Pergear announced a new 25mm f/1.7 APS-C manual focus lens (E/X/Z/RF/MFT) priced at $75 ($69 with the 8% discount):
Additional information:
The post New $69 Pergear 25mm f/1.7 APS-C manual focus lens announced (E/X/Z/RF/MFT) appeared first on Photo Rumors.
Adobe updated Photoshop with the newest generative AI tools:
New version of Excire Foto 2024 was released and it is now on sale for $149 (instead of $189). Here are some of the updates:
The post New updates released: Adobe Generative AI for Photoshop plus a new version of Excire Foto 2024 appeared first on Photo Rumors.
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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.
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.
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.
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| Image: mood.camera |
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.
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.
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| 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.
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| 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.
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| 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.
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| 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.
Canon will let Sigma and Tamron produce RF mount lenses. Here is the list of the (long rumored) first lenses that will be released for RF mount:
Press releases: Sigma | Tamron
The post Canon allows Sigma and Tamron to produce RF mount lenses – here is what to expect appeared first on Photo Rumors.
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| Image: Sigma |
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.
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 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.
For detailed product information, please refer to the link below.
SIGMA 18-50mm F2.8 DC DN | Contemporary
Petal Type Lens Hood (LH582-02) supplied
Product information：https://www.sigma-global.com/en/lenses/c021_18_50_28/
SIGMA 10-18mm F2.8 DC DN | Contemporary
Push-on Petal Type Lens Hood (LH706-02) supplied
Product information：https://www.sigma-global.com/en/lenses/c023_10_18_28/
SIGMA 16mm F1.4 DC DN | Contemporary
Petal Type Lens Hood (LH716-01) supplied
Product information：https://www.sigma-global.com/en/lenses/c017_16_14/
SIGMA 23mm F1.4 DC DN | Contemporary
Petal Type Lens Hood (LH554-01) supplied
Product information：https://www.sigma-global.com/en/lenses/c023_23_14/
SIGMA 30mm F1.4 DC DN | Contemporary
Lens Hood (LH586-01) supplied
Product information：https://www.sigma-global.com/en/lenses/c016_30_14/
SIGMA 56mm F1.4 DC DN | Contemporary
Lens Hood (LH582-01) supplied
Product information：https://www.sigma-global.com/en/lenses/c018_56_14/
* These products are developed, manufactured and sold under license from Canon Inc.
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.
* Available on supported cameras only.
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| Image: Tamron |
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.
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.
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.
[1] Di III-A: For APS-C format mirrorless interchangeable-lens cameras
[2] The full-frame equivalent of 17.6-32mm.
We must be getting close to the official announcement of the previously reported Laowa FFII 15mm f/5 Cookie full-frame lens for M/E/R/Z/L - the lens by Venus Optics is already listed for sale at an Australian retailer:
Update: new Laowa FFII 15mm f/5 Cookie lens (for M/E/R/Z/L mount)
The post Getting close to the Venus Optics Laowa 15mm f/5 Cookie FF II full frame lens announcement (M/E/R/Z/L) appeared first on Photo Rumors.
Godox announced a new Lux Master Retro Camera Flash:
Additional information:
Key features:
Drawing inspiration from the design and function of vintage Graflex 3 Cell flashguns, this Lux Master Retro Camera Flash from Godox brings modern wireless triggering and a touchscreen interface to a powerful, bracket-mounted strobe. The flash has a guide number of 82' at ISO 100 and can be further adjusted in 0.1-step increments from 2.0 or 1/256 at the low end and 10.0 or 1/1 at full power. Featuring manual, automatic, optical, high-speed sync, and multiflash modes, it can deliver TTL Auto when used with a compatible wireless trigger. Toggle through the modes and settings using the intuitive touchscreen interface. Its built-in 2.4G wireless receiver works with the Godox XPROII, the X2T, and the X3 for remote triggering.
Widely compatible with major camera brands, including Canon, Nikon, FUJIFILM, Olympus, Sony, Leica, and Pentax, the flash comes with a triggering cable and a mounting bracket for use with almost any camera. The fan-style reflector is detachable for convenient storage, and a cover is included to protect the flash bulb. The built-in battery charges in approximately two hours with the included cable and is good for 460 full-power flashes. The flash also comes with a bag for convenient storage and transport.
Visit the official Godox website for additional information.
