You can get 10% off Viltrox lenses with code NIKONRUMORS.
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You can get 10% off Viltrox lenses with code NIKONRUMORS.
The post Viltrox to introduce red limited edition XF lenses (for Fuji cameras) appeared first on Photo Rumors.
Canon recently confirmed at The Photography Show in England the previous rumors/reports that the latest Canon EOS R3 is actually not the flagship EOS R camera – this opens the door for a new Canon R1 flagship mirrorless model in the future:
The post Confirmed: The Canon EOS R3 is not the flagship mirrorless camera appeared first on Photo Rumors.
In October 2018, French startup Pixii announced its first product, the Pixii camera. The original Pixii camera was a digital rangefinder with an M-mount. The aluminum body eschewed a back display and included an electronic viewfinder. The camera included a small OLED info display on top and a small number of buttons. The 12MP digital rangefinder eventually went on sale in July 2020 for just over $3,000. Pixii has now announced an updated version of its APS-C digital rangefinder Pixii camera, sporting a new 26MP image sensor, new viewfinder, USB-C support and more.
Perhaps the biggest change in the new Pixii camera is its image sensor. The new 26MP backside-illuminated APS-C image sensor is a big step up in terms of megapixel count compared to its 12MP predecessor. Pixii states that the sensor has up to 51Ke- full well capacity (FWC) and read noise as low as 0.83e-. The FWC equates to about 14 stops of dynamic range. Pixii writes, 'The new pixel design features an ultra-low noise floor, for a cleaner signal in underexposed areas. Its extended full-well capacity pushes dynamic range to a whole new level.' The sensor also features an extended ISO range. The original Pixii camera's ISO range was 200-6400. The new sensor's native ISO range is 160-12,800, and it has a +36dB gain range.
|The new Pixii camera includes a new 26MP APS-C BSI CMOS image sensor|
The new interactive viewfinder 'integrates a miniature display that projects key information directly into its optical viewfinder.' Unlike other rangefinder cameras, the new Pixii lets photographers view and interact with all camera settings like exposure speed, compensation or white balance without needing to look away from the viewfinder. You can change which settings indicator to display by rotating the menu wheel on the camera. The rangefinder assembly incorporates four distinct optical paths, and the wide view includes frame lines and a traditional rangefinder patch in the center. The viewfinder has 0.67x magnification, like the original Pixii camera. There are selectable frame lines for 28, 35, 40 and 50mm focal lengths.
Another upgrade comes in the form of USB-C connectivity. The USB-C connector allows for faster charging and a more accurate battery gauge. The camera has up to 25Wh charging capacity. Standard memory has been upgraded from 4GB to 8GB in the new Pixii camera. There are add-on memory upgrade options ranging from 32GB to 128GB. The 128GB storage option can hold more than 3,650 DNG files. Speaking of file types, the camera adds GPR format support, allowing photographers to compress DNG files at a higher ratio while preserving full RAW editing latitude. GPR works with most photo editing solutions, per Pixii, including Adobe Lightroom.
Looking at additional features, the Pixii camera has LUT-based color profiles, a monochrome mode for 16-bit single-plane monochrome DNG files, an electronic shutter with speeds up to 1/32,000s, native iOS and Android support and Bluetooth/Wi-Fi connectivity and more. To learn more about the new Pixii camera, click here.
'We listened to photographers using the camera and we addressed their feedback with this new model,' says David Barth, founder of Pixii. 'Crucially, we also engineered the upgrade path to let A1112 model owners upgrade their camera to the new sensor.' Regarding upgrade path details, it's not immediately clear how this will work. Still, it appears that Pixii has a solution for customers who purchased the original 12MP Pixii camera in 2020 or 2021 and would like the new 26MP image sensor.
The new Pixii camera will be available for preorder starting on September 30. The camera starts at $2,999 (2999 euros). The 32GB version will be available for around 3240 euros, 64GB for 3380 euros and the 128GB version for 3540 euros. US pricing for the models with upgraded storage has not been announced. Orders are expected to begin shipping on October 11.
The repair gurus at iFixit have published their teardown of Apple’s new iPhone 13 Pro smartphone. As always, the teardown reveals a number of interesting new components and details what’s changed since the iPhone 12 Pro.
|Image credit: Images courtesy iFixit|
The teardown starts before a single screw is loosened with the help of Creative Electron, who captured an X-ray view of both the iPhone 13 Pro and iPhone 13 Pro Max side-by-side. These images show off a number of differences compared to the devices’ predecessors, one of which is the addition of magnets around every camera module for optical image stabilization (in the previous generation, sensor-shift image stabilization was limited to a single camera on the iPhone 12 Pro Max).
|The iPhone 13 Pro (and 13 Pro Max) camera module (left) compared to the one used in the iPhone 12 Pro (right). Image credit: Images courtesy iFixit|
With the X-ray out of the way, iFixit got right to it, taking off the display to reveal the neatly-labelled components inside. One of the changes on the new iPhone 13 Pro models is a smaller notch. With the display removed, iFixit discovered this was achieved through moving the earpiece speaker up to the very top of the device and combining the flood illuminator and dot projector into a single module.
|The lenses used in the new iPhone 13 Pro camera modules are a bit taller than last year's models. Image credit: Images courtesy iFixit|
As for the cameras, the basic layout is the same on the iPhone 13 Pro models as it was on the iPhone 12 Pro models, but the modules are noticeably larger, due to the larger sensors and longer focal length used in the telephoto camera module. iFixit doesn’t detail what sensors Apple is using in its teardown, but a report first posted to Weibo and shared by GSMArena reveals only Sony sensors are used inside Apple’s new iPhone 13 Pro models. The main camera uses a Sony IMX703 (1.9 μm) sensor, the ultrawide uses a Sony IMX772 (1μm) sensor, the telephoto uses a Sony IMX713 (1μm) sensor and the front-faceing selfie camera uses a Sony IMX514 (1μm) sensor.
|Image credit: Images courtesy iFixit|
With the cameras out of the way, iFixit moved on to the other components, including an L-shaped battery that measures in at 11.97Wh. This slightly larger battery (compared to that found in the iPhone 12 Pro), combined with the more energy-efficient Pro Motion display, results in a much better battery life. And, despite rumors that third-party battery swaps wouldn’t be possible, iFixit has confirmed its early tests show you can change batteries without issue, although the usual warning will be displayed.
iFixit plans on publishing the rest of the teardown at a later date, but for now that concludes their teardown of Apple’s latest flagship mobile devices.
The Sigma 150-600mm F5-6.3 DG DN OS | Sports is an ultra-telephoto zoom lens for full-frame and sub-frame mirrorless cameras based around either the Sony E-mount or the Leica L-mount.
With 35mm-equivalent focal lengths equating to 225-900mm with an APS-C crop, it's aimed primarily at still photographers looking to bring distant subjects up close, and will be of particular interest to wildlife and sports shooters.
