updated June 15, 2021 with studio scene image quality analysis

The Sigma fp L is a high-resolution development of the company's compact full-frame interchangeable lens camera. It gains a 61MP BSI CMOS sensor, providing a more stills-focused platform than the original fp 24MP L-mount mirrorless camera.

Rather than looking at existing categories of cameras, Sigma says it's aimed to make a user-oriented camera that's designed to be flexible, adaptable and fun to use. The fp L certainly isn't readily comparable to other existing models, but it is the smallest and lightest full-frame interchangeable lens camera on the market.


Jump to:

What's new | How it compares | Body and handling | Initial Impressions | Image quality | Samples | Specifications


Alongside the fp L (literally and figuratively) Sigma has crafted an add-on viewfinder. The EVF-11 connects to the camera's USB and HDMI ports and provides a large, tilting 3.69M dot display. More on this, later.

Key Specifications:

  • 61MP BSI-CMOS full-frame sensor
  • On-sensor phase detection
  • Eye-detect autofocus
  • Compact body with twin control dials
  • Dedicated Stills/Cine switch
  • Full-time silent electronic shutter
  • 8-bit UHD 4K/30p video in MOV or CinemaDNG
  • 4K output as up to 12-bit CinemaDNG to SSD, or Raw to external recorder

The Sigma fp L will be available in mid-April with a list price of $2499. A kit including the EVF-11 viewfinder will retail for around $2999.


What's new

Phase detection autofocus

The fp L also gains on-sensor phase detection autofocus, which the fp lacked. As with all phase detection systems, this allows the camera to calculate how out-of-focus it is, and hence how far it needs to drive the focus. This technology underpins some of the fastest and most reliable AF systems we've encountered from other manufacturers, but isn't a guarantee of either of these things. The Sigma fp L we're using is not yet final, but focus certainly seems improved over the original fp model, showing slightly faster and more decisive focusing, especially with smaller AF points (though there is still a little wobble/hunting at times).

The fp L is the first Sigma camera to offer eye-detection AF
Panasonic Lumix 85mm F1.8 | F2.2 | 1/100 sec | ISO 800
Processed in ACR: WB warmed, exposure, highlights and blacks reduced
Photo: Erin Carey

The fp L also offers eye-detection autofocus, to help achieve perfect focus when shooting portraits and social photos. Our initial impressions are positive, with the Sigma detecting eyes even when they're small in the frame.

The fp L also has a subject tracking AF system, which works within a 7x7 rectangular grid of focus points. We've not tried it for anything serious yet, but from our limited use so far, it seems to work.

Crop zoom

One of the main ways the fp L makes use of its high pixel count sensor is with its crop zoom mode. This provides a series of crops from the sensor to provide a tighter angle of view (effectively digital zoom, if you then view at the same size).

You can set the maximum and minimum region of the sensor the camera will use, from full-frame all the way down to a 'Full HD' (1920 horizontal pixel) crop. These are indicated as 1.0 to 5.0x crops, which take you (for example) from a 24mm field of view up to around a 153mm equivalent, if you have a 24mm lens attached.

Naturally, as you crop in, you use progressively smaller parts of the sensor and, if blown up to the same size, you'll pay an increasing cost in terms of noise for doing so, as well as decreased resolution. Our calculations suggest that the maximum 5.0x zoom will be using a sensor region around the size of a traditional compact camera with 2.4MP resolution, so it's worth considering where to set your limits, and whether you'd prefer to crop in post.

New color modes

Sigma has added two extra color modes to the fp L: Duotone and Power Blue. Duotone imposes one of ten contrasting color gradients on the image, while Power Blue offers a cool, pale tint to the images.

These additional modes mean there are now 15 color profiles. And, so long as you're shooting DNG files, there's an in-camera conversion option to let you experiment with other color profiles, after the fact.

Composite Low ISO Expansion

Perhaps fittingly for a camera that's likely to lend itself well to landscape shooting, the fp L has a series of composite Low ISO settings. These take a series of exposures and combine them to give the effect of longer, lower ISO shooting. There's no motion correction between frames, so you'll need a steady tripod, but it opens up the option of using exposures all the way down to the equivalent of ISO 6.

Movie capture

On the movie side of things, the fp L is well-equipped. It can capture 8-bit MOV or 8-bit CinemaDNG files internally, with resolutions extending up to UHD 4K at up to 30p. It's one of the few cameras to shoot true 24p video, as well as having a 23.97p option.

The amount of care and attention that Sigma has given to video in the fp L is impressive. Alongside focus peaking and zebras, which have become pretty standard, the fp L also has a waveform display, to help assess exposure. Furthermore, it offers the ability to control exposure in terms of shutter angle, rather than just shutter speed.

The fp L also offers its Crop Zoom function in video mode, letting you shoot 4K in any of 19 crops from the full width of the sensor all the way down to a native 3840 x 2160 region (around a 2.5x crop).

Like the fp, where the fp L really comes into its own in terms of video is when you attach external devices to it. If you connect an external SSD you can output 10 or 12-bit CinemaDNG Raw video. Alternatively, you can output a Raw video stream over HDMI that can be encoded as either ProRes RAW or Blackmagic Raw, depending on the external recorder you connect (though this appears to be less detailed than the CinemaDNG footage). Even if you don't want to go down the Raw video shooting route, HDMI output also unlocks the option to output DCI 4K video (the wider, 4096 x 2160 format).

The fp L also expands the number of aspect ratios available in the 'Director's Viewfinder' mode, used to simulate the coverage that various camera systems and their modes will give, were you to use the same lens on those cameras. This allows the use of the fp L as a means of previewing framing for directors using the Sigma alongside pro cinema cameras from Arri, Red or Sony.

Optional EVF-11 viewfinder

The EVF-11 (not to be confused with the LVF-11 loupe-style magnifier for the LCD screen) is an electronic viewfinder that screws into the side of the fp L's body. It requires you to remove the HDMI port cover and hold the USB port door open, then plugs into both ports as you screw it on.

