Sidste nyt

Photographer David Burnett with his large-format, wooden camera was the real hero of today's impeachment hearings

Sidste nyt fra dpreview - 13 nov 2019 - 23:23

Photographer David Burnett (L), pictured in the press pack at today's first public session of the ongoing impeachment hearings.

As diplomat William Taylor and State Department official George Kent took their seats in the House today to begin their public testimony, their entry was heralded by a noisy fluttering sound, as attendant photographers shot off hundreds of continuous frames on their Canon and Nikon DSLRs. But one man stood alone, among the fray: David Burnett, veteran, multi award-winning photographer, co-founder of ContactPressImages and large format film enthusiast.

At the opening of the House Impeachment, the ole wooden camera on the ole wooden witness table pic.twitter.com/Lht5DJ1xPt

— david burnett (@davidb383) November 13, 2019

The camera is an 'Aero Liberator' – Made by John Minnicks, the Liberator is a custom-made camera, which takes 4 x 5 film. Judging by today's footage of David using it, continuous shooting speed is limited to about one frame every five or six seconds, at best.
Learn more about the Aero Liberator camera

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Fujifilm announces upcoming firmware updates for X-T3, X-T30 and other models

Sidste nyt fra dpreview - 13 nov 2019 - 20:02

Fujifilm has announced plans to release future firmware updates for its X-T3 mirrorless camera. The first update to version 3.10 will arrive in mid-December, according to a release from the company published on Wednesday.

The update scheduled for release in mid-December will bring 'controls for video recording from Gimbal / Drone via USB communications,' according to Fujifilm, meaning X-T3 owners will be able to remotely operate their camera when mounted on a drone and gimbal setup that supports the function. This same functionality will also be released for the X-T30 and other models not specified at this time. Up until now, the cameras have only offered remote video start/stop via the 2.5mm remote socket, rather than offering control over USB.

The firmware version 3.20 update is scheduled for release in January 2020 and will bring 'enhanced autofocus' with better eye AF frame tracking and face-detection performance, as well as improved autofocus when it comes to foreground subjects. Additionally, version 3.20 will add support for saving up to 9,999 images in each folder on the SD card, a dramatic increase from the current 999 limit.

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You will soon be able to import into Lightroom on iOS directly from external storage

Sidste nyt fra dpreview - 13 nov 2019 - 19:12

Adobe has given the public a new sneak peek at a future update for Lightroom on iOS that will simplify the process of importing images into the app. As demonstrated in the above video, Adobe will enable users to directly import images from card readers into Lightroom on iOS, after which point the content is uploaded to the cloud and added to the app's photo library.

The 'seamless importing experience' will arrive in a future Lightroom update starting with iOS 13.2, according to Adobe's Tom Hogarty. The company doesn't provide an exact release date for this update, but says that it will arrive 'soon.'

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Fujifilm confirms release date for Neopan 100 ACROS II emulsion for 35mm, 120 formats

Sidste nyt fra dpreview - 13 nov 2019 - 17:04

In April 2018, Fujifilm announced it was discontinuing its much-loved Acros 100 film stock. Now, more than a year later, Fujifilm has announced that its new Neopan 100 ACROS II film, first teased in June of this year, will start shipping in Japan on November 22, 2019 in 35mm and 120 formats.

According to Fujifilm, the newly developed Neopan 100 ACROS emulsion features the company’s ‘Super Fine particle technology,’ which better retains highlight gradation and improves overall sharpness that ‘emphasizes the contour of the subject.’

Fujifilm hasn’t shared any pricing information, but as noted by Emulsive, Rakuten Japan has both the 35mm and 120 versions listed for 1,045 Japanese yen, which equates to roughly $9.50 a roll.

Press Release (machine-translated):

Black and white film "Neopan 100 ACROS (Across) II

Fujifilm Co., Ltd. (President: Kenji Sukeno) realizes ultra-high image quality with world-class graininess and three-dimensional gradation reproduction, and is suitable for shooting a wide range of fields, and is suitable for photographing a wide range of fields, and is suitable for photography in a wide range of fields, and is used by "Neopan 100 ACROSII" (hereinafter referred to as "Acros II"). will be released in Japan on November 22, 2019. "Across II" will be available in two types: 35mm size and browny size.

The Neopan 100 ACROSII, which will be released this time, uses our unique technologies, including "Super Fine-Particle Technology" As a black and white film with sensitivity ISO100, we have achieved a three-dimensional gradation reproduction that can clearly express the world's highest level of graininess and the tint of the subject, and excellent sharpness. By precisely controlling the structure of the silver halide to form an image by capturing light and making it highly sensitive, and by efficiently placing the photosensitive particles of different sizes in the light receiving layer of the film [...] It is possible to describe finely down to the details of the texture. We respond to the needs of photography in a wide range of fields, from landscape and mountain photography, portraits, product photography, architectural photography, to astronomical and night view photography of long exposure photography.

