Sidste nyt

Paris Musées launches online portal with thousands of historic photographs

Sidste nyt fra dpreview - 21 jan 2020 - 21:21
Eugène Atget (Jean Eugène Auguste Atget, dit) (Libourne, 12–02–1857 - Paris, 04–08–1927), photographer

Paris Musées, the public institution that manages all of the museums in Paris, has launched a new Collections portal that offers the public access to more than 100,000 high-resolution digital reproductions of classic artwork and photography. All of the content offered in the Collections portal is available under a CC0 license.

In addition to high-resolution images of artwork from such notable names as Rembrandt, the online collection also includes a portal with more than 62,000 high-res photo scans showcasing some of the nation's earliest photography from photographers that include Pierre Emounts ou Emonds, Eugene Atget, Ernest Charles Appert, Hippolyte Blancard and Roger Henrard.

Maison de Balzac, 16th arrondissement, Paris. Eugène Atget (Jean Eugène Auguste Atget, dit) (Libourne, 12–02–1857 - Paris, 04–08–1927), photographer

Because the photos are all under a CC0 license, anyone can download high-resolution copies of the images alongside documents with full details on the photos, including when and where they were taken, which museum they're located at and the materials and techniques used to produce each print. The institution will also make copyrighted images from its museums available as low-resolution previews.

In its announcement of the new online collection, Paris Musées explains that it receives a large number of requests from students and others who want to view and/or use some of the images from its museum collections. This portal now makes it possible for anyone to quickly locate and download the content.

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BTS: A look at the incredible planning, camera work and editing that went into the WWI film '1917'

Sidste nyt fra dpreview - 21 jan 2020 - 20:16

Movies Insider has released a ten-minute behind-the-scenes look at the Golden Globe-winning film ‘1917,’ showing the incredible amount of thought, planning, camera work and editing that went into the World War I film that’s made to look as though it was captured in one, continuous shot.

The behind-the-scenes video shows how meticulously Cinematographer Roger Deakins (The Shawshank Redemption, Fargo, A Beautiful Mind, Skyfall and Sicario) and director Sam Mendes (American Beauty, Skyfall, Spectre) worked together to plan each and every shot, down to the second. From creating miniature dioramas to plan out the paths of the actors, cameras and lights to the vast array of gimbal and camera setups used, the video covers it all with great snippets of pre-production footage and interviews with the film’s creators.

Do yourself a favor and set some time aside to see the cinema magic that went into this Oscar-contender film.

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Edelkrone launches JibONE motion control with mobile app and motorized head support

Sidste nyt fra dpreview - 21 jan 2020 - 19:38

Edelkrone has launched a new app-controlled jib called JibONE that can be used with the HeadONE and HeadPLUS motorized heads for capturing a variety of shots. The jib supports 50cm (19.6in) of horizontal, vertical and diagonal motion in any direction, including looping motion. Despite its capabilities, Edelkrone says the model is compact enough to store in a backpack.

The JibONE is made from CNC machined aluminum and stainless steel; it measures 61 x 17 x 15cm (24 x 6.7 x 5.9in) when folded and weighs 5.5kg (12lbs) when used with the 1kg (2.2lbs) counterweight. Edelkrone recommends that users keep their setup load to less than 5kg (11lbs). The company says that all DSLR models are compatible with the JibONE.

HeadONE and HeadPLUS motorized heads used with the JibONE.

Operators have two different battery options to choose from for powering the JibONE: LP-E6 and NP-F batteries. Battery life varies based on which are used, but when the JibONE is powered with two Canon LP-E6 14.4Wh batteries (for a total of 28.8Wh), users can expect two hours of continuous operation at full speed or up to 12,000 still images when used in time-lapse mode.

Connectivity comes in the form of Bluetooth LE which enables users to control the jib using an iPhone running iOS 11 or newer or an Android handset running version 5.0 or later. The mobile app offers a simplified interface for recording poses, setting up motion loops, adjusting speed and more. Users can also program camera motions with the jib by manually adjusting the device.

The JibONE is available from Edelkrone now for $1000.

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Plugable launches 512GB version of its Thunderbolt 3 NVMe drive with read speeds up to 2,400MB/s

Sidste nyt fra dpreview - 21 jan 2020 - 16:51

Back in November 2019, accessory manufacturer Plugable launched its 1TB and 2TB Thunderbolt 3 NVMe drives. Now, roughly three months later, Plugable has announced it’s now offering the same drive in a 512GB capacity for those who don’t need as much space or prefer to keep their content spread across multiple smaller drives.

Like its larger counterparts, the 512GB Thunderbolt 3 NVMe drive is powered entirely through its integrated Thunderbolt 3 cable and features sequential read speeds up to 2,400MB/s and write speeds up to 1,800MB/s. The drive works at full-speed with any Thunderbolt 3-compatible macOS or Windows computer and is backward compatible at USB-C speeds on computers without Thunderbolt 3.

The drive is constructed of aluminum and weighs just 173g (6.1oz).The 512GB Plugable Thunderbolt 3 NVMe drive will retail for $200, but is currently available for a launch-special price of $180 (when you clip the coupon code).

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Canon RF 85mm F1.2L USM review

Sidste nyt fra dpreview - 21 jan 2020 - 15:00
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Since the launch of the EOS R line in 2018, Canon has mostly concentrated its attentions on high-end RF lenses. And the lens we're looking at here is likely to be one of the most coveted RF-mount optics, partly because of its classic portrait-friendly focal length and super-wide aperture, but also because Canon bills it as having the finest optical performance of any autofocus-enabled 85mm lens the company has ever released. Quite a claim.

Naturally, all of this goes some way to explain why the RF 85mm F1.2L USM is among the costliest lenses in the RF lineup. It’s considerably pricier than the EF 85mm f1.2 L II USM, which can also be used with EOS R-series bodies via an adapter, and if you’re happy to slum it with an F1.4 option then you’ll find many more cost-effective options from other manufacturers to choose from. Nevertheless, the RF 85mm should prove a tempting option for early EOS R-series adopters with an appetite for fast glass and pockets deep enough to satisfy it.

Key specifications:
  • Focal length: 85mm
  • Aperture range: F1.2-16 (In 1/3 EV stops)
  • Filter thread: 82mm
  • Close focus: 0.85m (2.79 ft.)
  • Maximum magnification: 0.12x
  • Diaphragm blades: 9 (rounded diaphragm)
  • Hood: ET-89 round-shaped hood (supplied)
  • Length / Diameter: approx. 103.2 x 117.3 (4.06 in. x 4.62in)
  • Weight: approx. 1,195g (approx. 2.63lbs)
  • Optical construction: 13 elements in nine groups

Aimed primarily at portrait, fashion, wedding and event photographers, the RF 85mm F1.2L USM brings together a handful of RF-specific technologies with those seen previously in the EF line.

Despite its size and weight, the lens has been designed with just 13 elements in nine groups, although some of these are necessarily quite large. They include a single ground aspherical element to keep spherical aberration and corner softness from being a problem, and an Ultra Low Dispersion element positioned just ahead of it to help combat chromatic aberration.