It provides a 3.69M-dot OLED finder with a large, comfortable eyepiece cushion, and it tilts upward at up to 90 degrees. On the side of the finder is a large LCD/EVF switch, which does exactly what you might expect (there's no sensor to auto-switch as you bring the camera to your eye).

Just below this switch is a 1/4-20 (tripod-style) mounting point, which can be used to attach a camera strap and below this are a headphone socket and USB-C passthrough that means you can continue to output data to an external SSD. However, there's no HDMI pass-through. The microphone input remains available since the EVF does not block it.

The rear screen of the camera continues to operate as an AF touchpad when you're using the finder. It uses absolute, rather than relative, positioning so you'll need to tap in the top left corner of the screen to position the AF point at the top left (rather than swiping, relative to the point's current position).

The viewfinder will cost $699 if purchased on its own, but only adds $500 to the cost of the camera when bought as a kit.

Battery

The fp L uses the same BP-51 battery as the original fp. It's a 8.7Wh unit that Sigma rates as being good for 240 shots per charge. This isn't a lot, especially if you're shooting video, but thankfully, the fp L can be operated and charged using power over its USB-C connector. This allows use for extended periods if you use an external power source, whether that's for shooting video or using it as a webcam.

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How it compares...

The fp L is a little difficult to compare to anything else. Without a mechanical shutter its high resolution but slow readout sensor ends up being a little limiting in terms of what you can shoot with it (artificial lighting risks banding and any significant movement will be distorted by the rolling shutter effect). These same factors also count against it in terms of its video, even relative to its 24MP sibling.

That said, it's comfortably the smallest, lightest full-frame camera on the market, and priced lower than other cameras with such high resolution output. In situations where that's valuable, there's nothing like it.

Sigma fp L Sony a7R IV Sigma fp Sony a7C
MSRP at launch $2499
($2999 w/ EVF)
$3499 $1899 $1799
Pixel count 61MP 61MP 24MP 24MP
Auto focus Hybrid Hybrid Contrast-detection Hybrid
Shutter type
  • E-Shutter only
  • Mechanical
  • Elec 1st Curtain
  • E-shutter
  • E-Shutter only
  • Elec 1st Curtain
  • E-shutter
Image Stabilization Lens only Yes Lens only Yes
Viewfinder Optional
3.69M-dot OLED, tilting
0.83x mag.
5.76M-dot OLED fixed
0.78x mag.
Optional
3.69M-dot OLED, tilting
0.83x mag.
2.36M-dot OLED fixed
0.59x
3.2" 2.1M dot fixed 3" 1.44M-dot tilting 3.2" 2.1M dot fixed 3" 1.44M-dot tilting
Video internal UHD 4K/30p
FF to 1:1 in 19 steps. 8-bit gamma encoded or Cinema DNG
UHD 4K/30p
FF or S35
8-bit gamma encoded
UHD 4K/30p
FF or S35.
8-bit gamma encoded or Cinema DNG
UHD 4K/24p
FF, 30p with 1.2x crop
8-bit gamma encoded
Video external DCI 4K/24p
Up to 12-bit CinemaDNG
or Raw out to ext. recorder
UHD 4K/30p
4:2:2 8-bit gamma encoded
DCI 4K/24p
Up to 12-bit CinemaDNG
or Raw out to ext. recorder
UHD 4K/24p
4:2:2 8-bit gamma encoded
Battery rating
LCD/EVF
240/- shots 670/530 shots 280/- shots 740 / 680 shots
Dimensions

113 x 70 x 45 mm

129 x 96 x 78 mm 113 x 70 x 45 mm 124 x 71 x 59 mm
(with finder) 157 x 92 x 56 mm - 157 x 92 x 56 mm -
Weight 427g (15.1oz) 665g (23.5oz) 422g (14.9oz) 509g (18.0oz)

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Body and handling

The fp L has the same diminutive body as its sister model. It's a fairly simple box-shaped design onto which you can attach different accessories, depending on what you're trying to achieve. The new viewfinder module significantly increases the available options.

The design makes a lot of use of a large command dial that encircles the shutter button, a second dial on the rear of the camera and the QS, AEL and Menu buttons above and below it.

The QS menu is a user-customizable quick menu that's navigated by pressing the cardinal points of the rear dial/four-way controller, with settings being changed by turning either dial.

The menus are a rather Canon-style affair with pages arranged in horizontal tabs. Navigating them also uses Canon logic: main dial jumps between tabs and the rear dial scrolls up and down. This starts to break down a little as several menu option have their own sub-menus that are very visually similar to the top-level menu (they still show your position in the main menu structure even though you're off in a sub-menu that you need to hit 'Menu' to back out of).

But, once you've overcome the occasionally fiddly button/dial interactions (when in doubt, try hitting AEL to see if there are more options), the fp L is full of well-thought-out little touches. For instance, video mode not only offers a (tiny) waveform display, it also lets you specify exposure in terms of shutter angle. Similarly there's a good Auto ISO implementation with an 'auto' shutter speed threshold that takes focal length into account and can be adjusted to use faster or slower multiples of focal length.

No manufacturer that lets you pause live view to adjust the highlight and shadow response of the tone curve in one of its cameras can be accused of lacking attention to detail. But a little more thought about how to get to all these options would help. For instance, you can't assign Auto ISO shutter speed threshold to a button, with the result that it takes between six and eleven button presses to access that function.

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Initial impressions

The Sigma fp L certainly doesn't fit into any obvious product category. It's not a wannabe DSLR for landscape shooters but, with its 61MP sensor, neither is it obviously the video/still module that the 24MP fp can be.

You can't fault the fp L for its level of detail capture.
Panasonic Lumix 85mm F1.8 | F8 | 1/160 sec | ISO 100
Image processed in ACR: straightened and cropped, highlights lifted, shadows reduced.
Photo: Richard Butler

That the 61MP sensor isn't as well suited to video as the existing 24MP chip just draws attention to the camera's lack of mechanical shutter. The sensor reads out very slowly (around 1/10th of a second in stills mode), which means the results are very prone to rolling shutter. This ends up having an impact on a lot of what you might want to do with the camera and is likely to end up restricting the ways in which the fp L can be used (you'll see a LOT of banding at fast shutter speeds under any artificial light).