In the future, we plan to hold events and photo exhibitions where you can experience the charm of "Across II" where you can enjoy deep and quaint expressions. We will also consider overseas sales.

As a leading company in the imaging field, Fujifilm will continue to provide better products and services in response to diversifying customer needs in a wide range of fields, from analog to digital. The power and splendor of a single photograph will be conveyed.

A technology that contributes to high print quality by precisely controlling the size and composition of silver halide particles contained in photographic films, which achieves both sensitivity and excellent graininess.

A layer that is photosensitive to the light entered from the lens during shooting and forms a black-and-white silver image during the development process.

Book

1. Product Name
Neopan 100 ACROSII
35mm size (36 shots) / Brownie size (12 shots)
2. Release Date
November 22, 2019
3. Price
Open price

Features of "Neopan 100 ACROSII"

  • By adopting our proprietary "Super Fine-Particle Technology", we have achieved the world's highest level of graininess as a black and white film with sensitivity ISO100.
  • Compared to our conventional product "Neopan 100 ACROS", the gradation of the highlight part is designed with a sharp, three-dimensional gradation reproduction is possible.
  • The world's highest level of sharpness enables the contours of the subject to be described.

History of the release

We ended sales of black and white film in autumn 2018 due to a decrease in demand for black and white film and difficulty in obtaining raw materials that are essential for production. However, many people who like photography with the unique texture of black and white film have received many voices that want us to continue selling black and white film, so we have been considering re-opening sales from all angles. In addition, we have been able to develop and sell the black and white film "Across II" through research on alternatives to raw materials that have become difficult to obtain and a drastic review of the manufacturing process tailored to new raw materials.

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Apple's new 16-inch MacBook Pro offers options for 8-core processor, 64GB of RAM, 8TB of storage and more

Sidste nyt fra dpreview - 13 nov 2019 - 16:03

Today, Apple announced its new high-end 16-inch MacBook Pro computer, which serves as a replacement for the current 15-inch MacBook Pro. The larger MacBook Pro can be configured with up to an 8-core Intel i9 processor, maxes out at 64GB of RAM and can be ordered with up to 8TB of internal SSD storage.

In addition to the new 16-inch Retina display (with 500 nits of brightness), a six-speaker sound system, ‘Studio-quality’ microphones and a 100wH battery, Apple has brought back Apple’s scissor-switch Magic Keyboard (and a physical escape key) that uses a custom rubber dome that has 1mm of travel. This update (or reversion, more so) stands as Apple’s recent MacBook Pro units have been plagued with keyboard issues.

Pros — you asked for it. And it’s here. pic.twitter.com/e0rsV18AKH

— Tim Cook (@tim_cook) November 13, 2019

While the standard version of the new 16-inch MacBook Pro comes with a 2.6Ghz 6-core Intel i7 processor with Turbo Boost up to 4.5GHZ, you can max out the new MacBook Pros with a 2.4GHz 8-core Intel i9 processor with Turbo Boost up to 5.0GHz.

Apple says a new ‘advanced thermal architecture’ allows the computer to operate on less battery power while still offering more computing power. To achieve this, Apple has increased airflow by 18% and made the heat sink 35% larger compared to the previous-generation MacBook Pro. The extra efficiency combined with the 100Wh lithium-polymer battery offers up to 11 hours of battery life, according to Apple.

The standard model starts at $2,399 and comes with a 2.6GHz 6-core 9th-generation Intel Core i7 processor with Turbo Boost up to 4.5GHz, an AMD Radeon Pro 5300M GPU with 4GB of GDDR6 memory, 16GB 2666MHz DDR4 memory and a 512GB SSD. A maxed-out 16-inch MacBook Pro will cost over $6,000 and offers some unreal specs for a laptop.

The new 16-inch MacBook Pro is available starting today at Apple.com, in Apple Stores and through authorized Apple retailers. As has been the case for a number of years now, the computer is offered in Silver and Space Grey colors.

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The Pixel 4 can't beat a compact camera, but that doesn't matter

Sidste nyt fra dpreview - 13 nov 2019 - 15:00

With its newly improved Super Resolution Zoom, the Pixel 4 makes a case for itself as a replacement for a compact camera with a 4-6x zoom range. The kind you might bring on vacation – something with a sensor that's a little bigger and a modest zoom that won't be too cumbersome while you explore your destination.