Canon's Blue Spectrum Refractive (BR) element greatly refracts shorter wavelengths, ensuring blue wavelengths focus at the same plane as longer wavelengths like red and green. This increases sharpness and reduces longitudinal spherical aberration, commonly seen as color fringing.

Longitudinal chromatic aberration (LoCA), typically seen as purple and green fringing in front of and behind the focal plane, respectively, is further controlled through the use of a Blue Spectrum Refractive (BR) element, something we first saw three years ago inside the EF 35mm F1.4L II USM. Its purpose is to refract blue light – or rather, short wavelengths that correspond with what we see as blue – to a greater degree than conventional optics would manage. By doing so, it’s better able to focus all wavelengths to the same point, which in turn helps to quash longitudinal chromatic aberration and increase sharpness at the focal plane. Quite how well it can do so is something we’ll be digging into later on in this review.

Helping to keep flare and ghosting down are Canon’s conventional multi-coatings, while a single application of the more advanced Air Sphere Coating (ASC) deals with ill effects from light passing either parallel or near parallel to the optical axis. Nine diaphragm blades, meanwhile, promise to keep the diaphragm round for nicer out-of-focus highlights.

The lens accepts 82mm filters at its front and can focus as close as 85cm (2.8 ft) away from the subject, which is a 10cm reduction on the previous EF 85mm f1.2 L II USM. Helping to make its price tag a little easier to swallow, Canon has thrown a deep round lens hood into the box, as well as a pouch to keep it all protected when not in use.

What about the Canon RF 85mm F1.2L USM DS?

The lens on test is joined by a slightly more costly (+$300) 'DS' variant, and while the it adheres to the same basic formula and optical design as the non-DS version, the ‘DS’ suffix denotes the presence of Defocus Smoothing technology. This is a new coating on two of its elements that’s said to help smooth out the edges of out-of-focus areas, which the company claims is more necessary here given the more severe correction for chromatic aberration. The effect is similar to some specialized lenses from Fujifilm and Sony that contain comparable apodization elements.

While potentially very useful to dedicated portrait photographers, the fact that the DS technology comes at the cost of up to 1.5EV stops of light transmission, and also produces images with slightly deeper depth of field than the non-DS version explains why Canon has decided to give the photographer the choice of both options.

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Following initial reports, Fujifilm confirms 'small percentage' of X-Pro3 units have an EVF defect

Sidste nyt fra dpreview - 20 jan 2020 - 20:16
DPReview reader and Fujifilm X-Pro 3 owner Etienne Waldron shared the above photo in an attempt to demonstrate the brightness issue with the EVF display inside his unit.

Following concerns shared in the DPReview forums and on Fuji X Forums, Fujifilm has confirmed to DPReview that a 'very small percentage' of its X-Pro3 cameras are experiencing an issue that impacts the electronic viewfinder. As reported by impacted camera owners, including DPReview reader Etienne Waldron, who kindly shared the photos in this article with us, this issue causes the display in the EVF to appear substantially overexposed, though the problem doesn't impact the model's LCD.

The brightness issue doesn't just affect the image either—reports note it's apparent throughout the menu as well.

The exact cause of this issue is unclear at this time, and Fujifilm's below statement doesn't divulge what exactly is going on, but it appears to be a hardware defect rather than a software problem. Fuji is merely advising impacted customers to get in contact with its customer service for help, with a Fujifilm spokesperson telling DPReview the following in a statement via email:

'Our customers are always our number one priority. We take feedback to heart and always strive to provide the highest possible quality in our products. We are aware of the phenomenon affecting the viewfinder in a very small percentage of X-Pro3 units. We advise our customers to contact Fujifilm customer service directly to solve any questions or concerns they may have about the camera.'

Note the difference between the flip-down LCD and the EVF.

This issue is particularly frustrating for users in light of the camera's EVF-centric design. The model features a hidden flip-down LCD that limits the ways in which the camera can be used in the absence of the viewfinder. Because the defect is causing a very overexposed image, the EVF is essentially unusable for impacted camera owners. Unfortunately, replacing the faulty camera is the only known solution to the problem at this time.

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Venus Optics adds Canon M, Fuji X and Sony E mount options to its 4mm F2.8 circular fisheye lens

Sidste nyt fra dpreview - 20 jan 2020 - 19:56

In addition to DPReview receiving confirmation that Venus Optics is working on a new ultra-fast F0.95 ‘Argus’ lens lineup, Venus Optics has also announced it’s adding new mount options for its 4mm F2.8 circular fisheye lens.

Now, in addition to Micro Four Thirds (MFT) cameras, the 4mm F2.8 circular fisheye lens will be available for Canon M-, Fuji X- and Sony E-mount camera systems. The updated models will feature the same optical design constructed of seven elements in six groups. The lens features a 210-degree angle of view, 8cm (3.14in) minimum focusing distance, seven-blade aperture diaphragm and weighs just 135g (4.7oz).

Below is a gallery of sample images, provided by Venus Optics:

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The new Canon M-, Fuji X- and Sony E-mount versions of the 4mm F2.8 circular fisheye lens are currently available on Venus Optics’ website for $200.

Venus Optics adds Fuji X, Sony E & Canon M options to the Laowa 4mm f/2.8 Circular Fisheye Lens

Anhui China, Aug 7, 2019 – Venus Optics, the camera lenses manufacturer specializes in making unique camera lenses, add new Fuji X, Sony E and Canon M variants to the Laowa 4mm f/2.8 Circular Fisheye Lens.

Laowa 4mm f/2.8 Fisheye lens is an 8mm equivalent fisheye prime specially designed for mirrorless cameras with APS-C and MFT sensors. On the contrary to the Laowa ‘Zero-D’ wide angle lenses, the new 4mm fisheye lens is designed to create an extremely distorted circular fisheye perspective.

210° angle of view The lens features an ultra-wide 210° angle of view. Photographers can take advantage of the dramatic field of view to capture more than what your eyes can see. A full 360-degree panorama can also be done using just 2 images as opposed to shooting 6 or more images with conventional fisheye lenses. This lens is also particularly good for VR photography, shooting virtual tour, skateboard shooting and spherical panorama.

Fast f/2.8 aperture The ultra-fast f/2.8 aperture makes it an ideal option for astro-photography and shooting in lowlight condition.

Focus as close as 3.14” (8cm) from sensor Photographers can take advantage of the super close focusing distance to capture some heavily distorted & impactful shots.

Drones friendly The MFT version of the lens can be mounted on DJI Inspire X5 drones to create some epic ‘God’s vision’ shots.

Outstanding sharpness Houses with 7 elements in 6 groups, the new 4mm has an outstanding sharpness throughout the frame. Along with the 210o ultra-wide angle, photographers can either ‘de-fish’ the image in post-processing or crop to transform the image into a rectilinear image.

Super Tiny & Lightweight The lens is extremely tiny and lightweight. Measuring only 1.77” (45mm) long and weighing 4.7 oz (135g), the lens is so small that can be put into pocket for shooting anywhere, anytime.

Huge Depth of Field The depth of field of this lens is so deep that no focusing operation is required. Simply park the focus ring at infinity focus and stop down the lens to around f/5.6, everything will be in focus.

