27mm focal length is suitable for portraits, landscapes, street photography and macro photography
Five groups of six pieces of optical structure, high-precision optical glass and advanced nano-coating technology to ensure image quality and color accuracy
F2.8 large aperture can easily cope with low-light environments
The STM stepper motor responds quickly, high focusing accuracy, and supports eye recognition.
0.3m minimum focusing distance
Supports USB Type C upgrade interface, you can download the latest firmware for upgrade by yourself
Viltrox has announced the new AF 40mm F2.5 Z lens for full-frame Nikon Z-mount cameras. The lightweight prime lens provides a normal field of view, roughly approximating the perspective of human vision.
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Optically, the AF 40mm F2.5 Z features an internal focus design built around ten elements in six groups. This includes one ED lens, one aspherical lens, three high-refractive index lenses, a high-definition nano-multilayer coating, and a front lens element that includes an anti-fouling coating. The close focus distance is 0.34m (13").
Image: Viltrox
The lens includes a 52mm filter thread and features a 7-bladed aperture.
The AF 40mm F2.5 Z weighs a relatively lightweight 180g (6.3oz). A stepper motor drives autofocus, and Viltrox says the lens is compatible with face and eye recognition systems. It also says the lens should be suitable for shooting video thanks to low distortion and minimal focus breathing.
On the tech side of things, Viltrox says the lens supports full EXIF transmission to the camera, and it includes a USB interface to support future firmware upgrades.
Viltrox says the AF 40mm F2.5 Z will be available "as soon as April." It has a suggested retail price of $158.
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Viltrox AF 40mm F2.5 Z specifications
Principal specifications
Lens type
Prime lens
Max Format size
35mm FF
Focal length
40 mm
Image stabilization
No
Lens mount
Nikon Z
Aperture
Maximum aperture
F2.5
Minimum aperture
F16
Aperture ring
No
Number of diaphragm blades
7
Optics
Elements
10
Groups
6
Special elements / coatings
1 ED element, 1 aspherical element, 3 high refractive index elements, nano-multilayer coating
The lens, already available for Sony E mount, is 104mm (4.1") long and weighs 421g (14.9oz).
Its optical formula is made up of 11 elements in 9 groups, including two aspherical, one ED and two high refractive index lenses. It features an 11-blade aperture diaphragm. It uses a stepper motor to drive an internal focus design.
Minimum focus distantce is 0.5m (19.7") and it accepts 62mm threaded filters.
The company says it will be available soon at a price of $228.
Chinese lens maker 7Artisans has announced the AF 27mm F2.8 prime lens for APS-C cameras using the Sony E-Mount.
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The 27mm focal length gives a fractionally wide-angle ∼41mm equivalent field of view, while the semi-fast F2.8 maximum aperture should give some control over depth-of-field and better low-light performance than a kit zoom.
The compact prime consists of six elements in five groups. It uses a stepper motor and internal focus design, which is potentially promising in terms of autofocus speed. Unusually for a modern lens, it makes no use of aspherical, ED or other special glass, and features just six aperture blades.
The 48mm (1.9") long, 173g (5.0oz) lens features a USB 3.0 socket on its side, allowing firmware updates. It has a minimum focus distance of 0.3m (11.8") and accepts 52mm threaded filters. It is available immediately at a recommended price of $129.
The Ricoh teaser from yesterday is for a new Pentax K-3 Mark III Monochrome limited edition camera with HD PENTAX-DA 20-40mm f/2.8-4ED Limited DC WR lens that will be announced very soon (this week most likely):
"Let's start by talking about the name: Rollei 35AF. The "AF" in the name stands for AUTO FOCUS, a feature that takes this legendary camera to new heights.
We believe that classics are meant to be cherished, and our mission is to preserve the essence of this iconic camera while incorporating new features that enhance its capabilities without compromising its unique charm. With the added AF and other features, capturing stunning analog film pictures becomes effortless, quick, and incredibly precise.