I took the Pixel 4 as my primary camera on a recent trip, but just to satisfy my curiosity, packed the Canon PowerShot G5 X Mark II alongside it. The Pixel 4 fell short in a couple of ways, but overall it did the job well enough that I wouldn't have regretted taking it as my only camera. Here's what it did well, what the dedicated camera still does best, and why I think those differences don't matter much to most people who take pictures.

A military fort-turned-prison is kind of a weird place to take someone for their birthday, but my fiancé is into that kind of thing. Plus, it was a great excuse to quote Sean Connery saying 'Welcome to the Rock,' for several weeks leading up to the trip. I'd been to Alcatraz before, so I was happy to spend a little more effort and concentration on taking photos.

As you might imagine, a jailhouse provides lots of low light photography opportunities – a task that the Pixel 4 is well equipped for. Night Sight does a little bit of computational magic to create surprisingly detailed images in low light (and good light for that matter). But even the default camera mode does a very nice job in dim conditions, thanks to its ability to capture multiple frames, analyze them and assemble the best bits into one final image on the fly. In fact, it out-performed the Canon G5 X II in the situations where I tested both.

The moderately low light images below show the Pixel 4 producing a slightly more detailed, less noise-smudged image in its standard camera mode versus the Canon G5 X II's out-of-camera JPEG.

Zoom is another story. Google has improved the Super Resolution digital zoom in the Pixel 4, boosting image quality thanks to a combo of clever algorithms and the new telephoto lens. The company claims that the camera will produce decent results up to 6x zoom, but admit that zoom is a difficult problem to solve with the current technology.

Absolutely nobody is claiming that the phone's 4-6x zoomed images can take on a traditional camera's zoom pixel-for-pixel, but because I'm curious I checked it out anyway. Both cameras are at 5x zoom in the example below (about 135mm equiv. for the Pixel 4 and 122mm equiv. on the G5 X II).

The difference is obvious in the 100% crops above, and can be easily seen even at 50% – but then again how often will those photos be viewed on anything bigger than a computer screen? If I planned on making prints of these images, I'd still want a traditional optical zoom. But I rarely print images and I suspect I'm in the majority of the picture-taking public.

There was one more Pixel 4 camera feature that I found myself relying on that the G5 X II doesn't offer: Dual Exposure Controls, which doesn't mean what you think it means.

Dual Exposure Control puts a higher level of control over shadows and brightness, along with the ability to adjust them independently of each other, all before image capture

An advanced compact such as the G5 X II provides plenty of manual controls over exposure settings. What it doesn't provide is the ability to finely tune shadows and brightness before you press the shutter: you can instead select low, medium or high levels of its Auto Lighting Optimizer.

The Pixel 4's Dual Exposure Control gives you direct control over shadows and brightness, along with the ability to adjust them independently of each other, all before image capture. This phone and previous Google devices would do this automatically expose for backlit subjects and high-contrast scenes, but the dual controls allow you to increase or minimize the effect, depending on what you want.

The Pixel 4's Dual Exposure Controls allowed me to slightly boost shadows in this image before pressing the shutter.

Of course the G5 X II offers plenty of editing flexibility with in-camera Raw processing, but control over settings is limited. For anything more advanced than some basic tweaks, you'll need to take your Raw images into Lightroom or the like. On the Pixel 4, it all happens in-camera.

This potentially changes how you approach a high-contrast scene. Normally I'd expose for the highlights and bring up the shadows later, which works well but leaves me without an image to share now. This is annoying because social media has robbed me of any patience I once had. The Pixel 4 lets me make those adjustments before I take the photo – rather than having to wait until I can process the image later.

If I was keeping score, I could award a lot more points in favor of either device. Color science backed by decades of fine tuning, better picture-taking ergonomics, flip-out touchscreen for low angle shots: all points for the traditional camera. Integrated photo storage, seamless image sharing, always in your pocket: point, point, point for the Pixel 4.

What speaks louder than any arbitrary score-keeping though is the fact that I saw few, if any, compact cameras among my fellow tourists at Alcatraz. I saw mirrorless cameras, DSLRs, a few superzoom cameras and of course, lots of phones. To most of the photo-taking population though, the compact camera – even a really nice compact camera – is already history.

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DPReview TV: Did Panasonic just turn the G9 into a GH5?

Sidste nyt fra dpreview - 13 nov 2019 - 15:00

Last week Panasonic announced a major firmware update for the G9, adding video features once exclusive to the GH5 series. Does Chris love the autofocus? Can Jordan replace his beloved GH5s? Tune in to find out.

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

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Gifts for the smartphone photographer 2019

Sidste nyt fra dpreview - 13 nov 2019 - 14:00
Gifts for the smartphone photographer 2019

Smartphones are highly capable cameras on their own, but like all imaging devices they have their limitations. In this guide, we've rounded up some accessories and gadgets that will help the smartphone photographer in your life open up new creative possibilities and get the most out of their device.