The post Godox announced a new Lux Master Retro Camera Flash (for Fuji, Canon, Nikon, Olympus, Sony cameras) appeared first on Photo Rumors.
Upcoming Leica auctions (Wetzlar, OstLicht, Leitz Photographica, Bonhams)
Now your phone can be a Ninja too: Atomos announces the Ninja phone video co-processor
The new Nikon NIKKOR Z 28-400mm f/4-8 VR lens has a shipping date of May 14 – June 3 at Amazon US
The post What else is new? appeared first on Photo Rumors.
Ulanzi announced a new TT35 hiking stick tripod kit:
Ulanzi is proud to introduce the TT35 Hiking Stick Tripod, a world pioneering solution designed for adventurers and photography enthusiasts who cherish both mobility and the art of capturing stunning outdoor scenes. As the first product of its kind, the TT35 seamlessly blends the practicality of a trekking pole with the functionality of a professional tripod, providing unparalleled versatility and ease of use in outdoor environments.
Product Features
The Ulanzi TT35 Hiking Stick Tripod includes three lightweight, robust trekking poles, each weighing just 284g and compressing to 47cm for convenient packing. Fully extended, the poles reach 130cm, and feature four adjustable sections that support a substantial load of 30KG, ensuring they are ready for any trail or shoot.
Photographers will find the TT35 invaluable, with each pole functioning as a monopod that extends from 60 to 140cm and supports camera gear up to 3KG in hand-held mode, with best stability results under 1KG. Equipped with a quick-release ball head, the poles also convert into selfie sticks, ideal for smartphones and action cameras, facilitating both expansive landscape captures and engaging personal portraits.
By connecting the three poles, users can craft an ultra-long 350cm extension pole, perfect for overhead shots and capturing wide landscapes, with a total weight of only 852g.
The TT35's versatility shines when configured as a full-sized travel tripod using the included desktop tripod and quick-release mechanism. This setup, weighing 1.16kg, can extend up to 145cm, support up to 3KG of equipment, and adjust to multiple angles (20, 50, and 80 degrees), ensuring stability on various terrains.
Independent Usability
The desktop tripod component of the TT35 is fully functional as a standalone unit, ideal for tabletop and low-angle photography. It maintains a minimal height of 14.2cm, supports a maximum load of 5KG, and is recommended for loads up to 3KG.
Brand Vision and Development
The TT35 was developed over three years of rigorous testing and refinement. William, founder of Ulanzi, emphasizes, "We're committed to providing products that not only meet the needs of our community but also enhance their experiences by reducing the logistical challenges of outdoor photography."
Market Impact
The Ulanzi TT35 Hiking Stick Tripod is set to revolutionize the outdoor equipment market by reducing the need for multiple pieces of gear, thereby encouraging adventurers to explore further and capture more with less burden. The Ulanzi TT35 Hiking Stick Tripod invites adventurers to go further, capture more, and do it all with less effort. It's not just a tool—it's an essential companion for anyone serious about their outdoor and photographic pursuits.
Availability and Price
Price: $199USD, early-bird price.
About Ulanzi
Ulanzi specializes in innovative photography solutions that support adventurers and visual storytellers everywhere. The company is dedicated to fostering a community of outdoor enthusiasts who appreciate both function and form in their gear.
The post Ulanzi announced a new TT35 hiking stick tripod kit appeared first on Photo Rumors.
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Launched in 2023, the T-series is Moment’s current line of premium add-on lenses for smartphones and comprises an entire lens ecosystem, including cases, filters, filter mounts, and other accessories.
Compared to the previous M-series introduced in 2017, the new T-series has been designed for the larger image sensors and bigger pixel counts in the latest generation flagship smartphones, using 25% more glass, an additional lens element and a larger bayonet mount. In addition, the larger dimensions should help avoid vignetting on smartphone cameras with focal lengths of 24mm equivalent or wider.
We had three Moment T-series lenses available to test: the Tele 58mm telephoto lens, the Wide 18mm lens and the Fisheye 14mm lens. The Moment T-series line-up also includes a 10x macro and anamorphic lenses for video shooters, the Anamorphic 1.33x and the Anamorphic 1.55x.
Moment offers a variety of options for attaching the lenses to your smartphone, including a universal lens mount that should work with most smartphones. We used Google’s latest top-end smartphone, the Pixel 8 Pro, with its dedicated Moment case for our tests.