The viewfinder module adds a lot to the fp L's utility, making it much more useable in bright light, especially given the fixed rear screen. The addition of a headphone socket makes it even more usable, and it's nice to see the USB pass-through port that means you can still record CinemaDNG video to an external SSD.

Adding the EVF-11 viewfinder gives the camera a headphone socket, but takes up the HDMI port and stops you charging the camera over USB.

However, this USB passthrough doesn't work for charging or powering the camera, as the one on the camera's body does. Given the camera's rather limited battery life, this could be a problem. Also frustrating, the EVF-11 fills the HDMI port, which means you can't use an external recorder if you prefer ProRes RAW or Blackmagic Raw output but still want to monitor audio using the headphone socket the EVF-11 provides.

It's nice to see that the camera's rear screen still works as a touchpad when you're looking through the viewfinder, but it was a real shock to recognize how much I've become accustomed to eye sensors to activate the viewfinder. Shooting with the fp L left me feeling like I was spending half of my time manually switching back and forth between EVF and LCD. Like the menu system, I'm hoping this is something I'll adapt to once I've spent more time with the camera.

Don't get your hopes up about that 'HDMI' port door. It's just the storage recess for the port door from the camera body: there's nothing behind it.

Overall, the Sigma fp L is a fascinating camera, full of clever ideas, but I can't honestly say I know who or what it's for, yet. I'm hoping this will become clearer as we spend more time shooting with it, but for now, I'm not sure such a slow sensor makes sense in this camera.

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Image quality

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Raw

We've put the Sigma fp L up next to the Sony a7R IV first and foremost, since they share a similar sensor design and resolution of 61MP. At first glance, the Sigma looks just slightly softer than the Sony, though looking closely reveals similar levels of fine detail. We ran the files through an MTF analysis and found that this difference is within the realm of the impact of an anti-aliasing filter – and Sigma has chosen to include one on the fp L, while Sony has left one off its a7R IV. For reference, an anti-aliasing filter helps suppress moiré, while leaving one out results in an increase in perceived sharpness. (It's worth noting that the Canon EOS R5 has an anti-aliasing filter while the Nikon Z7 II foregoes one.)

Indeed, when we look at areas where moiré can be problematic, we can see the Sigma controls it a little better than the Sony does. Overall, the Sigma fp L gives you plenty of detail and the files should respond well to a bit of extra sharpening should you so desire.

At higher ISO values, the Sigma continues to perform well, and actually shows less noise than the Sony and similar noise levels to the Nikon by ISO 51200. The very highest setting should really be reserved for emergencies, as with all the other cameras here. However, the Sigma does show some banding (visible along the right edge of the full test chart), due to the interaction of its full-time electronic shutter and the tungsten light we use for this test.

JPEG

Switching over to JPEG, we can see that the default sharpening isn't terribly strong or particularly fine, though the finest lines of text are still easily readable. The sharpening also looks to be fairly large-radius, which obscures some of the finest detail upon close inspection but may give images a bit more 'punch' at more standard viewing sizes.

JPEG color is a bit mixed. We like the deep yellows and warm greens, but the red patch is a bit too magenta-shifted for our tastes, and the caucasian-skin colored patch at top left skews a bit purple.

Crank up the ISO in JPEG and the Sigma puts up a great showing; color-bleed is well managed, and a truly impressive amount of fine detail and texture is retained. Even low-contrast detail looks good, though some of the noise reduction artifacts may look a little artificial. On the downside, the regular auto white balance under tungsten light turns everything a bit sickly, so consider trying Auto (Lighting Source Priority), or choosing an appropriate custom white balance as light levels drop.


Sample galleries

Please do not reproduce any of these images without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review).

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Razer announces new Blade 14 laptop with AMD Ryzen 9 CPU, up to RTX 3080 GPU and more

Electronics manufacturer Razer has announced its new Razer Blade 14 laptop as well as a forthcoming Razer Raptor 27 monitor set to be released later this year.

Razer Blade 14

The Razer Blade 14 line has made its return, this time with a powerful eight-core AMD Ryzen 9 5900HX processor (7nm) at the heart of the 14" laptop (3.3GHz base, 4.6GHz ‘Max Boost’). The Blade 14 comes in three distinct models, with the main differentiating factor between the three being the GPU inside: The base model, which will retail for $1,799, comes with an NVIDIA RTX 3060, while the two top-end models feature the RTX 3070 and RTX 3080, and will retail for $2,199 and $2,799, respectively.

Aside from the GPU inside, the only other differentiating factor between the models is the display. The entry-level Blade 14 has a Full HD (1920 x 1080 pixel) display that covers ‘up to’ 100% sRGB while the two higher-end models will use a Quad HD (2560 x 1440 pixel) that covers ‘up to’ 100% DCI-P3 and offers 165Hz framerate. All of the laptops support AMD FreeSync Premium.

Built-in storage for all three models is a 1TB PCIe SSD, but it’s user upgradeable. RAM, on the other hand, is soldered in and stuck at 16GB of dual-channel DDR4–3200MHz. Powering all models is a 61.6WHr lithium-ion polymer battery, which Razer claims can hit 12 hours of battery life (although it’s likely limited to less graphics-demanding applications).

Other features include Wi-Fi 6E, Bluetooth 5.2, THX Spatial Audio support, a 720p webcam, an IR sensor for Windows Hello facial recognition login, Razer’s signature Chroma RGB keyboard and an array of ports that includes two USB 3.2 Gen 2 Type-C ports, two USB 3.2 Gen 2 Type-A ports, an HDMI 2.1 port and a 3.5mm headphone jack.

The laptop measures 16.8mm (.66”) tall by 220mm (8.66”) deep by 319.7mm (12.59”) wide when closed. The new Razer Balde 14 is available starting today at Razer.com and authorized Razer retailers with the base model starting at $1,799.

Razer Raptor 27

Razer has also announced its Raptor 27, a new 27" 165Hz display with THX Certification. According to Razer, this certification is obtained by passing ‘more than 400 individual tests to ensure color, tone and images are displayed as their creators intended, for a stunning picture quality and level of detail.’

