Retouch4me announced a new update for the Retouch4me Panel: now they offer cloud-based retouching with all Retouch4me plugins and introduce a new pay-per-retouch model. As the Panel is free software with 20 complimentary retouches, you can try it right away. Additional information:

Fast and professional retouching: the new Retouch4me Photoshop Panel automates photo editing in the cloud

Retouch4me rolls out an update for Photoshop Panel, extending its original functionality. Now users can edit images from a single interface in Photoshop, both on a local computer and in the cloud.

Tallinn, April 16, 2024 — Retouch4me, a leading provider of innovative editing software solutions, announced today an upgrade for its Photoshop Panel. It offers an interface to select between two retouching options. The first one enables image editing using the installed Retouch4me plugins on the user's device. The second option allows for retouching with all the plugins available in the cloud.

Oleg Sharonov, Founder and Board Member of Retouch4me & 3D LUT Creator (RELU OÜ), comments: "Retouch4me Photoshop Panel was initially created to simplify the work with our plugin suite. The idea was to eliminate the steps needed to be done in Photoshop with every plugin, thus speeding up the retouching process. With the new Panel, users can utilize the whole Retouch4me plugin suite right from the cloud and get professionally retouched images in no time. The first 20 retouches are free for testing, and the results are saved as layers in Photoshop. Photographers and retouchers editing a moderate volume of photos will find particular value in the new functionality of the Panel. They can select the desired package of retouches according to their workload, starting at $20 for 200 retouches."

Key features of the Retouch4me Photoshop Panel:

1. Cloud-Based Retouching: Neural network plugins require powerful computers with modern video cards, similar to high-end gaming computers, for fast processing. With the new Panel, there is no need for high-performance PCs because the processing is done in the cloud. The result of AI processing is sent back to the user in layers. This approach empowers users to fine-tune layers while preserving the integrity of the original image in Adobe Photoshop.
2. Flexible Payment Model: Retouch4me offers users a versatile payment model for fully retouched images. Users can choose from a variety of cloud retouching options, starting at $20 for 200 retouches. In this case, the cost of one retouch is $0.1, and with the purchase of larger packages, it's $0.06. One retouch can be used either for the full set of Retouch4me plugins or only for the needed ones. This flexibility ensures that users have control over their retouching expenses.
3. Free Trial: The Retouch4me Panel for Photoshop does not have any upfront costs. Every user has the opportunity to use 20 retouches for free with all plugins and save the results in layers in Photoshop. After using free retouches, one may purchase additional cloud retouching packages or buy a perpetual license for the chosen plugins.

Availability: The Panel is available on both Windows and Mac platforms. It is freely available for installation and use with the purchased plugins, and there are flexible payment options for retouching made in the cloud.

Background: The Retouch4me Photoshop Panel, launched in 2022, is an extension of Photoshop. This tool empowers users to operate multiple Retouch4me plugins through a unified interface. The panel saves users time by allowing them to apply edits made by Retouch4me plugins all at once and save them as separate layers.

About Retouch4me: Retouch4me is a software company that provides innovative solutions for photo and video editing. With neural networks, our software automates manual tasks and delivers natural results, allowing creatives to focus on their artistry. We believe that combining AI and human creativity helps achieve superior results. Retouch4me improves the workflows of photographers, retouchers, and videographers in over 105 countries.

Retouch4me uses AI to simplify the lives of photographers by streamlining routine processes

The post The new Retouch4me Photoshop Panel automates photo editing in the cloud appeared first on Photo Rumors.

Image: Blackmagic Design

Alongside the Ursa Cine, Blackmagic Designs also announced the Pyxis, a $3000, 6K full-frame (36 x 24mm) modular camera. It will be available with PL, locking Canon EF or Leica L mounts.

As with most of Blackmagic's cameras, the Pyxis offers a series of aspect ratios and crops in different frame rates, extending from 6048 x 4032 pixel 3:2 open gate at up to 36p, to 17:9 DCI 4K at up to 60p taken from a Super35 (∼APS-C) region of the sensor. Unlike the Ursa Cine models, the Pyxis appears to use a conventional Bayer color filter pattern.

The Pyxis captures to CFexpress cards or outputs over USB-C to an external SSD or over Ethernet. It uses Blackmagic's proprietary demosaiced and compressed 'Blackmagic RAW' format and can generate H.264 proxy files alongside. It has a built-in 4" Full HD LCD panel that can act as an HDR display thanks to its 1500 nits peak brightness. Despite being described as a box camera, the Pyxis includes extensive direct controls, as well as this display.

The camera features a series of mounting points for handles, viewfinders and other accessories and has a replaceable side plate that can be swapped-out for one with a SSD/phone holder or a standard rosette connector.

The Pyxis includes a series of mounting points and comes in a choice of three lens mounts, now including the Leica L mount. Image: Blackmagic Design

The sensor is a dual conversion gain design that Blackmagic indicates as offering native ISO or 400 and 3200, with these two states used to provide all higher and lower ISO values (rather than using variable amplification as is usually done in stills cameras). Blackmagic claims 13 stops of DR.

