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✇ Photo Rumors

The current shipping time for the new TTartisan 28mm f/5.6 lens for Leica M-mount has already slipped to February. 2022

Par : PR admin


The new TTartisan 28mm f/5.6 lens for Leica M-mount received a large number of pre-orders and the current estimated shipping time is already February 2022. The lens is available for pre-order at the Photo Rumors Online Store (with free international shipping):




Direct PayPal link to order

The TTartisan 28mm f/5.6 lens is now also available for pre-order at B&H Photo and Pergear.

Additional information on the TTartisan 28mm f/5.6 lens can be found here:

The new TTartisan 28mm f/5.6 lens for Leica M-mount is now available for pre-order

More pictures of the TTartisan 28mm f/5.6 lens:

Here is the first  review of the TTartisan 28mm f/5.6 lens:

The post The current shipping time for the new TTartisan 28mm f/5.6 lens for Leica M-mount has already slipped to February. 2022 appeared first on Photo Rumors.

✇ Photo Rumors

Sony suspends ZV-E10 camera orders because of chip shortage

Par : PR admin


Sony Japan issued another apology for temporarily suspending orders for the ZV-E10 camera that was announced back in July. The ZV-E10 is currently out of stock at all three major US retailers: Adorama, B&H, and Amazon. Just two weeks ago Sony already suspended orders for several other cameras and accessories:

Sony suspended orders for some of their cameras and accessories due to supply chain problems

Sony on the supply chain problems: “the impact is more serious than expected”

A detailed list of other delayed products can be found here.

Full text of the Sony notice (translated):

Notice and apology regarding temporary suspension of orders for digital imaging products

Thank you for your continued patronage of Sony products.

Currently, with regard to digital imaging products, parts procurement is delayed due to the effects of global semiconductor shortages.

Therefore, we will suspend the acceptance of orders from our distributors and customers at the Sony store as follows for specific models with tight supply.

Regarding the resumption of order acceptance, we will consider it while observing the status of parts supply, and will inform you separately on the product information page.

We sincerely apologize for any inconvenience caused to our customers.

We will do our utmost to deliver the product as soon as possible, and we appreciate your understanding.

[About the model that has stopped accepting orders]
After December 3, 2021, we will suspend the acceptance of orders from our distributors and customers’ orders at the Sony store.

Digital single-lens camera: VLOGCAM ZV-E10 series

Information on past product supply “Products subject to suspension of order acceptance”:
・ Digital single-lens camera: α7 II series / α6400 series / α6100 body (black)
・ Shotgun microphone: ECM-B1M
・ Professional camcorder: PXW-Z190
・ Digital video camera Handycam “HDR-CX680”
・ Tripod “VCT-P300”, multi-pod “VCT-MP1”

The post Sony suspends ZV-E10 camera orders because of chip shortage appeared first on Photo Rumors.

✇ News: Digital Photography Review (dpreview.com)

Another one bites the dust: Sony suspends orders of its ZV-E10 camera, citing chip shortage

Just two weeks after announcing it would no longer take orders for its a7 II series, a6400 and a6100 camera systems, Sony Japan has announced the next casualty of the ongoing chip shortage is its ZV-E10 compact camera system.

In an announcement posted to its website, Sony Japan says ‘there is a delay in procurement of parts for digital imaging products due to the global shortage of semiconductors.’ Specifically, the announcement says that as of December 3, 2021, Sony would no longer be accepting orders from dealers and customers for the ZV-E10, a vlogging-oriented camera released just five months ago.

Sony says it ‘deeply apologize[s] for any inconvenience this may cause’ and says it ‘will do [its] best to deliver as soon as possible.’

Sony Japan doesn’t specify whether it’s unable to procure parts specifically for the ZV-E10 or whether it’s prioritizing other camera models in its lineup as the chip shortage continues to cause problems for nearly all manufacturers.

✇ News: Digital Photography Review (dpreview.com)

Researchers shrink high-res color camera down to the size of a grain of salt

Researchers from Princeton University and the University of Washington have developed a high-resolution color camera roughly the size of a coarse grain of salt.

This new sensor technology combines meta surface optics and machine learning models to reconstruct images via the nano-optic imager. Specifically, the research paper detailing the technology says 'Nano-optic imagers that modulate light at sub-wavelength scales could enable new applications in diverse domains ranging from robotics to medicine. Although metasurface optics offer a path to such ultra-small imagers, existing methods have achieved image quality far worse than bulky refractive alternatives, fundamentally limited by aberrations at large apertures and low f-numbers. In this work, we close this performance gap by introducing a neural nano-optics imager,'

Previous micro-sized cameras (left) captured images with low detail, false color and distortion. The new system, neural nano-optics (right), produces sharper, full-color images. Image courtesy of the researchers.

The camera relies upon a technology called a metasurface, which includes 1.6 million cylindrical posts. Each post is roughly the size of the human immunodeficiency virus (HIV). Each post features unique geometry and functions like an optical antenna. Per Princeton, 'Varying the design of each post is necessary to correctly shape the entire optical wavefront.'

Machine learning-based algorithms turn the light information from each post into an actual image. Further, the image quality surpasses anything other previous ultracompact cameras have been able to achieve. 'A key innovation in the camera's creation was the integrated design of the optical surface and the signal processing algorithms that produce the image. This boosted the camera's performance in natural light conditions, in contrast to previous metasurface cameras that required the pure laser light of a laboratory or other ideal conditions to produce high-quality images,' said Felix Heide, the study's senior author and an assistant professor of computer science at Princeton.

'Our learned, ultrathin meta-optic as shown in (a) is 500 μm in thickness and diameter, allowing for the design of a miniature camera. The manufactured optic is shown in (b). A zoom-in is shown in (c) and nanopost dimensions are shown in (d). Our end-to-end imaging pipeline shown in e is composed of the proposed efficient metasurface image formation model and the feature-based deconvolution algorithm. From the optimizable phase profile, our differentiable model produces spatially varying PSFs, which are then patch-wise convolved with the input image to form the sensor measurement. The sensor reading is then deconvolved using our algorithm to produce the final image. The illustrations above “Meta-Optic” and “Sensor” in (e) were created by the authors using Adobe Illustrator.'

Image and caption credit: Ethan Tseng, Shane Colburn, James Whitehead, Luocheng Huang, Seung-Hwan Baek, Arka Majumdar & Felix Heide / Princeton University and the University of Washington

Previous micro-sized cameras captured fuzzy, distorted images. The new nano-optics technology produces much crisper, better images with more accurate color and expanded field of'It's. 'It's been a challenge to design and configure these little nano-structures to do what yo' want,' said Ethan Tseng, a computer science Ph.D. student at Princeton who co-led the 'tudy. 'For this specific task of capturing large field of view RGB images, it was previously unclear how to co-design the millions of nano-structures together with post-processing algo'ithms.'

Co-lead author Shane Colburn, Ph.D. student at the University of Washington Department of Electrical and Computer Engineering, dealt with this problem by creating a computational simulation to automate testing of different nano-antenna configurations. Colburn is now an affiliate assistant professor at the University of Washington.

'Compared to existing state-of-the-art designs, the proposed neural nano-optic produces high-quality wide FOV reconstructions corrected for aberrations. Example reconstructions are shown for a still life with fruits in (a), a green lizard in (b), and a blue flower in (c). Insets are shown below each row. We compare our reconstructions to ground truth acquisitions using a high-quality, six-element compound refractive optic, and we demonstrate accurate reconstructions even though the volume of our meta-optic is 550,000× lower than that of the compound optic.'

Image and caption credit: Ethan Tseng, Shane Colburn, James Whitehead, Luocheng Huang, Seung-Hwan Baek, Arka Majumdar & Felix Heide / Princeton University and the University of Washington

Fellow Ph.D. student and coauthor James Whitehead, fabricated the metasurfaces based on silicon nitride. The metasurface design can be mass produced at a lower cost than lenses in a traditional camera, per the study.

The team's approach itself is not novel. However, combining surface optical technology with neural-based processing is. The micro camera may have significant use in medical settings to enable minimally invasive endoscopy. It can also improve imaging for robots with size and weight constraints. Possibly thousands of the tiny cameras could be placed in an array, turning a surface into a camera.

The study can be read in full here. Its authors include Ethan Tseng, Shane Colburn, James Whitehead, Luocheng Huang, Seung-Hwan Baek, Arka Majumdar and Felix Heide.

✇ News: Digital Photography Review (dpreview.com)

Vietnamese shop crafts brilliant wooden camera models with interchangeable lenses

The Wooden Model Design store in Vietnam has crafted a beautiful wooden Olympus camera. Better yet, the camera accepts wooden interchangeable lenses.