The IPS display offers a Quad HD (2560 x 1440) resolution and supports both AMD FreeSync Premium and NVIDIA G-Sync adaptive sync technology to make the most of the 165Hz refresh rate. The display offers 95% DCI-P3 color gamut coverage as well as HDR400 support.

In typical Razer fashion, the Raptor 27 will have built-in Chroma RGB lighting effects that can be synchronized with other Razer Synapse 3 accessories. The monitor itself features a matte-black finish and is mounted on a forged aluminum base, which includes integrated cable organization.

The Razer Raptor 27 will be available in ‘early Q3 2021’ for $799.99 / €999.99 on Razer’s website and through authorized Razer retailers. There’s also a new Razer VESA Mount Adapter for the Raptor 27 that will be available at the same time for $99.99 / €99.99, except it will only be available on Razer’s website.

À partir d’avant-hierPhoto

New DJI Mini SE drone leans online, priced at $299

14 juin 2021 à 21:58
Par : PR admin





A new, not yet announced, DJI Mini SE drone leaked online at Walmart’s website. With a price tag of $299 this will be the cheapest DJI drone currently available in their lineup. Here are the details:

  • Single-frequency
  • 1/2.3 12M pixel
  • Resolution 2.7K
  • 3-axis gimbal
  • Photo mode: Single Shot and Interval
  • Photo Resolutions: 4:3 4000×3000 16:9 4000×2250
  • Video Resolutions: 2.7K: 2720×1530 25/30p FHD: 1920×1080 25/30/50/60p
  • QuickShot modes: Dronie, Circle, Helix, and Rocket
  • Remote Controller: 720p/30fps
  • Auto Exposure Bracketing (AEB): 3 bracketed frames at 2/3 EV Bias
  • Medium Interference (suburban landscape, open line of sight, some competing signals): Approx. 6 km

The Verge writes: “it looks like the primary differences here are simply a $100 lower price and a slightly improved plastic chassis, which may or may not make it compatible with the Mini 2’s batteries.”

pic.twitter.com/agxlPAF1Pb

— Güçlü Atamer (@GAtamer) June 11, 2021

The cheapest DJI drone ever? pic.twitter.com/hOiPqC7VcK

— OsitaLV (@OsitaLV) June 4, 2021

The post New DJI Mini SE drone leans online, priced at $299 appeared first on Photo Rumors.

Full frame mirrorless lens guide 2021

Image of a Nikon lens
The move to mirrorless by some of the industry's biggest players puts the focus on their new lens lineups.

Updated June 11 2021 | Originally published April 2020

In this article, we're going to have a look at Canon, Nikon, Sony and Panasonic/Leica/Sigma full-frame mirrorless systems to see what they offer and where they might yet go. After all, In our look at ~$2000 full frame mirrorless cameras, we said that choosing between them is as much about buying into a lens system as anything else.

This article isn't a question of 'which range is biggest,' it's to help show which lineups have the lenses you might need for your photography.

As well as the lenses currently available, we'll consider the degree of support provided by third-party lens makers and briefly discuss some of the technologies involved.

Note: The lens charts in this article were updated and now reflect the high-end, autofocus lens options for each system as of June 2021 with a focal length range of 14-200mm. Lower-end, variable aperture zooms such as kit lenses are omitted.

Sony E-mount

When it comes to full-frame lenses for mirrorless, Sony has the biggest head start. Sony introduced its full-frame 'FE' range alongside the original a7, back in late 2013, and already had several years experience of making APS-C E-mount lenses by that point.

Sony has also taken the unusual move of allowing third-party lens makers access to its lens mount specifications and communication protocol. This has allowed companies such as Sigma, Tamron and Zeiss to expand the range of available lenses for Sony photographers. In the case of Sigma, these include existing DSLR optical designs as well as new, dedicated optical formulations for mirrorless, denoted 'DG DN'.

Primes

Zooms

All

Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.

In addition to covering most of these bases, Sony has had time to add specialist lenses, such as 600mm F4, 400mm F2.8, 100-400mm and 200-600mm telephoto options, equivalents to which aren't currently available for other systems.

Starting earlier has given Sony time to provide a wider range of lenses, including less obvious options such as the 135mm F1.8 GM

Sony says that the years it's spent making large lenses for mirrorless camera has allowed it to develop expertise in the types of motors best suited for full-frame mirrorless lenses (the need to drive lenses smoothly for video, as well as quickly means the requirements aren't the same as for DSLRs). However, while it's true that Sony's adoption of technologies such as linear motors and piezoelectric drive provides its more recent lenses with impressively fast, smooth focusing, be aware that some of the company's earlier lenses don't always show this same performance.

Canon RF-mount

Canon's RF lens lineup thus far has shown a distinct focus on the needs of professional users, with many of its first lenses belonging to the premium 'L' range.

Canon hasn't opened up its lens mount to other makers, so there's limited third-party support available at the moment. If the RF mount gains anything like the popularity that the EF mount did, it's extremely likely that other companies will find a way to offer autofocus lenses, but widespread third-party support for RF may be some years away.

Primes

Zooms

All

Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.

In addition to these lenses (and the variable aperture 'kit' and travel zooms you might expect), Canon has also introduced two interesting and comparatively affordable F11 telephoto prime lenses covering 600mm and 800mm. These use diffractive optics to keep the size and weight down.

Canon currently uses a variety of motors in its RF lenses: primarily using the company's fast, smooth 'Nano USM' technology or the ring-type USM motors that underpin most of its high-end DSLR lenses. The ring-type motors appear to work pretty well with Canon's dual pixel AF system but aren't always the smoothest or fastest, especially given that they tend to be used in the lenses with large, heavy lens elements that need to be moved. We've been impressed by the Nano USM lenses, though.

The RF 35mm F1.8, meanwhile, uses a small stepper motor, which makes it noticeably slower and noisier to focus than the best of Canon's other mirrorless lenses.

Nikon Z-mount

Like Canon, Nikon has not yet opened up the Z-mount to third-parties, which currently limits your autofocus choices to Nikon's own lenses.

