Sidste nyt

You can now control the RØDE Wireless Go II system with your Android, iOS device

Sidste nyt fra dpreview - 15 okt 2021 - 16:10

RØDE has made its Wireless Go II dual-channel microphone system even more capable and portable with a pair of updates. The first update is a new RØDE Central mobile app that makes it possible to fully customize and configure the wireless microphone system via a mobile device, while the second is new compatibility with the RØDE Connect desktop app, which enables you to use the system with podcasting or streaming software.

Until now, the RØDE Wireless Go II system required a desktop computer to change various settings, including recording mode, adjusting the gain settings and other granular controls. Now, all of these features, as well as firmware updates, will be possible with Android and iOS apps thanks to the new RØDE Central Mobile app.

The one notable function missing in the mobile app is the ability to transfer recordings directly to your mobile device from the microphones. It’s unclear if this functionality will be added at a later date, but as it stands, recordings will still need to be offloaded via the onboard USB-C port.

In order to connect with the mobile app, RØDE Wireless Go II systems will need to be updated one final time with the desktop app to enable wireless connectivity.

The next update is one to RØDE’s Connect desktop app, which makes it possible to record podcasts and stream audio directly from your computer. With this latest update, you can now use the Wireless Go II system to get professional-grade audio wirelessly during interviews, livestreams, podcasts and more.

Each transmitter can be assigned to its own channel for easier independent control and other RØDE microphones can be used in conjunction with the Wireless Go II system if additional audio is required.

The RØDE Connect update should be available for anyone who already has the app installed. If you don’t already have it installed, it can be downloaded for free on RØDE’s website.

Kategorier: Sidste nyt

Analogue WonderLab is a new women-led film processing and scanning lab based in the UK

Sidste nyt fra dpreview - 15 okt 2021 - 16:00

United Kingdom-based online film retailer Analogue Wonderland has opened its new sustainability-focused lab, Analogue WonderLab. The lab, which accepts in-person drop-offs and mail-in orders, will process and scan various film emulsions for relatively affordable prices.

Analogue Wonderland is an independent operation founded by Paul and Mary McKay, a son/mother partnership that 'cares about their products, their customers, and their impact on the world.’ For this new endeavor, they brought onboard Marina Llopis, Founder of IFWEFILM Photography Workshop and a film photographer, who was brought in to set up the labs. This team makes Analogue WonderLab one of the only female-led labs in Europe.

Analogue WonderLab Manager Marina and Lab Technician Helena

As noted by 35mmc, ‘Analogue WonderLab is set up to process and scan colour C-41 and B&W for 35mm, 120, disposable cameras and 110 films from day one.’ Eventually, the team will bring more chemistries and processes online, with E6 processing expected to be the next available service.

Analogue Wonderland co-founder Paul tells 35mmc’s Hamish Gill that the goal is to make the process as simple and streamlined as possible for the end-user. So, when a customer places an order for film to be processed and/or scanned, they’re sent information on how to print a free, tracked postage label to get the film where it needs to be. If you’re close enough though, you’re welcomed to drop off your film in-person at Analogue WonderLab HQ in Buckinghamshire, England.

Analogue WonderLab also puts an emphasis on sustainability. While film processing is a resource-intensive task that requires very non-environmentally-friendly materials, Analogue WonderLab is publishing regular updates on their blog regarding their ongoing efforts to minimize the environmental impact of the lab.

Standard processing and scanning for 110 film and 120 film rolls starts at £7.00, while disposable film cameras and 35mm film rolls start at £6.00. Upon checkout, a host of options are included, including development and scanning preferences. Analogue WonderLab says turnaround time varies, but notes its goal is to get rolls processed, scanned and back in the post within 3 days of receipt. Orders placed this week will receive a 20% discount to celebrate the launch.

You can read more about the launch and the lab’s processes on Analogue WonderLab’s FAQ.

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.

Kategorier: Sidste nyt

Slideshow: 2021 Wildlife Photographer of the Year winners and finalists

Sidste nyt fra dpreview - 15 okt 2021 - 15:23
2021 Wildlife Photographer of the Year winners and finalists

The winners and finalists for the 2021 Wildlife Photographer of the Year competition, put on by the Natural History Museum, were recently announced. Over 50,000 images were submitted from 95 countries. French underwater photographer Laurent Ballesta was declared the Overall Winner for his image of camouflage groupers gathering during mating season.

'The image works on so many levels: it is surprising, energetic and intriguing, and has an otherworldly beauty. It also captures a magical moment - a truly explosive creation of life - leaving the tail end of the exodus of eggs hanging for a moment like a symbolic question mark,' says Rosamund 'Roz' Kidman Cox, editor and chair of the Jury.

An exhibition will begin October 15th at the Natural History Museum and embark on an international tour including the United States, Denmark, Canada, and Australia. All winning and finalist images can be viewed here.

Overall Winner: 'Creation' by Laurent Ballesta (France)

About this Image: For five years Laurent and his team returned to this lagoon, diving day and night to see the annual spawning of camouflage groupers. They were joined after dark by reef sharks hunting the fish.

Spawning happens around the full moon in July, when up to 20,000 fish gather in Fakarava in a narrow southern channel linking the lagoon with the ocean. Overfishing threatens this species, but here the fish are protected within a biosphere reserve.

Gear and Specs: Nikon D5, 17–35mm f2.8 lens at 17mm, 1/200 sec at f11, ISO 1600 Seacam housing Seacam strobes, 1/200 sec at f11, ISO 1600 Seacam housing Seacam strobes.

Young Grand Title Winner 2021: 'Dome Home' by Vidyun R Hebbar (India)

About this Image: Exploring his local theme park, Vidyun found an occupied spider’s web in a gap in a wall. A passing tuk-tuk (motorised rickshaw) provided a backdrop of rainbow colours to set off the spider’s silk creation.

Tent spiders are tiny – this one had legs spanning less than 15 millimetres. They weave non-sticky, square-meshed domes, surrounded by tangled networks of threads that make it difficult for prey to escape. Instead of spinning new webs every day, the spiders repair existing ones.

Gear and Specs: Nikon D5000, 85mm f3.5 lens, 1/250 sec at f5, ISO 200 Manfrotto tripod.

Winner: 'The Spider Room' by Gil Wizen (Israel/Canada)

About this Image: After noticing tiny spiders all over his bedroom, Gil looked under his bed. There, guarding its brood, was one of the world’s most venomous spiders. Before safely relocating it outdoors, he photographed the human-hand-sized Brazilian wandering spider using forced perspective to make it appear even larger.

Brazilian wandering spiders roam forest floors at night in search of prey such as frogs and cockroaches. Their toxic venom can be deadly to mammals including humans, but it also has medicinal uses.

Gear and Specs: Canon EOS 7D, 14mm f2.8 lens, 1/250 sec at f11, ISO 400 Macro Twin Lite flash.

Winner: 'Road to Ruin' by Javier Lafuente (Spain)

About this Image: Javier illustrates the disregard we show for the natural world with his aerial shot of an artificially straight tarmac road slicing through this wetland landscape.

The Odiel Marshes, a UNESCO Biosphere Reserve, are the second largest wetland in southern Spain and the country's most important tidal wetland. The area where the mouths of the Odiel and Tinto rivers meet is home to more than a hundred species of birds including flamingos, spoonbills, hoopoes and black-winged stilts, with ospreys and bee-eaters among many migratory visitors.