The camera is a wooden replica of the Olympus OM-1 film camera, complete with operational dials and levers. It features intricate detail, and accents and logos appear to be applied using wood-burning techniques. The included detachable lens is a Zuiko 50mm F1.8. The total cost for the package worked out to around $35 USD.

The Wooden Model Design store has crafted many other wooden cameras, including a Sony A1 and FE 35mm F1.4 GM lens for a customer in the US, which you can see below. The A1 cost around $70 USD after currency conversion, which seems like a very fair price for a hand-crafted item like this.

A Sony A1 wooden model with an FE 35mm F1.4 GM lens. Click to enlarge and appreciate the fine detail in the model. Credit: The Wooden Model Design

The shop has also crafted a wooden Nikon F model, a vintage Argus C3 camera, an old Hasselblad 500C/M medium format camera and even a Sony FS7 Mark II cinema camera. Beyond photography items, the shop has built model cars and motorcycles, plus more. Head over to the Wooden Model Design Facebook page for more information and to see more photos of the fantastic models.

✇ News: Digital Photography Review (dpreview.com)

DPReview TV's Best and Worst Gear Of 2021 (In pictures!)

It's that time again!

The time has once again come to select the best and worst of all the gear Chris and I have looked at this year while shooting DPReview TV. Due to circumstances involving a Spelling Bee and a bunch of Moscow Mules, we may not have been as eloquent as usual in our video, so here we will use carefully chosen words to let you know why we think these products deserve the respective honors and shame.

- Jordan

Best M4/3 Lens Runner Up - Panasonic/Leica 25-50mm F1.7

Most of the time when I’m using a Micro 4/3 camera, the Panasonic/Leica 10-25mm F1.7 is attached. I love the image quality, video functionality and handling of that lens, but I often find myself wishing for a longer focal length.

Panasonic clearly heard my cries, and responded with this ‘sister lens’ for the 10-25mm, sharing the same great ergonomics and capabilities, but now covering a normal to short-telephoto focal range. This is ideal for portraiture and head-and-shoulders interviews, and the constant aperture means you never have to worry about changing exposure when re-framing a shot.

You certainly pay a premium for the video functionality which may scare photographers away, but hybrid shooters will be able to tackle nearly any project with the 10-25mm & 25-50mm combination. That makes this lens worthy of being our runner up.

- Jordan

Best M43 Lens - Olympus 8-25mm F4 Pro

One recent trend I’ve really been loving is ultra-wide zoom lenses that extend into 'normal' focal lengths. This makes, for instance, both the Pana/Leica 10-25mm F1.7 (20-50mm equiv.) and full-frame Panasonic 20-60mm F3.5-5.6 L-Mount lenses extremely flexible for travel. With one of the final Olympus-branded lens designs (subsequent lenses are to be known as OM System), we now have a lens that goes even wider, yet still reaches 50mm equivalent at the long end.

While very small and light, the 8-25mm F4 Pro still manages to include weather sealing, a fast focus motor and a favorite feature of mine, a manual focus clutch. Image quality is still very consistent, with even sharpness across the frame and minimal aberrations. We didn’t love the look of out-of-focus specular highlights, but that was our only complaint. Breathing is well controlled, so this would be a great video lens as well, especially on a gimbal.

When going on a short hike or even out with the family, this lens keeps finding its way into my bag and I can offer no higher praise for a lens than that. This will be remembered as one of the last lenses to be stamped with the Olympus brand, and it’s a hell of a great note to end on.

- Jordan

Best APS-C Lens Runner Up - Fujifilm 33mm F1.4 LM WR

There is no discussing APS-C lenses without mentioning Fujifilm. Every year we praise Fujifilm for having an extensive line of excellent APS-C lenses, and this year in particular, for bringing out some new versions of old favorites. Both the new XF 23mm 1.4 and XF 18mm 1.4 (the older XF 18mm was an F2 lens) performed well, and outperformed the older versions.

Our favorite, however – and the runner-up for best APS-C lens of 2021 – is the newly designed XF 33mm 1.4. It is somewhat larger and heavier than the existing 35mm 1.4 lens – which it does not replace, by the way – but that added bulk does bring some excellent improvements to the table. These include weather sealing, faster autofocus, and improved bokeh while maintaining the beautiful character of the original XF 35mm 1.4. All of that puts this lens at the top of the pack of our runners-up for APS-C lens of the year.

- Chris

Best APS-C Lens - Sigma 18-50mm F2.8 DC DN

Sigma gave us a near-perfect standard zoom with a bright constant aperture and impressive sharpness throughout its zoom range, even wide open. Video shooters will love the smooth focusing, and almost complete lack of lens breathing. The Sigma 18-50mm F2.8 is so compact, and therefore so handy on a Sony APS-C body, especially ones that incorporate IBIS. Add to all that an affordable price tag, and the 18-50mm 2.8 DC DN is a no-brainer for best APS-C Lens of 2021.

- Chris

Best Full Frame Lens Runner Up - Sony 14mm F1.8 GM

The Sony 14mm 1.8 G Master proves that a very bright ultra wide angle lens can be compact, and still deliver top quality results. In one of our most enjoyable videos to date, Jordan and I ventured to Writing-On-Stone Park for some night photography. Astrophotography taxes lenses at their widest aperture, but the 14mm did not disappoint – excellent sharpness combined with minimal coma produced excellent star shots. In addition to the Sony's excellent low light performance, it's also a fantastic lens for architecture and landscapes.

Its compact nature makes it a joy to carry around in the camera bag for when you really need the look of an ultra wide.

- Chris

Best Full Frame Lens - Tamron 35-150mm F2-2.8 VXD

Our winner for best full frame lens of 2021 goes to the Tamron 35-150mm F2-2.8 Di VXD III. The instant you pick up this lens, you know you have something rare in your hands. The 35-150mm focal range is a unique one, yet proves itself to be very versatile. Couple this lens with an ultra-wide zoom, and Jordan and I both felt that we could cover with two lenses what would normally require three. I loved how sharp it is, Jordan loved the lack of lens breathing, and we both loved the way it renders bokeh. And what about the awful way that it handles flare? Well as we stated in the video, it's so bad that it's almost good. If you get a chance, do yourself a favor and try this one out.

- Chris

Best Camera For Video Runner Up - Nikon Z9

This was a surprise! While Nikon has been improving its video game in recent years, I tended to consider them great stills cameras that could record solid video in a pinch. Then the Z9 was released and, suddenly, the video features are no longer just competitive, but class leading! There's 8K capture, oversampled 4K and internal ProRes – all features that caught me by surprise.

Not only are the Z9’s specs good, but using one while filming our review episode was an absolute joy. The autofocus was consistently reliable, the interface is well thought out and the IBIS worked great for static shots. The Z9 is also one of the only hybrid cameras that doesn’t rely exclusively on the touchscreen for autofocus selection. On a bright day, I could comfortably stick to the EVF, and not lose any functionality. My only gripe is that I would have loved a fully articulating screen, but the two-axis tilt display is still a big step up from the previous vertical tilt-only displays.

The Z9 is already incredibly impressive today, but the upcoming firmware shows that Nikon is really listening to video shooters. In 2022, the Z9 will be able to record internal 8K/60P Raw (RIP storage space), and we’ll hopefully see even more functionality added through software. The appeal of a hybrid camera for me is the ability to do professional stills and video with one device, and for right now, the Z9 is the most flexible camera on the market.

- Jordan

Best Camera For Video - DJI Ronin 4D

It’s been years since I’ve smiled so much when learning to use a new camera (smiles admittedly not pictured). The Ronin 4D is basically a full-frame camera built into a gimbal (or a gimbal attached to a full-frame camera), but under the hood, there are so many clever innovations included here that it had to be my video camera of the year.

Let’s start with my favorite feature, the manual focus wheel. This small wheel is attached to the handle and operates like most electronic 'follow focus' controllers. It’s comfortable and responsive when changing focus. However, I then popped the camera into ‘Automated Manual Focus’ and was delighted to feel the wheel moving under my thumb as the camera’s LiDAR-based autofocus did its thing. At any moment you can spin the wheel to override the autofocus. Cool, intuitive and very useful. Then, when changing my ISO or ND strength, another huge grin jumped across my face as the focus wheel switched to strongly defined ‘clicky’ steps for those adjustments.

The focus waveform is another example of DJI’s ingenuity. It uses the LiDAR unit to build an 'overhead' map of your scene, and can clearly see where the camera is currently focused. Again, intuitive and useful. Once I had used the Ronin 4D for a few weeks, I missed this feature on every other camera I used.

These are just two examples, but they point to DJI not only making a compelling product if you need a stabilized camera, but also thinking carefully about the features that can improve your experience on a professional set. I’m very excited to test the 8K version of the Ronin 4D, but I’m also incredibly excited about their next steps into the camera world.