Pricing & Availability The lens is currently available to order from authorized resellers and in Venus Optics official website ( It is ready to ship now. The ex-VAT retail price in US is USD 199/pc. Pricing may vary in different countries.

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The Fragment 8 is a retro-inspired video camera that records to GIFs instead of film

Sidste nyt fra dpreview - 20 jan 2020 - 19:13

Super 8 cameras were the consumer's tool of choice for recording images before VHS and other video systems became affordable. The Fragment 8 from Loft Factory is a digital camera that aims to replicate the look, feel and image quality of 1960s and 70s Super 8 cameras using modern technologies.

It can record in either MP4 or GIF formats at 720p resolution on a 1/3 CCD sensor and is targeted of users of Instagram, TikTok and other social media platforms that can process short video clips and animated GIFs. It produces the characteristic Super 8 shutter sound and the frame rate can be set to either 9 or 24 fps for authentic results. An optional filter attachment lets you use three effect filters: Kaleidoscope Six, Star Filter and Radial Filter.

Operation is deliberately kept simple, with a fixed-focus lens, no manual controls and a built-in viewfinder. The camera features a tripod mount on the bottom of the handle and weighs just 250g (8.8oz), which should make it fairly portable.

The team behind the Fragment 8 is currently looking to raise funds for large scale production on Kickstarter and pledge options are plentiful. You can pledge as little as $78 for the Fragment 8 camera and one basic lens, or up to $128 which includes the camera body with genuine leather trimming, the basic lens, one rotating lens plate and three filter lenses. Shipping is estimated for May 2020.

More information is available on Kickstarter or on the Lofty Factory website.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

New Kickstarter Project Revives the Super 8 Retro Camera with GIF Format

“Fragment 8,” the World’s First Camera to Directly Shoot GIF’s is a Perfect Replica of a Super 8 Camera, Including Shutter Sound, 2-Minute Time Limit and Vintage Image Look

Introduced in 1965, Super 8 cameras launched a home movie revolution by giving regular people the ability to instantly capture a moment of their lives using a small, affordable hand-held film camera. The nostalgic feel of Super 8 movies is instantly recognizable in their characteristic faded color tone, graininess, slightly jerky motion and the short lengths (typically 3 minutes max per Super 8 film cartridge) which made them feel so spontaneous. A new Kickstarter project called the “Fragment 8 Retro Camera” has launched for a new camera that not only duplicates the visual look of Super 8 movies – in MP4 or GIF output so they can be shared online in seconds - but faithfully recreates the actual act of using a Super 8 camera itself, complete with clacking shutter sound.

Produced in Hong Kong by the Lofty Factory, Ltd., the “Fragment 8” camera uses modern digital technology to faithfully recreate the authentic look of Super 8 home movies, but with the convenience of USB output in either MP4 or GIF formats at 720p resolution. The Fragment 8 can shoot in either 9 frames per second or 24 and options include three different add-on lenses - Kaleidoscope Six, Star Filter and Radial Filter - for specialized effects - as well as a standard 17mm lens mount. The camera is faithfully made with a simple built-in viewfinder and focus-free operation. The artfully crafted curves are accented with optional genuine leather and there’s a standard tripod mount on the bottom. The camera weighs only 250 grams - easy to carry anywhere, all day.

Kickstarter pledges begin at HK $600 (USD $78) for the “Dare to Try” level which will be rewarded with one of the first 100 pieces of production in the “Classic Package” which includes the Fragment 8 camera, one basic lens and beautiful gift packaging. Kickstarter Early Bird pledges are HK $700 (USD $90) for the Classic Package (USD $128 retail value). The third Kickstarter level is at HK $980 (USD $128) for the “Combo Pack” which includes the Fragment 8 body with genuine leather, the basic lens, one rotating lens plate and three different filter lenses (Kaleidoscope Six, Star Filter and Radial Filter) and beautiful gift packaging (USD $198 retail price).

Reward delivery is estimated for May 2020.

The Fragment 8 camera was developed by Hong Kong software artist Manhin, who completed the ID & MD design and software development, in cooperation with the graphic and film director Chun Yin.

There’s nothing quite as uniquely beautiful as a Super 8 movie,” said Fragment 8 camera co- creator Manhin. “And the short Super 8 format makes perfect sense with today’s popularity of GIF loops and TikTok videos. Inspired by natural aesthetics, your story can be shared with friends at a new level with romantic and retro effects. You don’t have to fiddle around with

aperture, IOS, or white balance. All you need do is experience the gorgeous vintage feel in your own videos.”

“The Fragment 8 Retro Camera embodies the bright and soft appearance of the mid-century classic analog film. With natural tones, subtle color changes and slight discoloration, it makes a video of even the most mundane subject look artistic, nostalgic and well- composed,” said Fragment 8 co-creator Chun Yin.


  • 1/3 inch CCD sensor
  • 720p HD resolution
  • Built-in viewfinder
  • 9 or 24 frames per second
  • MP4(H.264) or GIF output
  • F/2.5 with a 4-Element Lens
  • 17mm mount compatible
  • Electronic shutter
  • Focus-free
  • Li-ion battery pack
  • Aluminium, metallic printed ABS and Leather
  • 110 W x 90 H x 40 D mm (body)
  • 250g (body)

For complete information, sample videos, tech specs and to pledge, visit the Fragment 8 Kickstarter page at - fragment-8-retro-camera

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Confirmed: Venus Optics working on new line of ultra-fast ‘Argus’ F0.95 lenses

Sidste nyt fra dpreview - 20 jan 2020 - 16:54

Update (11:30 EST, January 20): Venus Optics has confirmed to DPReview that it's working on not just one, but multiple F0.95 lenses. A Venus Optics spokesperson says Venus Optics does 'not have further information about these lenses' at this time and concluded their statement saying 'As usual, we are just trying to create something unique, good quality and affordable for photographers.' The headline of this article has been changed to reflect this confirmation.

According to a report from FujiAddict, Venus Optics, manufacturer of the Laowa lens brand, is working on a new ultra-fast F0.95 lens for DSLR and mirrorless full-frame and APS-C camera systems.

FujiAddict’s report, which says the lens will be denoted by the ‘Argus’ moniker, is substantiated by an image posted to Chinese social media platform Weibo that claims to show a frame from a presentation that simply shows the words ‘Laowa F0.95.’ At this time, no information is given regarding the focal length or specific mounts this purported lens will be available for. However, FujiAddict claims ‘Many are speculating it will be wide and my contact says they expect it to be between 20–35mm.’

As noted in the report, Venus Optics isn’t the first third-party lens manufacturer to create an ultra-fast prime lens. In addition to the legendary Leica Noctilux F0.95 lens, SLR Magic has a slew of ‘HyperPrime’ lenses for both still and cinema photography.

We have contacted Venus Optics in an effort to confirm this report. This article will be updated accordingly if we hear back.

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Voigtlander brings its Nokton 21mm F1.4 lens to Leica M-mount camera systems

Sidste nyt fra dpreview - 20 jan 2020 - 16:25

Voigtlander has announced the release of its new Nokton 21mm F1.4 Aspherical VM lens for Leica M-mount camera systems.