The road was constructed in the 1980s and is mostly used to provide access to a beach. It divides the wetland reserve in two and has altered the drainage of the tidal marshes and lagoons while disturbing the wildlife that lives there.

Gear and Specs: DJI Mavic 2 Pro, Hasselblad L1D-20c, 1/500 sec at f2.8 (+0.3 e/v), ISO 100

Winner: 'Elephant in the Room' by Adam Oswell (Australia)

About this Image: A group of visitors watch and take photos as a young elephant performs tricks underwater at a zoo in Thailand.

Adam uses his photo to draw attention to the crowd watching, rather than the elephant itself, bringing into question this form of tourist entertainment.

Shows like this one are often promoted as educational and advertised as good exercise for the animals, but rights organisations are concerned for the welfare of the elephants involved. The training for this type of show usually starts with the removal of a calf from its mother and uses fear and pain-based punishment.

An increase in elephant tourism over the last few years combined with the low birth rate of elephants in captivity has driven a rise in poaching young calves from their mothers. There are now more captive elephants in Thailand (possibly 3,800) than wild ones (fewer than 3,600).

Around the world, animals are held captive and deprived of their natural way of life in order to serve as entertainment in zoos and touring shows. As Judge Staffan Widstrand pointed out, 'It could have been any one of us there in the audience, from anywhere in the world, at pretty much any zoo.'

Since the beginning of 2020, the COVID-19 pandemic has caused tourist enterprises across every continent to grind to a halt, leaving many elephant owners without the income needed to keep the animals. Consequently, many sanctuaries have been overwhelmed with abandoned elephants.

Gear and Specs: Nikon D810, 24–70mm lens, 1/640 sec at f2.8, ISO 1250.

Winner: 'Chimp Check-up' by Brent Stirton (South Africa)

About this Image: Vets perform a health check on a rescued chimpanzee.

The chimps are likely to have lived lives of isolation and suffering. Most are malnourished and sick, and may be carrying infectious diseases. This youngster lost its hand to a snare. A varied diet aids recovery and the centre provides fruits, vegetables and beans purchased from local farmers, supporting the surrounding community.

Gear and Specs: Canon EOS 5D Mark IV, 16–35mm lens, 1/160 sec at f2.8, ISO 3200.

Winner: 'Grizzly Leftovers' by Zack Clothier (United States)

About this Image: Zack decided these bull elk remains were an ideal spot to set a camera trap. Returning to the scene was challenging. Zack bridged gushing meltwater with fallen trees, only to find his setup trashed. This was the last frame captured on the camera.

Grizzlies, a subspecies of brown bears, spend up to seven months in torpor – a light form of hibernation. Emerging in spring, they are hungry and consume a wide variety of food, including mammals.

Gear and Specs: Nikon D610, 18–35mm f3.5–4.5 lens at 25mm, 1/160 sec at f10 (-1.7 e/v), ISO 1000 two Nikon SB-28 flashes self-made camera-trap system.

Winner: 'Head to Head' by Stefano Unterthiner (Italy)

About this Image: Reindeer are widespread around the Arctic, but this subspecies occurs only in Svalbard. Populations are affected by climate change, where increased rainfall can freeze on the ground, preventing access to plants that would otherwise sit under soft snow.

Stefano followed these reindeer during the rutting season. Watching the fight, he felt immersed in ‘the smell, the noise, the fatigue and the pain’. The reindeer clashed antlers until the dominant male (left) chased its rival away, securing the opportunity to breed.

Gear and Specs: Nikon D5, 180–400mm f4 lens at 400mm, 1/640 sec at f4, ISO 3200.

Winner: 'High-flying Jay' by Lasse Kurkela (Finland)

About this Image: Lasse wanted to give a sense of scale in his photograph of the Siberian jay, tiny among the old-growth spruce-dominated forest. He used pieces of cheese to get the jays accustomed to his remotely controlled camera and to encourage them along a particular flight path.

Siberian jays use old trees as larders. Their sticky saliva helps them glue food such as seeds, berries, small rodents and insects high up in the holes and crevices of the bark and among hanging lichens.

Gear and Specs: Nikon D5, 14–24mm f2.8 lens, 1/800 sec at f4 (+0.7 e/v), ISO 6400 Vello remote control.

Highly Commended: 'The Great Swim' by Buddhilini de Soyza (Sri Lanka/Australia)

About this Image: Five male cheetahs strain against the current of the raging Talek River in Kenya's Maasai Mara National Reserve.

A period of relentless, unseasonable rain at the end of 2019 caused the worst flooding local elders had ever known. Cheetahs are usually strong swimmers, but the unusually turbulent water of the flooded river posed a serious threat.

Dilini spent hours watching nervously from the opposite bank as the coalition, led by the lead male, searched for a suitable place to cross. Calmer stretches of water were likely to conceal lurking crocodiles while the more rapid parts could drag the cheetahs downstream with ease.

'Suddenly, the leader jumped in,' Dilini says, followed loyally by the other four. The strong torrents and underwater currents dragged the cheetahs almost 100 metres downstream.

Eventually, and to Dilini's relief, all five cheetahs made it safely to the other side.

This group is known as the Tano Bora, or 'magnificent five' by the Massai. It is rare to see a coalition as large as this, as male cheetahs are usually solitary or work in pairs, so this group have earned themselves fame on the world stage.

As a changing climate impacts weather patterns worldwide, this unique pack of cheetahs is likely to face more of these perilous situations.

Gear and Specs: Canon EOS 5D Mark IV, 100–400mm f4.5–5.6 lens at 400mm, 1/2000 sec at f5.6, ISO 640.

Highly Commended: 'A Distressing Matter' by Michael Watson (United Kingdom)

About this Image: A young grey seal cries out in pain as lengths of plastic fishing rope cut deeper into its body.

Michael was photographing a seal colony along the Lincolnshire beach when he heard the agonising screams of the seal. The unlucky animal probably became entangled in this rope when it was just a pup, and it has cut deeper and deeper into its body as it grew.

Michael says, 'The suffering and pain can be seen on its face as it screams in pain.'

He and two other photographers quickly called the local Wildlife Trust and Seal Sanctuary to free the seal and treat its wounds so that it could be released safely.

The Donna Nook National Nature Reserve on the Lincolnshire coast in the UK is a major breeding colony, with more than 2,000 pups born every year.

Gear and Specs: Canon EOS-1D X Mark I, 500mm f4 lens, + 1.4x extender 1/320 sec at f10 (+1.67 e/v), ISO 1000 Gitzo tripod + Wimberley head.

Highly Commended: 'Stardust' by Christian Spencer (Australia)

About this Image: A black jacobin hovers in front of the morning sun and as the light penetrates its wings the feathers become ‘filled with rainbows’. Christian used the high clouds as a secondary filter to reveal this prism effect, otherwise invisible to the naked eye.

Hummingbirds have the fastest wingbeats in the bird world – up to 90 beats per second. As light passes through the narrow gaps in-between feathers, it is split – or diffracted – into the colours of the rainbow, creating a shimmer.

Gear and Specs: Canon EOS Rebel T6i, 18–135mm f3.5–5.6 lens at 59mm, 1/3200 sec at f20, ISO 100 tripod.