- Jordan

Best DSLR - Pentax K-3 III

Let me first state that Jordan and I have loved, and always will love the Pentax brand of cameras. Ricoh creates utterly reliable, rugged cameras, under the Pentax name. Ricoh/Pentax DSLRs handle well and take beautiful photographs. As a brand, they innovate, and incorporate helpful features into their designs, and as such, we always endeavor to review their products on DPReviewTV. Will those statements shield us from the impending vitriol? ...I doubt it.

Let's be honest. Do Pentax DSLRs hold only a tiny share of the market? Has there been a failure to transition Pentax into effective mirrorless designs? Have they become a boutique brand, largely held together by a passionate fan base? Can those fans be over-zealous crusaders for the faith? Do we make jokes at Pentax's expense?

Yes to all of the above.

Clearly the 'Best DSLR of 2021' category, and us naming the Z9 as a runner up due to its size and appearance in our full YouTube video, are Jordan and I making light of the situation. The formal retirement of the Olympus name shook a lot of people up. Change is scary. Despite occasionally finding myself on the receiving end of the Pentaxians' criticisms, I get it. I understand. I even in some ways appreciate it. Someone has to fight the good fight to keep the fire burning. No one wants to see the Pentax name retired any time soon.

All joking aside, we feel it's right to celebrate the Pentax K-3 III as a powerful new DSLR. The DSLR will never be at the forefront of camera design again, but no one can call them ineffective photographic tools. The K-3 III proves this with a contemporary sensor, improved auto focus and a more effective IBIS unit, in an already excellent SLR body design. It's clear that Ricoh put a lot of thought into the K-3 III and it represents a significant upgrade, if only to current Pentax camera users. I consider myself very lucky to shoot with Pentax DSLRs every time a new one comes onto the market, and I hope to be evaluating them for many years to come.

- Chris

Best Camera For Stills Runner Up - Fujifilm GFX 100S

I loved the images produced by the double-grip Fujifilm GFX 100, so much so that I would put up with the bulk and poor ergonomics of that camera. Imagine my delight when the GFX 100S was announced, packing the same unbelievable picture quality into a smaller, cheaper, more comfortable body. Not since the Pentax 645Z have I enjoyed the experience of shooting medium format this much, and the Fujifilm is a much more capable camera.

Sure, the GFX 100S is at home shooting landscapes and lit portraits, but it's equally adept at capturing family candids and street photography. The accurate, responsive autofocus and IBIS make this the most versatile medium format camera on the market. Surprisingly, it’s also a capable 4K hybrid camera as well. If both the GFX 100 and the newer GFX 100S were the same price, I’d pick the latter, but as an added bonus, the newer camera also happens to be thousands of dollars less expensive.

As expected, the GFX 100S gave me the nicest files of any camera I tested this year. What I didn’t expect is how much the ergonomics and interface helped me enjoy taking those photos. That’s why it’s the runner up for Best Stills Camera.

- Jordan

Best Camera For Stills - Nikon Z9

Back in the DSLR days, whenever Chris and I needed to accurately focus on difficult subjects, we reached for a Nikon. The company's 3D Tracking autofocus was the gold standard, and it was sorely missed on the early Z-series cameras. We both wondered how long it would take before Nikon got its mojo back.

The answer came with the Z9. The headline feature may be the lack of a mechanical shutter, but the revelation was how well everything else performed. While sorting through thousands of images for our video, I was floored by how many demanding subjects were in perfect focus. The 3D Tracking interface combined with machine-learning based tracking algorithms is truly outstanding.

We’ve had a tough time coming up with reasons to recommend Nikon Z series cameras to non-Nikon shooters, but that all changes with the Z9. We think it’s the best flagship mirrorless full frame camera on the market.

- Jordan

Worst Camera For Video - Sigma fp L

If the word ‘baffling’ were to take physical form, it would be the Sigma fp L. While billed as the more photo-centric of the fp models, there are still a huge number of video features which make it look like a compelling video/cinema package. With internal Raw recording, shutter angle, waveforms, a nifty 'Director’s Viewfinder' mode, on paper it didn’t look half bad.

What made it fully bad was the decision to use a very slow scanning 61 megapixel sensor. Sure this means the rolling shutter is quite severe, but also means that every record mode has a serious compromise. Internal Raw? That's 8-bit only with massive file size. External Raw? Now you're at 12 bit, with less rolling shutter, smaller file sizes but far less detail. Internal H.264? No log recording means there’s very little dynamic range. You get the idea.

Richard Butler and I spent hours trying to figure out the endless trade-offs and compromises involved every time you hit the record button on this thing. It’s not an experience we would wish on any of our viewers and readers, and for that reason this is our pick for Worst Camera For Video.

- Jordan

Worst Lens - Laowa Argus 35mm F0.95

So, the worst lens of 2021 has to go to the Laowa Argus 35mm 0.95. The main draw of this lens, at least on a technical level, is the extremely bright 0.95 aperture. Unfortunately, when photos are taken at 0.95 there is no region of the photograph which one could describe as sharp. As you stop down sharpness only improves slightly.

This results in some of the most pleasing portraits we've shot this year.

Furthermore, this lens, although delivering soft and smooth bokeh, has lots of cat's eye around the corners, even stopped down.

This results in some of the most pleasing night portraits we've shot this year.

When shooting towards the sun the Argus suffers from a distinct lack of contrast, and shows strange flare characteristics.

This results in some of the most pleasing sunstars, and interesting characterful images we've shot this year.

This lens also has severe LoCA, with distracting colors being painted over any out of focus areas. These colored fringes are incredibly hard to remove in post.

This results in some of the most pleasing black and white images we've shot this year.

The Argus also has...

I think you get where I'm going with this.

- Chris

Look. It just doesn't perform that well by any metric we use to test lenses, so this distinction makes sense. I still really dig the look of our sample gallery though...

- Jordan

Worst Camera For Stills - Sigma fp L

It's fair to state that 2021 introduced some powerful and innovative cameras to the field, especially in the realm of full frame bodies. We are seeing a shift towards capable electronic shutters, and Nikon made a big push with their innovative Z9 that does away with a mechanical shutter altogether. But are they the first high-res photo-centric camera to do this? The answer is a definitive no!

In 2021 Sigma beat them to the punch with their fp L. Not hard to believe, as Sigma has a well deserved reputation for forward thinking camera designs. The fp L is firmly aimed at the still based photographer, with a major emphasis on high megapixels. Jordan and I cannot, however, recommend that anyone purchase the fp L.

The fp L is for the most part, the same as the original fp, simply with a 61 megapixel sensor inside it. Now the fp looks, in spite of any of Sigma's intentions, to be a video camera first and foremost. Its compact and simple design lends itself well to specialized uses. Think car cams, crane and drone shots, and gimbal usage. Unfortunately the video-centric control scheme does not translate well to a photo based camera.

The fp L's lack of customizability and a body design that was intended to be mounted in video rigs makes for a poor-handling body in the hand. Nothing about the menu design, or interface, is quick to adjust in an action photo scenario, and rolling shutter rears its ugly head constantly. In fact the only situation where the camera does seem to work well is for landscapes on a tripod. Mounted on a tripod, the lack of IBIS and poor ergonomics are mitigated.

One can slow down and take their time. The stable platform, and the lack of mechanical shutter slap, now allow the 61 megapixels to shine. The glaring lack of versatility, however, ultimately places the fp L way down any prospective holiday shopping list.

Unfortunately for Sigma, there are so many excellent alternatives that offer far more versatility with a control structure intended for photographers. Worst photo camera for 2021 goes to the Sigma fp L.

- Chris

✇ News: Digital Photography Review (dpreview.com)

Drone technique: How to shoot 4K hyperlapse video on the DJI Air 2S

A hyperlapse sequence was captured using the DJI Air 2S in Course Lock mode (discussed below).
Video by Kara Murphy

One of the many valuable features of the DJI Air 2S is its ability to capture 4K hyperlapse videos. For those unfamiliar with the term, a hyperlapse is essentially a time-lapse sequence with the added element of motion – which is achieved by moving the camera slightly between each frame.

The Air 2S has some features that make it particularly useful for shooting a hyperlapse: it can capture photos with exposure times up to eight seconds, which is ideal for low-light conditions, and the interval between shots can be as low as two seconds, allowing for smooth hyperlapse sequences.

However, shooting a hyperlapse clip requires more effort than simply taking off and hitting the record button. In this article, we'll walk you through the process of planning your first hyperlapse sequence, as well as the four different modes DJI provides for shooting hyperlapses with the Air 2S.