However, Nikon's initial build-out strategy looks very different from Canon's: Rather than starting with exotica, Nikon has provided a range of comparatively affordable/portable F1.8 primes, alongside a set of F2.8 and F4 zooms.

Primes

Zooms

All

Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.

In terms of focus motors, Nikon seems to primarily be relying on the use of small stepper motors for its lenses so far, which offer decent performance but don't appear to match linear motors or Canon's Nano USM technologies for either speed or smoothness. Twin focus groups help to give accurate focus even close-up, in some of Nikon's zoom lenses, which can also improve on the often modest speeds of single-motor designs.

L-mount: Panasonic, Leica and Sigma

Panasonic, along with Sigma, has aligned itself with Leica by adopting the 'L' mount for its full-frame mirrorless cameras. This instantly gives it access to an established lens range (though, like Sony's, one that is built around a mount originally focused on APS-C). Sigma's inclusion in the alliance should ensure a wide range of third-party L-mount lenses become available: it's built L-mount versions of many of its designed-for-DSLR primes and is also introducing 'DG DN' lenses designed specifically for full-frame mirrorless cameras.

All Panasonic cameras so far have been based around the company's Depth-from-Defocus (DFD) AF system and Leica uses a system whose description sounds remarkably similar. We're told all the lenses in the L-mount are compatible with DFD but that they aren't all necessarily optimized for it, in terms of AF drive or how quickly the lenses communicate with camera bodies. For now we wouldn't expect the same consistency across native L-mount lenses that we've seen from the single-maker systems, but we'd expect the three partners to be working to maximize compatibility.

Primes

Zooms

All

Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.

Panasonic's lenses primarily make use of linear focus motors, but use a combination of linear and stepping motors for lenses such as the 50mm F1.4 and its 70-200s that require more glass to be moved around. Sigma's lenses vary, and we'd expect better performance from its made-for-mirrorless DG DN lenses than from the older DSLR optics.

DSLR lens support

If you already own a selection of DSLR-mount lenses, then you'll find that with the right accessories, you can mount them on any of these camera bodies. Since the mirrorless mounts are all shallower, this leaves plenty of room to put an adapter between the lens and body. The performance you get will vary, though.

Canon frequently bundles one of its EF-to-RF adaptors with its RF-mount cameras, and it makes three variants (a simple pass-through tube, another with a control ring around it and a third that lets you drop a choice of filter between the lens and the camera). The dual pixel AF system, combined with Canon's knowledge of its communication protocol means EF lens users will get probably the best adapted lens experience when using Canon RF-mount bodies. In general we've had roughly DSLR-level performance from the EF lenses we've adapted but it's not necessarily true for every lens.

Unsurprisingly, you tend to get the best adapted performance if you use DSLR lenses on the same brands' mirrorless bodies. Don't assume you'll always get DSLR levels of performance, though.

Various companies also make EF-to-E adaptors, allowing EF-mount lenses to be used on Sony bodies. And, while not quite as consistent as Canon-on-Canon pairings, we've had good experiences with this combination, though generally only with shorter focal lengths. Meanwhile, Sigma makes the MC-21 adapter for using EF lenses with L-mount bodies but, without phase detection AF in most of those cameras, continuous AF is not available.

Nikon also offers kits that include its 'FTZ' F-to-Z mount adaptor with some of its camera bodies. This provides a decent level of support for existing lenses but does not contain a focus drive motor, so can only autofocus lenses with their own motors (AF-S, AF-P and AF-I lenses and their third-party equivalents). F-to-E adapters are available, but performance can vary, lens-to-lens, making it more of a gamble.

Sony also makes several adapters for using A-mount lenses on E-mount cameras. The latest, LA-EA5 adapter includes a focus motor to focus older lenses designed to be driven from the camera body, but this function only works with select high-end Sony cameras.

As you'd probably expect, then, older lenses tend to work most reliably with the cameras made by the same brand. However, they can be used on other systems, so depending on how extensive your existing lens collection is, you may find you can make do with lowered performance, rather than having to sell-up and start again, if you don't want to remain bound to the whims of the maker of your DSLR.

Summary

As you'd expect, Sony's nearly five-year head start and openness towards third-party makers has let it build up a significant advantage over its rivals, but all four mounts are already starting to see key holes in their respective lineups being filled.

In the long run, it's likely that all four systems will be extended to offer a range of mid-range, as well as high-end primes and zooms, but it's pretty clear that initially, Nikon and Canon are focusing on different sets of users.

Third-party support provides more options in young lens systems. There's even more to be gained when makers of cameras and lenses become partners in a system, as has happened with the L-mount.

Nikon and Canon's decisions to keep their mounts closed to competitors means they can control the consistency of experience for their users (with less risk of a third-party lens offering sub-standard AF speed or smoothness, for instance), but with the downside that you're entirely dependent on that company's development priorities and pricing, unless you're happy to take your chances with simple manual focus or reverse-engineered options.

It's the third-party makers and their ability and willingness to produce fully-compatible lenses that will be interesting to watch. The adoption rate of Sony E-mount cameras and the availability of the lens protocols is likely to mean most future third-party lenses will be designed around this mount. But with Sigma already joining the L-mount Alliance, other systems are starting to benefit from extra input.

Gitzo takes a battering for lack of communication over Légende tripod delays.

Historic tripod manufacturer Gitzo is taking a beating in the comments section of its Indiegogo campaign page for the Légende tripod over a lack of communication with its customers regarding delays to deliveries. Gitzo cites an issue with packaging being the problem, and has recently revised its expected shipping date to September 2021 – it was originally supposed to arrive in May when announced in March this year.

A comment from the Légende campaign page

Customers are not angry so much about the issue with the product, but about an alleged lack of response to questions posted to the email address the company has provided for the purpose of getting in touch. Those who have had a response complain that the reply was a stock passage of text that doesn’t answer their questions. One customer asked for a refund but received the same reply as those asking about delivery dates:

Thank you for contacting us regarding our Gitzo Légende Tripod.
We are very sorry for the shipping delay and any issues this may have caused.
We are working to find a fast and favorable resolution to this issue.
Please allow us some time to look into a resolution for you.’