The lens, which uses an identical design (mount aside) from its Sony E-mount counterpart, is constructed of 13 elements in 11 groups, has an aperture range of F1.4 through F16 and uses a 12-blade aperture diaphragm. It has a 62mm front filter thread, a minimum focusing distance of 50cm (20in) and features a rangefinder interlocking mechanism that Voigtlander says ‘enables severe focusing near the open aperture.’

The 21mm F1.4 features a Bayonet-type VM mount that can be used with Vessa and M-mount cameras (not including the Bessa L and R).

The Voigtlander 21mm F1.4 Aspherical VM lens has a suggested retail price of ¥150,000 in Japan, which currently puts it at around $1,350, despite there being no official U.S. pricing at this time. The Sony E-mount version of this lens is currently listed for $1,100 on B&H.

We have contacted Voigtlander to confirm the pricing and availability in other regions. We will update this article accordingly when we hear back.

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This free, AI-powered Lightroom plug-in will automatically tag your photos with keywords

Sidste nyt fra dpreview - 20 jan 2020 - 16:06

Powered by artificial intelligence, Imagga's Wordroom is a plug-in for Adobe Lightroom that 'sees' images and recommends a list of up to 30 keywords based on attributes including objects, colors, shapes, emotions, timeframes, and events. With one click, keywords can be added to an image's metadata so that it's easily searchable. It was created for professional and hobbyist photographers who don't want to spend long hours assigning individual keywords to hundreds of thousands of images.

Wordroom relies on machine learning algorithms that get smarter as more people use them. This means the more images it sees, the better it gets at accurately identifying keywords. Users can remove any keyword that doesn't make sense for a specific image and manually add in as many as they wish. Once the 'Add to keyword tags’ button is clicked, both automatic and manually entries will be displayed in Lightroom’s Keyword tags panel. Each photo with keywords will have a tag on its thumbnail.

To install Wordroom, select 'Plugin Manager' from Lightroom's dropdown menu 'File.' Add the plug-in file stored on your computer, enable it, and click 'Done.' Next, select the dropdown menu 'Library' and click on 'Plug-in Extras' > 'Auto-keyword.' It will automatically display suggested keywords for the currently selected photo. Photos are analyzed in the cloud as small thumbnails, so users will need to be connected to the Internet when using it, but Wordroom claims images are not permanently stored.

You can use the plug-in without registering for the first 100 photos. After that, you'll need to sign up for a free plan. Wordroom will remain free to use if you auto-tag 2,000 or fewer images per month. Any more than that will require a higher-tier plan that allows for up to 12,000 images per month at $14. To get started, all Imagga asks for is an email address so it can send you a download link.

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'It should cost...' The three main ways you're wrong about camera prices

Sidste nyt fra dpreview - 20 jan 2020 - 15:00

Every time a camera is launched, our comment section is flooded with comments saying 'it's too expensive,' irrespective of what the price is set at. Are all the camera makers utterly out-of-touch with reality, or is there something else going on?

I'm going to explain the three main misunderstandings that I see prompting these comments. I'm not advocating for higher prices, nor trying to suggest that manufacturers never get it wrong, but just trying to highlight why cameras are priced the way they are.

A new model is always going to cost more than the outgoing one

Prices decline with time. No matter what your pricing strategy, an older product (particularly in a fairly fast-moving marking like electronics) cannot demand as high a price at the end of their lifecycle as they can at the beginning.

This may sound obvious, but the consequence is that a new model will always look expensive compared with the model it replaces.

The D780 was launched at the same price as the D750, so is cheaper in real terms. But heavy discounting of the D750 makes the new camera look very pricey.

This is the error we most often see: 'How can they charge $2200, when I can buy the old model for $1400?'

To which the response is: 'How can they not?' If you offer your new model at the price of the outgoing one, then what does its price look like, at end-of-life? Do you then have to match that price with the next generation model? That approach would end up with you giving cameras away within a couple of product generations, which isn't exactly a winning strategy in an already contracting industry.

Prices decline with time, so new cameras tend to be released at around the same cost that the old one was launched at. The alternative (launching to match the current market prices) is a pell-mell race to the bottom.

So cameras tend to be released at around the same prices that the preceding model was launched at. After all, camera makers are companies: they exist to make as much profit as they can. Their job is to maximize the amount of money they generate from each product.

The main exception to matching the previous model's launch price is if the new model has been stripped-down to hit a lower price point or re-positioned to attract a different audience.

Case study: The stripped-down mass-market special

Sony's a6000 was launched for $799 with a kit zoom: around $200 lower than the existing NEX-6 model. It gained a couple of additional features and updates but also saw a drop in viewfinder resolution and had less substantial feeling construction: distinct hints that it wasn't a like-for-like replacement model.

Sony's insistence on assigning similar names to all its models doesn't help, but the pricing alone makes it easier to recognize the a6300 as more of an NEX-6 replacement than an a6000 update. Sure enough, both the a6000 and a6300 continued alongside one another for the next few years: one targeting the 'price conscious' consumer, the other offering better build, an NEX-6 level viewfinder and 4K video, for people who were comfortable to spend a bit more.

Manufacturers will occasional try to re-position a particular model, making it cheaper or more expensive, perhaps trying to make room for a new model.

Case study: two models in the place of one

Panasonic's GX8 had a significantly higher spec and was launched for $200 more than the preceding GX7. This created the space for a less expensive GX85 to sit underneath. Looking at the launch prices suggests that Panasonic thought there were two different types of customer buying the GX7: some that wanted a small, mid-priced model and some who wanted something more ambitious, and were willing to pay for it.

However, the next model refresh saw the GX9 launched back at the same price as the GX7 (and called the GX7 III in some markets). 'This isn't a GX8 replacement at all' complained some would-be buyers. The pricing indicated that they were probably partly right.

The lesson in all of this is that you can better interpret a manufacturer's intentions by comparing the price of a new model to the launch price of the outgoing model, not its depressed end-of-life price.

Case study: getting the price wrong

Manufacturers don't always get their pricing right, of course. Nikon entered the prime-lens APS-C compact market in 2013 with the Coolpix A, an attractive camera with a 28mm equivalent F2.8 lens. Perhaps emboldened by Fujifilm's success selling its X100 models for $1299, Nikon priced its camera at $1099.

Around a month later, Ricoh launched an APS-C version of its much-loved GR, also with a 28mm equiv F2.8 lens, for $799. The Coolpix A was a pretty good camera (though we preferred the GR), but without the retro appeal, hybrid viewfinder and burgeoning reputation of the Fujifilm, or the establish fan-base of the GR, that $1099 price tag looked awkward.

Without access to sales data, we can't know for certain how many units were sold at full price but by the second half of 2014, the price had collapsed to just $580. A lot of people got a bargain at that discounted price, but it's noticeable that Nikon hasn't shown any further interest in that niche.

Of course, sometimes manufacturers will keep old models on the market at a newly lowered price (the Sony a7 II and a7R II, for instance). This makes life a little more complex but should really just focus your attention on what really matters: 'does the new model offer enough compelling improvements to overlook the older model?'