Available from August 2021, list pricing is set at $1499.
Note that due to smoke from the 2021 California wildfires, our gallery shots from both Seattle and Calgary are affected by haze, which you should bear in mind whilst judging image quality, especially for more distant subjects. Additionally, overcast conditions for our Calgary team have necessitated the use of higher-than-typical sensitivities for some of those gallery shots.
All images edited in Adobe Camera Raw 13 unless otherwise noted, with adjustments limited to white balance, exposure, highlights, shadows, white and black levels. Sharpening and noise reduction at defaults.
Depending upon whether you're an E-mount or L-mount shooter, alternatives to the Sigma 150-600mm F5-6.3 DG DN OS 'Sports' lens differ dramatically.
On the L-mount, there aren't really any close rivals. The nearest would be Sigma's own 100-400mm F5-6.3 DG DN OS 'Contemporary' lens, but it doesn't come close to the telephoto reach of the 150-600mm. It's also weather-sealed only at the mount, whereas the 'Sport' lens has seals throughout.
But if you can live with those drawbacks, it's much smaller/lighter and more affordably priced at just $950. And you can save money on the much smaller filters it accepts, too. Although in fairness if you want a tripod mount – something that's included with the 'Sport' lens and its other alternatives – you'll want to budget another $130, for a total of $1,080 list.
|ISO 320 | 1/640 sec | F6.3 | 600mm | Panasonic S1R
Photo by Carey Rose
The Tamron 150-500mm F5-6.7 is only slightly less of a handful than the Sigma 150-600mm F5-6.3, even though it has less reach and is less bright at full telephoto. With tripod mounts attached, it's about 220g (7.8 ounces) lighter, and saves just 5.4cm (2.2") in length with a 1.6cm (0.6") narrower barrel.
Nor is it that much less expensive than the Sigma, with a list price of $1399 saving you just 7%. Although if you plan to use filters, you'll stand to save substantially more than the minimal list price difference suggests, thanks to its use of much smaller 82mm filter threads. And we didn't like its tripod foot as much as that included with the Sigma, as it lacks 90-degree click detents.
|ISO 1600 | 1/400 sec | F6.2 | 476mm | Panasonic S5
Photo by Jordan Drake, edited in Capture One 21
But if you can live with those shortcomings, it saves at least a little in terms of heft and cost, rivals the Sigma in terms of sharpness, and its linear autofocus drive also feels significantly swifter. And video shooters will definitely prefer the Tamron if they want the least possible focus breathing, as it's a bit stronger for the 150-600mm.
As for the Sony 200-600mm F5.6-6.3, it's a substantially pricier lens, costing around a third more at its current list price of $2000. We wouldn't be too surprised to see that reduced over time, though. It's already been on the market for a couple of years now, and while it was until recently unrivaled, the much more affordable Sigma and Tamron will definitely steal some customers who'd previously been considering the Sony.
It's also quite a bit larger and heavier than the Sigma. Its barrel diameter is close enough that you won't notice the difference, but it's a full 5.2cm (2.0") longer. And it weighs 2.12kg (4.66lb), which sounds almost the same as the 2.1kg (4.63lb) Sigma unless you note the fact that Sigma includes its non-removable tripod mount in the weight figure, whereas Sony doesn't.
|ISO 1250 | 1/250 sec | F11 | 236mm | Panasonic S1R
Photo by Carey Rose
Yet despite being bigger, heavier and more expensive, Sony's lens has relatively few advantages. It's no brighter than the Sigma, and its focal range is quite similar too. In fact it's the 150-600mm which actually has a bit of an advantage at the wider end. A lens like this will likely see most use at the tele end which is identical for both lenses, though, so it's really something of a wash.
Nor does it show a huge advantage in sharpness, and while it has an 11-bladed iris instead of the Sigma's nine-bladed one, its bokeh isn't noticeably better either, though the Sony will retain circular out-of-focus highlights as you stop down a bit better. Where Sony's 200-600mm does score a firm win over the Sigma, though, is in its autofocus performance. Thanks to its linear autofocus motor, its appreciably faster at focusing, and so will remain your best bet if you need a 600mm zoom for faster-moving subjects like sports or more active wildlife.
|Sigma 150-600mm F5-6.3 DG DN OS||Sigma 100-400mm F5-6.3 DG DN OS||Tamron 150-500mm F5-6.7 Di III VC VXD||Sony FE 200-600mm F5.6-6.3 G OSS|
|Mount(s)||Leica L and Sony E||Leica L and Sony E||Sony E||Sony E|
|Optical construction||25 elements, 15 groups||22 elements, 16 groups||25 elements, 16 groups||24 elements, 17 groups|
|Weather sealed||Yes||Yes, mount only||Yes||Yes|
|AF drive||Stepper motor||Stepper motor||Linear motor||Linear motor|
|Minimum focus distance / max magnification||0.58 m (22.8″) / 0.34x||1.12 m (44.1″) / 0.24x||0.60 m (23.6″) / 0.32x||2.4 m (94.5″) / 0.2x|
|Diameter x Length
L-mount: 109.4mm x 263.6mm (4.3" x 10.4")
E-mount: 109.4mm x 265.6mm (4.3" x 10.5")
L-mount: 86.0mm x 197.2mm (3.4" x 7.8")
E-mount: 86.0mm x 199.2mm (3.4" x 7.8")
|93.0mm x 209.6mm (3.7" x 8.3")||111.5mm x 318.0mm (4.5" x 12.5")|
* Including non-removable tripod mount
L-mount: 1135g (40.0oz)
E-mount: 1140g (40.2oz)
* Not including removable tripod mount
* Including removable tripod mount
* Not including removable tripod mount
It's worth noting that all lenses here offer stabilization, but Sony and Tamron don't provide CIPA ratings for effectiveness. Both Sigma lenses are quoted as offering four stops of shake reduction.
As you'd expect for a lens of this type, the Sigma 150-600mm is pretty hefty. But it's not terribly heavy for what it is, and as the first ever Sports-line lens designed specifically for mirrorless, it definitely makes the most of its mirror-free format.
By way of comparison, Sigma's DSLR-oriented 150-600mm F5-6.3 DG OS HSM 'Sports' lens is 2.7cm (1.0") longer with a 1.2cm (0.5") broader barrel. And it weighs a whopping 760g (1.68lb) or 36% more than its made-for-mirrorless sibling, even though its focal range and maximum aperture are identical.
Put another way, the mirrorless lens and a fully-loaded Panasonic S5 or Sony a1 body would tip the scales at just a little less than the unmounted DSLR lens alone! But be that as it may, it still weighs 2.1kg (4.62lb) without the camera. So while you can certainly shoot with it handheld if needed, for extended shooting sessions you'll likely find yourself wanting some support.
|The included tripod mount can be removed or swiveled around the lens barrel with nice, firm click detents at the 90-degree positions.|
The lens can be attached to a tripod via the included Arca Swiss-compatible mount which connects to a magnesium socket on the lens, or with the mount removed, can be used directly on a monopod. The socket is built into a non-removable rotating ring encircling the rear of the lens barrel whose rotation can be locked with a thumb screw. It has pronounced click-stops at the 90-degree positions, making it quick and easy to accurately switch between portrait and landscape shooting.