The presence of dual conversion gain, its 36p open gate max frame rate and the need for substantial crops to achieve 60p (a very narrow 2.4:1 6048 x 2520px mode being the highest resolution at which it can be delivered) may point to the use of the 24MP Sony Semiconductor sensor that appears in a wide array of other cameras, from Panasonic's S1H to Sigma's fp and Nikon's Zf. If this is the case, then there'll be appreciably worse rolling shutter than the likes of Sony's (much more expensive) FX6, but with the advantage of higher resolution capture and the greater format flexibility that comes with this.

The Blackmagic Pyxis is available from June 2024 at a recommended price of $3,000.

The 2024 NAB show is now over - here are some of the new products announced this week:

→ Venus Optics announced new Laowa Ranger S35 Cine zoom lenses.

→ Tilta released their first Pro Cine Tripod Systems.

→ New Sony compact BRC-AM7 4K60 PTZ camera with AI auto-framing.

→ BirdDog announced MAKI Ultra and X1 cameras with NDI HX3.

→ Smallrig announced several new products at the 2024 NAB show: Tripod, V-Mount Battery, and Tool Kit Collaborations.

→ Blackmagic Design announcements for NAB 2024.

→ FREEFLY announced Ember S2.5K with incredibly high frame rates.

→ Atomos launched Ninja Phone for iPhone monitoring & recording and Sun Dragon LED.

→ DZOFilm released new PAVO 2x anamorphic focal lengths.

→ Gura Gear introduced new Forest Green & Slate Grey colors for the Kiboko 30L+ camera bag.

→ Peak Design launched new camera straps in coyote color.

→ PictureCorrect Spring eBook sale: The Photography Tutorial eBook is 78% off until April 30.

→ Panasonic LUMIX S5 II, S5 IIx new firmware updates released with Get Frame.io, updates to cloud storage, video recording, pre-burst shooting, autofocus, image stabilization, and more.

→ NAB 2024 recap: biggest announcements & show highlights.

The latest memory card announcements at the 2024 NAB show

Nextorage memory storage NAB specials: up to 27% off

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Multi-shot modes can have their moments, especially if there's any degree of motion correction available. I had to borrow a tripod to capture this shot and even after all that it doesn't show a major boost over the single-shot image of the same scene. Sony a7R V | Sony FE 24-70mm F2.8 GM II @ 28mm | ISO 100 | F9 | 1/400 sec Photo: Richard Butler

This is probably going to be an unpopular opinion, but I'd argue that multi-shot high-resolution modes are all but pointless.

Not entirely pointless: I'm sure there are applications out there where the subject stays still enough and where it's practical to bring a tripod, and the improvement is worth the effort. And if you're someone whose photography it suits, then I'm happy for you. But that's very rarely the case, so it's just not a feature I find very useful, and it's certainly not one I'd use to choose one camera over another.

A lot of this is because most implementations are terrible. Noticeably, every brand appears to have a slightly different implementation, with the exact approach, the number of shots and whether they can be combined in-camera differing. This strongly points to it being an area in which each manufacturer is patenting its own approach and blocking others using it, and in doing so, making it harder for anyone else to deliver a usable/useful version.

Lost in a thicket of patents

It's no surprise that some of the earliest pixel shift modes came from Olympus and Pentax: two companies that committed early to the idea of in-body stabilization, both looking for other features it could be used to deliver.

The Pentax system shoots four images, canceling out the Bayer pattern so that it has full-color information for each output pixel. This delivers greater color resolution with less aliasing, greater sharpness (through lack of demosaicing) and the improvement in noise that comes from combining multiple images. These individual shots are combined into a finished output file.

The Olympus method shoots eight images: four canceling out the Bayer pattern, then moving to position 1/2 a pixel offset from this and repeating the process to quadruple the output resolution. This system also combines the images in-camera and is unique in letting you set a delay if you were shooting, say, product photos and needed time for your strobes to recycle between shots.

Panasonic currently has one of the best (least-terrible?) high-res implementations. There's an eight-shot mode with the option of 4X or 2X the normal pixel count, with or without motion correction, or a handheld mode. But the fact that it's essentially three modes, each with its own trade-offs, hints at how far from ideal they all are. At least they're combined in-camera, though. Panasonic G9 II | Panasonic 12-60mm F2.8-4 Asph OIS | ISO 100 | F5.6 | 1/320 sec Photo: Jeff Keller

It's been mostly downhill from here, though. Sony first adopted a Pentax-like four-shot mode that had to be combined on a computer, before later adding a more Olympus-like 16-shot option. Nikon also offers a choice of Pentax-like Bayer-canceling or an Olympus-like res-boosting one, each with the option to perform it twice for a greater noise/tonal quality improvement. But, like Sony, these need to be combined off-camera, which requires a level of patience, file management and messing around in clunky own-brand software that builds into an appreciable hurdle.

Thanks to the complexity of the X-Trans sensor, the mode on its X-series camera requires 20 shots to deliver its pixel shift mode. Personally, I find that most subjects (even landscapes) have too much movement to wait this long and, on a grander scale, that life might be too short for such a commitment.