Of course, the Rollei 35AF retains the beloved features that have made it a favorite among photography enthusiasts. It comes with a full metal body, 5-element all glass lens with coating on every side, and exposure controls.
But that's not all.
We've also included a built-in light meter and AUTO modes, allowing you to focus entirely on the things in front of you, the composition before your eyes, and concentrate on deciding what to capture on a rectangular 35mm film canvas while seizing that split-second decisive moment that leaves viewers impressed."
Sample photos taken with the Rollei 35AF film camera:
Additional pictures of the upcoming Rollei 35AF film camera:
Profoto is expected to announce a new flash on May 7th - here is a screenshot of the event invitation:
And the the Google translation (thanks P!):
Tuesday 7 MAY
Milan
STUDIO SANTAVERONICA
(Corso C. Colombo 11 - MM Porta Genova)
From 10.00 to 13.00 and from 14.30 to 18.00 set with the photographer DARIO BOLOGNA and the new Profoto flash to try!
Free entry
Nikkei Japan published an article "Digital camera market grows for the first time in 13 years, halting shrinkage with smartphone replacement". Here is the article recap digicame-info:
Research firm GfK Japan announced on the 18th that the domestic digital camera market in 2023 will turn positive for the first time in 13 years. Sales volume was 1.2 million units, an increase of 7% from the previous year. This was driven by products such as interchangeable lens cameras. The decline had continued due to the spread of smartphones, but this appears to have come to a halt. The digital camera market had been in decline since peaking at 10.4 million units in 2010.
Looking at unit sales in 2023 by type, interchangeable lens cameras increased by 9%, and compact cameras increased by 6%. Interchangeable lenses also grew by 4%.
This is the second consecutive year of positive growth for interchangeable lens cameras. The number of products over 100,000 yen increased, and the proportion of products in the 100,000 to 200,000 yen price range was 46%, an increase of 7 points from the previous year. The average price (excluding tax) rose 4% from the previous year to 172,000 yen.
The most significant products of the past 25 years
As part of our twenty-fifth anniversary, we asked manufacturers to reflect on the most significant products of the past quarter century.
As you might imagine, all the senior executives picked one of their own products. But some patterns also emerged. Some simply named their current flagship as the pinnacle of the company's R&D history so far. But we were also interested to hear about the products that have been significant for the company's history, because they represented major challenges to develop, were risky expansions into new territory or ultimately moved the whole industry forward.
In each instance, we asked for a personal choice, rather than what might be the official company line. And, if they couldn't narrow it down to one, we were happy to hear the rationale for other products they thought were significant.
Nikon: Z9
Yusuke Adachi, Section Manager, UX Strategy Section, UX Planning Department in Nikon's Imaging Business selected the Z9 with its electronic shutter and Stacked CMOS sensor
"So many products were rolled out to the market in the past quarter century!" Nikon's Yusuke Adachi says: " However, I would say the Nikon Z9."
Choosing the current flagship model could simply come across as the choice that the marketing department would be happiest with. But Adachi makes an argument for is also being a landmark in technology, pointing to the capabilities made possible by its parallel readout sensor.
"One of the biggest challenges in the history of the company is [electronic shutter], which means that when you remove the mechanical shutter. You can actually see exactly the same thing with your camera that you see with your bare eyes. It’s completely synchronized, and it’s called dual streaming. This is something that DSLRs couldn’t do, but the mirrorless camera allows customers to capture things they couldn’t do before."
Fujifilm: Finepix X100
Yuji Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group highlighted the importance of the original X100 to the company today
Fujifilm's Yuji Igarashi chose the original Finepix X100, which makes sense, given its role in establishing the brand as we recognize it today.
"That was the first camera when we stepped up from selling point-and-shoot, entry-level compact cameras," he remembers: "Smartphones were becoming popular and demand for point-and-shoot cameras was declining so fast."