It's all about the timing

The first thing you'll need to consider is how long you want your hyperlapse sequence to last. Each photo in the sequence represents one frame of video. Depending on the mode you select, the number of waypoints you designate, and the interval between shots, it can take anywhere from a few minutes to a half-hour to record one hyperlapse. For example, if you want to record a ten-second sequence, and you plan to play the clip back at 30p, your drone will need to capture a total of 300 photos in the sequence.

Next, consider the time interval between each photo. A short interval, such as two seconds between shots, will generally result in a smoother sequence than a longer interval, such as six seconds. So, our hypothetical ten-second hyperlapse would take ten minutes to capture using a two-second interval but 30 minutes using a six-second interval.

Keep in mind that it's always easier to speed up your hyperlapse after it's been shot than to slow it down

So why wouldn't you initially select the shorter interval? It depends on what you're shooting. If your goal is to move the drone slowly down a beach while capturing a sunset over the course of 20 or 30 minutes, a longer interval might make sense. If you're not sure, keep in mind that it's always easier to speed up your hyperlapse after it's been shot than to slow it down.

It's important to consider battery life in your planning as well. The Air 2S has a maximum flight time of 30 minutes. By using a short interval between photos, you may be able to shoot two or three hyperlapse sequences on a single battery. If you choose a longer interval, it may limit you to a single hyperlapse sequence before it's time to land.

Planning your shot

Location

It's helpful to pre-visualize what the final sequence will look like. Moving elements can make a hyperlapse video clip more dynamic. Boats, cars, waves, clouds and people moving about will add depth to an otherwise ordinary scene. Mountains and city skylines make for an interesting backdrop.

Wherever you shoot, always remember to abide by your country's respective drone laws. For example, in the United States, flying in restricted airspace or directly above moving vehicles or people is prohibited unless you have acquired the proper waiver beforehand.

Fifth Third Ballpark, located in Grand Rapids, Michigan, is the perfect location to shoot a Circle hyperlapse. The field is an interesting subject to track; numerous cars are driving along the freeway behind it, there's a bit of city skyline in the upper-left-hand corner, and, on this particular day, there were clouds for dramatic effect.

Weather and timing

One challenge you may encounter when shooting hyperlapse videos is that weather factors, such as wind, can impact the quality of the results. Because hundreds of images are combined to make one video, the drone's exact position is crucial. If a gust of wind knocks your drone slightly off its course, you'll end up with choppy footage. When testing hyperlapse on the Air 2S, it captured higher-quality hyperlapse clips only when there was a moderate breeze at best.

Keep in mind that winds are often much lighter around dawn and dusk. Most photographers refer to these times of day as the golden hour(s) due to warm, dramatic light. They're often the ideal time to shoot a hyperlapse. The changing conditions and colors of the sky as the sun rises or sets are also fascinating to watch on a hyperlapse clip.

When shooting a hyperlapse with the Air 2S, ensure you have both 4K video and Raw photos selected. If you decide to post-process the hyperlapse yourself, you'll have a lot more flexibility with the Raw files. Areas that are completely blown out cannot be recovered in post-processing. 'Overexposure Warning' in the DJI Fly app allows you to identify these areas, so make sure you activate that as well.

Camera settings

When the Air 2S was introduced, DJI emphasized that it didn't want users to think too much about camera settings and encouraged the use of Auto mode. However, we recommend shooting in Manual mode to yield the best results.

While shooting in Auto mode may seem convenient, it's too easy for areas of your image, especially during sunrise and sunset, to get overexposed. In contrast, shooting in Manual mode provides control over ISO and shutter speed. It also helps prevent any unexpected exposure changes.

To ensure that you're shooting hyperlapse clips in 4K, you'll need to take several steps. Above the shutter button in the DJI Fly app, select 'Video', then scroll down to 'Hyperlapse', where the settings will automatically default to 1080p. To change the resolution, click on the 'RES&FPS' icon on the lower right-hand side of the screen, then select '4K' for your resolution.

It's also a good idea to activate the Histogram and Overexposure warning so you can identify any areas that might be blown out when you're initially adjusting your settings.

Hyperlapse captured using Waypoint mode, which allows you to set up to 45 waypoints that define the exact path the drone will travel and where the camera is pointed.
Video by Kara Murphy

Most importantly, you can create nice motion blur with objects in your video by throwing out the 180-degree shutter speed rule and slowing the speed down to anywhere between 1/8 second to 2 seconds. This is where ND filters come in handy by allowing you to use slow shutter speeds even in daylight.

We recommend purchasing the Air 2S Fly More Combo if you plan to shoot a lot of hyperlapses. In addition to two extra batteries, it includes a pack of four filters – ND4, ND8, ND16, and ND32.

The aperture on the Air 2S is fixed at F2.8, so you may need stronger ND filters to achieve slower shutter speeds in the brightest conditions. DJI offers another four-pack of ND filters, sold separately, including ND64, ND128, ND256, and ND512 filters. You'll probably want to invest in these filters for smooth motion blur shots, especially when it's bright and sunny.

While the Air 2S Fly More Combo comes with a set of four ND filters, ranging from ND4 to ND32, we recommend DJI's stronger set, which goes up to ND512. The latter allows you to slow the shutter speed to the point where you can capture smoother footage, even in bright daylight.

The DJI Fly app, which powers the Air 2S, provides a scroll bar for dialing in the correct white balance. The closer you set it to 2000 K, the cooler the image. Shifting up toward 10000 K will make everything warmer. A range of 5000 K to 6600 K is ideal for most daylight conditions. Set the white balance so that it's correct for your scene.

File format

Although the Air2 S can capture 5.4K/30p video, the hyperlapse clips it generates are limited to 4K resolution. However, if you're willing to post-process the hyperlapse sequence yourself, you can take advantage of the drone's larger 1"-type sensor by also saving copies of each photo it takes in DNG Raw format.

Make sure to select Raw as your photo format and MOV as your video format. When you access the video clips created by the drone on the memory card or internal storage, you'll also find a folder containing all the Raw images. These files provide a lot more flexibility for making exposure adjustments and white balance corrections than out-of-camera JPEG images.

Raw images are helpful if you want to edit or color grade using Lightroom or After Effects. Always make sure you're shooting in Raw for maximum flexibility if you plan to edit your images. Drone Supremacy created an excellent tutorial covering post-processing techniques in Adobe Lightroom and After Effects.

Four hyperlapse modes to choose

Now that we've covered the steps for setting things up let's look at the four hyperlapse modes available on the Air 2S. Hyperlapse mode can be accessed by clicking on the button above the shutter, selecting the video icon, and scrolling down the menu to the hyperlapse option.

In each of the hyperlapse modes below, you have the option to set interval speed, total clip length, and the overall speed that the drone will travel while recording. The exception is Waypoint mode, which won't let you select the drone's speed since that will be determined by the plotted course and the duration of the sequence. DJI's latest update allows you to set up to 45 points in Waypoint mode.

Once you've dialed in your settings, the Air 2S will automatically calculate the time needed, go about its mission, and stitch the photos together once they're captured.

Free mode

This mode gives you the flexibility to fly your drone in any direction, altering altitude, location, and speed, while tilting the camera at an angle you prefer whenever you choose. Let's say you want to follow a boat in motion. Having this level of flexibility makes sense.

While having complete control of the drone's movement at all times sounds appealing, it's much more difficult to capture smooth, cinematic footage as you have to be extremely precise and deliberate in every movement of the drone or camera.

This hyperlapse was captured in Free mode. Although Free mode sounds appealing, it's challenging to make extremely deliberate and precise motions that look smooth. In this example, the camera remains stationary.
Video by Kara Murphy

Course lock

This mode is helpful for capturing cityscapes or scenery in a straight line. It is also useful for flying through tight spaces, like in between buildings. It's an automated mode: the drone flies in a straight line toward your target, or facing in another direction when unlocked, and doesn't deviate from that course.

Once you've determined your main parameters (intervals, clip length, and speed), designate your target by drawing a box around it with your finger, hit the record button, and let the drone fly. You can adjust the altitude while in flight, but you cannot alter the direction or camera angle while recording the hyperlapse. You also can't preselect distance, so it may require some trial-and-error with intervals and total clip time.

Course Lock and Circle modes allow you to select a target for the drone to focus on while recording the hyperlapse. Simply use your index finger to draw a frame around your desired object.

You can find an example of a Course Lock hyperlapse at the top of this article.

Circle

If you want to focus your hyperlapse on one subject in particular, like a cathedral, as illustrated above, Circle is an ideal mode. This is another automated mode that programs your Air 2S to fly in a circular path around your designated target. You can choose either a clockwise or counterclockwise direction. Once you hit record, the drone will fly for a few seconds, calculate how far away the subject is, and then begin its course.