The remainder of the lens body is made from a mixture of aluminum and Sigma's Thermally Stable Composite material, a form of polycarbonate which is designed to expand similarly to aluminum. Build quality is exceptional; none of the controls feel loose, the focus ring is very nicely damped, and the substantial thumb-screw locking hood is a nice touch.
As you zoom in, you'll definitely notice the balance of the lens shifting forwards. It doesn't become too unwieldy, though, as you'll naturally find yourself supporting it with the same hand with which you're operating the zoom ring. With that said, if you plan on shooting handheld often, it's definitely best paired with a body that has a deeper handgrip for more stability.
|The 150-600mm extends significantly in length as you zoom in, shifting balance forwards noticeably in the process.|
Zoom control on the 150-600mm is unusually versatile, and operates in several different ways, as selected by a zoom torque switch which you'll find in between the zoom and focus rings on the side of the lens barrel. This switch has three positions, labeled 'L', 'T' and 'S'.
When set to its 'L' position, the zoom can be locked at its wide position, preventing it from being accidentally extended when stored or traveling. The 'T' position stands for "Tight", and while it allows the focal length to be adjusted with a twist of the zoom ring, there's enough resistance that the zoom shouldn't creep when the lens is oriented vertically.
Finally, the 'S' position stands for "Smooth", and as its name would suggest this reduces the torque substantially. The lens will definitely exhibit creep if pointed upwards or downwards too much in this setting, but the zoom can be adjusted with much less force. So little, in fact, that you can adjust focal length not just by turning the zoom ring, but also in a push-pull fashion by gripping the lens in front of the zoom ring, just behind the lens hood.
|The zoom torque switch allows you to lock the lens when retracted, and adjust torque to prevent lens creep or allow push-pull zooming.|
Zooming in this fashion is much faster and also makes it easier to adjust the focal length without accidentally straying from your subject at the longer focal lengths, especially when using the 150-600mm in concert with a teleconverter. And to help give your fingers a little extra purchase when zooming in this manner, the lens barrel narrows at the front half of the zoom ring, and then swells again right behind the lens hood.
As well as this rather clever zoom setup, the Sigma 150-600mm is also unusual in the sheer number of physical controls it offers. As well as the zoom torque switch you'll also find three customizable buttons on the top, bottom and left side of the barrel between the zoom and focus rings. These default to providing an AF lock function, but this can be customized depending on your camera body.
A little further towards the rear of the lens, you'll find another four switches. From top to bottom, the first two can select the focus mode, and enable an optional focus limiter that provides both 10m (33ft) to infinity or closeup to 10m (33ft) ranges. The third in the stack selects between the standard or panning-compatible modes for the four-stop optical stabilizer, or disable it altogether. (The panning-friendly mode would be useful for motor sports and similar subjects.)
|As well as the zoom torque switch there are three customizable buttons, and four more switches in a stack towards the rear of the lens.|
Finally, the bottommost switch is another customizable control, at least for L-mount shooters, who can use it to assign different stabilizer and focus limiter settings that are configured using the optional UD-11 USB dock accessory. Since, at the time of this writing, there isn't an equivalent dock for E-mount, Sony shooters instead get two preconfigured options for the time being.
When set to the 'Off' position on E-mount, the lens uses its default settings which are intended to be applicable to a wide range of subjects. Sigma refers to the 'C1' position for Sony as "Dynamic View" mode, and the 'C2' position as "Moderate View" mode. In our testing, 'Off' behaves as a good starting point for the IS system for general shooting. Switching it to 'C1' enables almost a boosted feel, with the lens working to keep the image as stable as possible, while 'C2' is a little less intense stabilization than 'off'. It still keeps high-frequency judders at bay, while keeping the scene fairly smooth – it's likely a good option for birders or those photographing other fast-moving subjects.
As you'd expect in a lens of this price and class, the Sigma 150-600mm is comprehensively sealed to keep out dust and moisture. With individual seals and gaskets at the lens mount, the seams between sections and every individual switch, button or ring, you should be able to shoot in inclement weather with a degree of confidence.
|The front lens element has a hydrophobic/oleophobic coating that helps resist fingerprints or rain drops from adhering.|
The front lens element is also coated to repel oil and water, helping both to keep it clear of errant raindrops and accidental smudges. In front, you'll find a set of 95mm threads with which to attach filters. Of course, with such a large filter diameter you'll likely find them quite pricey.
One last feature of particular interest is that the rear lens element is inset by quite some distance from the back of the lens. This allows the use of teleconverters, and while we didn't have these to hand during our review and so can't comment on image quality, there are two you can choose from – so long as you're an L-mount shooter, anyway.
Sigma offers both 1.4x and 2.0x teleconverters for L-mount. Equipped with the TC-1411 teleconverter, the 150-600mm F5-6.3 is effectively a 210-840mm F7.1-9 lens. And with the TC-2011 teleconverter attached, it functions as a 300-1200mm F10-13. Sadly, neither teleconverter is available for E-mount shooters.
|The rearmost lens element is deeply inset, allowing use of Sigma's 1.4x and 2x teleconverters for L-mount shooters. Sadly, E-mount equivalents aren't available.|
If there's a weak spot for the Sigma 150-600mm in comparison to its nearest rivals, it would have to be its autofocus performance. That's not to say it's bad, necessarily; it's still fairly responsive and as you can see from our galleries it's still up to tasks like wildlife or sports photography. But its stepping motor-based autofocus drive is definitely not as swift as the linear AF used in E-mount competitors from Tamron and Sony.
AF performance varies depending upon whether or not you're using the focus limiter, obviously. With the full range available, we saw an autofocus rack time of around 1.2 seconds. But enabling the more abbreviated 10m (33') to infinity range brought this down to around 0.8 seconds, a fairly dramatic improvement. We also noticed that AF performance tended to be better when refocusing from infinity to close-up than it was in the opposite direction.
|ISO 1000 | 1/400 sec | F6 | 373mm | Panasonic S5
Photo by Jordan Drake, edited in Capture One 21
Overall, we'd term its autofocus performance as merely adequate. Unless you're on L-mount, where there are no close alternatives, you may want to consider a rival if you'll predominantly be shooting more active subjects. But if your subjects mostly won't vary significantly in distance from frame to frame, the Sigma 150-600mm will certainly do the job.