Your country probably isn't being ripped-off, even if the US launch price seems cheaper The RX100 VI was launched for $1298 in the US and the equivalent of $1450 in Europe. But that's not the whole story.

The other complaint we regularly see is that the launch price in country 'X' is higher than a direct conversion of the US dollar price. There are two main reasons for this.

The first is that US prices tend to be quoted without sales tax, whereas most other countries tend to include sales tax/VAT/GST in consumer-facing communications. As a results, US prices tend to look less expensive simply because the price quoted isn't the price most people are legally expected to pay. Your local tax level may be more expensive, but that's more likely to do with your country's history, style of government and degree of healthcare provision and social support: none of which can be blamed on camera makers.

The second factor is that price competition varies greatly between countries. US prices tend to stay at or near the Manufacturer's Recommended Sales Price until the manufacturer chooses to adjust it. Countries with more competition between retailers tend to see prices quickly fall away from the initial asking price: early adopters end up paying full price, but anyone buying a few months (or sometimes weeks) later, will get a much better deal.

Case study: why are cameras more expensive in Europe?

Sony's RX100 VI had an initial MSRP of $1298 in the US and €1299 in Europe. This looks bad: €1299 was worth $1450 in July 2019. Outrageous, right?

But, if I went to buy one today, I'd end up paying $1429 after tax in the US ($1298 plus my 10.1% local sales tax rate). If I lived in Germany and bought the same model from a large internet retailer, I'd have to pay €1180, including VAT, which is equivalent to $1315.

So, although the launch price in your country may look outrageous, compared with the US price, that doesn't mean you'll get ripped-off. The last two times I've looked at buying cameras in the US and UK, I found the year-old model I was shopping for to be less expensive in the UK, even with higher local taxes. I'll concede that this was before the pound plummeted following the Brexit vote: but again, that's not really the fault of camera makers.

Some things are supposed to look expensive

Marketers have all manner of theories about how to price their goods, and different strategies for maximizing the amount of profit they can make from a specific product. Very few of these have much to do with the costs involved in developing, manufacturing, distributing and supporting that product. Most strategies set the price high enough to make this money back, but there are exceptions even to that.

So there's little point looking at a product and saying 'they've removed 'x,' so it should be cheaper,' or expecting the price to relate in any way to your estimation of the costs involved.

For instance, a premium pricing strategy holds that it's sometimes beneficial to price your goods so highly that you end up selling fewer than you could, but at greater profit: the high price and resulting scarcity in itself contributes to the perceived value of the product.

A premium pricing strategy holds that the high price in itself contributes to the perceived value of the product

'That's silly,' you might think: 'that wouldn't work on me.' But it does. Like it or not, you respond to pricing. Read through the comment section of the launch of any Leica product: you'll see an audience dramatically polarized between 'it's not worth that' and 'if you could afford it, you'd understand.' The same goes for luxury items, whether they be Range Rovers or Rolex watches: if they weren't expensive, they wouldn't have the same cachet.

This discussion is almost entirely divorced from whether the products themselves are any good (to the degree that any assessment can be entirely rational and dispassionate), it's primarily a reflection of differing personal responses to the price.

Perceived value is entirely personal and both responses are equally right and wrong: a premium product isn't worth its exaggerated price to the person who doesn't care about prestige, scarcity, brand history and reputation or the degree to which something is hand-built, but it is worth it for someone to whom those factors contribute to the item feeling special, or more meaningful.

Is it worth it?

Which ultimately brings us to the question that's really at stake: not 'is it too expensive?' but 'does it appear to represent good value to me?'

Again, manufacturers are for-profit companies. They aren't aiming to offer the product you want at a price you want to pay: they're trying to price it at the maximum amount you're willing to pay.

In other words: it's always going to be a bit more expensive than you'd like.

Kategorier: Sidste nyt

The Canadian Internet Registration Authority has created a free and funny stock photo library

Sidste nyt fra dpreview - 19 jan 2020 - 19:45
A lumberjack checking out a hockey player is a Canadian take on the 'distracted boyfriend' meme. Photo courtesy of CIRA/.CA.

The Canadian Internet Registration Authority (CIRA), the organization in charge of Canada's '.ca' top-level domain, has published a series of stock photos that poke fun at Canadien stereotypes. In a bid to get more people to add something 'uniquely Canadian' to their projects, they're offering up their library of stock images for free.

Photo courtesy of CIRA/.CA

Anyone can use small, medium, large or extra-large sized images from the library, though they ask for an email address to access the extra-large 4K files. All CIRA asks, in return, is that a credit along the lines of 'photo by CIRA/.CA,' along with a link back to their website, is included.

Photo courtesy of CIRA/.CA. Also, no, this is not long-lost relative of Jordan—so far as we're aware.

CIRA has their own version of the popular 'distracted boyfriend' meme, featuring a hockey player, and other distinct nods to Canadian culture including a moose interacting with backpackers and a lumberjack taking a swig of maple syrup. Anyone with the desire to add to this collection of images is encouraged to contact CIRA.

Kategorier: Sidste nyt

The Nikon D750 vs D780: Should you upgrade?

Sidste nyt fra dpreview - 19 jan 2020 - 15:00
The Nikon D750 vs D780: Should you upgrade?

The Nikon D750 was one of the best enthusiast-and-up DSLRs on the market at the time it was announced and is still a popular workhorse for many photographers today. Its 24MP sensor is still very competitive but its video specs in particular are looking very outdated.

If I were a D750 shooter today, 'should I upgrade?' would be a question on my mind. Our own Dan Bracaglia had some thoughts of his own on this, but let's take a slightly deeper dive into just what Nikon's updated, and whether those updates are worth it.


Probably the first thing most D750 owners will start to notice if they move across to the D780 is the improved autofocus. The D750 is certainly a capable camera in this regard but the D780 gains a couple of updates that should boost its performance.

In conventional DSLR mode, the D780 uses the same 51-point AF module as its predecessor but the AF system is informed by information from a 180,000 pixel metering sensor, rather than the 91,000 pixel sensor in the D750. This, combined with algorithms derived from those of the D5 professional sports camera, should significantly improve the D780's AF performance, particularly in terms of subject tracking.

Even more significant will be the autofocus improvements in live view mode, which we'll come to in a bit.

Newer sensor and JPEG engine

Although both cameras have sensors that come with 24MP, the unit in the D780 is a newer design, either identical or closely related to the one in Nikon's existing Z6 mirrorless camera. This means it has a BSI (backside-illuminated) design and, more significantly, dual-gain architecture. In essence, this allows the camera to have maximum dynamic range at base ISO with improved noise characteristics at higher ISO values where absolute DR isn't as crucial a consideration.

We would expect the D780 to produce better JPEGs compared to the D750

We'd expect the D780 to offer a slight upgrade over the D750 for Raw shooters, but one that's only really visible in comparison and that won't come close to justifying upgrading.

On the other hand, Nikon's JPEG engine has improved by leaps and bounds over the past five years. We'll have to do some more testing to be sure, but we'd expect the D780 to produce JPEGs with better sharpening, more pleasing color and more sophisticated noise reduction compared to those from the D750. And that also makes those JPEGs that much better for sharing over the updated Snapbridge wireless system that the D780 supports.