Circle mode flies a circular path around your subject. As you can see from this example, you may need a long hyperlapse to orbit a large area.
Video by Kara Murphy

After you've set the direction of rotation, you can't alter it once the hyperlapse is recording. You also can't change the altitude during flight. Depending on how far the drone is from the subject or how large that subject is, you may need to select a clip longer than 10 seconds if you wish to make a full rotation around it.

Waypoint

We saved the best mode for last. This one is especially useful for smooth, slow reveal shots, like when you want to surprise your viewers. What's wonderful about Waypoint is that, unlike Course Lock and Circle, you can determine the exact path you want the drone to fly, along with the camera orientation and angle at each waypoint. It will automatically fly the course once you hit record.

When viewing the Waypoint hyperlapse earlier in the article you can see this in action; both the drone and camera shift position during the hyperlapse.

When selecting waypoints, the drone will tell you if the angle and direction are too wide. This will ensure the footage doesn't look jerky as the drone changes its orientation.

In Waypoint mode, you won't be able to set your next target if you position the drone at too large of an angle. This will prevent jerky footage.

To get started, manually fly to each waypoint and tap the plus sign in the waypoints box at the bottom of the menu. As mentioned above, you can select up to 45 different waypoints. Once you hit record, the drone will fly back to the starting point and fly the course you plotted out. If you're running low on battery, or want to start at the final point in the course, simply select 'Reverse' for a reverse sequence, and the drone will automatically start from that last location.

Final thoughts

Always make sure you have the latest firmware installed on your Air 2S. This will help prevent errors while using the DJI Fly app. One final tip: flying at a longer distance from your subject, in any mode, generally gives you more interesting footage. A Circle hyperlapse focusing on a subject close up, for example, isn't very interesting to watch. Make sure to include more skyline and other surrounding elements for the best possible outcome.

Did we miss anything? Let us know in the comments. If you've created any hyperlapse sequences with the Air 2S, share a link with us!

✇ Photo Rumors

Canon EOS R3 camera sensor tested at DxOMark: best low light performer (ranked #15 overal)

Par : PR admin


DxOMark published their testing results for the Canon EOS R3 camera sensor – here is their conclusion:

“The introduction of a ‘3’ series pro-oriented camera with a built-in vertical grip sitting mid way between the existing top-of-the range ‘1’ series and the popular ‘5 ‘ series is a little confusing, especially as the new model appears to take on the role reserved for the Canon EOS-1DX Mark III DSLR. While we’ll have to wait and see what form a possible top-of-the-range EOS R1 takes, the Canon EOS R3 is certainly a compelling contender for its intended market. Not only does it have excellent dynamic range at key low, mid and high sensitivities, it has the best low light performance of any full-frame camera in our database. This makes the Canon EOS R3 a very attractive option for Canon EOS-1DX Mark III users transitioning over to Canon’s mirrorless RF system and it’s a solid option for any photographers new to the Canon brand.”

Here are the top-rated cameras according to DxOMark (the Canon R3 is at the #15 spot):


Via DxOMark

The post Canon EOS R3 camera sensor tested at DxOMark: best low light performer (ranked #15 overal) appeared first on Photo Rumors.

✇ Photo Rumors

The latest products from PNY, Fuji, Sirui, Gizmon, 7Artisans and Tokina

Par : PR admin


PNY released new cheap X-PRO 90 UHS-II memory cards – now available at Adorama and B&H Photo.


→ The new Fuji Instax Mini Evo camera is now available for pre-order.


→ New SPINN CP.02 camera strap solution launched on Kickstarter.


→ The new Sirui 50mm T2.9 1.6x full-frame anamorphic lens is now available for pre-order.



→ New GIZMON 50mm f/1.6 miniature tilt lens announced for Sony E-mount.

→ More pictures from the three new cinema APS-C lenses for various mirrorless mounts from 7Artisans.



Tokina announced a new SZ Super Tele Finder Lens (TA-018).

The post The latest products from PNY, Fuji, Sirui, Gizmon, 7Artisans and Tokina appeared first on Photo Rumors.

✇ Photo Rumors

Canon warns it may take up to 6 months to fulfill all EOS R3 pre-orders

Par : PR admin


Canon Japan issued an apology that it may take up to 6 months to fulfill all EOS R3 mirrorless camera pre-orders.

A detailed list of other delayed products can be found here.

The new Nikon Z9 is also expected to be out of stock for a long time.

Here is the full text of the Canon notice:

Apology and guidance regarding the supply status of products

Updated: December 3, 2021

Thank you for your continued patronage of Canon products.

Currently, we have received orders for each of the following products in excess of expectations, and due to the impact of global parts supply, delivery delays are occurring. We apologize for the inconvenience caused to our customers and business partners.
The products are scheduled to be shipped one by one, but it is expected that it will take a lot of time for the new camera body EOS R3 and RF lens RF14-35mm F4 L IS USM.
We sincerely apologize for the long wait for our long-awaited customers. We will continue to take measures to ensure a stable supply of products so that we can deliver our products as soon as possible. Thank you kindly look forward for your understanding.

product name About supply

EOS R3

RF14-35mm F4 L IS USM

It will be shipped in sequence, but it may take more than half a year to deliver when you place a new order.
RF16mm F2.8 STM
RF100-400mm F5.6-8 IS USM
RF400mm F2.8 L IS USM
Eye cup ER-hE
Lens hood EW-65C

We plan to ship the products one by one, but it may take longer than usual to deliver.

Check Canon EOS R3 pricing and availability at:

The post Canon warns it may take up to 6 months to fulfill all EOS R3 pre-orders appeared first on Photo Rumors.

✇ News: Digital Photography Review (dpreview.com)

Review: Great Joy's new 60mm T2.9 1.33x anamorphic lens, 1.35x adapter offer squeezed shots on a budget

We’ve seen numerous lower-cost anamorphic lenses come to market over the past few years. Sirui has been behind many of these budget-friendly anamorphic lenses, including four focal lengths designed for APS-C and MFT cameras, and more recently a 50mm for full-frame. While Surui's lineup has been a welcomed addition to the filmmaking world, there are those who've complained the 1.33x squeeze of these lower-cost lenses doesn't offer enough of a dramatic anamorphic effect. Enter Great Joy, with its new 60mm T2.9 1.33x anamorphic lens and 1.35x adapter.

The lens is designed for full-frame sensors and on its own produces a 1.33x squeeze. To satisfy those wanting more squeeze, Great Joy has also developed an optional adapter that multiplies the built-in squeeze by 1.35x to give us a much more anamorphic 1.8x (well, 1.7955x) effect.

This new pair is exciting because we don’t usually get 1.8x anamorphic lenses on a budget–and certainly not for full-frame sensors. The next lowest-cost 1.8x anamorphic for full-frame cameras comes from Vazen, and will cost you $8000. This Great Joy lens and adapter combination costs just $1,600: $999 for the lens and $599 for the adapter–though the two cost $1249 on the company's Indiegogo campaign page. Shipping begins next month, so the lenses are already in mass production.

The lens

We don’t often come across 60mm lenses, so this Great Joy lens stands out from the field. Of course, with its 1.33x anamorphic factor, the lens gathers light from the same horizontal angle of view we’d expect from a 45mm lens.

The lens has a metal barrel with a smooth semi-gloss black finish and engraved markings filled with white paint indicate distance and apertures. The aperture markings are visible from either side of the lens, but focus information is displayed only on the left side of the barrel. The focus and aperture rings feature built-in metal gears for follow-focus equipment.

Inside, we find 13 elements in 10 groups, including four cylindrical elements that make up the anamorphic group to distort the image. Other features include an eleven-blade iris, a minimum focusing distance of 70cm (27.5") and a focus throw of 196°. The minimum aperture is T16, and remarkably we get evenly spaced markings in third-stop increments right through to the maximum T2.9 position. Low-cost lenses often compress the space between the extreme aperture settings, so Great Joy's attention to detail here is a welcome change.

When you look through the glass cover at the front of the lens you’ll see the usual oblong-looking baffle, and the oval shaped opening created by the anamorphic group’s position at the front of the lens construction. Placing the anamorphic group at the front and forward of the iris gives us a better chance of achieving some flare (we see you Michael Bay) and those much-loved oval bokeh.

The front section of the lens also carries a 67mm thread. This is obviously to accommodate filters, but also to allow us to attach Great Joy’s 1.35x adapter that increases the squeeze effect.

The rear of the lens features a plain mount that does not offer electrical contact with the camera, so EXIF data isn’t recorded and all aperture and focusing adjustments need to be handled manually. The lens comes in fittings for L-Mount Alliance, Nikon Z, Canon RF and Sony E cameras.