Kategorier: Sidste nyt

A retrospective of the AP's 175-year history showcases the progress in photography

Sidste nyt fra dpreview - 14 okt 2021 - 22:18

This year, the Associated Press (AP) is celebrating its 175th anniversary. To mark the occasion, it has a special anniversary website where it has published a series of blogs. The eight-part series looks back at AP's storied past and the technology that has driven the AP for the last 175 years.

In the seventh blog post, which covers the period of 1976-2000, there was significant innovation in news and photo delivery. AP writes, 'Innovation in news and photo delivery were part of AP's playbook and AP met those challenges time and again, most notably with the introduction of Photostream and the electronic darkroom, the development of the NC2000 digital camera and the creation of AP's digital photo archive.'

Another technological innovation was the AP Portable Picture Transmitter in 1981. The device is a portable machine that allows the transmission of black and white and color photographs using telephone lines, like a fax machine for photos. The device includes a photo drum that would rotate an image, or other printed materials, for scanning and transmission. In the case of a color photo, it is scanned three times with different filters for cyan, magenta and yellow color data.

A brochure showing off the AP Portable Picture Transmitter in 1981. Credit: AP Photo/Corporate Archives

The AP Portable Picture Transmitter has an 8-bit microprocessor that controlled the device's timing, motor, video and oscillating functions. It can operate in AM and FM modes at 60, 120 or U.S. laserphoto standard, and it is fully CCITT compatible. The computer-controlled automatic gain control first scans an image to detect the highest level of white, and then sets the white output signal accordingly. It may not look like much in 2021, but it was a revolutionary product.

The AP switched to a different device for photo transmission, the AP Leafax 35, in the late 1980s. The proprietary device can transmit color and black and white images, like the AP Portable Picture Transmitter, but it can also scan negatives.

'Hal Buell (center) AP's assistant general manager for news photos and Dave Herbert (seated), the consultant who wrote the electronic darkroom software, explain PhotoStream at the American Newspaper Publishers Association (ANPA) technical convention in Las Vegas, June, 1987.' Credit: AP Photo/Corporate Archives

In a 2015 interview with PetaPixel, sports photographer Brad Mangin talked about using the Leafax 35. Speaking about the summer of 1990 when he was hired to be the staff photographer for The National Sports Daily, Mangin said, 'Before I knew it I was covering sporting events all over the place and sending pictures back to our picture desk in New York over analog phone lines with an AP Leafax transmitter that took 30 minutes to send one color picture — and that was state of the art at the time!' Considering how quickly photographers can transmit photos now, it's hard to imagine sending a single photo every 30 minutes. Then again, not long before the AP Portable Picture Transmitter and AP Leafax, it was probably difficult to imagine transmitting photos at all.

Technology has come a long way. Compared to the history of journalism at large, digital photography is still quite young. In 1994, AP collaborated with Kodak to develop the NC-2000 digital camera. It is the first digital camera used by AP photographers. At the time, it cost $14,500, which is nearly $27,000 when adjusted for inflation, and held only 75 images on a removable storage drive. The NC-2000 was based on a Nikon N90 (F90) body. It came in color, black and white and infrared models and boasted a resolution of only 1268 x 1012. The original model had a 5-shot buffer depth.

In 1994, Kodak and the AP worked together on the first digital camera used by AP photographers, the Kodak NC-2000. The camera, built upon a Nikon film SLR, cost $14,500 (nearly $30,000 in today's dollar). Credit: AP Photo.

News delivery itself has come a long way from the days of telegraphs and albumen photo prints. Modernity has long been a moving target. We may take front-page photos for granted now, but wirephoto didn't really come into its own until World War II. The AP started using computers in the 1970s, long before 'digital' made its way into the AP Stylebook in 1984.

We have everything in the palm of our hand and can view photos and videos captured around the world almost instantly. It's worthwhile to look back every now and then if only to marvel at the progress. Long gone are the days of scanning a color photo three times with different filters on the AP Portable Picture Transmitter. What seems ancient now was at one time cutting edge. It makes one wonder how technology today will be viewed in 50 years.

Kategorier: Sidste nyt

Samyang's new 24-70mm F2.8 AF parfocal lens is available to purchase for ~$900, but only in Thailand (for now)

Sidste nyt fra dpreview - 14 okt 2021 - 20:20

Samyang, which is also sold under the Rokinon and Bower brand names, has released a 24–70mm F2.8 autofocus (AF) lens for Sony E mount camera systems. While the lens is available to purchase, it seems it’s limited only to one online retailer in Thailand at the moment.

The lens is constructed of 17 elements in 14 groups, including two aspherical elements, three high-refractive elements, three extra-low dispersion elements and a single ‘HB’ element. One element also features Samyang’s UMB coating for reduced ghosting and flares. Other features inlcude a nine-blade aperture diaphragm, an aperture range of F2.8 through F22, a minimum focusing distance of 35cm (1.15ft) and an 82mm front filter thread.

As with other Samyang AF lenses, this 24–70mm F2.8 lens uses the company’s linear stepping motor (STM) autofocus system. What’s unique about this lens, however, is that it’s parfocal, meaning once the focus is set, changing the focal length of the lens won’t affect the focus point, due to the elements inside compensating accordingly. This kind of feature is most often seen in more expensive cinema lenses, as it prevents the need to rack focus when you’re zooming in on a subject.

The lens is weather-sealed and features a customizable sliding switch on the barrel that can turn the focus ring into an aperture ring with a quick flip of the switch. Below is a single sample photo, allegedly taken with the lens, according to the product page.

As it stands, the lens is only available to purchase through Thai retailer Shopee for ฿29,900 (bhat), which converts to roughly $900. We have contacted Samyang/Rokinon for more details on the lens and will update accordingly when we receive a response.

Kategorier: Sidste nyt

A closer look at Sony's FE 70-200mm F2.8 GM OSS II, the first 'Mark II' G Master lens

Sidste nyt fra dpreview - 14 okt 2021 - 16:00
A closer look at Sony's FE 70-200mm F2.8 GM OSS II

Sony has just announced the FE 70-200mm F2.8 GM OSS II, an update to one of its first 'G Master' lenses. While the original was certainly well-built, handled well and was fast to autofocus, we weren't so fond of some of its optical characteristics, and it looks like Sony has really gone all out to make sure this latest 70-200 is up to snuff.

The outside of the lens comes with a few updates, but it's what's on the inside that really counts. All-new optics, coatings, focus motors and more add up to an impressive offering. Let's dig in and check out not only how the new lens looks, but how it compares to the previous model.

Size and weight

Next to the previous 70-200mm F2.8 GM (top), the new model is exactly the same in terms of overall exterior dimensions, but weight has been reduced by 435g (15.3 oz): almost 30%. The result is a much more comfortable shooting experience with Sony's full-frame bodies, particularly if you're not using an optional battery grip.

It's worth noting that Sony is touting this as the 'world's lightest' constant large-aperture telephoto zoom, and it is indeed a bit lighter than Canon's collapsible 70-200mm F2.8 for RF mount. If every last gram matters to you, though, Tamron's 70-180mm F2.8 is 230g (8.1 oz) lighter, though it doesn't have a built-in image stabilizer like the other two, and it doesn't quite reach 200mm.

Aside from that, you can see that the new lens has a few additional control points, as well as a slightly slimmer manual focus ring to make room for them. Let's take a closer look.