The sample Petapixel received for review showed the same damage reported by other users who had received their tripods

The problem seems to be that the packaging of some of the tripods already shipped has allowed, or caused, damage to the locking knob and body of the head, and in some cases scratches on the legs. Gitzo has made the decision to recall already shipped items and to delay shipping new ones for three months until the problem can be resolved, but only posted this news a week ago—a month after shipping began. While it has been responding to questions in the comments section of the campaign page Gitzo is issuing an email address for customers to use but from which people say they get no reply.

Things were going well with just a few commenters upset by damaged tripods but most being pleased with theirs, though since 7th June when Gitzo announced the three month delay things have turned a bit sour. In fairness, Gitzo’s update actually says the delay will be a ‘maximum’ of three months, but customers fear this means their products won’t arrive until the end of the summer. On the Gitzo website though, the Légende is marked as ‘coming soon.’

CIPA's April 2021 data: Shipments are down, but the average price of camera units is steadily increasing

The Camera and Imaging Products Association, better known as CIPA, has released its data for April 2021, detailing the current state of worldwide camera production and shipments.

Usually, we compare CIPA’s statistics to the previous year as a year-over-year (YoY) percentage, but considering 2020 was anything but average (at least from April 2020 onwards) due to the COVID-19 pandemic, we’ve decided to look back at CIPA’s data from 2019 to get a better baseline for how the camera market is doing as the world begins the early stages of recovery—financially and otherwise—from the ongoing COVID-19 pandemic. With that in mind, let’s dig into CIPA’s data for the month of April 2021.

This chart from CIPA shows total digital stills camera shipments in 2019 (purple, circles), 2020 (black, triangles) and 2021 (orange, squares). These numbers include compact cameras with built-in lenses, DSLR cameras and mirrorless cameras. Click to enlarge.

If we look at worldwide digital still camera shipments for April 2021, there were 756,155 units shipped at a value of 44.6 billion yen (~$406M). Those numbers are down 50% by volume and 26.8% by value compared to April 2019. If we look at only cameras with interchangeable lenses (includes both DSLR and mirrorless cameras), we see 496,224 units shipped in April 2021 at a value of 37.7B yen (~$343.8M). Compared to April 2019, these numbers are down 40% and 19.9% by volume and value, respectively.

This chart from CIPA shows total shipments for cameras with interchangeable lenses in 2019 (purple, circles), 2020 (black, triangles) and 2021 (orange, squares). Click to enlarge.

If we look exclusively at DSLR cameras, 225,584 units were shipped in April 2021 at a value of 9.86B yen (), down 48.8% by volume and 45.1% by value compared to April 2019. Mirrorless cameras, on the other hand, saw 270,640 units shipped in April 2021 at a value of 27,8B yen (), down 29.7% by volume and 3.8% by value compared to 2019.

Having all this data is great, but what do these numbers mean? Truth is, it’s difficult to tell. While the first few months of 2021 showed some stabilization compared to 2020, the COVID-19 pandemic started to dramatically effect shipments and purchases of cameras around April 2020, which has skewed the baseline for comparison.

Still, there are a few trends we can pick out from the CIPA data. First, despite fewer interchangeable lens camera units being sold, the value of those units (and therefore revenue for the camera manufacturers) isn’t dropping at an equal pace. This shows the average camera nowadays is selling for much more than the average camera even two years ago.

CIPA’s complete April 2021 breakdown, which shows production and shipment data from January, February, March and April 2021 by camera type and region. Click to enlarge.

This trend is particularly evident in the maturing mirrorless camera market where the value of cameras shipped dropped only around 1/8th the volume. In fact, it’s not out of the realm of possibilities that in the near future we could see mirrorless camera volume drop even more while still showing gains in value—particularly as Canon, Nikon and Sony all release their flagship mirrorless cameras, which are likely to retail for >$6,000.

Additionally, we’re continuing to see mirrorless camera shipments outpacing DSLR units. In April 2019, we saw 56,961 more DSLR camera units shipped than mirrorless camera units, whereas in April 2021, there were 45,056 more mirrorless cameras shipped than DSLR camera units. It’s likely this disparity will continue to rise as Canon, Nikon and Sony continue to shift their efforts towards their respective mirrorless lines and away from their respective DSLR lines.

As is always the case with CIPA numbers, they only show camera unit shipments by volume and value. There’s no way to tell whether or not all of those units have sold. That said, CIPA’s data has been historically accurate and proven to be a solid indicator of where the market is at. You can view CIPA’s March 2021 and historical data on the CIPA website.

Interview: Olympus Educators Lisa and Tom Cuchara on how Olympus has transformed their outdoor photography

Lisa and Tom Cuchara are photographers and Olympus Educators, based in Connecticut. Their work covers everything from weddings and infant portraiture, to bird and macro photography.

Over the course of long careers, they've used various types and brands of camera equipment, but these days their core kit is based around Olympus OM-D series cameras and M.Zuiko lenses. In this interview, they explain their background, the various kinds of photography that keep them creatively inspired, and why they chose to make the switch to Olympus's Micro Four Thirds system for their bird and nature work.


What are your favorite photographic subjects?

Lisa: Our favorite subject matter is whatever we're photographing at the moment. So we've been focusing a lot on birds, but once the insects start to come out, we do that. We've published a book on frog photography. We published a book on abandoned photography, urban exploration. So we really do love most subjects.

Tom: Lately we've been doing a lot of bird photography, particularly in the backyard this year, during the pandemic. I'm setting up our backyard for more pleasing backgrounds. I've also been spending time in the Forsythe nature preserve in New Jersey, and we travel around the Hammonasset to photograph some of the birds, like the short-haired owl and the terns and things like that.

Green Heron.

Olympus OM-D E-M1X in Pro Capture ('Low') mode. Tom says: 'Waiting for action, the decisive moment, is one of the best times to use Pro Capture. The Green Heron stood there not moving for many minutes, then snap! It grabbed the prey'.

M.Zuiko 300mm F4.0 IS PRO + MC-14 1.4x Teleconverter (840mm equiv.)
ISO 400 | F5.6

What first drew you to bird photography?