The adapter

If the 1.33x squeeze from the 60mm T2.9 lens isn’t enough, you can add the 1.35x Great Joy anamorphic adapter. When the two anamorphic factors are multiplied together we get a new squeeze factor of 1.8x, which will make many filmmakers happy. The adapter screws onto the front of the main lens via the 67mm thread, which means the adapter can be used on any other lens with the same sized filter thread and turn regular spherical lenses into 1.35x anamorphic lenses.

The adapter has its own focus ring which comes into play once it is fitted in place. The host lens should have its focus set to the infinity position and all focusing from then on is done via the adapter’s focus ring. This is a neat arrangement as it allows the whole contraption to be focused via a single ring – unlike some other adapters.

Equally exciting, I discovered it's possible to use AF with the adapter when I set it to infinity and left the host lens in AF mode. All of the new Lumix S F1.8 lens series have a 67mm filter thread, as does the 20-60mm F3.5-5.6–though those wider than the 35mm suffer mechanical vignetting. However, I was able to shoot in AF and found the Lumix S5’s AF was able to (mostly) keep up.

I also used the camera’s AF system to adjust for changes in the lens-subject distance by focusing with the adapter and allowing the camera and host lens to make corrections automatically. This was an effective strategy in bright light and when the focus shifts required were not too dramatic, so it works as a manual focus assistant rather than a default way to shoot. The system loses a little sharpness too when you allow the host lens to be on anything other than infinity, but it isn’t as noticeable in moving scenes.

At 855g (1.9lbs), the adapter is quite heavy. And while it sits comfortably enough on the front of the Great Joy 60mm lens, it may well need a little more support when hanging off the front of lenses designed only to have filters in their front threads. The 60mm lens has its own mounting thread on the underside of the barrel, but the adapter does not, so a well-placed resting post in your rig might be useful, especially if your lens has a plastic filter thread.

Although Great Joy mentions using this adapter on zoom lenses we need to be careful of actual focal lengths when focusing close. I found on the Lumix S 20-60mm F3.5-5.6 lens I could get away with the 40mm position, but when using prime lenses the widest focal length that avoids vignetting is 35mm.

Achievable formats

This lens and its adapter allow us to create quite a range of different formats depending on the way we shoot. Obviously, most cameras will allow 16:9 video recording which provides a 2.36:1 format with just the lens, and 3.2:1 with the adapter added to the mix. But, some cameras give us alternative recording aspect ratios so the choice also is brand and model specific.

Even without the main lens, the adapter can be used on spherical lenses to achieve a decent anamorphic effect, hence the inclusion of a 1.35x column in the table above. While 2.4:1 will keep lot of photographers happy we have to remember that there’s a limit on the focal lengths we can apply this adapter to, so wide angle work is somewhat restricted.

The important figures in the table though indicate that a 4:3 sensor behind the lens/adapter combination will deliver the 2.39:1 aspect ratio that is the standard for projection set by SMPTE (Society of Motion Picture and Television Engineers) in the early 1990s.

In use

Local university drama students reviewing their performance

The Great Joy 60mm T2.9 1.33x anamorphic lens is really very nice to use. It's a solid lump of metal and glass, so it'll add a significant amount of weight to the front of your system. But, it does offer a reassuring feel of durability and that it isn’t going to break if you drop it. It also feels very nicely engineered, with a smooth gliding rotation in both focus and iris rings. My example has an L mount which seems to have been constructed with a good enough degree of accuracy that it twists on and off with no bother at all. That isn’t always the case.

Screwing the adapter to the front of the main lens is as easy as screwing in a filter, but with the added weight of the adapter. The threads are made well though and the two come together without grinding and grating, and the adapter can screw in securely. Once the adapter is screwed in all the way we need to rotate the whole until the forward oblong is aligned perfectly upright, and then when we are happy we tighten the retaining thumb screws to hold it all in place. That might sound like a lot of effort, but once you've done it a few times it's easy. It would've been nice if the adapter naturally aligned with the main lens once it comes to the end of its thread, but having it adjustable then means we can use it on third party lenses whose threads Great Joy has no control over – so ultimately it is a price worth paying.

This lens and its adapter allow us to create quite a range of different formats depending on the way we shoot

To use this combination, we set the main lens to infinity focus and then can achieve focus in the shot solely with the focus ring of the adapter. It pays to regularly check the main lens is still at its infinity position as it is easy to knock it away from its mark by accident. While the rear of the adapter has a 67mm thread to allow it to attached to the main lens, the forward thread is 77mm – so we never need to step into big-boy-filter-system territory.

Is it any good?

The short answer is yes, it is very good, so long as you are aware of a few caveats. On its own, the 60mm main lens works very well and provides a level of detail and optical quality I wasn’t really expecting. It is very sharp and there are few signs of chromatic issues, despite the image being stretched horizontally every time it is used. It flares nicely enough to keep the anamorphic fans happy, and those who prefer a little moderation will be glad the luminous blue streaks of some other brands are not present in this model. The flare streaks are quite neutral in color, which I rather like, and spread more evenly so we don’t have sharp lines dissecting the screen in two.

The oval out-of-focus highlights so often referenced as a mark of a worthwhile anamorphic lens are also present, but the fact that this lens has a 1.33x squeeze factor lets you know from the off that they aren’t going to be dramatically oval. Fortunately we are able to make the most of what the lens can achieve as the anamorphic factor appears reasonably consistent throughout the entire focus range, and we don’t have to revert to smaller de-squeeze adjustments when focusing on closer subjects.

The film above was recorded using the Great Joy 60mm lens with the adapter on the Lumix S1H, and was shot in 4K 16:9. The timeline is 2:66:1 to remove the vignetting of the combination that shows when the full width of the sensor is used.

The lens comes into its own though when the 1.35x adapter is used with it – to the point where I had to keep reminding myself to test the lens on its own. The width of the view is glorious, as that 60mm focal length translates to the horizontal angle of view we’d expect from a 33mm lens while the vertical angle of view remains 60mm. The width of the frame is perhaps a little greater than most film makers will want to show and a crop to 2.66:1 is minor enough to plan for without wrecking your composition.

A crop is actually essential when using the 60mm and the adapter at the same time if your camera is set to record using the full width of the sensor as the combination creates quite serious mechanical vignetting that encroaches some way into the frame from all corners and at all focus distances. It may be quite a surprise when you first see it, but it's completely removed once the 3.2:1 or 3.4:1 image is cropped to a sensible set of aspect ratios–such as 2.66:1 CinemaScope. This, of course, also reduces the horizontal width of the effective angle of view of the lens, but you’ll be able to see on the rear screen or on your monitor how much of the image needs to be cropped away.

The scene above was recorded in 3840x2160 with the adapter attached to the lens. When dropped onto a 6912x2160 timeline the vignetting can be clearly seen even before the footage is de-squeezed. Once de-squeezed to fit the timeline the vignetting is even more obvious, but it is also obvious the 3:2 aspect ratio of the timeline is uncomfortably wide.

Dropped onto a 2.66:1 timeline with a 5746x2160 resolution the vignetting is neatly cropped away and the image comfortable to look at. The widest aspect ratio you can get away with when avoiding the vignetting is about 2.8:1, which is still wider than most film makers would regularly use.

If you use a 4:3 recording area, as you would with a Lumix camera in Anamorphic Mode, or your camera crops to an APS-C area of the sensor for video, you won’t have to face this issue at all as the recording area will be within the clean sector of the imaging circle. Recording in the 3:2 ‘open-gate’ format that the Lumix S1H allows gives us slight vignetting in the corners, that gets more obvious as we focus more closely.

On the Sirui lenses

The adapter is a very useful addition for anyone already shooting with Sirui’s 1.33x lenses for APS-C and MFT as it will convert them to a 1.8x anamorphic factor. Most of these lenses have a 67mm filter thread and a thread made in metal, so the adapter fits nicely and securely. Setting the Sirui lenses to their infinity position also ensures we get the full 1.33x squeeze from them, though infinity may not always be their strongest position when it comes to resolution and wide apertures. I found closing them to F4 is a useful strategy for ensuring best sharpness. The squeeze of the adapter will of course exaggerate any aberrations inherent in the host lens, so it pays to play safe.

The adapter on the Sirui lenses gives us a look that blends well with that of the adapter on the Great Joy lens, and I found I didn’t have to make any adjustments to match footage shot via both methods. For one scene of the video above I recorded footage using the Great Joy combination mounted on the Panasonic Lumix DC-S1H and then recorded different angles with the adapter mounted on the Sirui 50mm and 75mm lenses via the Panasonic Lumix DC-GH5M2, and was pleased that they all worked very nicely together.