External controls – aperture ring

The FE 70-200mm F2.8 GM II's most significant exterior change is the addition of a dedicated aperture ring, shown here. It ranges from F2.8 to F22 with 1/3 stop markings, and there is an 'A' option for those users that want to carry on using the camera's command dials to control aperture.

The ring can be 'clicked' for stills photography or 'de-clicked' to allow silent use while shooting video using a switch on the right side of the lens...

External controls - aperture ring

...and there's a unique application to the click-less aperture dial for video shooters.

On Sony's FX-series cinema cameras equipped with variable ND filters, the aperture ring can be operated in a click-less fashion such that as the iris is smoothly adjusted, the variable ND automatically adjusts in smooth increments between 1/4 and 1/128 EV to compensate for the change in light gathering. This allows for a smooth transition of depth-of-field while maintaining exposure.

Traditionally one might rack focus from afar to your subject to bring attention to it but, instead, you might imagine starting off with extensive depth-of-field, then smoothly opening up the aperture to isolate your subject utilizing shallow depth-of-field.

It can make for an interesting creative effect.

External controls – additional switches

On the left side of the lens, opposite the aperture ring click / de-click switch, is the usual array of controls, including a standard AF/MF (autofocus / manual focus) switch. Below that is a 'Full Time DMF' (with DMF meaning Direct Manual Focus) switch. When set to 'on', photographers can rotate the manual focus ring at any time, even while focus tracking is engaged, to fine-tune things.

There's also a focus limiter, the 'OSS' switch for the optical stabilizer and a mode switch for controlling the behavior of the stabilizer. Finally, there's an 'Iris Lock' switch, which will lock the aperture ring into the 'A' position for users that opt for command dial control.

Front element

Around the front of the lens is a 77mm filter thread, and the front element comes with a fluorine coating to combat dust, oil and fingerprints. The bayonet mount for the hood is also visible here, with the hood offering a locking mechanism that requires a button-press for removal. Sony notes that dust and moisture resistance are notably improved compared to the previous model. All seams are sealed, and buttons and switches have silicone rubber gaskets, while a rubber ring seals the lens mount.

Optical design

The lens comprises 17 elements in 14 groups. One extreme aspherical (XA) element, pictured in orange, helps to control variations in distance-related aberrations, while an extra-low dispersion (ED) aspherical element, pictured centrally in dark blue, suppresses both chromatic and spherical aberration.

Controlling spherical aberration (SA) ensures that marginal light rays entering at the edge of the lens focus at the same plane as paraxial light rays entering centrally. And to state the (perhaps) obvious: if light rays emanating from an object focus at different planes behind the lens (instead of all at the sensor plane), it risks appearing blurry. See this slide for ray diagrams of a lens with and without SA, and note how the ray bundle at the point of 'Best Focus' is tighter for the 'perfect' lens with no SA. The end result is a sharper image.

There's another aspheric, pictured in purple, and these three more exotic elements we've discussed in this slide work together to suppress aberrations and achieve high resolving power across the frame wide open, particularly on the long end where, arguably, it matters more for a lens of this type.

Lateral chromatic aberration

Two Super ED (pictured in grey, at the front of the lens, in the previous slide) and two conventional ED glass elements (in green) help to reduce both lateral and longitudinal chromatic aberration, and in our initial shooting, there's very little of either. There's a bit more lateral green / magenta fringing in the corners on the wide end (3 pixels worth at worst, on a 50MP sensor) compared to the tele end (1-2 pixels worth), and in both cases this CA is easily removable with the included profile (or automatically in camera JPEGs).

Here it is at 200mm (click on the fullscreen icon at upper right, then click on '100% zoom'). And for some perspective, 1 to 2 pixels of fringing in a 50MP file translates to 0.2 to 0.4 mm in a 40 x 60 in print.

Photo: Chris Niccolls / Jordan Drake

Longitudinal chromatic aberration

Longitudinal CA, typically seen as magenta and green fringing in front of, and behind, the focus plane, respectively, is nearly completely absent. That's great, because it's the type of CA that's hard to remove. Peek closely at the white features curling outward in front of, and behind, the vertical in-focus rod. And note the slightly out-of focus metal features in the background. There are no colored fringes around any of these.

Photo: Chris Niccolls

Flare and ghosting

The Mark II version of the lens includes the Mark II version of Sony's 'Nano AR (anti-reflective)' coating to prevent (veiling) flare, or loss of contrast, and ghosting, the appearance of distracting, repeating 'ghosts' of a bright point light source. Both are caused by reflections off of internal elements, so generally tend to worsen with an increasing number of elements. Nano AR II was developed specifically for application to large optical elements with highly curved surfaces, such as the extreme aspherics increasingly found in Sony's lenses.

Our initial samples indicate that while you can certainly see ghosting, it's more of an issue when you stop the lens down, as in the F9 shot above. That's because the ghosts aren't very prominent wide open, instead appearing rather low contrast and diffuse. The wide end is where you'll see the most number of ghosts, and this is the worst example of it we could find over at Lenstip. There are fewer ghosts on the tele- end, and given how low contrast they are to begin with, you really have to stop down to see them. We don't consider ghosting to be much of an issue at 200mm wide open.

The opposite is true for veiling flare. Lenstip's results show there can be a significant loss of contrast when shooting into the sun on the telephoto end, but contrast holds up fairly well in a similar situation on the wide end. This is also confirmed in our shooting.

Photo: Chris Niccolls


Bokeh was not the forte of early copies of the original 70-200mm F2.8 GM. Despite Sony's claims at the launch of the G-Master brand that it could control XA element surface precision to within 1/100th of a micron for smooth bokeh free of onion rings, some copies of the 70-200mm F2.8 GM (and the 24-70mm F2.8 GM, launched at the same time) suffered from rather severe onion rings and what I can only best describe as 'donut bokeh'.

Sony makes the same claims of surface precision control, but in recent years has churned out premium lens after lens with pristine bokeh, and this one is no exception. Defocused specular highlights are free of onion rings and bright edges, yielding smooth foreground and background bokeh. An 11-bladed aperture ensures bokeh discs remain circular, even as you stop down. This also helps maintain a smooth look to bokeh at smaller apertures. There is however a prominent cat's eye effect wide open, visible in this image, but it's mostly gone by F4.

Photo: Chris Niccolls


In some images we noted a bit of a frenetic look in the transition zone where things are just starting to fall out of focus. If you zoom in to 100% on the left edge of this image (just above the water), you'll note some 'double image bokeh', where slightly out-of-focus objects appear repeated. It's not always an issue, but where it is, transition zones can appear busy. This is something we're starting to see with increased frequency in recent lenses featuring complex aspherics, including Nikon's Z 14-24mm F2.8, and Sony's own 14mm F1.8 GM and 24mm F1.4 GM.

Photo: Chris Niccolls


The original 70-200mm F2.8 GM was relatively fast to focus compared to its ring-type USM peers. It had two independent focus groups, one powered by a ring-type motor and the other a linear motor. But since the launch of the original GM lenses, we've seen Sony make strides in autofocus speeds with its development of XD ('extreme dynamic') linear motors.