As noted earlier, the manual focus ring is extremely smooth and well-damped – on a Panasonic L-mount body, you can tell the camera whether you want the focus movement to respond to the speed that you turn the lens ring (non-linear response), or you can have it set so that whatever speed you turn it, the focus shifts proportionally and repeatedly to the amount of turn (linear response).
|ISO 160 | 1/100 sec | F6.3 | 150mm | Panasonic S5
Photo by Chris Niccolls, edited in Capture One 21
There's better news when it comes to close-up focusing, however. At the 150mm focal length, the Sigma 150-600mm can focus to as close as 22.8 inches, yielding a maximum magnification of 0.34x (1:2.9). That makes it quite a versatile lens, capable not just of bringing distant subjects up close, but also of handling close-up photography.
If you need to stay further back from your subjects to avoid disturbing them, though, you can still bring them at least somewhat close at the 600mm telephoto position while keeping yourself a good 3-4m (10-12') back from the scene. You won't be able to get nearly as close as you can at the 150mm focal length, though, as you can see in the side-by-side comparison below.
|Close-up comparison: Photos taken at minimum focus distance at 150mm (left) and 600mm (right). Images edited in Capture One 21.|
A good performance from the Sigma 150-600mm F5-6.3 in most respects, with really great sharpness, a flat focal plane and mostly attractive bokeh. Detail-rich backgrounds can sometimes have a busy, distracting look, though, and flare can be a significant concern even with the lens hood mounted.
At the wide end of its zoom range, the 150-600mm does a really great job, even when shooting wide-open at F5. The focus plane is nice and flat, and detail holds up well to the very high 61-megapixel resolution of the Sigma fp L both in the center and corners. Stopping down to F9 does yield a slight improvement for the centers and a smidgen more in the corners, but you'll have to pixel-peep to notice the difference for either.
|ISO 500 | 1/160 sec | F6.3 | 150mm | Panasonic S1R
Photo by Carey Rose
Of course, you're not buying a lens like this for the wide end of the range. At its 600mm telephoto, we're still very impressed with center sharpness even wide-open at F6.3, and there's only a slight improvement in stopping down to F9. The extreme corners definitely aren't as strong, though, even when focus is set there. And stopping down to F9 only brings a more modest improvement in sharpness.
For most shots, though, that's not going to be an issue. You won't typically put the primary focus of your image in the extreme corners, after all. Overall, we find ourselves very pleased with sharpness from this lens, and happy that the focus plane is flat enough that you don't need to focus differently for the center and corners.
|ISO 250 | 1/250 sec | F5.2 | 161mm | Panasonic S5
Photo by Jordan Drake, edited in Capture One 21
The 150-600mm F6.3 mostly delivers on the bokeh front, too. It can definitely deliver luscious, creamy background bokeh and good isolation, just as you'd expect of an ultra-tele zoom. The falloff in bokeh as you approach and then pass the plane of focus is often quite pleasing, too.
We did, however, find that in some shots whose backgrounds were busy and packed with detail, the bokeh itself could also look rather busy and frenetic, though. (This dragonfly shot is a nice example, as is this flower and this shot of a jet ski on the lake.) This issue can be particularly apparent in transition zones and at the periphery of images, where mechanical vignetting increases.
|ISO 250 | 1/250 sec | F6.1 | 423mm | Panasonic S5
Photo by Jordan Drake, edited in Capture One 21
We also noted some issues with specular highlights. The good news is that the nine-bladed, rounded aperture diaphragm yield nice, round out-of-focus highlights even when stopped down to F8 (though this is to be expected, since F8 isn't stopped down much from wide open, especially on the long end).
But we noted significant cat's eye effect quite a long way towards the center of the image frame when shooting wide-open towards telephoto, and even after stopping down to F8 it was still quite apparent, if noticeably improved. And while specular highlights are mostly fairly clean, we did notice some slight soap bubble effect at 150mm which became quite strong by the 600mm telephoto. This may contribute somewhat to the busy bokeh we detected in some situations.
|ISO 2000 | 1/400 sec | F5.6 | 175mm | Panasonic S5
Photo by Jordan Drake, edited in Capture One 21
With all of that said, overall we found ourselves very pleased by how this lens renders out-of-focus areas.
Sigma includes a lens hood in the product bundle, and it's definitely worth using. It's rubberized on the end, secured by a thumb screw, and reversible so you can store it around the lens barrel when not in use.
The reason that you'll want to use the lens hood is that long telephoto lenses tend to have issues with flare, and this one is definitely no exception. And even with it mounted, when shooting towards bright light sources like the sun you can get a very significant loss of contrast and a washed-out look.
But with it mounted, you'll at least increase your chances of shielding the front of the lens from the sun in the first place.
|ISO 100 | 1/800 sec | F6.3 | 600mm | Panasonic S5
Photo by Chris Niccolls, edited in Capture One 21
The Sigma 150-600mm exhibits some lateral chromatic aberration, visible as greenish and reddish fringing around edges at peripheries of the image. However, it tends to only be a few pixels wide at worst, on the fp L's high resolution sensor, and is easily corrected for in post-processing as you can see below:
Longitudinal chromatic aberration, which typically shows up as magenta and green fringing in front, and behind, the plane of focus, respectively, is well controlled on this lens, and we didn't find it to be an issue in any of our photos. There's the slightest bit of bluish fringing in the highlights in the water behind our subject in this photo, but it's so minor that we almost feel silly for having called your attention to it.
|What we like||What we don't|
Since the Sigma 150-600mm F5-6.3 DG DN OS | Sports is available on both the Sony E-mount as well as for L-mount cameras from Leica, Panasonic and Sigma, our conclusions will differ depending upon the mount, even though it's basically the same lens for both platforms.
For L-mount shooters, the 150-600mm is basically unrivaled. The nearest competitor, Sigma's own 100-400mm optic, just isn't that close in its intent or capabilities. L-mount shooters also have access to the lens' maximal versatility, since the company's customization-friendly USB dock and range-extending teleconverters are only available on that platform.
|ISO 640 | 1/640 sec | F6.3 | 453mm | Panasonic S5
Photo by Chris Niccolls, edited in Capture One 21
For E-mount owners, however, there are a couple of direct rivals and also some caveats to bear in mind.
The lack of a USB dock accessory for Sony shooters means you have fewer choices when it comes to customization, at least until Sigma releases a similar accessory for E-mount. And the lack of first-party teleconverters for E-mount means that you'll either be limited to a 600mm telephoto or will have to assume the risk for trying a third-party teleconverter that could, if you're very unlucky, result in expensive repairs.
|ISO 2500 | 1/640 sec | F6.1 | 429mm | Panasonic S1R
Photo by Jeff Keller
As for the rivals, the Tamron 150-500mm F5-6.7 offers significantly better AF performance, is better-suited to video, and has both slightly less heft and a slightly lower price. But to get those, you'll limit your telephoto possibilities and forego any teleconverter support, as well as having to live with a less-bright maximum aperture towards telephoto. And the Sony 200-600mm offers better AF too, albeit for a much higher price and in a much bulkier package.