Limited benefits

I wanted to capture this burnt-out car, abandoned outside a defunct car dealership before it disappeared. I made the effort to arrive early on one of the only spring mornings with any light and then combined the images when I got home. As a result, I have a bit more detail, some odd cross-hatching in areas of movement, 16 massive Raw files and more information than I wanted about the lens' corner performance. Yay. Sony a1 | Sony 16-35mm F2.8 GM @ 16mm | ISO 100 | F9 | 1/100 sec Photo: Richard Butler

Not only are they slow and clunky to use, but the benefits of multi-shot mode are often limited. Even with a static scene and optimal conditions, a 100MP multi-shot mode won't match the results of a 100MP camera, but in most situations it often won't even deliver its own maximal performance.

Unlike smartphones, which make extensive use of multi-shot combination, most large-sensor cameras read out their sensors quite slowly, creating appreciable delays between each shot, raising the risk of subject movement. The more sophisticated systems correct for this motion to some degree but do so by dropping back down to using a single image's data, throwing away the detail benefit for any subject that's moved, as well as leaving ghosts and artifacts around the image.

They're also based on making precise sub-pixel movements, so are very sensitive to any camera motion, and can't apply stabilization because the mechanism is too busy making pre-planned movements.

Finally, the flip-side of the higher resolution pushing aliasing to higher frequencies is that, just like a high-resolution sensor, the shots are quickly limited by diffraction. This means that you'll need very sharp lenses, fairly wide open if you want to minimize the degree to which lens shortcomings and diffraction eat away at the hoped-for resolution boost.

My point being that it's very easy to go to considerable extra effort for minimal gain. You still get the noise benefit, of course, but you can gain that by pressing the shutter button several times and merging the images yourself: you don't really need a special mode for that.

Handheld multi-shot modes

Hand-held multi-shot modes don't work the same way as tripod modes, so don't offer the Bayer-canceling benefits or the same level of additional detail capture, but they're usable in a much wider range of circumstances. This was shot on an impromptu hike on which I didn't want to play tripod-sherpa. OM System OM-1 | 12-40mm F2.8 Pro II @ 18mm | ISO 200 | F5 | 1/1250 sec Photo: Richard Butler

Increasingly, we're seeing handheld multi-shot modes appear, and these can be used in a broader range of circumstances. But it's worth noting that these aren't quite the same thing. Instead of moving the sensor in a precise, controlled way, they measure the degree to which your hand shake has moved the camera, then combine some of a burst of shots to try to boost detail levels. You don't gain the Bayer-cancelling improvement in color resolution or sharpness through this approach, and won't see the same degree of detail improvement.

Old man yells at cloud?

Ultimately, I'm not so vehemently against multi-shot modes that I don't think they should exist. Even if they're only useful to a tiny subset of users, I certainly don't begrudge those people gaining a feature they want. But they're so often so awkward to use and offer so little benefit in most circumstances, that I find it hard to be that enthusiastic about even the best (least-bad?) versions.

There's a chance that my position is every bit as solipsistic as those who argue that cameras shouldn't have video modes, just because they don't use them. I'd like to think that my position is slightly different in that I dislike them because I don't use them and have found them to be highly impractical and often awkward to use.

But to each their own. I'm certainly not about to start marking a camera down for having an extra feature, no matter how much clutter it adds to the menus. But equally, I'm not about to take up the cause of any commenters demanding that it's a feature every new camera MUST have.

→ ProGrade Digital announced new CFexpress 4.0 Type B and Type A Iridium memory cards and USB 4.0 card readers.

→ OWC announced new Atlas Pro CFexpress 4.0 Type A memory cards (480GB and 960GB).

→ Wise announced new CFexpress 4.0 Type B Mk-II memory cards in a never-before-seen MEGA 4TB and high-endurance 1.3TB.

→ SanDisk announced new Extreme PRO UHS-I memory cards (coming soon to the Amazon SanDisk store):

• SanDisk Extreme PRO SDUC UHS-I 4TB memory card
• SanDisk Extreme PRO SDXC UHS-I 2TB memory card

→ Lexar announced new Rugged Series SD memory cards: ARMOR GOLD SD UHS-II V60 and ARMOR SILVER PRO SD UHS-II V60 (coming soon to the Amazon Lexar store). The full list of new products can be found here and here.

→ Memory cards on sale: SanDisk (the big list) | Lexar | Angelbird | ProGrade | Wise | Nextorage | Angelbird.

Nextorage memory storage NAB specials: up to 27% off

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New - Excope DT1 is the world's lightest super telephoto 48MP 4000mm camera with 200x magnification: $297,291 pledged of $20,000 goal by 1,314 backers with 58 days to go.

Ultra plates for Arca-compatible tripods by 3 Legged Thing: $65,370 pledged of $6,215 goal by 498 backers with 4 days to go.

Lancer 300, modular backpack with exoskeleton design (detachable power station, modular camera compartments, and more): $141,014 pledged of $10,000 goal by 370 backers with 12 days to go.

Yashica Micro - the smallest mirrorless camera with interchangeable lenses: $430,396 pledged of $10,960 goal by 1,265 backers with 15 days to go.

SPINN camera strap with SWIFT-LOCK quick-release: now available on Indiegogo.

7Artisans 24-96mm T2.9 Super 35 zoom cine lens. $61,174 pledged of $12,769 goal by 42 backers with 21 days to go.