Tom: I think just the nature of a bird, it's fast, there's a lot of them, so you're always interested. There's always something happening. It's a challenge to get the birds in flight, but it's just as challenging to get a nice composition of a bird that's just standing still or doing something interesting, like eating, mating, fighting. And the colors are just wonderful.

The nature of a bird, it's fast, there's a lot of them, so you're always interested

Lisa: Right now ruddy ducks are in their breeding season and they just crack me up. They make me smile when they're going through this mating ritual. Or the Cardinals in the backyard. It doesn't matter what size bird it is, they all seem to have their own unique personality. Trying to capture the particular behaviors unique to that bird is really fun and challenging.

House Finch.

Olympus OM-D E-M1X
M.Zuiko 100-400mm F5.0-6.3 IS (800mm equiv.)
ISO 3200 | F8

How did you both get started in the world of photography?

Lisa: I got interested in photography as a teenager. When I was 13, my mother asked me what I wanted for my birthday present. I said I wanted a camera. I think in this fast-paced world, photography gives us a chance to slow down and notice things. It gives you a chance to notice the beauty that's all around us, the beauty of every season, the beauty of every subject. At times, it's therapeutic too. Tom and I met in a camera club in 2000.

Photography gives us a chance to slow down and notice things

Tom: My father loved photography and I became enamored with it. I used to work with kids in a psychiatric hospital and I developed a dark room with them. The staff liked my pictures, so they started hiring me to photograph events and picnics and weddings and things like that. It kind of grew once I met Lisa. We started doing weddings, and then we turned to nature, because we find it a lot more engaging and fun.

Lisa: We still have a portrait studio, we'll photograph kids in it, and head shots. But mainly we're using it now for doing hands-on macro photography, light painting, and teaching Photoshop.

Black-capped Chickadee.

Olympus OM-D E-M1X
M.Zuiko 300mm F4.0 IS PRO + MC-14 1.4x Teleconverter (840mm equiv.)
ISO 2500 | F5.6

What makes a good portrait?

Lisa: I think key to taking a good portrait is just being patient. When a child comes in, we might actually not even have them look at the camera for 20 minutes. We'll put out some toys and we might have them just get used to playing. We take some photographs of them just being natural. And then we build into it.

Tom: It's making that emotional connection with people, taking your time and not feel hurried, not let them feel like they have to hurry, relaxing them, having a little bit of fun and then not being in a rush.

Your work is very varied, everything from macros of insects, to portraits, weddings and everything in between. What do you find the most challenging sort of situations as photographers?

Tom: I think bird photography. It's physically challenging to stand out in the wind and the cold, carrying all your gear, and there's a lot of waiting patiently for the bird to do something interesting. The bird's going to go where it wants to go.

Male Wood Duck, with simulated Bird AI Autofocus reticle overlaid. Bird detection in the OM-D E-M1X uses AI-based deep learning to automatically prioritize detection of a bird's eye, allowing the photographer to focus on composition.

Olympus OM-D E-M1X
M.Zuiko 300mm F4.0 IS PRO + MC-14 1.4x Teleconverter (840mm equiv.)
ISO 2000 | F5.6

What's your core equipment right now?

Tom: I've been using the 300mm F4 PRO with a 1.4X converter to photograph birds, alongside the 40-150mm F2.8 PRO. Lisa loves her 60mm macro. So we go from the macro to the longer lenses for birds, but also we can shoot flowers and things like that with a 300mm as well.

Lisa: For cameras, Tom has two OM-D E-M1X bodies and I have two E-M1 Mark III bodies and one E-M1X. My preferred camera is the E-M1 Mark III, but if I'm doing bird photography, I'll use the E-M1X.

Red-bellied Woodpecker.

Olympus OM-D E-M1X
M.Zuiko 150-400mm F4.5 TC1.25X IS PRO (1000mm equiv.)
ISO 1000 | F5.6

How has the gear that you use evolved over time?

Lisa: Both Tom and I used DSLRs for decades and we really didn't have too much interest in changing over to something else. And then we were at a workshop and we were photographing a lighthouse in the dark. The workshop participant that standing next to me had the Olympus OM-D E-M1, and he could see what we were photographing in the dark in Live Composite mode. And I'm like, "Wait, what is that? How are you doing that?" And I went home and immediately investigated. It was definitely the computational technology - Live Composite, Live Time, in-camera focus stacking, pro-capture, and so on, along with wide variety of sharp lenses, that drew us to Olympus

We found that the Olympus gear was just light and fast, and the focusing was sharp. We came home and we sold all our DSLR equipment.

We still kept all of our DSLR gear for our bird photography for a while, but on a trip to Florida we decided to try and see if we could shoot everything with our Olympus mirrorless kit. We found that the Olympus gear was just light and fast, and the focusing was sharp. We came home and we sold all our DSLR equipment. We just thought if we brought it all the way down to Florida and didn't use it, there's no point in having it anymore.

Lisa, you're known as 'The Frog Whisperer' - what's your top tip for photographing frogs?

Lisa: Patience. The frog isn't going to do what you want it to do. I got the name frog whisperer because I would put my frog, Pixel, in place and I would talk to it. And I just put my finger up to it. And the frog would sit there. So, that's kind of where I got the frog whisperer nickname.

Gray Tree Frog.

Olympus OM-D E-M1 Mark III
M.Zuiko 12-40mm F2.8 PRO (80mm equiv.)
ISO 6400 | F8

At one point, I had like 350 frogs. And then Tom finally said, "No more frogs!" So I started coming home with chameleons and a praying mantis and walking sticks. Every once in a while, there'll be something down in the kitchen, and Tom will shout up to me "Lisa, you've got to come and get your critter, it's escaped!"

How has technology changed the way you shoot?

Lisa: Over and over in the past few years we've found ourselves saying again and again how much more fun photography is because the technology has changed, and we're also a lot more productive. A lot of times with our DSLRs, we had to do a lot of work in Photoshop. If you wanted to do star stacking or focus bracketing, we had to bring it all into Photoshop.