"But we were determined to continue and to grow in this industry, so we thought very hard, how can we change our business model. This was our first attempt to do that, using the APS-C-sized sensor. X100 was a huge success, which gave us confidence."
"We wouldn’t be here if we didn’t have the X100," he says Fujifilm's "If that failed, we would have been in a very difficult position."
Sony: RX1 and G Master lenses
Masaaki Oshima (L), Head of Sony's Imaging Entertainment Business, and Masanori Kishi (R), Head of Lens Technology & Systems Business picked out the DSC-RX1 and the original G Master lenses
Sony's history in the camera industry goes back a long way, including the Mavica models that were among the first we tested. But its Execs both choose products that represent the seeds of the brand as it's seen today. Interestingly, they eschew the first full-frame mirrorless camera (the a7, or perhaps NEX-VG900, depending on your perspective) and choose instead a camera that showed that the company was serious about photography.
"From my personal perspective, there are two cameras, RX1 and Alpha 9," says Masaaki Oshima: "Because they were very hard to produce. I have a lot of memories of launching these two cameras."
"The [Cyber-shot DSC-] RX1 is the beginning of our photography culture. Before that, we had launched RX100 series but still inside the world of Cyber-shot, kind of. RX1 is definitely a different world compared with our previous circumstances. That was a very memorable development period."
"From the point of view of lenses, the first G-Master lenses are very very memorable," says Masanori Kishi: "The first G-Master lenses were the 85mm F1.4 and 24-70mm F2.8. From these G Master lenses, our technology improvement accelerated and our customers also changed. Customers rated our product highly and that's become a very big motivation for our designers and our engineers. This generated a very positive momentum from this point onward."
Tamron: 28-75mm F2.8 Di III RXD
Kota Misawa, Manager of the Marketing Planning Department in Tamron's Imaging Products Business chose the Tamron 28-75mm F2.8 Di III RXD
Tamron can trace its history back nearly 75 years, so the quarter-of-a-century we're discussing only represents a small portion of its existence. Despite this, its choice was a product that's emblematic of how many people are now likely to think of the company.
"Probably the first generation 28-75mm F2.8," says Kota Misawa: "That was a new concept because it was a fast lens, but we changed the focal length from 24mm to 28mm, and users accepted this concept. We knew that if we had a unique concept and we could let users know what that concept was, then people would understand. After that, we started to change, and we started developing unique lenses."
"That lens was controversial, even in our own company, and some people were not confident that it would be accepted by users, so we were really relieved that it was."
Sigma: 35mm F1.4 Art and 18-35mm F1.8 Art
Sigma CEO Kazuto Yamaki named the 35mm F1.4 DG HSM Art as one of its most significant products
It's not a dissimilar story for Sigma, which has gone from a respected producer of affordable lenses to an acclaimed maker of top-class photographic gear. Kazuto Yamaki chooses the lens that marked the beginning of that change, the 35mm F1.4 Art.
"It’s the first Art lens in the series and it’s the first lens after we introduced the three series: Art, Contemporary, Sports," he explains: "If we’d failed with the launch of the 35mm F1.4, Sigma may not have survived until today. It was very fortunate that the customer received it very well and we could survive in the industry."
"If I could pick another it would be the 18-35mm F1.8 for APS-C," he says, looking to the more adventurous side of the company's products: "We wanted to implement the first F one-point zoom lens: that was the only motivation. But after we launched the lens, we realized that videographers and cinematographers really loved that lens. So with the introduction of this lens, we started getting interested in joining the cine lens business, so I love these two lenses."
OM System: Olympus Camedia C-2000 Zoom
Kazuhiro Togashi, Vice President of Brand Strategy & Product Planning at OM Digital Solutions looked back to a camera from the start of his time in the industry.
Hats off to OM System's Kazuhiro Togashi for staying true to the question and giving us his personal choice, and the story behind it. Rather than simply naming a recent model, Togashi looked back to just the eighth camera reviewed here.