So it's great to see the new version powered solely by linear motors. Four XD linear motors drive two independent 'floating' focus groups (two motors per group), as pictured above. The improvements to autofocus speeds appear to be significant in our initial testing. Sony claims this is the first large aperture tele-zoom to use four linear AF actuators (Fujifilm's 50-140mm F2.8 uses three to move a single focus group, while Canon's RF telephoto uses two nano USM motors to move two independent floating groups).

Sony claims focus acquisition times have decreased 4x compared to the original model. The ability to focus while zooming has also improved 30% compared to its predecessor, possibly due to the lens being more parfocal (remaining more in focus when changing zoom ratio).

Video oriented features

There are a number of features on this lens aimed at video shooters. Focus is silent thanks to those linear motors we were discussing, and manual focus response is linear, making focus pulls easy and repeatable (a set number of degrees of focus ring rotation always changes the focus the same distance). Sony has also reduced focus breathing, to a point where it's barely an issue at the telephoto end. There's still some on the wide end, but it's subtle and greatly reduced compared to the Mark I version. See for yourself in our DPReview TV episode here.

Beyond this, there's also greater axial consistency as you zoom, as well as less focus shift when zooming (that is, the lens is more parfocal). Both of these attributes make the video footage more stable and consistent during zooms, while also aiding in autofocus performance.


All in all, the FE 70-200mm F2.8 GM OSS II looks to be a nice, rather significant update to its predecessor, and our images so far appear to support the super-sharp modeled MTF figures Sony has published. It's not a cheap lens but it appears to address some of the shortcomings that had become apparent in its predecessor, particularly image sharpness and consistency, as well as bokeh (early copies of the Mark I suffered from onion ring and other bokeh issues).

Lighter weight, faster AF and better optics means there are tangible benefits for stills shooters on top of those for videographers. The lens lists at $2799 and units start shipping in mid-December. The Mark I continues in the lineup, but we'd highly recommend those in the market for this type of lens to save up for this much improved version.

Kategorier: Sidste nyt

Sony 70-200mm F2.8 GM II sample gallery (DPReview TV)

Sidste nyt fra dpreview - 14 okt 2021 - 16:00
$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_7980481125","galleryId":"7980481125","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Chris and Jordan from DPReview TV just reviewed the new Sony 70-200mm F2.8 GM II zoom lens. Check out some of the sample photos they shot for their review and judge image quality for yourself. If you missed their review you can watch it here.

View the Fujifilm XF 23mm F1.4 sample gallery from DPReview TV

Kategorier: Sidste nyt

Luna Display now lets you use your iPad as a wireless second screen on Windows

Sidste nyt fra dpreview - 13 okt 2021 - 21:29

Astropad has announced Windows support for Luna Display 5.0, allowing people to use their iPad as a secondary wireless display for a Windows PC.

Earlier this year, Astropad launched Project Blue. This allowed Windows users to mirror their desktop to an iPad or use the Apple tablet as a drawing pad. Luna Display 5.0 goes far beyond this, delivering full secondary display support for PC like Astropad has previously offered on macOS.

Achieving Windows support in Luna Display 5.0 required a full redesign of Luna Display's apps. Further, Astropad has added a new Luna Display HDMI unit. For Windows, Luna Display 5.0 is available in two port types, USB-C and HDMI. The system requires are Windows 10 64-bit Build 1809 or later and iOS 12.1 or later on the iPad. Astropad recommends an 802.11n Wi-Fi setup or wired ethernet.

The setup process for Luna Display promises to be quick and easy. Once connected over Wi-Fi or ethernet, the connected iPad is compatible with a keyboard and mouse, touch, and the Apple Pencil, including pressure sensitivity.

Astropad says that Luna Display is currently the only hardware solution that allows people to use an iPad as a wireless second display for both macOS and Windows. It's certainly a desired product solution. Last year, we shared the news of Astropad's Luna Display for Windows on Kickstarter. The campaign raised over $400,000 from just over 6,000 backers. Astropad says that it's received over 8,000 preorders for Luna Display for Windows so far.

Astropad has been working on cross-platform support since 2019. Over two years ago, the team wrote a blog post about its switch to a different coding language, Rust.

To celebrate the launch of Luna Display for Windows, Astropad is offering a 20% discount through October 15, which is applied at checkout. Luna Display for Mac and Windows is regularly priced at $129.99. You can learn more at Astropad.

On macOS, the Luna Display 5.0 update may not add major functionality as it does on Windows. However, M1 Macs should experience a faster setup.

Kategorier: Sidste nyt

Sony 70-200mm F2.8 GM OSS II sample gallery

Sidste nyt fra dpreview - 13 okt 2021 - 16:00
$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_4652265303","galleryId":"4652265303","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Sony's latest lens, the FE 70-200mm F2.8 GM OSS II, brings all new optics to one of the core products in the company's G Master line of premium lenses. We've had a chance to see how Sony's latest 70-200mm F2.8 performs in a variety of situations with some sunny Fall weather around Seattle. Take a look and see how it performs for yourself.

Kategorier: Sidste nyt

DPReview TV: Sony 70-200mm F2.8 GM II review

Sidste nyt fra dpreview - 13 okt 2021 - 16:00

The Sony 70-200mm F2.8 GM II promises to deliver pro-level performance that competes with the best zooms in its category. Can it deliver? Chris and Jordan tell us what we need to know in their hands-on review.

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

Sample photos from this episode $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_7980481125","galleryId":"7980481125","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });
Kategorier: Sidste nyt

Sony releases totally redesigned FE 70-200mm F2.8 GM OSS II

Sidste nyt fra dpreview - 13 okt 2021 - 16:00
$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6439113279","galleryId":"6439113279","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Sony has announced the FE 70-200mm F2.8 GM OSS II, a redesigned replacement for one of the core pro-grade lenses in the E-mount lineup. The Mark II is built around two pairs of XD 'Extreme Dynamic' linear motors driving its two focus groups, rather than the mixture of linear motor and ring-type motor used in the older version. Sony promises focus is up to four times faster as a result.

As before, the lens can move the two focus groups independently of one another, which helps it deliver a close-focus distance of 40cm (15.7"), less than half the 96cm (37.8") offered by the first generation lens. That brings the maximum magnification up to 0.3x, up from 0.25x.

The new design uses 17 elements in 14 groups, including one extreme aspherical element, one conventional aspheric and one ED (extra-low dispersion) aspherical lens. There are also two Super ED and two ED elements. All this adds up to a lens that promises to be sharper than its predecessor, particularly towards the edge of the image and especially at the 200mm end of the zoom. Sony also claims low levels of chromatic aberrations. 'Nano AR Coating II' helps reduce flare and ghosting.

The lens gains an aperture ring that can be operated in clicked or continuously variable mode, and that can be locked in the 'A' position if you prefer to control aperture from the camera body. Video shooters are also likely to appreciate the reduced focus breathing, reduced focus shift when zooming (which also promises to improve AF performance), and a reduction in axial shift of framing as you zoom.

The GM II can be used with the existing 1.4 and 2.0x teleconverters. It represents the first update to one of Sony's 'GM' series of high-end lenses, coming just over five years since the original became available. Despite Sony's ambitions for the GM series, the 70-200mm F2.8 never established a particularly strong reputation, and its replacement comes as Sony pushes aggressively to expand its presence in the professional market.

The Mark II shares its external dimensions, 88 x 200mm (3.5 x 7.9"), with its predecessor but at 1045g (2.3lbs) is nearly a third lighter than the original version. This makes it the lightest 70-200mm F2.8 currently on the market.