Buy now:
All three lenses come with a metal body and are reassuringly hefty, giving you the impression of having shelled out your money for a premium product. In the box, you’ll find a lens cap and a pouch, and in the case of the 18mm lens, also a screw-in metal hood. The 58mm tele and the 18mm wide lenses offer a filter thread. There is no way of attaching filters or hoods to the fisheye lens.
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| All lenses come with a pouch in the box. |
The Google Pixel 8 Pro dedicated case looks like any generic plastic lens case but comes with a bayonet-style mount for attaching the lenses. Lenses are attached with a 1/4 turn motion, similar to a mirrorless camera or DSLR, but lack the reassuring click sound when the lens locks into place. Still, the connection is solid and tight.
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| Lenses are attached to the bayonet mount in the lens case with a quarter-turn motion. |
Moment recommends mounting their lenses in front of the smartphone’s primary camera module, which offers better overall image quality on some smartphones than the ultra-wide or tele modules. The Moment case for the Google Pixel 8 Pro allows you to mount lenses in front of the phone’s tele module. This would, of course, only make sense for the 58mm tele, but in practice, it does not work. With the lens attached, the Pixel camera automatically switches to its primary camera and uses digital zoom instead. Moment offers a dedicated app that can be configured to force the device to use its telephoto camera. However, the app is currently only available for iOS.
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| The tele lens adds quite a bit of bulk and weight to your smartphone. |
On the Pixel 8 Pro, the Moment wide lens expands your options in terms of wide-angle shooting. It widens the field of view of the primary camera module but is still closer to the primary camera than to the Pixel’s ultra-wide in terms of focal length.
Overall image quality is not massively impacted by the add-on lens, across all light conditions. The camera tends to use a very similar ISO value with the lens attached, and global image parameters, such as color, dynamic range or contrast, are very close to the Pixel image without the lens attached. The same is true for image noise, but the Moment lens introduces a slight corner softness, and our lens sample also had a soft spot towards the bottom center of the frame.
The Moment lens was also somewhat prone to lens flare when shooting in bright sunlight, even with the hood attached. Focus was still working well, though, and both distortion and vignetting were well under control.
The Moment fisheye lens offers a slightly wider field of view than the Pixel 8 Pro’s built-in ultra-wide camera, but the difference is relatively moderate.
As you would expect from a fisheye, its images display a much stronger distortion than the built-in ultra-wide camera, but depending on the use case, this can be a desired effect and a legitimate reason for using the Moment lens. You’ll have to live with quite soft corners in your images, though.
With the Pixel 8 Pro’s ultra-wide camera delivering excellent detail and low noise, even in low light, using the Moment fisheye with the primary camera doesn't offer any real benefit in this respect. Like the wide lens, the fisheye is a little more prone to flare than the built-in cameras. Focus works just as well with the lens attached as without.
When mounted in front of the Pixel's primary camera, the Moment tele 58mm tele lens achieves, as one would expect, a narrower field of view, but not as narrow as the Pixel’s own 2x tele mode, which is achieved through digital zoom.
Shooting through the Moment lens with the Pixel's primary camera gives you a slight advantage in terms of fine detail over the digitally zoomed image. Still, given the Moment image's wider field of view, this advantage is canceled out when viewing the same crop area. Given both images are captured by the image sensor in the primary camera module, there is no noticeable difference in terms of image noise, but in some conditions, we noticed a slightly reduced contrast with the Moment lens and, surprisingly, chromatic aberrations appear to be better controlled with the Moment glass.
You can also combine the Pixel’s 2x zoom with the Moment lens for roughly a 4x tele factor, but the result is pretty underwhelming. The Moment lens magnifies the digital zoom’s imperfections, resulting in a relatively obvious lack of detail. You’re better off using the Pixel’s dedicated tele camera with its native 5x tele in almost any situation.
The Moment Tele provides some advantages in terms of portraiture. Background blurring is not as pronounced as with the artificial bokeh of the Pixel's portrait mode, but you do not get the same segmentation errors around the subject, especially in fine details, such as hair. This said, current flagship smartphones, such as the Pixel, have become very good at isolating the subject from the background, and you have to zoom in fairly closely to spot the imperfections.
Conclusion
The Moment T-series lenses are nicely made, and the case and lens mount designs work well together, giving you the impression of converting your smartphone into a much more serious piece of photographic equipment.