The post What’s new on Kickstarter? appeared first on Photo Rumors.

As previously reported, the 7Artisans 50mm f/1.4 tilt-shift APS-C lens for XF/E/MFT is now officially announced:

• Amazon US (10% off code 101EATIJ valid until April 30th)
• Amazon CA (10% off code RTQV7UHQ valid until April 30th)
• Pegear International (10% off code 7AR50MMF1.4TILT until April 30th)
• Pergear DE (10% off code 7AR50MMF1.4TILT valid until April 30th)
• 7artisans Official Store

Additional informtion ont the new 7Artisans 50mm f/1.4 tilt-shift lens for XF/E/MFT:

The post 7Artisans 50mm f/1.4 tilt-shift APS-C lens for XF/E/MFT officially announced appeared first on Photo Rumors.

The Sony FE 16-25mm F2.8 G is a relatively compact wide-angle zoom E-mount lens aimed at street and travel photographers.

We were able to get our hands on the lens for a day and figured most readers would be curious to see some street and architectural photography out of this lens, so we hit the streets of downtown Seattle and ducked into the Seattle Public library when the weather turned ugly.

View our Sony FE 16-25mm F2.8 G sample gallery

Note: Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

DxO released PhotoLab version 7.6 with a new 20% off promo offer (see what's new).

DxO also released 1401 new Optics Modules with support for the latest cameras and lenses. The new modules are available across DxO’s full range of software:

• DxO PhotoLab
• DxO PureRAW
• DxO FilmPack
• DxO ViewPoint
• DxO NikCollection

Here is the full list of newly added cameras and lenses:

Cameras

• Hasselblad 907X & CFV 100C
• Sony A9 III

Lenses

• Nikon AF-S Nikkor 800mm F5.6E FL ED VR with AF-S TC800-1.25E ED (Nikon F FX)
• Sigma 10-18mm F2.8 DC DN (C023) (Sony E)
• Sigma 50mm F2 DG DN (L-mount)
• Sigma 50mm F1.4 DG DN A (L-mount)
• Sigma 60-600mm F4.5-6.3 DG OS HSM S with EF 1.4x III (Canon EF)
• Sigma 60-600mm F4.5-6.3 DG OS HSM S with EF 2x III (Canon EF)
• Sigma 60-600mm F4.5-6.3 DG OS HSM S with TC-1401 (Nikon F FX)
• Sigma 60-600mm F4.5-6.3 DG OS HSM S with TC-2001 (Nikon F FX)
• Sigma 10-18mm F2.8 DC DN (C023) (L-mount)
• Sigma 23mm F1.4 DC DN (Fujifilm X)
• Sigma 23mm F1.4 DC DN (L-mount)
• Sony FE 24-50mm F2.8G (Sony FE)
• Voigtlander 35mm F2 APO-Lanthar Asph (Sony FE)

The post DxO PhotoLab 7.6 released together with 1401 new DxO Optics Modules appeared first on Photo Rumors.

Here are the next three lenses that will be announced by 7Artisans (website):

• 7Artisans AF 50mm f/1.8 full-frame lens for Nikon Z mount (E-mount version already exists), price: $228, expected announcement date: April 25th
• 7Artisans AF 27mm f/2.8 APS-C lens for Sony E mount (previously reported here), price:  $129, expected announcement date: April 25th
• 7Artisans 50mm f/1.4 tilt-shift lens for XF/E/MFT, price: $226, expected announcement date: tomorrow, April 17th

More pictures of the upcoming lenses:

7Artisans AF 50mm f/1.8:

7Artisans 50mm f/1.4 tilt-shift:

7Artisans AF 27mm f/2.8:

Reminder - the 7Artisans 24-96mm T2.9 Super 35 zoom cine lens is listed for funding on Kickstarter:

The post Three new lenses coming from 7Artisans, one will be announced tomorrow (50mm f/1.4 tilt-shift lens for XF/E/MFT) appeared first on Photo Rumors.

Here are some quotes from a recent interview with Sigma's CEO Kazuto Yamaki on the latest Foveon sensor development:

• "Unfortunately, we have not made any significant progress since last year"
• "We made a prototype sensor but found some design errors. It worked but there are some issues, so we re-wrote the schematics and submitted them to the manufacturer and are waiting for the next generation of prototypes."
• "We are still in the design phase for the image sensor"
• "When it comes to the sensor, the manufacturing process is very important: we need to develop a new manufacturing process for the new sensor. But as far as that’s concerned, we’re still doing the research. So it may require additional time to complete the development of the new sensor."

The Sigma full-frame camera with Foveon sensor is not coming anytime soon, Sigma’s President: “not much progress has been made”

Via Dpreview

The post Sigma’s CEO Kazuto Yamaki on the latest Foveon sensor development appeared first on Photo Rumors.