"When I first joined Olympus, maybe 60% of the market was film cameras." he explains: " About three years before I entered Olympus the first digital camera emerged from Casio, so for me, the digital camera was very impactful in these 25 years. Before digital cameras launched, only a limited number of people used and enjoyed cameras, because shooting skills were required and to develop photos cost money. Digital cameras influenced culture for a lot of people worldwide"
"Then smartphones expanded interest in still images and movies even more. But the change from film to digital left a big impression for me."
Canon: EOS Digital Rebel
Go Tokura: Senior Managing Executive Officer, Deputy Head of Canon's Imaging Group and Chief Executive of Image Communication Business Operations opted for the original Digital Rebel.
Known to us as the Canon EOS 300D (DPReview was based in London at the time), the original Digital Rebel was the first DSLR with a list price under $1000. This helped maintain Canon's position as the world's largest camera maker into the digital era, as well as playing a key role in popularizing CMOS sensor technology.
"It played a very important role in shifting [the market] from film to the digital DSLR," says Go Tokura: "Since 2003, Canon has sold more than 1 million of them."
"And if we can add one more product, it would be the ‘hero’ model of our mirrorless lineup, the EOS R5."
Panasonic: Lumix DMC-G1
Toshiyuka Tsumura, Executive Vice President and Director of Panasonic's Imaging Business recognized the importance of the Lumix DMC-G1, not just to his company, but the industry as a whole
Panasonic gave us one of the shortest answers, but perhaps it's a choice that doesn't need much further explanation. The Panasonic Lumix DMC-G1 was the first camera of its kind, prompting us to have to find a way to describe it. Despite concerns from some manufacturers that it could imply their products were somehow lacking, we settled on "mirrorless," for this new generation of cameras.
"[I'd choose] the Lumix G1," says Toshiyuki Tsumura: "Fifteen years ago, no professional photographer used mirrorless, but now almost all professional photographers use mirrorless."
This focus on professionals risks under-selling the importance of the G1; in the nearly sixteen years since its announcement, mirrorless cameras have come to dominate almost every part of the camera industry. Not bad for a company that didn't even release a digital camera until nearly two years into this website's history.
Article based on interviews conducted at CP+ 2024 in Yokohama, Japan, by Richard Butler and Dale Baskin.
Latest Adobe Firefly Image Model: The new Adobe Firefly Image Model yields better people generation, photographic quality, colors, and dynamic range. It's also better at understanding and following your prompts and supports negative prompts, so you can bring your vision to life in Photoshop with more control and confidence in the results.
Text to Image (Generate Image in UI): Generate entire images or scenes from scratch using text prompts and additional creative controls with the new Text to Image (labeled “Generate Image” in Ps product UI) feature. You can generate complex, custom images and composites without leaving Photoshop, or combine multiple generated images on a canvas to ideate and refine ideas more efficiently
Generate Background: Generate Background allows you to replace your background with generated content that matches the lighting, shadows, and perspective of the subject in just a few steps. Rather than manually selecting the background and using Generative Fill, with Generate Background, you can simplify workflows and save time with a streamlined experience in the Contextual Task Bar.
Apply OR and NOT operations for increased precision when searching with the Find by Keyword tool
Select, copy, and paste subsets of keywords
Use drag-and-drop functionality when assigning keywords to photos
Take advantage of automatic copying of keywords to the clipboard when performing keyword copy-paste operations
Access an all-new duplicate statistics dialog that allows for quick flagging of duplicate files
Choose to exclude photo sequences from the Find Duplicates search
Select the first photo of each duplicate-search-result cluster to save time when cleaning up folders
New high-level filters to sort and locate images more effectively (including an option to identify files that have not yet been analyzed by the program)
Extension of the text-search feature to metadata so users can locate images from the file path, file description, file headline, etc.