The three angles here were shot with different lens/camera combinations using the Great Joy lens as well as the Sirui MFT 1.33x anamorphics. The top angle was recorded with the Great Joy 60mm 1.33x anamorphic with the 1.35x adapter, while the middle angle was shot with the Panasonic Lumix DC-GH5M2 with the 50mm Sirui lens with the 1.35x adapter attached. The bottom angle was shot with the 75mm Sirui with the adapter. All were recorded in 4K 16:9 format, and in V-Log and V-LogL. They blend together rather nicely.

The Sirui 35mm, 50mm and 75mm lenses work well with this adapter, but the 24mm doesn’t as it has a 72mm thread and a too-wide angle of view. If you shoot in the 16:9 or 17:9 formats with a Micro Four Thirds cameras you will find the angle of the 35mm lens pretty much matches that of the Great Joy 60mm when both are used with the adapter – and once the vignetting is removed from the full-frame footage.

Conclusion

It would have been a Godsend to headline writers had this lens offered users Great Sadness or Great Disappointment, but fortunately for everyone else, it lives up to its name rather well. I really didn’t know what to expect when I took it out of the box, but have been very pleased with it from the moment it went onto the camera. It takes a while to get used to the aligning process for the adapter as it is tempting to tighten the retaining screws without realizing they lock the rotation mechanism as well as preventing the adapter from unscrewing from the lens, but once you understand that, it's easy to work with it.

I would also prefer if the lens wasn’t so heavy, but cinema lenses tend to be, so I guess we just have to deal with that. I’d rather it be heavy and well-made though, than lightweight and not.

I’m very pleased with the resolution of both the lens and the lens with its adapter

I’m very pleased with the resolution of both the lens and the lens with its adapter, and have been impressed with the lack of fringing and generally how clean the image is. With the adapter in place the optics of the 60mm are somewhat tested but they hold up extremely well. The adapter also lends the kit much more flare and those oval out-of-focus highlights, but it is the nice background distortion that appeals to me – that exaggerates how out-of-focus the background is and which consequently makes the focused subject jump out of the frame.

This adapter is clearly designed to work best with a 60mm lens, or one of a similar angle of view, so I look forward to when the company launches one compatible with wide lenses – and indeed to the day Great Joy brings out more host lenses. The company tells me it is working on more lenses, but for now at least won’t let on what we should expect next.

In all, this is an excellent lens and adapter kit. The lens is good on its own but I recommend the adapter to deliver the heighten anamorphic feel even if you are going to show your 16:9 footage in 2:39:1. Great Joy indeed!

For more information see the Great Joy Facebook page, and the company’s Indiegogo campaign page. The lenses are due to begin shipping this month.

What we like:

  • Great image quality
  • Flexibility of the adapter
  • Nice to use
  • Moderate streaks
  • Well made
  • The price

What we don't like:

  • Weight of the lens
  • Weight of the adapter
  • Heavy vignetting, though usually removed in crop


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

✇ News: Digital Photography Review (dpreview.com)

DPReview TV: Best and Worst photo/video gear 2021

It's that time of the year when Chris and Jordan look back on the year's best and worst releases of photo and video gear. As has become traditional, they've devised a drinking game to help ensure that their recollection ends up as hazy as the output of the worst lens...

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

✇ Photo Rumors

CIPA October 2021 numbers

Par : PR admin


The CIPA October 2021 numbers are out (orange: 2021, black: 2020, blue: 2019):

October 2021 CIPA numbers
September DSLR and Mirrorless body shipments for the month were ahead of September 2021, but substantially behind last October. For the month, DSLR units were down 45.5% and Mirrorless units were down 37.8% as compared to October 2020.

Mirrorless now has a 58% unit share of ILC’s and a 77.2% shipped value share (of DSLR + Mirrorless).

Based on the first ten months of 2021 and last year’s shipping patterns, we predict a full year estimate of 5.3 to 5.7 million ILC units shipped compared to:

  • 2020: 5.308 million
  • 2019: 8.462 million
  • 2018: 10.76 million
  • 2017: 11.68 million

That’s down substantially from our last estimate unless November shipments picked up for the holiday season (Canon has predicted a full fiscal year industry estimate of 6 million units and they claim they’ll take 50% of that).

October 2021 Calendar year-to-date Units & Shipped Value:
(All comparisons to Jan-October 2020)

DSLR Units : 1867K –2% YTD
DSLR Shipped Value: ¥76.5 billion –1% YTD

Mirrorless Units: 2577K +16% YTD
Mirrorless Shipped Value: ¥258 billion +42% YTD

Compact Units: 2499K –13% YTD
Compact Shipped Value: ¥59.8 billion -4% YTD

Lenses for smaller than 35mm Units: 4178K –3% YTD
Lenses for smaller than 35mm Shipped Value: ¥64.4 billion +4% YTD

Lenses for 35mm and larger Units: 3733K, +31% YTD
Lenses for 35mm and larger Shipped Value: ¥212.1 billion +52% YTD

Cumulative YTD Mirrorless unit share (of Mirrorless + DSLR): 58% (was 53.9% Jan-Oct 2020)
Cumulative YTD Mirrorless Shipped Value share: 77.2% (was 70.2% Jan-Oct 2020)

The ratio of lenses shipped to bodies shipped is 1.78 for Jan-Oct 2021. It was 1.73 for Jan-Sept 2020.

October 2021 Calendar year-to-date Geographic Share:

DSLR:

  • Units: China 12.3%, Asia (not incl. China or Japan) 14.2%, Europe 40.6%, Americas 31%, Other 1.9%
  • Shipped Value: China 19.9%, Asia (not incl. China or Japan) 16.4%, Europe 35.1%, Americas 26.6%, Other 2.1%

Mirrorless:

  • Units: China 25.4%, Asia (not incl. China or Japan) 15.4%, Europe 27.1%, Americas 28.3%, Other 3.9%
  • Shipped Value: China 28.3%, Asia (not incl. China or Japan) 15.4%, Europe 23.3%, Americas 28.8%, Other 4.3%

Compacts:

  • Units: China 11%, Asia (not incl. China or Japan) 12.7%, Europe 42.6%, Americas 29.5%, Other 4.2%
  • Shipped Value: China 16.3%, Asia (not incl. China or Japan) 13.5%, Europe 38.3%, Americas 28.4%, Other 3.6%

Lenses:

  • Units: China 18%, Asia (not incl. China or Japan) 13%, Europe 33%, Americas 32%, Other 3%
  • Shipped Value: China 21%, Asia (not incl. China or Japan) 13%, Europe 29%, Americas 32%, Other 4%

List of participating CIPA companies can be found here.
Source: CIPA (thanks ZoetMB) via NikonRumors

The post CIPA October 2021 numbers appeared first on Photo Rumors.

✇ Photo Rumors

Two more leaked Leica M 11 pictures

Par : PR admin


Two new leaked pictures of the upcoming Leica M11 camera were published by LeicaRumors:



Here are the rumored Leica M11 camera details:



The post Two more leaked Leica M 11 pictures appeared first on Photo Rumors.

✇ News: Digital Photography Review (dpreview.com)

Twitter bans posting photos of people without their explicit consent to do so

Twitter has announced a ban on nearly all pictures and videos containing people who haven't given permission for that media to be posted. The new rule is an extension of the company’s privacy protection policy and is intended to uphold the human rights of its users and was put in place just a day after former CEO, Jack Dorsey, stepped down and announced Parag Agrawal, who joined Twitter in 2011 as an engineer and previously held the title as Chief Technology Officer, as his successor.

In a thread, posted to its @TwitterSafety account on November 30, Twitter said ‘Beginning today, we will not allow the sharing of private media, such as images or videos of private individuals without their consent’ and an additional Tweet states ‘Sharing images is an important part of folks' experience on Twitter. People should have a choice in determining whether or not a photo is shared publicly. To that end we are expanding the scope of our Private Information Policy.’

Sharing images is an important part of folks' experience on Twitter. People should have a choice in determining whether or not a photo is shared publicly. To that end we are expanding the scope of our Private Information Policy. 🧵

— Twitter Safety (@TwitterSafety) November 30, 2021

The blanket ban seems to imply that users may not post any content that includes people whose permission has not been sought first, though certain exceptions will be made. The blog post below states ‘This policy is not applicable to media featuring public figures or individuals when media and accompanying Tweet text are shared in the public interest or add value to public discourse.’ If that exception feels vague, you're not alone in thinking that. No guidance is offered to help users understand what is meant by ‘public interest’, ‘public discourse’ or ‘public figure’ and neither under what qualification these terms will be decided.

Photograph by Damien Demolder

Twitter says later in its statement that offending content won't automatically be removed. Instead, Twitter will only step in once the subject—or someone acting on their legal behalf—makes Twitter aware of their lack of consent in having the image posted. When this happens, the poster’s account will be locked until the offending Tweet is removed. The new rule seems to ignore the right of anyone to take pictures in public places and to publish them in an editorial or artist context, and even those of people posting vacation pictures of famous sites that might include other members of the public.