The previously rumored Sony FE 16-25mm f/2.8 G lens is now officially announced:

• Pre-orders: Adorama | B&H | WEX | Erhardt | Koch | Calumet
• Additional information:

• A compact F2.8 zoom that is ready to go anywhere
• Outstanding G Lens image quality with high resolution at all focal lengths
• Peak performance AF with two Linear Motors for precise, fast, quiet focus drive
• Excellent close-up performance of 18cm (7.09”) at 24mm manual focus
• Compact, lightweight design for superb image quality and versatility in any situation
• Deep bokeh makes the subject stand out
• F2.8 in a mobile zoom is great for movies

The post Sony FE 16-25mm f/2.8 G lens officially announced (UPDATE: now available for pre-order) appeared first on Photo Rumors.

The previously leaked Insta360 X4 camera is now officially announced with 8k 360-degree video, resolution increase, removable lens guard, and more:

• In stock now at Amazon, B&H Photo, Foto Erhardt, and Insta360 website
• Product page
• Additional information:

• For Content Creators and Videographers
• 8K30/5.7K60 360°Cinematic H.265 Video
• 360° Post Reframing, Longer Runtime
• Rugged Design, Removable Lens Guards
• Gesture Control, Dual/Single Lens Modes
• 5.7K120 Bullet Time, 11K Time-Lapse
• FlowState Stabilization, Horizon Lock
• 33' Waterproof, 72MP Photos
• App with Edit Suite and Effects
• Invisible Selfie Stick Feature

Meet Insta360 X4: Delivering 8K 360 for Unmatched Creative Possibility

Insta360 is excited to announce its new, groundbreaking flagship camera: Insta360 X4. Much-anticipated 8K 360° video, plus 5.7K60fps and 4K100fps, add unparalleled image quality to the endless creative possibilities of 360° capture, including the ability to "shoot first, point later" and the Invisible Selfie Stick effect. X4 also doubles as a traditional action cam, with its Single-Lens Mode now upgraded to smooth, ultra-wide 4K60fps.

This premium imaging arsenal is supported by a powerful 5nm AI chip, a smart control system with features such as Voice and Gesture Control, and vastly improved battery performance with a 135-minute run time. A host of AI-powered shooting and editing features make it easy to capture and share unique, creative shots. New, removable lens guards for X4 will also be a very welcome addition, providing convenient, robust protection and peace of mind.

All of this in a tough, pocket-sized device makes X4 the new, essential tool for action enthusiasts, casual creators, and professionals alike.

“8K will be transformative for creators as reframed video now holds its own alongside footage shot on regular cameras. But X4 isn't just about image quality, it's designed to be the most robust, easy-to-use 360° camera ever, no matter your experience. This idea was at the heart of a lot of the changes we made," JK Liu, founder of Insta360 explained.

Incredible third-person views in 8K and high-res slow motion.

It's finally here! 8K30fps is our highest resolution ever for a 360° action cam and it looks incredible! With 360° video, creators can choose any angle after filming (known as reframing), like going back in time and pointing the camera! This makes X4's 8K resolution a real game-changer because the footage remains incredibly detailed and sharp, even after reframing– perfect as high-quality, standalone clips or for seamless integration into any edit.

And the upgrades don't stop there. For action shots or slow motion, 60fps 360° video is now available at 5.7K for smoother, sharper images. There's also a new 4K100fps setting for glorious, cinematic shots at 4x slow-mo.

Whatever the resolution or frame rate, 360° shooting with X4 offers unique benefits like the Invisible Selfie Stick effect, creating impossible third-person views that look like they were shot on a drone or with a personal camera crew! That extends to photos too, with X4 capable of 72MP 360° photos, now with built-in AI denoising.

With Me Mode, X4 can even automatically frame the subject in the shot, while keeping the selfie stick invisible. Now at a whopping 4K30fps (up from 1080p with X3) or 2.7K120fps, that means ready-to-share flat video clips with zero reframing!

Get two cameras in one.

That's right! X4 doubles as both a 360° camera and a regular wide-angle action cam. When you know exactly what you want to shoot, like a first-person POV from a chest-mounted position, simply switch to Single-Lens Mode for an immersive, wide-angle video.

This has been souped up for X4 with super smooth 4K60fps, and an ultra wide 170° view with MaxView at an upgraded 4K30fps.

A true action specialist.

X4 doesn't just withstand the rough and tumble of adventure, it embraces it! How's this for some action credentials?

• Removable Lens Guards: A key upgrade for X4. Easy to apply and remove at a moment's notice. Two options include Standard Lens Guards (free with the camera) or the Premium Lens Guards, made with tough, scratch-resistant, tempered glass for action-ready ruggedness.
• 2.5" Corning® Gorilla Glass® Touchscreen - Bigger, tougher, and super responsive for on-the-go use.
• FlowState Stabilization & 360° Horizon Lock - X4 delivers smooth, level shots, no matter how intense the action.
• 135-Minute Run Time at 5.7K30fps - A huge new 2290 mAh battery offers genuinely impressive 67% longer run time than X3!
• Seriously Waterproof - Take X4 down to 33ft right out of the box, or for seamless 360° underwater stitching, try the Invisible Dive Case for shooting to 164ft.
• Cold-Weather Resistant - Handles temperatures as low as -4ºF (-20ºC) with ease.

Creativity made easy.

No matter what you're into, X4 makes it simpler than ever to capture incredible footage!