The 70-200mm F2.8 GM OSS II will sell for a list price of $2799, $200 higher than the original version was launched for (though the old lens was initially more expensive if you take five years' worth of inflation into account).

Sony Electronics Continues to Redefine Excellence in Imaging with the Introduction of the new FE 70-200mm F2.8 GM OSS II​
  • Constant aperture F2.8 70-200mm telephoto zoom
  • Fast, precise quiet AF (autofocus) and continuous AF tracking capabilities
  • Advanced features for video creators
  • World’s lightesti 70-200mm large-aperture telephoto zoom lens, approximately 29% lighter than the previous model
  • Up to approximately four times[ii] faster AF, with focus tracking while zooming improved by approximately 30% when compared to the previous modelii
  • Professional-level control and reliability

SAN DIEGO, CA – October 13, 2021 – Sony Electronics Inc. announced the newest lens in their G Master lineup – the FE 70-200mm F2.8 GM OSS II​, which delivers an extraordinary combination of resolution and bokeh as well as unequalled AF (autofocus) performance known to Sony’s G Master design.

“Sony is always listening to our customers. Thanks to feedback from users around the world, including leading professionals, Sony continues to develop and evolve the G Master lineup,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “The FE 70-200mm F2.8 GM OSS II​ is lightweight and offers outstanding handling in any shooting situation. The newest addition to our G Master series will make a perfect telephoto zoom addition to any creator’s kit who is looking to maximize their gear potential for both stills and video.”

Designed to perfectly pair with Sony’s E-mount camera bodies, the FE 70-200mm F2.8 GM OSS II​ not only offers outstanding optical quality and advanced AF performance, but it is the lightesti F2.8 70-200mm zoom in the world and allows for unprecedented shooting freedom and flexibility. Sony continues to strengthen the Alpha system with this newest addition to the broadest selection of mirrorless lenses on the market as the 65th lens in its E-mount lens lineup.

New Levels of Performance

The new FE 70-200mm F2.8 GM OSS II​ delivers outstanding image quality with high resolution and clarity. Users can expect a clean and clear image from corner to corner throughout the entire zoom range, even when the aperture is wide open. Thanks to the two aspherical lens elements, including one XA (extreme aspherical) element manufactured to 0.01-micron surface precision, the FE 70-200mm F2.8 GM OSS II​ effectively controls distance-related aberration variations to ensure outstanding resolution throughout the image area.

The FE 70-200mm F2.8 GM OSS II​ also employs two ED (extra-low dispersion) spherical glass elements and two Super ED spherical glass elements to significantly reduce chromatic aberration without color bleeding. This lens also includes an ED aspherical element for the first time in an Alpha system lens, which simultaneously suppresses chromatic and spherical aberration, common issues in other telephoto lenses.

Smooth, beautiful bokeh is made possible by a large F2.8 maximum aperture and a newly developed 11-blade circular aperture unit. In addition, the lens’ advanced optical design including an XA element thoroughly suppresses the unwanted ‘onion ring’ effect, further enhancing the bokeh. The FE 70-200mm F2.8 GM OSS II​ also offers excellent close-up performance with deep bokeh. The minimum focusing distance is just 15.7 inches (0.4 meters) at 70mm and 32.3 inches (0.82 meters) at 200mm, with a maximum magnification of 0.3x. Moreover, the FE 70-200mm F2.8 GM OSS II​ can be easily paired with Sony’s high-performance 1.4x or 2.0x teleconverter[iii] to extend the lens’ focal length to 400mm[iv] at an F5.6 aperture, all while maintaining its G Master quality.

To avoid any unwanted flare and ghosting in challenging lighting conditions, Sony’s original Nano AR Coating II produces a uniform anti-reflection coating on the surface of the lens. In addition, the FE 70-200mm F2.8 GM OSS II​’s optical design also effectively suppresses internal reflections to improve clarity.

Industry-leading Autofocus

The FE 70-200mm F2.8 GM OSS II​’s state-of-the-art lens technology brings out the best in the advanced camera body it is paired with. The new lens uses four Sony-original XD (extreme dynamic) Linear Motors for extraordinary fast and precise AF, making it up to approximately four times fasterii and with focus tracking improved by 30% when compared to the previous modelii. When paired with Sony’s flagship Alpha 1, the FE 70-200mm F2.8 GM OSS II​ is capable of high-speed continuous shooting at up to 30 fps[v]. Superb AF tracking is also available even when using a teleconverter. For video, the FE 70-200mm F2.8 GM OSS II​ offers smooth and quiet AF to reliably lock in focus and track fast-moving subjects, even while zooming, so the user can leave the focusing to the camera.

Advanced Features for Video

With its constant F2.8 maximum aperture, astounding AF performance, versatile control, and solid reliability, the FE 70-200mm F2.8 GM OSS II​ is a perfect choice for video. The new lens was designed to dramatically reduce focus breathing, focus shift, and axis shift when zooming so that there is minimal unwanted image movement and angle of view variations.

For easy video-use operation, the FE 70-200mm F2.8 GM OSS II​ features independent control rings for focus, zoom, and aperture (iris), allowing precise manual operation. The aperture ring also has a click ON/OFF switch. Additionally, Sony’s Linear Response MF ensures responsive, low-lag manual focus control. The supplied lens hood also features an opening that allows convenient operation of circular polarizing filters or variable ND filters for more creative flexibility.

Designed for Professionals

The FE 70-200mm F2.8 GM OSS II​ is the world’s lightesti F2.8 telephoto zoom lens and is approximately 29% lighter than the previous model, weighing just under 37 oz (1,045g). In addition to its light weight, the FE 70-200mm F2.8 GM OSS II​ was designed for professionals to offer an ideal balance without front-heaviness, ensuring that the lens’ center of gravity falls directly above the tripod mount. It also features internal zoom to keep the center of gravity constant.

The FE 70-200mm F2.8 GM OSS II​ has been specifically designed for professionals based on their direct feedback. The new lens includes focus functions to support the user’s professional needs such as Full-time DMF, natural and linear manual focus response, and a focus-range limiter switch. The FE 70-200mm F2.8 GM OSS II​ also includes three customizable focus hold buttons that are provided 90° apart for easy access and convenient control when shooting in horizontal or vertical orientation, and nearly any angle.

The FE 70-200mm F2.8 GM OSS II​ features both a click ON/OFF switch and an iris lock switch for quick, flexible aperture control. The aperture ring click stops can be turned ON to provide tactile feedback when shooting stills, or OFF for smooth, silent aperture control when shooting movies. In addition, the zoom ring torque is optimized and now includes image stabilization with MODE 3[vi] for moving subjects.

Based on feedback from professionals, the FE 70-200mm F2.8 GM OSS II​ is designed to be reliable in even the most challenging environments. It features dust and moisture resistance[vii], equal to the FE 400mm F2.8 GM OSS and FE 600mm F4 GM OSS. The front lens element features a fluorine coating that repels water, oil, and other contaminants, while making it easier to wipe off any contaminants or fingerprints that may become attached to the lens surface.