But that 24MP sensor isn't all about BSI and dual-gain architecture. It also comes with...

On-sensor phase detection

The D780 has on-sensor phase detection, which provides the kind of distance information needed to quickly drive DSLR lenses. It also gains the AF tracking system from the Z-series cameras, including Face and Eye detection modes. The Face and Eye detection will be a distinct improvement for portraits and people pictures, compared with the D750.

The D780's live view interface is directly borrowed from the Z-series cameras. This means it works slightly differently that the through-the-viewfinder system: AF tracking needs to be actively cancelled, and always resets to the central position, rather than a pre-selected one, and the Face / Eye detection modes feels like it's been glued on top of the interface rather than designed to be part of it.

But if you've only shot with a DSLR before, you're likely to be immediately impressed by how well the live view AF performs. Particularly for taking pictures of people, it can be fast, simple and dependable, in a way that even Nikon's 3D Tracking system isn't.


Along with live view autofocus, one of the clearest enhancements on the D780 is its video performance. This is immediately apparent from the fact it can shoot up to 4K/30p or 1080/120p, rather than the 1080/60p of the D750, but it runs a lot deeper than that.

For a start, the vastly improved AF and tracking of its live view mode extend to its video shooting, meaning the autofocus is faster, smoother and more reliable (the difference between being usable and unusable, basically). In addition, the D780 gains Nikon's latest approach to video settings, which lets you configure different settings, including different button customization, if you wish. You can have the video mode mimic your stills settings if you like, but you can also set it to use a different color mode, or white balance setting if you prefer, meaning it's easy to jump back and forth between stills and video shooting.

Overall, the D780 is a very capable video camera. It'll even output 10-bit Log footage to an external recorder, if you're taking things really seriously. Panasonic's S1 and S1H are some of the only full-frame cameras to offer significantly better video specs. That's a huge step forward from the D750.

What's similar?

Many of the rest of the D780's specs are broadly similar: it'll shoot at 7fps rather than the D750's 6.5fps, but that's unlikely to make much of a difference. Switch to live view and electronic shutter mode and the D780 will deliver 8fps or 12fps if you're willing to take the slight dynamic range penalty of dropping to 12-bit mode. However, electronic shutter risks movement being distorted by the rolling shutter and increases the range of situations in which you'll see banding from the flicker of artificial lights, so it's not useful for all applications.

The optical viewfinders are the same, too: pentamirror finders with 100% coverage and 0.7x magnification.

Also, the D780 still has an in-body (screw drive) focus motor and AI tab, to allow its use with a broad range of older F-mount lenses. The D750 had both features, but notably the FTZ mount adapter for the Z-mount cameras doesn't.

What's different

The D780's rear screen still tilts up and down on a rugged-feeling cradle like the D750's did, but the dot-count has doubled and it's now touch-sensitive, making the camera much more usable in live view mode.

The other big difference is that the D780 uses Nikon's Snapbridge communications system, rather than the more conventional Wi-Fi system on the D750. Snapbridge maintains a constant Bluetooth connection between a smart device and the camera, which makes it quicker to establish a Wi-Fi connection.

We weren't impressed with the early implementations of Snapbridge but it's gained a lot in the way of features and stability since then. There's an option to auto-send 2MP versions of every image you shoot, you can set the camera to transfer images you've marked in playback mode (these transfers will happen even when the camera is off), or you can browse the images on the camera from your phone. It now supports Raw and video transfer over Wi-Fi, along with geotagging of images based on phone location and extensive remote control of the camera.

The D780 has a new shutter mechanism, capable of 1/8000 sec exposures. The downside is that its shutter shock at moderate exposures is more pronounced than on the D750. You can work around this by selecting 'Electronic front-curtain shutter' in the menus and always shooting in Quiet mode (apply the minimum 0.2 sec exposure delay when resolution is really critical), but it's worth being aware of.

What's missing?

Not all of the D780's specs are an improvement on the older model, though. The D780 repeats some of Nikon's recent product planning decisions that omit some features that were included in the D750.

The most immediately apparent difference is the lack of internal flash. Nikon says the camera can be better weather-sealed if you don't include a pop-up flash, but anyone looking to use the D780 with off-camera flashes will have to consider the significance of that trade-off for their shooing. You can mount a variety of flash commanders to the hot shoe or push a WR-R10 radio transceiver into the Remote socket on the left of the camera, if you have the latest radio-controlled Nikon Speedlights.

The other obvious omission on the D780 are the connectors to allow duplicate controls on an accessory grip. There's nothing on the base of the camera and nothing in the battery compartment meaning that, if Nikon does decide to offer a battery grip, it'll be like the one for the Z6 and Z7, that just adds room for a second battery.

We suspect a lot of users will find the D780's rating of 2260 shots per charge more than sufficient (especially considering it's common to get more than twice the rated number, depending on your usage). However, there will be some users that liked the extra reassurance or improved portrait-orientation ergonomics that an accessory grip offers.

Batteries and memory cards

The D780 uses the latest EN-EL15b battery. It looks like a slightly more angular version of the existing EN-EL15 batteries, the distinction being that the 'b' variant can be charged over the camera's USB socket. The D780 can still use the older 15a and 15 batteries but without USB charging, and with significantly reduced battery life if used with the original EN-EL15 batteries not marked Li-Ion20.

Interestingly, like the D750, the D780 continues to use twin SD card slots, now compatible with the newer UHS-II cards. This may seem odd, given the closely-related Z6 uses the more exotic XQD card format. But there's not much that the D780 does that would demand higher throughput that the 90MB/s rates maintained by the latest v90 SD cards.

Equally, if we see the D780 as an F-mount alternative to the Z6, then it makes sense that it should maximize its backwards compatibility in terms of cards as well as lenses and (to an extent) batteries.

Should I buy a D780?

Considered in isolation, the D780 is a tremendously well-rounded, capable camera, much as the D750 was, but with that capability now extending to video as well as stills shooting. However, it's also worth considering the question 'why would you buy this instead of a Z6?'

The Z6 was launched for $300 less than the D780 and that was over a year ago, so the current price difference is even greater. The Z6 uses Nikon's latest lenses, and clearly represents the direction the company and its development efforts are going in, so what would prompt people to still buy a DSLR?

The most compelling reasons would be either because you have a significant investment in F-mount lenses, your style of shooting demands an optical viewfinder, or simply that you prefer using an optical viewfinder. In which case, the D780 looks like a great do-everything option, and one that has been appreciably improved, compared with the D750.

We suspect this is a trend we'll see from Canon and Nikon for at least a generation or two of camera releases: a variant of their latest mirrorless cameras, built into (perhaps modestly updated) versions of their DSLR bodies, since both companies have die-hard DSLR users. The breadth of the model range might contract, over time, making it less likely that there'll be a model at the price you want to pay, but there are enough Nikon lenses out there that there'll be an audience for Nikon DSLRs for a while yet.

Should I upgrade from my D750?