Got the camera mounted out of reach? No problem! Use hand gestures to start/stop shooting or take a photo (known as Gesture Control), or use voice commands courtesy of Voice Control 2.0.

Timed Capture lets you schedule X4 to power on, record, and shut itself off automatically. Perfect for capturing a sunrise without having to wake up!

X4's creative shooting modes have also had some major upgrades:

• Bullet Time - our signature Matrix-like slow-mo shot, now up to 5.7K120fps or 3K240fps.
• 8K TimeShift - a mind-bending hyperlapse in sensational 8K resolution.
• 11K Timelapse - watch time fly and capture the magic in between moments.

Other fun tools to try with X4 include the Motion ND effect, for adding cinematic motion blur without an ND filter. For runners and riders, try overlaying data like GPS, speed, and power from your Garmin device or Apple Watch in your video, with a choice of interactive stats dashboards (applied in the Insta360 app).

Smart, AI-powered editing.

The Insta360 editing suite has options for creators of all levels, from one-tap, zero-effort AI edits, to fully customized manual editing.

Reframing in the Insta360 app has two upgraded options. With Quick Edit (formerly known as Snap Wizard), simply move your phone or use the virtual joystick to point the camera. Editing your 360° video is now easier than playing a video game and just as fun! The reframed clips are immediately saved and ready to share!

For a fully hands-off approach, try AI Edit. Insta360's algorithm handles the entire reframing process, now faster with improved subject detection. The Insta360 app also has Shot Lab, where creators can find 30+ viral-worthy effects that can be edited in just a few taps.

For creators who prefer a desktop workflow, the recently updated Insta360 Studio is a highly flexible editing tool for seriously clean, ready-to-share edits at maximized resolution, compatible with both 360° footage and regular flat images.

Both the mobile app and desktop software are also free to use, no subscription required!

Besides this, Insta360 has just launched Insta360 Reframe, their own plugin for Adobe Premiere Pro! Creators can reframe 360° files shot on X4 directly in Premiere Pro for a smoother workflow with minimal exporting and maximum image quality.

The post Insta360 X4 camera announced with 8k 360-degree video, resolution increase, removable lens guard, and more appeared first on Photo Rumors.

Officially released: Voigtlander NOKTON 75mm f/1.5 Aspherical full-frame mirrorless lens for Nikon Z-mount

RED is showcasing the all-new V-RAPTOR [X] and V-RAPTOR XL [X] cameras at the 2024 NAB show

New firmware updates released for the Nikon Coolpix P950 and Coolpix P1000 cameras

Thypoch to announce new lenses for Nikon Z-mount

Leica M11 Monochrom photographic dynamic range and other sensor measurements published by PhotonsToPhotos

PDR: Fujifilm GFX100II Compared to GFX100S / GFX100 / X2D / Sony a7RV / Canon R3 / Nikon Z9 / X-T5

The post What else is new? appeared first on Photo Rumors.

Image: Sony

Sony has announced the FE 16-25mm F2.8 G, a fast, compact wide-angle zoom designed as a twin to the recent FE 24-50mm F2.8 lens.

The 16-25mm is roughly the same dimensions as the 24-50mm and offers essentially the same features. This makes it a little longer but narrower than the existing 16-35mm F4.

The design is made up of 16 elements in 13 groups, including three extra-low dispersion elements to rein in chromatic aberration and four aspherical elements (one of which is an ED aspheric), helping to keep the lens compact. The optical performance is better than the original 16-35mm GM, and not far behind the newer GM II, the company says.

It uses twin linear motors to drive its internal focus design and doesn't require the additional power of Sony's XD linear motors, the company tells us. It is fully compatible with the a9 III's 120fps modes.

Image: Sony

The 16-25mm can focus as close as 0.17m (6.7") at the 16mm or 0.22m (8.7") at the 25mm end in manual focus mode. These figures increase to 0.18 and 0.24m in autofocus mode, decreasing the 0.23x maximum magnification to 0.2x.

Like the 24-50mm, it has an aperture ring with a switch to enable or disable the clicks between positions. Other than this, there's an MF/AF switch and a customizable focus hold button on the side.

Focus breathing is fairly minimal, according to the demonstration we were shown, and this can essentially be eliminated when used with a camera that supports Sony's focus breathing compensation function. The lens is also compatible with the company's 'Dynamic' IS feature that relies on extensive communication of gyro data between the lens and camera.

The Sony FE 16-25mm F2.8 G will be available from May 10th at a manufacturer's recommended price of around $1199.

Sample gallery

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Sony FE 16-25mm F2.8 G specifications

Image: Blackmagic Design

Blackmagic Design has unveiled its latest Ursa Cine camera, a 12K camera with support for interchangeable Arri PL, Arri LPL, Canon EF and Hasselblad H lens mounts. It features a large sensor, propriety memory and a slew of industry-standard connections.

At the heart of the Ursa Cine 12K is a RGBW 36x24mm 12K sensor, which Blackmagic Design says can support resolutions from 4K to 12K. It also claims the sensor can capture 16 stops of dynamic range, the most ever for a Blackmagic Design camera. It can shoot open gate 12K from its full 3:2 region at up to 80p or from a 16:9 full-width region at up to 100p.