But overall, we find the Sigma 150-600mm F5-6.3 to be a compelling offering on both platforms. Ergonomically it's great, in large part thanks to its clever zoom torque control and the push-pull zooming it allows. It's also a very sharp lens that's really not as bulky or expensive as you might expect for its focal range and maximum aperture.
|ISO 100 | 1/160 sec | F7.1 | 459mm | Panasonic S5
Photo by Chris Niccolls, edited in Capture One 21
And while it's a bit flare-prone and its bokeh isn't perfect, it can deliver luscious, creamy backgrounds for many subjects both near and far. Meanwhile, chromatic aberrations are very well controlled. Our major reservations really are around its autofocus speeds. But once you consider its optics, its all-weather versatility, an effective four-stop image stabilizer and a very reasonable price tag, it's easy to recommend not only for L-mount shooters, but even to those who've been considering its E-mount rivals.
Sigma 150-600mm F5-6.3 DG DN OS | S
Category: Superzoom Lens
Ergonomics and Handling
The Sigma 150-600mm F5-6.3 DG DN OS | Sports is a great option for Leica, Panasonic and Sigma L-mount shooters. It's sharp, controls chromatic aberrations well, and provides pleasing bokeh and subject isolation. Flare can be a concern though, and autofocus speeds aren't as snappy as its peers.
Please do not reproduce any of these images without prior permission (see our copyright page).
Panasonic S5 and Sigma fp L
Hasselblad has posted a short video on its social media channels teasing an announcement set to take place at 1pm CEST (UTC+2) on September 28, 2021.
Hardly any information is shared in the 12-second ‘Beyond Classic,’ teaser, except for a pair of images showing off what appears to be textured grip and a nameplate against a leather-like material.
Beyond Classic | September 28th | 13:00 CEST pic.twitter.com/hXoxD1ER7Y— Hasselblad (@Hasselblad) September 24, 2021
For now, keep an eye on Hasselblad’s social media channels for further updates. If any other details are released leading up to the announcement, we’ll update this post with the new information.
The post Pixii announced a new APS-C connected digital rangefinder camera with Leica M-mount appeared first on Photo Rumors.
|'The Open Door' William Henry Fox Talbot. About 1843. Print from paper negative.|
On January 6, 1839, François Arago, Secretary of the French Academy of Sciences, announced Daguerre’s invention and spoke of his accomplishment publicly, although he said nothing of the specific methods involved.
By the middle of January, news of Daguerre’s invention had spread everywhere. Today, when imaging is so common and taken for granted, it’s hard to imagine how amazing the idea of taking a picture was in 1839. It created immediate headlines around the world.
|Francois Arago painted by Charles Steuben, 1832.|
The actual techniques used remained secret, however, since the French government had not yet officially bought the invention from Daguerre. The secrecy led to some suspicion that this was a trick or fake, and just like today, a few people 'proved' it was impossible. Most believed, though. This was an era when revolutionary new technology became available almost every year.
Who is this Arago of whom you speak?
For we photography types, Dominique François Jean Arago is just the guy who announced Daguerre’s invention, but in fact he was way more than that. He was born in a tiny village, graduated from a small college in 30 months, passed the examinations to enter the Ecole Polytechnique, got bored there, and went to work at the Paris Observatory. In 1806 he led an expedition to measure the Paris Meridian (which was used both to measure the size of the earth and to determine the length of a meter), became a prisoner of war, and on his release became the youngest member of the French Academy of Sciences at age 23.
Despite having left the Ecole Polytechnique as a student, he returned as the Chair of Analytic Geometry at age 27. He did work in magnetism and optics, confirming Fresnel’s wave theory of light and making important discoveries in the polarization and emission of light.
This is part of the reason he was so taken with Daguerre’s discovery; to Arago, photography was ‘the freezing or capture of light waves’. He may have gotten a bit too excited, though, as he really didn’t have the authority to make the purchase he promised Daguerre.
The announcement of Daguerre’s achievement wasn’t published in England until January 19th – the telegraph wasn’t in use yet so dispatches went by rail and boat.
Let’s do an Aside!
Speaking of telegraphs, Samuel Morse, generally considered the inventor of the ‘modern’ telegraph, was in France trying to sell his telegraph system in 1838 and was introduced to Daguerre. Daguerre showed Morse his cameras, Morse demonstrated his telegraph to Daguerre, and they had an inventor-bromance-at-first-sight. Daguerre gave Morse a copy of his photographic instructions in the summer of 1839 before Morse returned to America.
Morse hadn’t sold his telegraph yet, so he supported himself by opening the first photography studio in the United States and teaching others photography*. Most of the early American photographers including Samuel Broadbent, Albert Southworth, Matthew Brady, Albert Sands, and Jerimiah Gurney were taught by Morse.
|Samuel Morse, taken about 1840. The Morse family claimed the image was taken by Daguerre but this is unlikely, since the image is not a Daguerreotype.|
But wait! There’s more! Why was Morse in France? Because the Germans, who were his original sales target, already had a crude telegraph in place, invented by their own Carl Steinheil. In 1840, Steinheil became the first German to use Daguerre’s methods and made some clear improvements to them; making negatives and then printing positives from them. He became more interested in photography than the telegraph, and eventually founded the Steinheil optical company which made cameras, lenses, and telescopes until the 1970s.
So, the two great advances of the 1840s, photography and the telegraph, are quite intertwined.
William Henry Fox Talbot, he of too many names and too many interests (he had set aside his development of photography to work on an archeology book), heard of Daguerre’s invention as soon as it hit the English papers. His reaction was immediate, arrogant, and overblown — which would characterize most of his reactions for the rest of his life. After reading of Daguerre’s camera, he wrote (in typical Talbot dramatic fashion) that he was “placed in an unusual dilemma, scarcely to be paralleled in the Annals of Science”.
Talbot wanted both public credit and financial gain for his work on photography. Having no idea if Daguerre’s methods differed from his own, he immediately tried to establish precedence as the first inventor, filing patents for ‘making permanent images using a camera obscura’ (the only thing he knew Daguerre used). He rushed samples of his ‘photogenic drawings’ to the Royal Institute in London where they were exhibited on January 25th, only weeks after Daguerre’s announcement. He provided documentation that they had been taken as early as 1835, hoping that would make his images the earliest. (They weren’t).
Then he wrote letters to Arago and other academic societies stating that he would file disputes regarding the priority of Daguerre and presented a paper with the catchy title of “Some Account of the Art of Photogenic Drawing, or, the Process by which Natural Objects May Be Made to Delineate Themselves without the Aid of the Artist’s Pencil”. Once he learned that Daguerre made positive images on silver plates, Talbot filed more patents: for images made on paper, for making negative images, and for printing positive images from negative images.