However, out of the lenses we have tested, the fisheye is the only one that offers a unique perspective unavailable through one of the Pixel’s built-in cameras. In addition, shooting with the add-on lenses mounted in front of the Pixel 8 Pro’s primary camera does not really give you an advantage in terms of image quality. The built-in ultra-wide and Google’s 2x tele zoom mode are just too good for that.
You also do not get any aperture control, as you would get on an interchangeable lens camera and the Moment lenses eliminate one of the most apparent advantages of a smartphone camera: ultimate compactness and simplicity.
Overall, the Moment T-series lenses are an interesting option for smartphone photographers who like to experiment with gear. The fisheye provides a unique look, and the telephoto's natural bokeh is nice for portrait shots, but you should not expect massive improvements to your smartphone's camera capabilities.
The Moment lenses might make more sense on smartphones with less capable ultra-wide and tele cameras, but if you own a current top-end device, it's hard to justify the cost and added bulk.
What we like:
What we don't like:
Buy now:
It seems that the first leaked picture of the Fujifilm X-T50 camera already showed up on the Chinese social media Weibo:
This is what Google AI knows about the Fujifilm X-T50 camera:
The Fujifilm X-T50 is a camera that is expected to be highly acclaimed and shake up the APS-C mirrorless market. It is the successor to the X-T30II and belongs to the 5th generation of Fujifilm cameras. The X-T50 is also set to be bundled with the Fujinon XF16-50mmF2.8-4.8 kit lens.
Here are some insights from rumors about the X-T50:
The post First leaked picture of the Fujifilm X-T50 camera appeared first on Photo Rumors.
Here are the best-selling new cameras for 2023 at MAP Camera Japan:
Via MAP Camera (check out also MAP Camera's eBay account)
The post Best selling cameras for 2023 at MAP Camera Japan appeared first on Photo Rumors.
In a recent live broadcast in China, Xiaomi’s CEO Lei Jun announced that Xiaomi will no longer make cameras and will focus on making cars. Xiaomi used to produce the compact Xiaomi YI M1 MFT mirrorless camera and two lenses:
"YI Technology was originally backed by Xiaomi, but split off from Xiaomi in October 2016 and dropped the "Xiaomi Yi" branding. The YI M1 is a consumer-level camera designed and made in China. It has a 20MP Four Thirds sensor, 3'' 1.04M-dot touchscreen LCD, and an 81-point Contrast Detect AF system."
Deal of the day: YI M1 mirrorless MFT camera (4k, 20MP) with 12-40mm and 42.5mm lenses for $209
Here is a 4k 20MP mirrorless MFT interchangeable lens camera with 12-40mm lens for $150
YI M1 mirrorless Micro Four Thirds camera US pricing revealed
Photokina 2016: YI Technology announced a new M1 mirrorless Micro Four Thirds camera
Source: Weibo
The post Xiaomi will no longer make cameras and will focus on making cars appeared first on Photo Rumors.
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The previously reported 7Artisans AF 27mm f/2.8 lens for Sony E-mount is now available for pre-order at Amazon.
Additional information on the lens can be found here:
The post The new 7Artisans AF 27mm f/2.8 lens for Sony E-mount is now available for pre-order appeared first on Photo Rumors.
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| Photo sharing site Photobucket recently revealed that it might license the images it hosts to teach AI models. |
Photobucket’s recent reveal that its 13 billion images may soon be licensed to teach AI models raises questions about copyright and how to protect your images.
Cloud storage is a useful tool that allows us to back up our images and share them with others quickly. It’s not perfect, though. Constant monthly payments and the possibility of data loss or leaks turn many people away. Now, with the rise of cloud-based companies potentially using your data for AI machine learning, it begs the question: what can we do to keep our files safe and, most importantly, under our own control and private?
We learned recently that Photobucket, one of the internet’s oldest photo and video storage sites, was in talks to license user data to companies wanting to use it to train AI models. In an interview with Reuters, the company’s CEO, Ted Leonard, said, "We need to pay our bills, and this could give us the ability to continue to support free accounts.” This means granting third-party access to the 13 billion images and videos uploaded to the platform.
It’s possible for Photobucket to do this thanks to an update in its terms and conditions, which gives the company carte blanche to analyze and incorporate data from user images. The privacy policy states, “We, and those third parties we may contract with, may also use your images in a general and anonymous way for training artificial intelligence ("AI") algorithms and/or machine learning models and subsequent commercial uses derived therefrom.”