The option to change the loading behavior for lens model metadata
An “Invert selection” menu option
Keyword tree multiselection
A “Manage profiles” option in the “Renaming Profiles” dialog
As part of the work on our review of the Fujifilm X100VI, we've shot and processed our standard studio test images with the camera.
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.
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Given the camera is based on a sensor we've seen before, there are few surprises in terms of its performance. It produces more detail than the 26MP sensor in the X100V. Inevitably it shows more noise at the pixel level than lower-res sensors, but is comparable when viewed at the same output size, up until the very highest ISO settings.
Lens performance
The studio scene is not intended as a lens test: we typically use very high-performance lenses at an aperture that delivers high levels of cross-frame consistency with little risk of diffraction limiting the performance. However, with the X100VI, we have no choice but to use the built-in lens.
The 35mm equiv field of view means we have to move much closer to the target but this is still at over 40x focal length, so not especially close-up. An aperture value of F5.6 means we're not being especially challenging.
And the X100VI's lens appears to acquit itself well in these circumstances. In the JPEGs it's comparably detailed near the center as the X-H2's results, using our standard 56mm F1.2 R testing lens (though the X100VI is possibly having to apply more sharpening to deliver this result). Things get a little softer towards the corners and exhibit (easily corrected) lateral chromatic aberration and some vignetting in the Raw conversion, but overall the lens appears to be doing a good job in front of a high-resolution sensor.
As with all the other 40MP X-Trans cameras, the Adobe Camera Raw conversion isn't showing the same levels of contrast or sharpening that the camera's own JPEGs do, so it's worth downloading the Raw files to see whether your preferred software and processing workflow produce results you're happier with. But overall, we feel it does well.
A new camera app that wants to offer a film-like experience is now available. The mood.camera app (iOS only) targets fans of analog photography and consists of 14 film-like filters. I was given early access to the app to test it out and see if it offers anything different from similar apps on the market.
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There's been a resurgence in analog photography recently. Though many desire the look of film, they don't necessarily enjoy the process (and time) of using analog cameras. mood.camera aims to bridge the gap between film and digital by offering filters that emulate film stocks such as Kodak Portra, CineStill and Chrome.
Inside the app, users can imitate a change in ISO (ranging from 100 to 3200) and will notice less detail and more grain the higher you go. There's also a digital tonal range dial that impacts the amount of contrast and saturation in an image.
Image: Dan Ginn (made with mood.camera). Filter: Chrome
This isn't the first app trying to emulate the look of film photography. Other apps, such as 1998 Vintage Camera and VSCO, offer filters that provide a classic look, as does Hipstamatic, one of the first smartphone apps within this niche.
What sets mood.camera apart is how it provides an analog-esque process to image making. Whereas other apps provide a live preview of filters and simulations, mood.camera doesn't.
The app's developer said the intention was to "mirror the classic film camera experience." To see how the images turn out, you must view the photos in Apple's Photos app.
Image: Dan Ginn (made with mood.camera). Filter: Portra
Some obvious features are missing in the app. There's no portrait mode, which the developer says is because "Apple does not let you capture ProRaw and depth data." There's no night mode either, which the developer claims is possible to add but isn't interested in doing so at this time.
Image: Dan Ginn (made with mood.camera). Filter: Chrome
Having used the app for a week, it did bring a new sense of enjoyment to mobile photography. I liked not having a live preview of my images. Its absence allowed me to worry less about the outcome and focus more on the process of creating photographs.
There was a distinct difference in each of the filters, and while they'll never be 100 percent like stock film, they're close. Unlike some apps I have tried before, I found it easy to navigate through the different filters in mood.camera, and the app itself was quick and responsive.
Image: Dan Ginn (made with mood.camera). Filter: Cine
If you want to adapt your smartphone photography workflow and like the classic look, then mood.camera is worth trying. There's a seven-day free trial available before committing to a paid subscription.
mood. camera is now available on the App Store and costs $1.99 per month or $14.99 as a one-time purchase. A free trial is available to evaluate the app.