Pricing and Availability

The new FE 70-200mm F2.8 GM OSS II​ will be available in December for approximately $2,800.00 USD and $3,500.00 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories and exciting new content shot with the new FE 70-200mm F2.8 GM OSS II​ and Sony's other imaging products can be found at, a site created to educate and inspire all fans and customers of Sony α - Alpha brand.

[i] As of the October 2021 product announcement, compared to full-frame F2.8 70-200mm telephoto zoom lenses that support autofocus. Sony survey.
[ii] When attached to the Alpha 1, compared to SEL70200GM. Sony test conditions.
[iii] Maximum aperture with the 1.4x and 2.0x teleconverters is F4 and F5.6, respectively.
[iv] 2.0x teleconverter can realize 400mm focal length. 1.4x teleconverter can realize 280mm focal length.
[v] Sony test conditions.
[vi] A software update may be required. See Sony’s support page on the web for camera compatibility info.
[vii] Not guaranteed to be 100% dust and moisture proof.

Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length70–200 mmImage stabilizationYesLens mountSony E, Sony FEApertureMaximum apertureF2.8Minimum apertureF22Aperture ringYesNumber of diaphragm blades11Aperture notesRounded bladesOpticsElements17Groups14Special elements / coatings1 'XD' extreme aspheric, 1 ED aspheric, 1 aspheric, 2 Super ED, 2 ED elementsFocusMinimum focus0.40 m (15.75″)Maximum magnification0.3×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiterYesPhysicalWeight1045 g (2.30 lb)Diameter88 mm (3.46″)Length200 mm (7.87″)SealingYesColourWhiteZoom methodRotary (internal)Power zoomNoZoom lockNoFilter thread77 mmHood suppliedYesTripod collarYes
Kategorier: Sidste nyt

Nikon publishes second Z9 teaser, showing off the 8K video capabilities of its forthcoming mirrorless camera

Sidste nyt fra dpreview - 13 okt 2021 - 15:15

Nikon has released the second teaser for its forthcoming Z9 mirrorless camera system.

Unlike the first teaser, which showed off the unique dual-tilting display, this video doesn’t appear to confirm too many new details about the camera. The focus of this particular teaser is the Z9’s video capabilities, including its ability to record 8K video (7680  × 4320 pixels) at 30 frames per second (fps), a detail that was confirmed when the camera was first announced. It’s also shown that the camera can record above the standard 30 minute mark, with recording times extending over an hour.

With two down, we have two more Z9 teasers to go. Here’s to hoping Nikon reveals a little more information in the next one. You can keep tabs on the latest videos on Nikon Japan’s teaser website.

Kategorier: Sidste nyt

Fujifilm announces $150 Instax Link Wide Smartphone Printer for larger instant prints on-the-go

Sidste nyt fra dpreview - 13 okt 2021 - 07:00

Fujifilm has announced its new Instax Link Wide Smartphone Printer. Link Wide, as it will be known, sits alongside Fujifilm’s original Mini Link and is the company’s first smartphone printer to use the larger-format Instax Wide instant film, which measures 62mm (2.4”) x 99mm (3.9”).

The printer connects over Bluetooth to compatible Android and iOS devices via the Instax Link Wide App. Prints take roughly 12 seconds to expose and eject the instant film (though the brochure says they take 90 seconds to develop) and the onboard rechargeable battery is rated for up to 100 Instax prints per charge. The battery is charged using a built-in micro USB port.

In addition to importing photographs you’ve already captured, the application will offer ‘a variety of fun and creative features,’ including the ability to edit images, sketch over top of them, add digital stickers. The printer offers two printing modes: Instax Rich, which ups the contrast and saturation of the photo being printed and Instax Natural, which keeps the original tones of the image.

There’s also QR Print Mode, which will print a QR code on the image, which can be used to play a recorded sound, link out to a website and tag the geolocation of the image. to coincide with the release of the Link Wide, Fujifilm is also releasing its new Instax Wide Black instant film, which offers color instant prints surrounded by a black border for a more contrasty look.

The Instax Link Wide Smartphone Printer will be available in Ash White and Mocha Gray when it launches later this month with an MSRP of $150 USD.

Kategorier: Sidste nyt

Nikon announces DX 18-140mm F3.5-6.3 VR for APS-C Z-mount

Sidste nyt fra dpreview - 13 okt 2021 - 06:01

Nikon has announced the Z DX 18-140mm F3.5-6.3 VR, the all-in-one standard-to-telephoto zoom listed on its Z-mount roadmap.

The 7.8x zoom for APS-C cameras provides a flexible lens with greater reach for users of the Z50 and Z fc. The relatively complex optical formula is made up of 17 elements in 13 groups, including two aspherical elements and two extra-low dispersion (ED) elements.

Minimum focus distance ranges from 20cm (7.9") at the wide end to 40cm (15.7") at the long end, giving a maximum reproduction ratio of 0.33x. The lens' VR system is rated as providing 5.0 stops of correction at the 140mm setting, making it easier to get sharp shots.

The lens is impressively compact, measuring 73mm (2.9") wide and 90mm (3.6") long, when at its shortest, 18mm setting. A plastic lens mount helps keep weight down to a very portable 315g (11.2 oz), and Nikon says the design is 'dust- and drip- resistant' which boosts its usefulness as a travel lens.

The 18-140mm F3.5-6.3 will be available from November at a recommended price of $600.


MELVILLE, NY (October 13, 2021) – Today, Nikon Inc. has announced the NIKKOR Z DX 18-140mm f/3.5-6.3 VR, the latest NIKKOR Z lens compatible with APS-C size (Nikon DX-format) mirrorless cameras

The NIKKOR Z DX 18-140mm f/3.5-6.3 VR is a 7.8x high-power zoom lens that is extremely compact and easy to carry, with a total length of approx. 3.6-inches (90mm) and weight of approx. 11.2 oz (315g). Its wide focal-length range makes the NIKKOR Z DX 18-140mm ideal for capturing a variety of subjects, from travel to daily snapshots and everything in between.

The lens achieves consistently high resolution, regardless of focal length or shooting distance, making it a great choice for both still shooting and video recording. Its short minimum focus distance of 0.2m at the maximum wide-angle position lets users capture dynamic close-up shots such as shooting flowers or tabletop photography. The lens also realizes high vibration reduction (VR) performance with an effect equivalent to a 5.0-stop1 increase in shutter speed for more stable and sharp photos even during telephoto shooting or in low-light situations where vibration is likely to occur.

Primary features of the NIKKOR Z DX 18-140mm f/3.5-6.3 VR:

  • Covers a focal-length range of 18mm to 140mm (27mm-210mm, 35mm angle of view equivalent), convenient for capturing stills and videos of a wide variety of subjects, from landscapes to portraits.
  • The short minimum focus distance of 0.2m (at max wide-angle) is optimum for close-up shots.
  • The maximum reproduction ratio of 0.33x at the maximum telephoto position enables rendering of subjects in large size.
  • Equipped with an optical VR mechanism that provides camera shake compensation equivalent to a 5.0-stop increase in shutter speed.
  • High resolution achieved consistently across the entire zoom range, from maximum aperture.
  • Ideal for shooting video, with effective reduction of shifting of focus when zooming in/out and shifting of angle of view when adjusting focus.
  • Select functions can be assigned to the control ring for stills and video.
  • Fast, precise and quiet AF operation is attained with the employment of an STM (stepping motor).
  • Designed with consideration of dust- and drip-resistant performance.