Talbot Wasn’t All Bad
You may have gotten the impression I don’t much like Fox Talbot, probably because I don’t like Fox Talbot much. I will actually taunt him a second time later in this article. But he was an intelligent man, a polymath and linguist who did work in mathematics, chemistry, botany, Egyptology, and art history. He published 6 books and almost 60 scholarly articles and was one of the premier translators of Assyrian cuneiform. He discovered Talbot’s Law, which determines the frequency at which interrupted images appear continuous, something Edison used when developing cinematography. And, of course, the calotype and photogravure are Talbot's inventions. So, I give the man his due; he did good science. He was just an insufferable jerk about it.
Sir John Hershel, an acquaintance of Talbot’s and one of the premier scientists of the day, read of Daguerre’s achievements and then of Fox Talbot’s exhibition at the royal society in late January of 1839. With basically no other knowledge than ‘photographs had been’ made he wrote in his journal:
Since hearing of Daguerre’s secret and that Fox Talbot has something of the same kind, obviously, there are three requisites:
Within a few days he had sensitized paper with silver salts and made images — in fact he was exhibiting his own photographs within weeks. He was aware that both Daguerre and Talbot could not permanently fix their images, which slowly deteriorated over time. He knew that hyposulphite of soda (sodium thiosulfate) dissolved silver salts, so he used this to fix his images permanently. Rather than take out patents, he notified Daguerre and Talbot of this, and they both adapted “hypo” (as it has since been known to photographers) as their fixative. It remained in use for over a century.
|Sir John Herschel looking quite back-to-the-futureish, etching from portrait by Evert Duyckinick, 1873.|
Hershel also found Talbot’s terms ‘photogenic drawing’, ‘reversed copy’ and ‘re-reversed copy’ rather cumbersome and coined the terms ‘photography’, ‘negative’, and ‘positive’. Hershel also experimented with non-silver chemicals in an attempt to make the photographic process less expensive. He found he could create a similar light sensitive process using iron citrate and potassium ferricyanide which resulted in bright blue images: the Cyanotype. The low cost of this process (and the fact that Hershel didn't patent) made it popular for photography for a while, especially for scientific images, like those botanist Anna Atkins made. Cyanotypes later became the engineering printer of the times; the blueprint.
Trying to calm the furor over in England, Arago invited Hershel, Talbot, and other English scientists to come to Paris to view Daguerre’s work. Talbot was too busy filing patents and refining his technique, but Hershel went. Much to Talbot’s dismay, Hershel wrote publicly:
. . . compared to these masterpieces of Daguerre, Monsieur Talbot produces nothing but vague, foggy things. There is as much difference between these two products as there is between the moon and the sun.
Probably not realizing that Talbot was taking all this very personally, rather than scientifically, Hershel wrote directly to Talbot in a letter:
It is hardly too much to call them miraculous. . . every gradation of light and shade is given with a softness and fidelity which sets all painting at an immeasurable distance. His [exposure] times are also very short. In a bright day three minutes suffice.
There is no question Hershel’s description was accurate. The difference between a Daguerrotype (below) and Talbot’s images of the time (the image at the top of this article) is dramatic.
|Daguerrotype of the Clark Sisters, circa mid 1840s. Photographer unknown. Image in public domain via Library of Congress.|
Talbot, who initially required 30 minutes, at least, to expose an image, must have tossed his breakfast after reading Hershel’s letter. But Talbot was a stubborn man and just continued to insist his way was the right way. It was the right way, of course, but it would be a few years before that became apparent. Largely because of Talbot.
At this point, May of 1839, Daguerre was still waiting for the French Government to actually pay for his invention. Arago wanted to make it “a gift to the world” but Daguerre wasn’t that altruistic. He didn't wait idly, however. He’d taken a rather broad interpretation of Argo’s definition of the world and decided that meant France. Plus he was aware of Tablot’s actions so he quietly had an agent take out patents on his invention in England.
Daguerre also arranged for his brother-in-law, Alphonse Giroux, to produce a wooden camera with lens supplied by Chevalier and a complete set of chemicals for his process. Each bore on its side a metal label “No apparatus is guaranteed unless it bears the signature of M. Daguerre and the seal of M. Giroux”. Giroux and Daguerre already were mass-producing these before the official announcement of his process and were selling them minutes after the announcement was made.
|The most recent auction sale of an original Giroux camera, image from Westlicht Photographia Auction, 2010. If you find one at a garage sale, grab it. They sell for about $1 million in reasonable condition.|
On July 19th, the French Government finally passed a bill giving Daguerre a lifetime pension in return for his process (and a smaller pension for Isidore Niepce). On August 19th the details of the process were made public at a joint meeting of the French Academies of Science and Fine Arts. The event generated more excitement than a Talking Heads reunion tour: people arrived three hours early to find the hall already full and crowds lining the street. Within days every optician and chemist in Paris (and elsewhere for that matter) had sold out of lenses, silver nitrate, silver plates, and everything else needed to create photographs.
The effects of the release were huge. Photographers were soon swarming over every bit of photogenic real estate in Paris, making image after image (real estate because the early Daguerrotypes required exposure times too long for portraits). Many were making artistic images, but just like today, others quickly became more enamored with their equipment’s resolution. A lament written at the time (which may be apocryphal) would be perfectly at home on a DPR forum today.
Our young men should spend more time considering the composition and merit of their images, and less time with magnifying glasses counting how many bricks and shingles they can resolve.
Daguerre retired almost immediately to Bryn-Sur-Marne where he wrote a 79-page book on his process that was immediately translated into a dozen languages. He continued quiet experimentation in photography until his death in 1851.
The exposure times shortened quickly as chemical processes were refined. Within a year Daguerrists, as they were called, had set up portrait studios in every major city of the world. Even smaller cities were visited by traveling Daguerrists. For the first time an image of a family member could be made easily and then kept forever.
If you remember from the last article, two members of the “greatest names in photography” team, Antoine Hercules Florence and Hippolyte Bayard had also developed photographic techniques at this time. Hercules, a Frenchman living in Brazil, had only delayed and incomplete knowledge of the events in Paris. When he did become aware, though, he was the perfect gentleman stating only that his techniques were not nearly as advanced as those of Daguerre and making no claims for himself.
Hippolyte Bayard had approached Arago in 1839, presenting his own techniques which created positive images, like Daguerrotypes, but used less expensive paper, like Talbot’s process. Arago feared Bayard’s claims would interfere with his plan to release the Daguerrotype process “as a gift to the world”, asked Bayard to remain quiet, and inferred that he, too, would get some form of government pension. This didn’t happen and Bayard ended up demonstrating his technique to the French Institute in exchange for enough money to buy some chemicals.
|Portrait of a Drowned Man. Hippolyte Bayard, 1840.|
Bayard, who loved him some drama, used his technique to create the first staged photograph: “Self Portrait As a Drowned Man” which he exhibited at the French Institute with the following caption:
The corpse which you see here is that of M. Bayard, inventor of the process that has just been shown to you. As far as I know this indefatigable experimenter has been occupied for about three years with his discovery. The Government which has been only too generous to Monsieur Daguerre, has said it can do nothing for Monsieur Bayard, and the poor wretch has drowned himself. Oh the vagaries of human life...!