I find myself handholding pictures at an eighth of a second thinking, "Wow, these are sharp"

Whereas now, for example, we can do focus stacking in camera. I used to take focus bracketed pictures with my DSLR, but I would say I only processed like 2% of them because I'd rather be out shooting rather than sitting at the computer. Versus now, I get that focus stacked picture right out of the camera.

The Olympus OM-D E-M1X and E-M1 Mark III feature advanced 5-axis image stabilization, which is effective up to 7.5EV with supported lenses, and up to 8EV with the new 150-400mm PRO zoom (CIPA-rating) .

Even the image stabilization with the M.Zuiko lenses – I used to lug my tripod everywhere. I hated the tripod, but I love the pictures I got with it. But now I find myself handholding pictures at an eighth of a second thinking, "Wow, these are sharp." So I think that has helped. And like I said, I think Tom and I both use the word 'fun' quite a bit now with our photography,

Have you been able to use the new 150-400mm PRO lens?

Lisa: We have. We were supposed to be sharing this lens but it's superglued to my camera, so Tom doesn't get to use it much!

I'm using it a lot for bird photography. I love the fact that the varied focal length range lets me capture different behaviors without changing lenses. I've never had a lens with a built-in teleconverter. The TC switch is right there where my thumb is, so when I want to go in close for a bird that's further away or for a headshot, I can just flip it on. It's also lightweight, and fast. Compared to the 500mm lenses we used to shoot with our DSLRs, I can hand-hold this lens all day long.

The M.Zuiko 150-400mm F4.5 TC1.25X IS PRO is a powerful telephoto zoom lens, which offers excellent image stabilization and a maximum equivalent focal length of 1,000mm using the built-in teleconverter.

Are there any features that you'd really like to see improved or added in future generations of Olympus cameras?

Lisa: I'd love to have Bird Detection AI Autofocus in a camera more of the size of the E-M1 Mark III. I was just about to sell my E-M1X, actually, because I really was only using the E-M1 Mark III. And then in December last year, Olympus came out with this Bird Detection AF and I was just like, oh, good thing I didn't sell it. That's something I use for birds all the time now.

In Pro Capture mode, with the shutter button half-pressed, Olympus cameras can constantly record images to buffer memory at frame-rates up to 60fps. To capture the perfect moment, simply press the shutter button down fully. At that point, a sequence of full-resolution images taken before and shortly after the shutter actuation will be recorded to your memory card.

Tom does a lot of shooting with Pro Capture mode. I don't do as much, but it really does feel like cheating. You're sitting there waiting and this Green Heron's here and just sitting there and sitting there and sitting there. And then it finally goes for the fish. And by the time that your brain connects to your finger to trip the shutter, normally you'd miss it. With Pro Capture, you capture it every time and that's just amazing.


Click the link below to see more birding and wildlife photography tips from Lisa and Tom and other Olympus photographers:

Olympus education and inspiration

This is sponsored content, created in partnership with OM Digital Solutions. What does this mean?

China's Zhurong rover sends back its first images from the Martian surface, including an adorable selfie

A 'selfie' of the Zhurong rover and Tianwen-1 lander taken by a remote camera.

The China National Space Administration (CNSA) has released its first batch of images captured by its Zhurong rover, which was sent to the martian surface as part of its Tianwen-1 mission. Included in the series of images is a panoramic view of the landing site as well as a ‘selfie’ captured by a remote camera.

Launched on July 23, 2020, the Tianwen-1 lander, which was carrying the Zhurong rover, entered Martian orbit on February 10, 2021. It made a soft landing on May 14, 2020 and eight days later the Zhurong rover was deployed. Since then, it’s been making its way across Utopia Planitia, the landing site of the Tianwen-1 lander.

The Tianwen-1 lander, as captured by a camera onboard the Zhurong rover after leaving its interplanetary steed.

The objective of the Zhurong rover is to study the topography and geology of its landing site, which includes collecting samples of the Martian surface and analyzing the samples to detect the elements and minerals present in the soil. In addition to collecting samples using its onboard tools, the rover is capturing detailed images of the Martian surface, which it is sending back to Earth for CNSA to analyze and for use to enjoy.

Panoramic view of South Utopia Planitia from Zhurong rover before deployment from the Tianwen-1 lander. Click to enlarge.

One of the first images sent back was a 360-degree panorama photo captured by the navigation terrain camera on the mast of the rover. The image, seen above, shows the landing site of the Tianwen-1 lander, which the Zhurong rover was still sitting atop at the time of capture.

The Zhurong rover also captured a group photo (pictured, top) of itself and the Tianwen-1 lander using a remote camera. According to CNSA’s press release, the remote camera was released from the bottom of the Zhurong rover and has been used to keep an eye on the movement of the rover. Images captured via the remote camera are transferred wirelessly back to the rover and then are relayed back to Earth.

Nikon Zfc retro-styled APS-C mirrorless Z-mount camera rumors

14 juin 2021 à 01:47
Par : PR admin


Nikon is rumored to announce a new Nikon Zfc retro-styled APS-C mirrorless Z-mount camera Here is what to expect based on the latest rumors from NikonRumors:

  • Model name: Zfc (or ZFC or Z-Fc or something similar).
  • Nikon Z-mount APS-C mirrorless camera.
  • The technical specifications will be very close to the Nikon Z50.
  • Very thin camera body without a handgrip.
  • Nikon Df-inspired design with mechanical dials and articulating screen (“selfie screen”).
  • Shape and handling similar to old Nikon FM cameras.
  • Three different colors are rumored: silver, black, and brown (leather?)
  • Price with kit lens: $999.
  • The new APS-C mirrorless lenses for Z-mount could be named “SE”: 28mm f/2.8 and/or 35mm f/1.8 (kit lens).
  • The new DX lenses will not look retro and will have the familiar Nikkor Z design.
  • Official announcement expected on June 28 (as previously reported: announcement expected in the first half of 2021).
  • The shipping date is rumored to be July 31.

More Nikon Zfc Z-mount APS-C mirrorless camera mockups based on the already leaked image:




Via NikonRumors, mockup pictures credit: Andres Melendez


The post Nikon Zfc retro-styled APS-C mirrorless Z-mount camera rumors appeared first on Photo Rumors.

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