Pricing and Availability:

The NIKKOR Z DX 18-140mm f/3.5-6.3 VR telephoto zoom lens will be available starting in November (US) for a suggested retail price (SRP) of $599.95*. For more information about the latest Nikon products, including this new NIKKOR Z lens and the entire Nikon Z series cameras, please visit

  1. Based on CIPA Standard. This value is achieved when attached to a camera with APS-C size sensor, with the camera’s VR function set to “NORMAL”, and when zoom is set to the maximum telephoto position.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length18–140 mmImage stabilizationYesCIPA Image stabilization rating5 stop(s)Lens mountNikon ZApertureMaximum apertureF3.5–6.3Minimum apertureF22–40Aperture ringNoNumber of diaphragm blades7OpticsElements17Groups13Special elements / coatingsED and Aspherical elementsFocusMinimum focus0.20 m (7.87″)Maximum magnification0.33×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight315 g (0.69 lb)Diameter73 mm (2.87″)Length90 mm (3.54″)SealingNoColourBlackZoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread62 mmTripod collarNo
Kategorier: Sidste nyt

Sneak peek: Adobe Camera Raw is coming to Photoshop on the iPad

Sidste nyt fra dpreview - 12 okt 2021 - 19:42

Ahead of Adobe MAX 2021 later this month, Adobe has shared a sneak peek of an upcoming update to Photoshop on iPad. And it's a big one. Adobe Camera Raw is coming to iPad, allowing photographers to import and open raw images on iPad, just as you can on Photoshop on desktop.

Per Adobe, 'From DNG to ProRAW, unlock the power of your camera on-the-go by making adjustments like exposure and noise in your raw files, then importing into your PSD as an ACR Smart Object – all in the iPad.'

You can see Ryan Dumlao, Senior Product Manager for Photoshop on the iPad, give a hands-on demo in the video below.

As Dumlao says, ACR on iPad will support the same raw files as ACR in Photoshop on desktop, including the ProRAW format from recent high-end iPhone models. As you can see, while the functionality of ACR on iPad appears identical, the user interface itself is a bit cleaner and more modern, matching the style of Photoshop on iPad. We don't see the full suite of selective adjustment tools present in ACR on desktop, although without going hands-on, it's difficult to know for certain how the functionality and tools vary from desktop to iPad.

When finished editing, you can then open your raw image as a smart object inside Photoshop on iPad, maintaining a non-destructive workflow and the option to go back and make additional adjustments in Camera Raw at any point in the editing process.

Credit: Adobe

For much more on Photoshop for all platforms and other Adobe software, like Lightroom, stay tuned for Adobe MAX on October 26-28. You can learn more about Adobe MAX and register for free for this year's virtual event by clicking here.

Kategorier: Sidste nyt

Apple confirms ‘Unleashed’ special event for October 18

Sidste nyt fra dpreview - 12 okt 2021 - 18:58

Apple has confirmed the date for its October ‘Unleashed’ special event, wherein it’s believed the Cupertino company will unveil new MacBook Pro computers with its latest M1X chipset.

The event will be livestreamed at 10:00 am Pacific time (UTC -7) on October 18, 2021 via, Apple’s YouTube Channel and the Apple TV app on iPhone, iPad, Mac and Apple TV devices. The teaser material doesn't offer much affordance on what to expect, but it’s been widely reported we can expect to see Apple’s next-generation silicon inside new 14" and 16" MacBook Pro models. It’s also been reported that Apple will release an updated version of its Mac Mini with the new M1X chipset inside.

Unleashed! These next six days are going to speed by. #AppleEvent

— Greg Joswiak (@gregjoz) October 12, 2021

It’s also been reported that Apple will announce the official release date of macOS Monterey, its latest computer operating system first unveiled at WWDC. Some publications are also reporting we could see an updated version of Apple’s AirPod models, but that particular rumor appears less concrete than the others.

You can add the event to your calendar through a link provided on Apple’s event webpage.

Kategorier: Sidste nyt

DJI teases 3 new products launches for October 20, October 27 and November 5, 2021

Sidste nyt fra dpreview - 12 okt 2021 - 17:20

As if Sigma and Sony’s teasers weren’t enough today, DJI has also confirmed today that it will be announcing three new products over the next month. The product launches will take place one week apart from each another On October 20, October 27 and November 5.

The teaser, embedded below, features the phrase ‘Good things come in threes,’ shows off three icons, each of which hints at what will be announced on their respective release dates. The October 20 date shows off a red record button, similar to that found on DJI’s line of Ronin gimbals. The October 27 date highlights a proprietary eight-pin connector. And the November 5 date shows a battery indicator and display, similar to the ones DJI uses on the batteries of its Mavic 2 drone lineup.

Good Things Come in Threes. ⏱
October 20th | October 27th | November 5th

— DJI (@DJIGlobal) October 12, 2021

It’s unclear from the teaser whether these events will be announced via livestream or press release, but between these three announcements, as well as Sigma and Sony’s reveals, this October and November are shaping up to be busy—and expensive—months going into the holiday season.

Kategorier: Sidste nyt

Sony teases a new Xperia product announcement set for October 26 livestream

Sidste nyt fra dpreview - 12 okt 2021 - 16:41

Sony has confirmed it will be making a new Xperia-related product announcement via livestream on Tuesday, October 26, 2021.

Sony hasn’t shared any details regarding what we can expect from the announcement, but the teaser image suggests an emphasis on the photographic capabilities of the unannounced product, as the illustration seems to show off an abstracted design that bears resemblance to an optical element. Sony’s Xperia phone lineup has long been defined by its photographic and video capabilities, so it shouldn’t come as a surprise that, once again, the Japanese multinational conglomerate hopes push the boundaries of mobile imaging.

The livestream video link isn’t yet live, but Sony suggests subscribing to its Xperia YouTube channel to watch when the event goes live at 12:00 JST / 5:00 CET / 24:00 ET on October 25 2021.

Kategorier: Sidste nyt

Sigma set to release new products via livestream event on October 19, 2021

Sidste nyt fra dpreview - 12 okt 2021 - 16:27

Sigma has announced it will be holding a ‘New Products Presentation’ via a Sigma Stage Online event that is set to take place on Tuesday, October 19, 2021.

As has historically been the case, Sigma doesn’t divulge any details regarding what to expect from the announcement, but the plural ‘products’ suggests more than one item will be revealed. The event will take place at JST 21:00 / CET 13:00 / EDT 08:00 and last ‘about 30 minutes,’ according to Sigma.

You can bookmark the above video to watch the livestream as it happens a week from now.

Kategorier: Sidste nyt

Rokinon AF 35mm F1.8 product overview with Paper Crane Creative’s Desy Cheng

Sidste nyt fra dpreview - 12 okt 2021 - 16:00

The Rokinon AF 35mm F1.8 is a compact, lightweight prime lens designed for mirrorless cameras. Available for Sony's E-mount, it works equally well as a roughly 50mm equivalent lens on APS-C or as one of the most flexible focal lengths you can buy for full-frame.

Desy Cheng looks at the detail and takes to the water to see what this well-sized, well-priced optic can do.

Rokinon AF 35mm F1.8 FE sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_1958121696","galleryId":"1958121696","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

This is sponsored content, created with the support of Rokinon. What does this mean?

Kategorier: Sidste nyt