Hippolyte got his stuff together after a bit, though, and went on to have a most successful photographic career. Shooting Daguerreotypes.
Back in England Talbot continued to work on his process, making a huge discovery: the principle of developing a latent image. He found that if he bathed his silver iodide papers in a solution of gallic acid and silver nitrate after a brief exposure, the latent image (invisible at first) would “develop” and become visible. He then “fixed” his negatives in hypo and printed positives as he always had. This both shortened exposure times and improved image quality significantly.
It is this process, the Calotype, that became the forerunner of film photography. Calotype images were markedly improved over Talbot’s early work. They still didn’t provide the superb detail of a Daguerreotype, but they had one huge advantage: one could make multiple prints and create mass media.
Talbot patented his invention in England, but charged such high patent fees (up to £800) that almost no one in England used the process. A group of opticians, chemists, and photographers began a long series of legal battles attempting to overturn Talbot’s patents. But the more they tried, the more stubborn he became, and the patent wars raged on for nearly a decade.
However, Talbot, being quite the Anglophile, had patented his process in England and Wales, not bothering to patent it in Scotland and other countries. Daguerre, if you remember, had patented his invention in England, but not elsewhere.
|Papal Palace at Avignon. Charles Nègre. Print from a paper negative, 1852.|
Largely for this reason, England lagged behind the rest of the world in photography for quite a while, while Scotland and France became centers of photography. Scottish photographers, for example, could use either the Calotype or the Daguerrotype processes without paying any royalties; photographers in England had to pay royalties for either process.
A number of French photographers took advantage of the situation and began using Talbot's process. It probably didn’t help Talbot’s mood much that Frenchmen made two dramatic improvements to his technique. The first, waxing the paper used in the process, increased the photographic detail significantly. Édouard Baldus, Gustave Le Gray, Henri Le Secq, and Charles Nègre were printing superb images using this process in the 1840s. In France. But no one did in England.
The second improvement, the albumen process, was developed by Louis Désiré Blanquart-Evrard, who published and made it freely available in 1847. This used albumen from egg whites to bind photographic chemicals to paper, creating a glossy surface and allowing thousands of positive prints to be made from a single negative. (Talbot’s technique allowed for, at most, a few hundred).
|The Hypaethral Temple, Philae. Albumen print by Francis Frith, 1857.|
With these advances, Calotypes became THE photographic method used by explorers, archeologists, and others publishing their photographs or documenting their travels in book form; they just didn’t print the books in England. As for Talbot himself, he made hundreds of Calotypes and published some of them in a series of booklets entitled “The Pencil of Nature”, which was the first published photography book. It came out as ‘fascicles’ of twenty-four plates each, but it was not a commercial success and was terminated after the first six fascicles were released.
While Talbot was vigorously defending his English patents, another Englishman, Frederick Scott Archer, developed a new technique in 1848. The collodion (or wet plate) process, used glass coated with a gelatin to hold the silver chemicals. Archer did not patent, publishing his technique so that others could use it freely. The collodion (or wet plate) technique was relatively inexpensive, exposed quickly, and the glass plate negative was easier to print from.
Talbot, being Talbot, sued wet-plate photographers on the grounds that this technique was just like his own. British photographers rallied to the case and brought reams of evidence that Talbot was not the true inventor (much of the evidence was later found to be false and fabricated). The jury found that Talbot’s patents were valid, but only for his exact process. Anyone who varied from his published methods even slightly was not guilty of patent violation, and by that time all photography varied from Talbott's original methods.
Talbot had finally lost the war, and England had finally joined the rest of the photography world. Archer’s wet plate technique itself advanced photography greatly, but the fact that it led to the breaking of Talbot’s patents particularly advanced the art in England.
Frederick Scott Archer, unfortunately, benefitted not at all and died penniless in 1857. After his death, Punch magazine asked for donations for the family:
The inventor of Collodion has died, leaving his invention, unpatented, to enrich thousands, and his family unapportioned to the battle of life. Now, one expects a photographer to be almost as sensitive as the Collodion to which Mr. Scott Archer helped him. . . you, photographers, set up Gratitude in your little glass temples of the sun, and sacrifice, according to your means, in memory of the benefactor . . . answers must not be Negatives.
About £767 were raised for Archer’s family; a fair amount of money at the time. About as much as Talbot charged for one license to use the Calotype process.
The collodion process wasn’t perfect. Collodion (nitrocellulose), which is made from gun cotton dissolved in ether and alcohol, has an annoying tendency to explode, for one thing. Preparation of the plates and photographic technique using them was difficult. But the images obtained were better than Calotypes and created negatives that could print thousands of copies, unlike Daguerrotypes.
Direct positive images would continue to be made, not only Daguerrotypes, but less expensive Tintypes and Other types. Because of their fine detail, positives were a favorite for portraits for quite a while. But the negative-image-to-positive print process would become the standard for most photographic work.
So, who was the real Father of Photography? It would make a good paternity suit. Niepce created the first permanent images using a camera. Daguerre perfected the technique that allowed it to become mainstream (and was the only one to benefit financially). Talbot’s different technique allowed multiple copies of images to be mass produced, and the negative-image to positive-print is the basis for all photography from the 1800s until digital.
But, I think no matter who you credit with fathering photography, Frederick Scott Archer, who freed photography so that anyone of reasonable means could afford to take photographs and whose discoveries led directly to the development of film, is the one who raised the child.
* Morse wasn't the ONLY Daguerreotypist in America in 1839. Daguerre had contracted with Francois Gouraud to introduce and sell Giroux's 'official' cameras in the U. S. and he arrived in the Fall of 1839. Another man, D. W. Seager took and exhibited a Daguerreotype in September of 1839, soon after he returned to New York from Europe.
One question we get a lot at DPReview is, 'What's the best portrait kit?' This week, Chris and Jordan recommend their favorite camera and lens combos for shooting portraits. Whether you have champagne tastes or a beer budget, there's a great kit for you.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Canon was a pioneer of electronic, multi-mode cameras, and some of the design decisions that the company made way back in the 1980s persist even now, in its high-end EF and RF cameras. From the T90 to the new EOS R3, high-end Canon cameras share a remarkable amount of DNA.
In this gallery, we’re taking a closer look at several Canon cameras, from the 1980s to the present day, to explore how the company’s approach to ergonomics has evolved (and when it hasn't) over the years.
The post TTartisan 40mm f/2.8 APS-C macro lens officially released appeared first on Photo Rumors.
Some new leaks on the upcoming DJI Mavic 3 Pro drone and DJI Action 2 camera:
DJI Action 2 camera:
DJI Mavic 3 Pro drone:
Via Jasper Ellens
The post New leaks: DJI Mavic 3 Pro drone and DJI Action 2 camera appeared first on Photo Rumors.