Photograph by Damien Demolder

For street, travel and documentary photographers the rules are very concerning, as they suggest candid images can’t be used at all, and indeed any image that contains a third-party whose permission hasn’t been granted whether they appear in a landscape or an architectural view. For posed pictures, it isn’t clear whether having someone’s consent to take the picture is the same as having consent for that image to be posted on Twitter, or how recognizable someone needs to be in the picture or video in order for them to object.

More importantly, perhaps, is that the rule seems open to abuse by those seeking to avoid public scrutiny from independent journalists exposing corruption, crime and wrong doing, as they can just complain to Twitter and have posts, including screen shots, removed.

Instances of this have already appeared, according to social journalist Chad Loder, who pointed out that some journalists' accounts are being locked after complaints by the people they have exposed for allegedly illegal activity. In theory, many of these posts could be covered by the exception ‘contains eyewitness accounts or on the ground reports from developing events;’ but the concern is who is making the judgement calls in these instances.

.@TwitterSafety just forced photojournalist Kelly Stuart (@SkySpider_) to remove a video under their new "private media" policy.

The video shows two right-wing extremists (in public) planning a criminal assault on reporter @emilymolli, documented here: https://t.co/o5Zjj26zN0

— Chad Loder (they/them) (@chadloder) December 1, 2021

As is often the case with new policies open to interpretation, only time will tell what impact this new policy will have on photographers and journalists alike. The privacy of non-consenting parties should certainly be corrected, but additional clarification from Twitter and its Safety team would help policy-abiding users better understand how their images, which are otherwise legal and taken within the means of the law, could impact their status on the social media platform.

For more information see the Twitter Safety account and the Twitter Blog.

Twitter statement:

Expanding our private information policy to include media

By Twitter Safety

As part of our ongoing efforts to build tools with privacy and security at the core, we’re updating our existing private information policy and expanding its scope to include “private media.” Under our existing policy, publishing other people's private information, such as phone numbers, addresses, and IDs, is already not allowed on Twitter. This includes threatening to expose private information or incentivizing others to do so.

There are growing concerns about the misuse of media and information that is not available elsewhere online as a tool to harass, intimidate, and reveal the identities of individuals. Sharing personal media, such as images or videos, can potentially violate a person’s privacy, and may lead to emotional or physical harm. The misuse of private media can affect everyone, but can have a disproportionate effect on women, activists, dissidents, and members of minority communities. When we receive a report that a Tweet contains unauthorized private media, we will now take action in line with our range of enforcement options.

While our existing policies and Twitter Rules cover explicit instances of abusive behavior, this update will allow us to take action on media that is shared without any explicit abusive content, provided it’s posted without the consent of the person depicted. This is a part of our ongoing work to align our safety policies with human rights standards, and it will be enforced globally starting today.

What is in violation of this policy?

Under our private information policy, you can’t share the following types of private information or media, without the permission of the person who it belongs to:

  • home address or physical location information, including street addresses, GPS coordinates or other identifying information related to locations that are considered private;
  • identity documents, including government-issued IDs and social security or other national identity numbers – note: we may make limited exceptions in regions where this information is not considered to be private;
  • contact information, including non-public personal phone numbers or email addresses;
  • financial account information, including bank account and credit card details; and
  • other private information, including biometric data or medical records.
  • NEW: media of private individuals without the permission of the person(s) depicted.

The following behaviors are also not permitted:

  • threatening to publicly expose someone’s private information;
  • sharing information that would enable individuals to hack or gain access to someone’s private information without their consent,e.g., sharing sign-in credentials for online banking services;
  • asking for or offering a bounty or financial reward in exchange for posting someone’s private information;
  • asking for a bounty or financial reward in exchange for not posting someone’s private information, sometimes referred to as blackmail.

When private information or media has been shared on Twitter, we need a first-person report or a report from an authorized representative in order to make the determination that the image or video has been shared without their permission. Learn more about reporting on Twitter.

Sharing private media

When we are notified by individuals depicted, or by an authorized representative, that they did not consent to having their private image or video shared, we will remove it. This policy is not applicable to media featuring public figures or individuals when media and accompanying Tweet text are shared in the public interest or add value to public discourse.

However, if the purpose of the dissemination of private images of public figures or individuals who are part of public conversations is to harass, intimidate, or use fear to silence them, we may remove the content in line with our policy against abusive behavior.. Similarly, private nude images of public individuals will continue to be actioned under our non-consensual nudity policy.

We recognize that there are instances where account holders may share images or videos of private individuals in an effort to help someone involved in a crisis situation, such as in the aftermath of a violent event, or as part of a newsworthy event due to public interest value, and this might outweigh the safety risks to a person.

We will always try to assess the context in which the content is shared and, in such cases, we may allow the images or videos to remain on the service. For instance, we would take into consideration whether the image is publicly available and/or is being covered by mainstream/traditional media (newspapers, TV channels, online news sites), or if a particular image and the accompanying tweet text adds value to the public discourse, is being shared in public interest, or is relevant to the community.

Feeling safe on Twitter is different for everyone, and our teams are constantly working to understand and address these needs. We know our work will never be done, and we will continue to invest in making our product and policies more robust and transparent to continue to earn the trust of the people using our service.

✇ News: Digital Photography Review (dpreview.com)

Canon says it could take half a year for your EOS R3 order to ship

The ongoing chip shortage and general supply chain constraints has impacted nearly every camera and lens manufacturer. Just last week, Sony announced it would no longer take orders for some of its older mirrorless cameras. Now, Canon has published a notice informing consumers that orders for its flagship EOS R3 mirrorless camera could take up to six months to ship.

In the announcement, shared on Canon’s website under the headline ‘Apology and guidance regarding the supply status of products,’ Canon says it could take ‘a lot of time’ for its new EOS R3 and RF 14–35mm F4 L IS USM to ship out to consumers. Canon says ‘the products are scheduled to be shipped one-by-one,’ but it’s not going to happen at a rapid pace.

According to Canon, ‘it may take more than half a year to deliver when you place a new order’ for its EOS R3 camera and RF 14–35mm F4 L IS USM lens. Other lenses and accessories are also being impacted. Specifically, Canon says the RF 16mm F2.8 STM, RF 100–400mm F5.6–8 IS USM and RF 400mm F2.8 L IS USM will ‘take longer than usual to ship.’

It shouldn’t necessarily come as a surprise considering the current state of the market. But it’s worth keeping in mind that you might want to plan accordingly if you’re anticipating needing Canon’s EOS R3 camera in hand anytime soon.

✇ News: Digital Photography Review (dpreview.com)

Film Friday: The film photography community has a math problem

If you’re at all in tune with the film photography world, you know film stocks from various manufacturers are either being discontinued or rapidly getting more expensive. The latest example of this came last month when Kodak announced it was increasing the price of its various film stocks by between 9–15%.

As is often the case with sudden price changes, Kodak immediately faced criticism from members of the film photography community, many of whom suggests Kodak isn’t supporting film photographers as much as they believe it should be. In response to this criticism, two respected entities in the film photography world, Silver Grain Classics and Nico from Nico’s Photography Show, attempted to contextualize these price increases in an effort to calm down the community.

Photo by Matthew Wright

While their respective efforts appear to have been taken well by the film photography community, Matthew Wright, writing on 35mmc, has a slightly different take on the price increases of film.

In his essay, titled ‘The Film Community has a Math Problem. Not a Film Price or Kodak Problem,’ Wright breaks down a number of ways film photography is being impacted beyond simple price increases to account for inflation, supply chain constraints and more.

It’s a well-written piece that looks more into the economics and history of the film photography community than more the more topical rationale we’re used to hearing. You can read his entire writeup, which comes in at just over 3,000 words, below:

The Film Community has a Math Problem. Not a Film Price or Kodak Problem (35mmc)


About Film Fridays: We've launched an analog forum and in a continuing effort to promote the fun of the medium, we'll be sharing film-related content on Fridays, including articles from our friends at 35mmc and KosmoFoto.

✇ Photo Rumors

New Rockstar 35mm pancake and 85mm f/1.8 full-frame lenses for Sony E-mount

Par : PR admin



Rockstar is currently developing a new 85mm f/1.8 pancake full-frame lens for Sony E-mount (via SonyAddict).

Update: Rockstar will actually  release two different lenses: a 35mm pancake and a 85mm f/1.8 autofocus lens for Sony FE

Rockstar is also rumored to announce a new lens for Leica M-mount:

Rockstar to announce a new lens for Leica M-mount

Rockstar lenses are sold on eBay.

The post New Rockstar 35mm pancake and 85mm f/1.8 full-frame lenses for Sony E-mount appeared first on Photo Rumors.

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