Whether it's worth upgrading from a D750 is a more difficult question. If you primarily shoot stills, it might not be. There are certainly improvements in terms of image quality particularly on the JPEG side of things, but these alone are unlikely to justify the cost of upgrading. If you only shoot stills through the viewfinder, and haven't found yourself hankering for improved AF tracking, then it probably makes sense to stick with the D750.

If you only shoot stills through the viewfinder then it probably makes sense to stick with the D750

However, if you would like a camera with the simplicity and accuracy that eye-detect AF brings, it's well worth a look. It's also certainly an easier camera to shoot at high and low angles, thanks to its much more usable live view. Most of all, if you have even the slightest interest in video, the D780 is a significantly better camera. If nothing else, it's a great way to get that familiar DSLR feel with the option of experiencing what Nikon's Z-series cameras are like to use.

But then, if it's the video and mirrorless features of the D780 that make you want to upgrade, maybe you'd be better off with a Z6.

Kategorier: Sidste nyt

DPReview TV: The most important Pentax cameras of all time

Sidste nyt fra dpreview - 18 jan 2020 - 09:00

Pentax week continues! In this video, Chris takes us for a ride on the wayback machine to look at the most important Pentax cameras in history.

Have your own favorite Pentax model? Tell us in the comments.

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

Kategorier: Sidste nyt

Canon wins lawsuit against eBay sellers accused of peddling counterfeit batteries

Sidste nyt fra dpreview - 17 jan 2020 - 22:14

Canon USA has announced a successful lawsuit against two eBay sellers who were allegedly peddling counterfeit 'Canon' batteries. The camera company had filed a complaint against the defendants in October 2019, claiming the sellers were using its trademarks and that doing so could 'mislead the public as to the source and authenticity' of the products, potentially to their peril.

The legal victory took place on December 12, 2019, in the US District Court for the Eastern District of Pennsylvania. According to Canon, the defendants in the case were barred from 'infringing and counterfeiting the valuable Canon trademarks.' The sellers will also be required to pay Canon a 'significant amount of money,' according to the camera company.

Below is a copy of the court documents, obtained by PetaPixel:

Counterfeit batteries put both the operator and their camera at risk, Canon explains on its website. These products may be poorly made and prone to overheating; they may also offer lackluster performance when compared to the real thing, resulting in frequent recharging and shorter lifetimes. Signs of a counterfeit battery include lack of an anti-hologram sticker on the bottom, modifications to the company's logo and an inability to communicate with the camera.

Kategorier: Sidste nyt

Fotodiox's new Vizelex Cine ND Throttle Fusion adapter connects EF lenses to GFX cameras

Sidste nyt fra dpreview - 17 jan 2020 - 20:46

Fotodiox has launched its new Vizelex Cine ND Throttle Fusion Smart AF lens adapter for connecting Canon EF lenses to Fuji G Mount GFX mirrorless cameras. The adapter features integrated Fusion tech for using autofocus and other automated functions, as well as a built-in variable neutral density filter with 1 to 8 stops (ND2-256).

Fotodiox says users may notice vignetting when the adapter is used with certain Canon EF lenses; for these instances, the product features a switch for changing from medium format to 35mm mode. As well, the adapter has a switch for directly toggling from aperture priority to program mode. Firmware updates are delivered over micro USB.

Other features include an all-metal design, the promise of high-precision construction, chrome-plated brass mounts and a geared rotating ring for adjusting the ND filter. The adapter is available now from Amazon, B&H Photo and Adorama for $550.

Kategorier: Sidste nyt

Sony releases minor firmware updates for a9 II and 24mm F1.4 GM, 135mm F1.8 GM lenses

Sidste nyt fra dpreview - 17 jan 2020 - 17:48

Sony has released minor firmware updates for its a9 II camera system, as well as its 24mm F1.4 GM and 135 F1.8 GM lenses.

For the a9 II, firmware version 1.01 improves the FTP transfer functionality to speed up how soon after shooting photos the images can be transferred. Additionally, the firmware update corrects a condition where the camera can sometimes turn off at random times when looking back through Raw images and improves JPEG image quality when shooting under certain, unspecified conditions.

Both the 24mm F1.4 GM and 135mm F1.8 GM receive, via firmware ’02,’ improved aperture response when the lenses are attached to Sony’s a9, a9 II and a7R IV camera systems, as well as the ability to select ‘Focus Priority’ from the ‘Aperture Drive in AF” menu when attached to Sony’s a9 camera system.

You can download firmware version 1.01 for Sony a9 II camera systems, as well as firmware version ’02’ for Sony’s 24mm F1.4 GM and 135mm F1.8 GM lenses for mac OS and Windows computers on Sony’s website. Details and instructions on how to install the firmware can be found on the respective download pages.

Kategorier: Sidste nyt

Why Leica's M10 Monochrom is more than just a gimmick

Sidste nyt fra dpreview - 17 jan 2020 - 15:00
The M10 Monochrom is Leica's third mono-only digital rangefinder, but the lower base ISO of the latest camera extends its flexibility.

The Leica M10 Monochrom is the company's third mono-only rangefinder. It uses an entirely new 40MP sensor, rather than borrowing the 24MP chip from the other M10 models.

We think the Bayer filter array is an amazing creation, producing results that massively outweigh its drawbacks, but there are a few reasons why going without color filters is more than just a gimmick.

Higher detail capture

The obvious benefit of a monochrome sensor is that you don't need to demosaic: each pixel you capture becomes one pixel in your final image. You don't need to interpolate missing color values for each pixel, so you don't need to call on neighboring pixels, so don't experience the slight blurring effect that this has.

The final image will be inherently sharper than most color cameras can achieve (Foveon sensors being the key exception to this).

Higher base ISO

The color filters used on most sensors absorb around 1EV of the light, since each filter has to absorb the two colors it's not allowing to pass through to the sensor (the green filter absorbs the red and blue light, for instance).

The M10 Monochrom's base ISO of 160 is lower than previous mono cameras but higher than a camera with a color filter array would be.

This means that the silicon of a monochrome sensor receives around one stop more light at any given exposure. The consequence is that it becomes saturated and clips highlights around one stop earlier, at its lowest amplification setting. The result is that its base ISO tends to be rated one stop higher than a chip with a CFA would be. On the M10 Monochrom, the base ISO is given as 160 (rather than 320 on previous models).

This can be challenging, since it means having to use exposures that are 1EV lower than you'd expect on a color camera. In bright light, this is likely to mean stopping down when you hit the M10's 1/4000th sec maximum shutter speed. But it's worth noting that there isn't any image quality cost to this.

Better tonal quality, ISO for ISO

Usually, reducing exposure by 1EV results in photon shot noise being one stop more visible (this reduction in light capture is the main cause of high ISO images looking noisier).

But, although the M10 Monochrom's base ISO of 160 means using an exposure that's half as bright as the ISO 80 exposure you'd expect to need on a color version, the Monochrom's sensor still experiences the same amount of light: there's no filter stealing half of it.

The tonal quality of this ISO 12500 shot is likely to be more comparable to that of an ISO 6400 shots on a color camera, since the sensor will be seeing the same amount of light, despite a darker exposure. The dynamic range is likely to be similar, too, since less amplification will have been applied.