Sigma has announced it will be offering six of its DC DN APS-C lenses for Canon's RF mount, making it one of the first third-party manufacturers to sell autofocus RF lenses under license.
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The DC DN 18-50mm F2.8 fast standard zoom will be available from July 2024, offering a 29-80mm equivalent range on Canon's 1.6x crop APS-C bodies.
This will be followed, later in the year, by the DC DN 10-18mm F2.8 fast wide-angle zoom, giving 16-29mm equivalent coverage.
The company's four F1.4 primes will follow on from this, giving EOS R100, R50, R10 and R7 users a choice of 16mm, 23mm, 30mm and 56mm lenses that give 26mm, 37mm, 48mm and 90mm equivalent focal lengths.
The lenses, all part of the company's Contemporary series of mid-priced lenses, are already available for Leica L, Fujifilm X and Sony E mounts, with three of the four primes also available for Micro Four Thirds and Nikon Z mount.
With the lenses being made under a license from Canon, Sigma says it's been able to optimize the AF speed and support features such as image stabilization and lens aberration correction. The news coincides with Tamron also launching a licensed RF-mount APS-C lens.
No details of pricing have been provided.
SIGMA launches interchangeable lenses for Canon RF Mount system
SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce the upcoming launch of interchangeable lenses for Canon RF Mount system. This addition allows users to enjoy high performance, and high quality SIGMA lenses in native mount on their Canon RF Mount system.
[Lineup]
For detailed product information, please refer to the link below.
* These products are developed, manufactured and sold under license from Canon Inc.
[Main specifications and features]
Control algorithm including AF drive and communication speed optimization has been developed specifically for Canon RF Mount interchangeable lenses. In addition to realizing high-speed AF, the lens also supports AF-C (Continuous AF), in-camera aberration correction* and in-camera image stabilization. The mount is rubber-sealed to cater for use in a variety of environments.
Tamron has announced it's developing a version of its 11-20mm F2.8 Di III-A RXD fast wide-angle zoom lens for Canon RF-mount APS-C cameras.
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The 11-20mm F2.8, which is already available for Sony E-mount, will offer an 18-32mm equivalent range on Canon's 1.6x crop cameras.
The lens, released under license from Canon, was announced simultaneously with SIgma's announcement that it will offer six of its DC DN range of APS-C lenses for the same mount. Notably all seven lenses are for the smaller format RF-mount models.
The company says the 11-20mm will be available before the end of 2024. No details of pricing have been given.
TAMRON announces development of first CANON RF mount lens
The compact, lightweight, fast-aperture F2.8 ultra wide-angle zoom
11-20mm F/2.8 Di III-A RXD (Model B060)
April 23, 2024, 12AM ET / April 22, 2024, 9PM PT, Commack, NY – Tamron Co., Ltd. (President & CEO: Shogo Sakuraba; Headquarters: Saitama City, Japan; “TAMRON”), a leading manufacturer of optics for diverse applications, announces the development of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A[1] RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras. The lens is expected to launch within 2024.
TAMRON’s lenses for mirrorless interchangeable lens cameras are highly regarded for their combination of superior optical performance and compact, lightweight designs. After receiving many requests from customers to offer lenses compatible with the CANON RF mount, TAMRON made the decision to develop a lens for the CANON RF mount under a license agreement.
The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm[2], with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast, ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for regular use. Despite its small, lightweight design, it also delivers high-level imaging power with an uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9”) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end. The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is also highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, enabling users to easily enjoy the high image quality of this ultra wide-angle large-aperture F2.8 lens under a range of conditions.
Product Features
Fast-aperture ultra wide-angle zoom lens
Compact and light weight
Outstanding optical performance
MOD of 0.15m (5.9”) and maximum magnification ratio of 1:4
High performance autofocus RXD stepping motor for both still and video use
[1] Di III-A: For APS-C format mirrorless interchangeable-lens cameras
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