The post Hasselblad’s “Beyond Classic” teaser for September 28th appeared first on Photo Rumors.
ACD Systems has launched ACDSee Photo Studio Ultimate 2022. ACD Systems' new version of its flagship photo editing software includes numerous updates, highlighted by the addition of two new modes: Media mode and People mode. These new modes' streamline the digital asset management process and introduce AI-powered facial recognition.'
Frank Lin, COO and CTO of ACD Systems, said, 'ACDSee Photo Studio Ultimate 2022 complements an already robust array of Digital Asset Management and Layer Editing modes. We continue to develop this software year-on-year by adding new updates and services to help photographers through the day-to-day. The two new modes will help photographers identify images in a heartbeat, rather than going through an abundance of images to find the file they're looking for. Photo Studio Ultimate 2022 is the ticket to a future where Artificial Intelligence will help elevate photographers' vision.'
In addition to the new Media and People modes, Photo Studio Ultimate 2022 incorporates new selection tools and filters that offer improved precision when making selects. The software adds a color wheel for improved pixel targeting.
Further, noise reduction, which is improved, can now be applied via the develop mode brush in the latest version. ISO settings above 200,000 are now supported in the 2022 release, which is good news for users of newer Canon, Nikon, Pentax and Sony cameras. HDR and Focus Stacking functionality is improved as well.
With People Mode, the software uses machine learning to detect and recognize faces. Users can merge, rename or delete faces to help keep their photo library organized. Photo Studio 2022's AI assistant offers labeling suggestions for grouping similar unnamed individuals.
Media Mode is a database-driven 'powerhouse' for viewing and accessing any folders you've browsed in Manage mode or cataloged into the ACDSee database. You can use Media Mode to sort, group and filter in user-selected combinations.
The underlying basis of Photo Studio remains the same, promising non-destructive, layer-based photo editing, batch editing tools and digital asset management functions. If you'd like to learn more about ACDSee Photo Studio's core functionality, we published a review of ACDSee Photo Studio Ultimate 2021 just this week. While there are some new features in 2022, our review of 2021 remains relevant to any prospective customers.
Photo Studio Ultimate 2022 is available as a subscription for $8.90 per month or $89 per year. It can also be purchased with a lifetime license for $149.99. A free trial is available here. If you don't require all the features of Ultimate, there are also Professional and Home versions available for $99.99 and $59.99, respectively. The Professional and Home versions are also available as a subscription. For the full breakdown of which features are included in each version, click here. Photo Studio 2022 is available for Windows.
Roesch previously released a similar app for Fujifilm film simulation recipes, but this time his focus is on Ricoh’s Ricoh GR, GR II, GR III and GR IIIx camera models. Like Fujifilm’s Film Simulation mode, Ricoh’s GR cameras also have the ability to bake-in image adjustments to JPEGs for straight-out-of-camera images that are already edited to fit your aesthetic preferences.
|You can find a screenshot of all the included film simulation modes here.|
The app features a fairly straightforward database-style design and features 20 recipes for Ricoh’s HR and GR II cameras, as well as 20 more for Ricoh’s GR III and GR IIIx cameras. In addition to providing the recipe, which you will need to manually enter into your camera, each recipe includes sample photos captured with that preset and a field for adding your own notes to each recipe for referencing later.
The app, which is available for Android, iOS and iPadOS, is free to download and includes the 40 recipes mentioned above. There’s also an option to become a ‘Ricoh Recipe’s Patron’ via an in-app subscription of $11.99 per year. This subscription gives you the ability to filter the recipes, favorite recipes and also includes additional recipes not included in the free version.
Roesch notes these recipes will not work on Ricoh's GR Digital (GRD) camera models.
The Olympus OM-1 was a revolutionary camera that changed the single-lens reflex (SLR) camera market by offering impressive image quality in a compact, reliable form factor with (relatively) small, high-quality lenses to boot. While its design shaped the industry for decades to come, it almost didn’t take on the form factor we now look back on.
In a recent article on Kosmo Foto, Stephen Dowling explains how the OM-1 was a far different design than what Olympus had originally intended when it showed off a prototype camera dubbed the Olympus OM-X, a modular 35mm SLR camera that looked more like a Hasselblad 500 series medium format camera than the 35mm SLR design we’re now accustomed to seeing.
Much like Hasselblad’s 500 series cameras, the OM-X was modular in that it would’ve allowed users to swap out various parts, including the lens, pentaprism viewfinder, shutter and film back. While we never saw the OM-X leave the prototype stage, late Olympus designer Yoshihisa Maitani, who passed away in 2009, shared the history of the camera in an interview with Asahi Camera back in 2002.
While it’s worth reading the interview in its entirety, here’s a quote from Maitani regarding how he approached the design of the OM-X prototype:
‘A camera is a tool to take pictures. It needs various functions. I try to take apart the camera into units by each function. Lens, body, film back, and a focal plane or lens shutter. The basic concept of the OM System is to enable the user to gather the components as necessary […] You build it in a different form for snapshots, shooting still life, etc.’
Unfortunately, this concept proved difficult to produce, due to various ‘technical difficulties.’ Since Olympus didn’t want to wait to release the camera, Maitani says he ‘was requested to release something first,’ which ended up being the OM-1, which he describes as ‘a combination of the most popular functions.’
You can read the full article on Kosmo Foto, below:
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we'll be sharing film-related content on Fridays, including articles from our friends at 35mmc and Kosmo Foto.
Additional information on the new TTartisan 40mm f/2.8 macro lens can be found here:
The post The new TTartisan 40mm f/2.8 macro lens is now available to order appeared first on Photo Rumors.
Apple announced alongside the reveal of its iPhone 13 Pro and 13 Pro Max devices that both of these models will eventually be able to shoot ProRes video with a future iOS update. While much remains a mystery regarding what we can expect in terms of quality, it seems we now know how much storage space this ProRes recording will take up (spoiler: a LOT).
FYI, 1 minute of ProRes Video shot on iPhone 13 Pros clocks in at 6GB— Ray Wong (@raywongy) September 21, 2021
Use that information however you want
According to Input’s Raymond Wong, citing a conversation with Apple, one minute of 4K HDR 10-bit ProRes video shot on an iPhone 13 Pro or 13 Pro Max will take up 6GB of storage. This is more than was suggested by MacRumor’s Steve Moser, who shared a screenshot of iOS code that specifically says ‘a minute of 10-bit HDR ProRes is approximately 1GB for HD and 4GB for 4K.’ But even if it only comes in at 4GB, that’s a lot of internal storage to be filling up.
This massive consumption of data is likely the reason Apple will limit ProRes recording on the 128GB models to 1080p instead, as it’s only taking up a quarter of the storage space. Still though, if you plan on shooting a lot of ProRaw video when the feature debuts, you might want to play it safe and go with the 512GB or 1TB model, considering you could get through 256GB of data in just over an hour at 4GB/minute and just under 45 minutes if it ends up being 6GB/minute.