In other words, you'll get the same tonal quality as a color camera shot at 1EV lower ISO. And, while the higher base ISO presents an exposure challenge in bright light, it means you get tonal quality that's a stop better in low-light situations.

And that's before you consider the fact that all noise will present as luminance noise, rather than the chroma noise that most people find more objectionable. So you get a one stop improvement in noise in low light and the noise that is present is less visually distracting, which means less need to apply detail-degrading noise reduction.

New sensor

The big unknown with the M10 Monochrom is the specific sensor performance. We've not seen a 40MP full-frame sensor before, so can't yet be sure what its performance will be like. The 24MP sensor used in the existing M10 models is pretty good, but slightly underperforms the standard set by the 24MP sensor in cameras such as the Nikon D750, meaning it's even further behind the newer chip used by the likes of Nikon, Panasonic, Sigma and Sony.

We can't yet be sure how Leica has managed to reduce the base ISO, compared to the previous model. An ISO of 160 is very low for a Mono camera, since it would equate to around ISO 80 if a color filter array was applied. So it'll be interesting to assess the dynamic range, when the camera becomes available.

We won't know how well the M10 Monochrom's sensor performs until we get a chance to go out and shoot with it. Probably out in one of the classic sports cars Leica seems to expect us to have.

All Leica has said is that the chip in the M10 Monochrom has been 'designed from the ground up with Mono in mind,' which we're a little skeptical about. It's true that we've not seen this 40MP chip elsewhere, but it's hard to imagine that (even at Leica prices), the M10 Monochrom will ever generate enough money to cover the cost of the development of a dedicated chip.

What is true, though, is that the smaller pixels of a 40MP sensor will make it less prone to aliasing than a 24MP sensor would be, since higher resolution sensors can accurately portray higher frequency detail, before getting overwhelmed and rendering an alias, rather than a correct representation. That said, simply being a monochrome sensor massively reduces the risk of aliasing (Bayer sensors sample red and blue at 1/4 their full pixel count, so can produce color aliasing with relatively low frequency detail).

Beyond the technical

It feels a bit strange writing about the technical advantages of a Leica rangefinder, since that's not historically been an area in which they've excelled, and probably isn't high on the list of why anyone buys one.

Of course, we're DPReview, so we're always going to consider the technical aspects of camera performance. But we recognize that a monochrome camera is about more than this. If you go out knowing that every photo has to be black and white, you look at the world in a different way: you start to concentrate on compositions of light and shade, not just compelling color or the warmth of the light. It's a different way of thinking.

Which is to say: we're really looking forward to getting a chance to go shooting with the M10 Monochrom.

Kategorier: Sidste nyt

Leica's M10 Monochrom is a discreet black and white rangefinder

Sidste nyt fra dpreview - 17 jan 2020 - 15:00
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Leica has introduced its latest dedicated black and white rangefinder camera, the M10 Monochrom. It uses a new 40MP sensor that Leica says was 'designed from the ground up' to handle black and white photography. The new sensor has lowered the base ISO from 320 to 160, and Leica also claims an improvement in dynamic range.

To go along with its black and white pictures, Leica has removed any hint of color on the camera body. The neutral gray body has no red Leica badge or any scripting on top, giving it a stealthy appearance. The body is just as thin as the other M10 models and has the ISO dial they introduced. It also has the same silent shutter and touchscreen display as the M10-P. Photos can be transmitted via Wi-Fi and Leica's Fotos app.

The M10 Monochrom is now available for $8295.

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Press Release

Leica Camera Advances its Dedication to the Art of Black & White Photography with the Leica M10 Monochrom

The highly anticipated camera enters a new dimension of innovation in the world of monochrome photography

January 17, 2020 – Leica Camera continues to be a trailblazer in the world of black-and-white photography with the announcement of the new Leica M10 Monochrom. Photographers are now able explore their subjects in vivid tones of monochrome due to the omission of a color filter, resulting in an unparalleled black-and-white photography experience. The newly developed 40-megapixel true black-and-white sensor, new Wi-Fi capabilities and expanded ISO range make room for added creativity with light and contrast, bringing photographers back to the basics with the most up-to-date technology.

Black-and-white photography lends itself to establishing emotional connections between the photographer and subject matter being conveyed. With the absence of color, a photograph conveys intense, vulnerable and timeless messages that speak to the foundation of a scene without the distractions of color.

The ultra-high resolution black-and-white sensor of the M10 Monochrom delivers images with impeccable sharpness and unrivalled resolution of details in all lighting conditions. While reaching these new feats of resolving prowess, the new M10 Monochrom is even more versatile than its black-and-white forebears, with a broadened sensitivity range at both extremes, now achieving ISO 160 to ISO 100,000 – ensuring that its unmatched imaging strengths can be used in new avenues, from the brightest of days to uncovering light in the darkest of nights. Images captured at all ISO settings offer fine-grained rendition of details with a more analog look and feel than a typical color camera set to black-and-white mode. As is the case with all Leica M-Cameras, the new black-and-white sensor pairs perfectly with the full breadth of Leica M-Lenses, showcasing their contrast, resolution and rendition of the finest details. With this combination, photographers can rest assured that the exceptional quality of the monochrome images they capture holds true to the luminance of their subject.

Based on the Leica M10-P, the M10 Monochrom now benefits from a bevy of newfound abilities for the Monochrom line, including a slimmer body, dedicated ISO dial, touchscreen controls, the quietest mechanical shutter of all Leica M rangefinders – analog or digital – and built-in Wi-Fi for wireless connectivity to the Leica FOTOS app on iOS, iPadOS and Android. For the first time in the history of Leica M Monochrom cameras, users can utilize a mobile workflow that gives them direct access to authentic black-and-white images straight from the camera to their favored social media platform – no digital filters required. The FOTOS 2.0 app helps bring Leica users from the decisive moment of taking the picture to the creative moment of processing and sharing the finished photo as seamlessly as possible. This new freedom ensures no boundaries when it comes to capturing and sharing photographs with a Leica camera.

The design of the M10 Monochrom camera body is as loyal to the strict adherence to the black-and-white aesthetic as the image sensor that lives within it. The camera has no Leica red dot logo on the front and all of the usual bold red engravings found on most M cameras have been desaturated to a neutral gray, creating a sleek monochromatic contrast against its bright white engraved numbers. A subtle black-on-black logotype of “Leica M10 Monochrom” on the top plate gives the camera the most minimal branding to avoid distractions. The black-and-white design details combined with the newly blacked-out shutter button and lens release make the M10 Monochrom the stealthiest serial production camera yet from Leica, emphasizing its focus on blending into the heart of the action and capturing the decisive moment.

The M10 Monochrom is built to the highest quality standards expected of a Leica M camera, made almost entirely by hand through the passionate labor of experienced specialists in Wetzlar, Germany with the finest materials, ensuring it can bear even the toughest conditions of use in its stride. The new Leica M10 Monochrom promises to be a long-term companion that delivers an unparalleled experience and impeccable image quality, as timeless as the classical black-and-white photos it creates.

The Leica M10 Monochrom is available beginning today for $8,295 at Leica Stores, Boutiques and Dealers.

Kategorier: Sidste nyt


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