The Ursa Cine 12K uses the same RGBW pixel layout as the existing, smaller-sensor URSA Mini Pro 12K. This devotes half of its resolution to capturing luminance (detail) data and then divides the remaining pixels equally between red, green and blue. The array is specifically designed so that it can be sub-sampled to deliver 8K or 4K footage from 12K capture, without the need for cropping.

The other significant change is how the camera stores data. The camera comes with a propriety 'high-speed memory module,' a decision Blackmagic Design says it made to "eliminate all the problems of media cards" to ensure a more reliable and faster data pipeline. It comes with an 8TB SSD module and can capture 4 hours of Blackmagic RAW in 12K or 20 hours in 4K. An additional 8TB modules will cost $1695, and a 16TB version is also being worked on. An optional 'Blackmagic Media Module CF' unit can also be used to add dual CFexpress slots.

Image: Blackmagic Design

To transfer footage from the module, there are docks for direct download, or you can utilize the camera's 10G ethernet port, Wi-Fi with SRT (Secure Reliable Transport) streaming or 12G SDI connections.

On the capture front, the camera uses 12K Blackmagic RAW and captures Full HD H.264 proxies simultaneously allowing faster cloud sync and post-production workflows. Various settings are supported, ranging from 12K/80p open gate to 8K/224p (2.4:1) and 4K/240p. In addition to its 3:2 open gate mode, it can shoot 16:9, 17:9, 2.4:1 and 6:5 anamorphic. There's also support for Super35 9K in the same aspect ratios, providing compatibility with older cinema lenses.

Not mentioned in the press release but teased in a video demo, Blackmagic shared it is working on a Ursa Cine 17K. The new camera won't be available until the end of 2024, and pricing has yet to be determined. The 17K version will use a 50.8 x 23.3mm sensor (essentially a wider version of the sensor in the 12K model), which makes it close in size to 65mm 5-perf film (∼53 x 23mm). The larger sensor rules out the use of the Canon EF mount, so the camera will likely use Arri PL and Hasselblad H mounts.

The Ursa Cine 17K will be built around a '65mm format' sensor: essentially a wider version of the one in the 12K model. Image: Blackmagic Design

All current Ursa Cine 12K features will be carried over into the 17K version, except for built-in 2/4/6 stop ND filters. Blackmagic says the 17K sensor is too large for the ND filters to fit.

Pricing and availability

The Blackmagic Ursa Cine 12K is now available for $14,995. Accessories, such as a viewfinder, lens mounts, grips and rails, can be added as add-ons to customize your build. Blackmagic says initial shipments will be limited to "high-end customers."

Topaz Labs released Photo AI v3.0.0 released - here is what's new:

• Presets: Save your commonly used filter combinations into a single stack, including the filter settings and selections. Presets will then appear in the enhancement menu so that you can reuse your favorite settings and selections across any of your photos with a single click. This will speed up the process of editing large batches of hundreds or thousands of photos at a time. You can also delete old presets by hovering over them in the enhancement menu.
• Docking & Collapsing: You can now dock the floating control panel on the right side of the viewport for easy access, or undock it and move it to where you need on top of your working preview area. The right panel is also now collapsible, making more space for viewing your image while editing. For maximum space, try undocking the control panel while in collapsible mode.
• Reordering: You can now re-order and combine your enhancements in any order on the right panel, allowing you to more dynamically chain effects together. For example, you can now sharpen the entire image first before denoising the background and then sharpening again with just the subject. Changing the order of the filters will affect the way the output is processed, and this freedom will allow you to achieve results that otherwise were not possible within Photo AI.
• RAW Balance Color & Adjust Lighting: On top of RAW Denoise, you are now able to adjust the color balance and lighting for RAW files inside Topaz Photo AI using our AI-based filters. This allows you to get the best quality possible out of your image straight from the camera and inside the application without having to make these adjustments in an external application even for RAW files.

Changelog:

• Refreshed user interface with Topaz UI style
• Implemented drag and reorder enhancements
• Implemented basic preset functionality
• Implemented docking and undocking feature
• Enabled Text Recovery to be added multiple times
• Enabled Face Recovery to be added multiple times
• Enabled Adjust lighting for RAW images
• Enabled Balance color for RAW images
• Fixed Adjust lighting crash on M3 with macOS 14.4 and above
• Fixed switching models on Denoise not updating the preview
• Fixed export output suffix not matching enhancements order
• Added preference for RAW Adjust lighting strength
• Added camera profile for Panasonic G9M2
• Added noise profile for Sony ILCE-6700

Luminar Neo Spring update 1.19.0 will be released on April 25, 2024 (see pricing) with new technologies like Water Enhancer AI, Twilight Enhancer AI, new masking tools for Luminosity and Object Selection, Batch processing in HDR Merge, and a brand new interface:

• Water EnhancerAI: Adjust and refine watercolors with a standalone feature that automates the process.
• Batch HDR: Speed up your workflow with batch processing for HDR Merge.
• Twilight EnhancerAI: Mimic the enchanting hues of the magic hour with precision and ease.
• Object Select & Luminosity Masking: Increase photo editing precision with advanced masking capabilities.
• Enhanced Waiting Statuses: See informative animations when loading and processing for real-time updates on actions in progress.
• Experience the new look and feel in the updated Luminar Neo: A fresh look and feel for both Luminar Neo and our website, with a brand-new logo, a distinctive color palette, and stylistic updates. Possibility to turn off Dynamic Background for the app (solid color for the background instead of blurred image for the full app) - On/Off switcher is located in Settings
• New Landscape category in Tools - now you can easily find all your favorite Landscape tools in the Landscape Category

The new ON1 Photo RAW 2024.3 is now officially released - see what's new:

• Complete Integration of ON1 NoNoise AI 2024
• Customizable User Interface
• Enhanced Export Performance
• Enhanced Raw File Support
• Support for New Cameras and Lenses

The post New: Topaz Photo AI v3.0.0, Luminar Neo 1.19.0, ON1 Photo RAW 2024.3 appeared first on Photo Rumors.

7Artisans AF 27mm f/2.8 autofocus APS-C lens for Sony E-mount: expected in late April.

Yongnuo AF 33mm f/1.4 APS-C autofocus lens for Nikon Z-mount: expected on April 18.

Viltrox AF 16mm f/1.8 full-frame autofocus lens for Nikon Z-mount: expected in late April.

Meike AF 33mm f/1.4 APS-C autofocus lens for Z/X/E mount: coming soon (minimum shooting distance: 0.4m, 55mm filter size).

Upcoming Sony E-mount Lenses

The post Upcoming new Chinese lenses: 7Artisans 27mm f/2.8, Yongnuo 33mm f/1.4, Viltrox 16mm f/1.8, Meike 33mm f/1.4 appeared first on Photo Rumors.

Sigma owner and CEO Kazuto Yamaki, who spoke to us at the CP+ conference in Yokohama, early this spring. Photo: Richard Butler

"Unfortunately, we have not made any significant progress since last year," says Sigma owner and CEO Kazuto Yamaki, when asked about the planned full-frame Foveon camera. But he still believes in the project and discussed what such a camera could still offer.

"We made a prototype sensor but found some design errors," he says: "It worked but there are some issues, so we re-wrote the schematics and submitted them to the manufacturer and are waiting for the next generation of prototypes." This isn't quite a return to 'square one,' but it means there's still a long road ahead.

"We are still in the design phase for the image sensor," he acknowledges: "When it comes to the sensor, the manufacturing process is very important: we need to develop a new manufacturing process for the new sensor. But as far as that’s concerned, we’re still doing the research. So it may require additional time to complete the development of the new sensor."

"It may require additional time to complete the development of the new sensor"

The Foveon design, which Sigma now owns, collects charge at three different depths in the silicon of each pixel, with longer wavelengths of light able to penetrate further into the chip. This means full-color data can be derived at each pixel location rather than having to reconstruct the color information based on neighboring pixels, as happens with conventional 'Bayer' sensors. Yamaki says the company's thinking about the benefits of Foveon have changed.

"When we launched the SD9 and SD10 cameras featuring the first-generation Foveon sensor, we believed the biggest advantage was its resolution, because you can capture contrast data at every location. Thus we believed resolution was the key." he says: "Today there are so many very high pixel-count image sensors: 60MP so, resolution-wise there’s not so much difference."

But, despite the advances made elsewhere, Yamaki says there's still a benefit to the Foveon design "I’ve used a lot of Foveon sensor cameras, I’ve taken a bunch of pictures, and when I look back at those pictures, I find a noticeable difference," he says. And, he says, this appeal may stem from what might otherwise be seen as a disadvantage of the design.

"I've taken a bunch of pictures... when I look back at those pictures, I see the difference"

"It could be color because the Foveon sensor has lots of cross-talk between R, B and G," he suggests: "In contrast, Bayer sensors only capture R, B and G, so if you look at the spectral response a Bayer sensor has a very sharp response for each color, but when it comes to Foveon there’s lots of crosstalk and we amplify the images. There’s lots of cross-talk, meaning there’s lots of gradation between the colors R, B and G. When combined with very high resolution and lots of gradation in color, it creates a remarkably realistic, special look of quality that is challenging to describe."

The complexity of separating the color information that the sensor has captured is part of what makes noise such a challenge for the Foveon design, and this is likely to limit the market, Yamaki concedes:

"We are trying to make our cameras with the Foveon X3 sensor more user-friendly, but still, compared to the Bayer sensor cameras, it won’t be easy to use. We’re trying to improve the performance, but low-light performance can’t be as good as Bayer sensor. We will do our best to make a more easy-to-use camera, but still, a camera with Foveon sensor technology may not be the camera for everybody."

"A camera with Foveon sensor technology may not be the camera for everybody"

But this doesn't dissuade him. "Even if we successfully develop a new X3 sensor, we may not be able to sell tons of cameras. But I believe it will still mean a lot," he says: "despite significant technology advancements there hasn't been much progress in image quality in recent years. There’s a lot of progress in terms of burst rate or video functionality, but when you talk just about image quality, about resolution, tonality or dynamic range, there hasn’t been so much progress."

"If we release the Foveon X3 sensor today and people see the quality, it means a lot for the industry, that’s the reason I’m still passionate about the project."

This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.