Cloud companies having the ability to scan user images is nothing new. Popular services such as Dropbox, Google Drive and Adobe Cloud can all scan images, as can many others. Google and Adobe have both been accused of accessing user data to train AI, though both companies deny doing so.
"It’s possible for Photobucket to do this thanks to an update in its terms and conditions."
Personally, I’m not comfortable with anyone other than myself and those I authorize accessing my images. That’s even more true now when there’s no clarity on how severely AI technology will impact those working in the photo industry.
Some may suggest reverting to backing up images locally to a hard drive. For many, including myself, this isn’t a realistic option. As someone who travels a lot, I find storing my files in the cloud much easier than carrying multiple hard drives whenever I’m on the move.
Thankfully, there are alternatives to the status quo and several cloud services that emphasize keeping user data private, away from the eyes of company employees and third parties. Of course, every service can update its T&Cs, but it would be bad business for those who have marketed themselves as taking user privacy seriously.
Over five years, I’ve tested and reviewed dozens of cloud storage services. The first question I ask when looking at a service is: does it offer zero-knowledge encryption? This type of encryption gives the user a unique key, which even the software developer can not access, and by extension, means they can’t grant third-party companies access to your files. This means only the user, or those they share their encryption key with, can access their data.
"The first question I ask when looking at a service is: does it offer zero-knowledge encryption?"
When considering platforms that offer zero-knowledge encryption, it can be difficult to know where’s best to back up your files. Having tried the good and the bad, there are some services I feel confident recommending to others.
The two I’m currently using are pCloud and Sync.com, as I find them the easiest to use, and the pricing, overall, is affordable. They’re both available on desktop and mobile and offer useful features for photographers and videographers, which I’ll break down in more detail.
pCloud was one of the first services I used. It has fast sync speeds and no file size limits, making it ideal for those working with large files. It also has a built-in native media player to view high-resolution images and videos.
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| pCloud has fast sync speeds and no file size limits, but charges extra for zero-knowledge encryption. |
Unfortunately, pCloud charges extra for zero-knowledge encryption, so you’ll pay $4.99 more on top of your standard monthly fee, which is between $4-$8 per month on selected plans. Personal plans max out at 2TB of storage space, which some users may find limiting.
Buy now:
With Sync.com, users don’t need to pay extra for zero-knowledge encryption, as it’s incorporated into all plans, including the free plan. Personal plans also offer up to 6TB of storage space and unlimited monthly data transfers.
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| Sync.com includes zero-knowledge encryption by default, but sync speeds can be slow. |
One limitation: sync speeds are not the quickest, with uploads and download speeds being considerably slower than other options. Also, moving files around can feel cumbersome, with the drag-and-drop function not being the smoothest.
Buy now:
If you find these services' storage space too limited, Mega is a good alternative. Personal plans reach up to 16TB of storage space, and zero-knowledge encryption is included at no extra cost, although monthly plans are costly. Personal plans can cost up to $32 per month, though you can reduce this to $26 if you pay annually.
IDrive is a good option for those not ready to go all-in with cloud storage, as it offers both local and cloud-based backup for your data. You can clone your entire disk (including operating system and applications) and IDrive will mail out a copy in the event of a complete machine malfunction. The cloud aspect works like any other service, allowing you to upload, download and share your files with others, and they’re all protected with zero-knowledge encryption.
In closing, my intention here is not to fearmonger. The reality is more brands are using AI imagery. More apps are being made to generate AI imagery, and cloud companies are gaining the power to use our (real) photographs to help it all happen while making more money.
I want no part of that. It’s more important than ever to have complete control over our photographs and to ensure cloud companies don’t maximize their bottom line at the expense of our privacy. To not be complicit in this, we must seek out alternative services to store our images. Not only to ensure our privacy but also to ensure we help protect the future of our industry.
Source: Tipa
The post The 2024 TIPA World Photographer’s Choice Awards are out appeared first on Photo Rumors.
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Here are the technical specifications of the upcoming AF 27mm f/2.8 APS-C lens by 7Artisans (price: $129, expected announcement date: April 25th, available first for Sony E-mount):
7Artisans 50mm f/1.4 tilt-shift APS-C lens for XF/E/MFT officially announced
The post Here are the technical specifications of the upcoming 7Artisans AF 27mm f/2.8 APS-C lens for Sony E-mount appeared first on Photo Rumors.
Connexion