Moment Photo Case and Minimalist Wrist Strap shopmoment.com | $55

Camera wrist straps don't get the credit they deserve – they're easy to throw on everything from compact cameras to small mirrorless models, and provide that extra bit of security. The folks at Moment haven't forgotten about the humble wrist strap, and they've adapted it for use with smartphones.

Their wrist straps (we like the cheerful-looking Minimalist Strap) attach to the bottom of the Photo Case, providing a safeguard against accidental drops. It's cheaper than fixing a cracked screen – just be sure to pick up the right phone case along with the strap.

Instax Share SP-2 instant printer instaxus.com | $85

The Instax SP-2 was introduced years ago but we still think it's the best instant printer on the market. It prints photos wirelessly from your phone to widely available Instax mini film, is easy to use and produces rich colors. It's not exactly cheap enough to be a stocking stuffer, but we think it's a must-have for just about any photographer who gets a thrill from instant prints.

Jackery Bolt Portable Power Bank jackery.com | $36

The most sophisticated smartphone camera in the world is useless with a dead battery. A dependable backup can be a lifesaver, especially for those relying on their smartphone as their sole camera. The Jackery Bolt gets good reviews on the web, and our positive experience with Jackery battery packs means we feel confident recommending this one. The 6000mAh will do the trick, but a serious power user might want the added capacity of the 10050mAh model.

Joby Gorillapod joby.com | $30

Part of a smartphone's appeal as a camera is its portability, so any accessories for phone photography should likewise be compact and lightweight. Joby's Gorillapod is a great option that genuinely opens up new creative opportunities for timelapse or night sky photography that aren't possible when shooting handheld. The starter kit includes a clamp that fits smartphones of any size.

Røde VideoMic Me-L røde.com | $80

Most current smartphones capture great-looking video, but audio? Not so much. The Rode VideoMic Me-L is a directional microphone for iPhones and iPads with a built-in Lightning connector. A directional mic helps capture better audio from a particular subject while minimizing ambient sounds, so it's ideal for someone shooting interviews with their phone.

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Apple loses patent lawsuit, will have to pay RED royalties for ProRes RAW format

Sidste nyt fra dpreview - 13 nov 2019 - 00:50

Apple has failed in an attempt to over-throw patents held by RED that govern methods for compressing Raw video, leaving the company open to paying royalties on its ProRes RAW file format. Apple had tried to show that the technology RED patented around its RedCode codec was obvious and therefore shouldn’t have been granted protection, but the court rejected the claim leaving RED secure to license the lossless compression technique to camera, software and accessories manufacturers.

It seems that Apple had wanted to avoid paying royalties on the ProRes RAW format it introduced via Final Cut Pro last year, and which is used in some DJI drones, some Atomos recorders and a few other products. The problem is that RED claims ProRes RAW uses technology it owns for compressing those Raw files to make them manageable to work with. RedCode allows Raw video to be captured and compressed in-camera in much the same way that stills cameras do, allowing data directly from the sensor to be recorded and made available for very flexible post-production manipulation.

RED’s technology allows files to be compressed by ratios of up to 22:1, though it says 3:1 is mathematically lossless and 8:1 is visually lossless. The value of this is not only that it allows video files to be reduced in size, but also that for the same size file videographers can record in higher resolutions to provide the means for heavy cropping and frame splitting in post-production.

RED President Jarred Land posted on the RED User forum that he was glad the company’s technology remained protected but that the dispute between RED and Apple was just a means to finding where each stood technology-wise so they could continue to work together. He wrote:

‘We are pleased to see our REDCODE patents withstand another challenge.

To be clear, as I mentioned before, this never really was Apple vs. RED. It has always been APPLE + RED, and this was all part of the process defining how we work together in the future.

RED integration with Apple’s METAL framework for realtime R3D playback is coming along well and the work that the two teams are doing together is exceeding expectations. We are very excited for the new Mac Pro and the new XDR pro display and the power they bring to the entire RED workflow.’

The ‘another challenge’ refers to a similar attempt made by Sony in 2013.

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PolarPro introduces ultra-lightweight filter systems with active creators in mind

Sidste nyt fra dpreview - 12 nov 2019 - 21:47

Today, California-based filter manufacturer, PolarPro, known for their premium ND and polarizing filters for cameras, as well as drones, announced the launch of two toolless, ultra-lightweight filter systems – one matte box, Basecamp, and one landscape filter system called Summit – designed to catapult professional creatives to the next skill level.

BaseCamp Ultra-lightweight Matte Box System

A base camp is a pillar of safety, as you head out into the unknown. It’s a haven to take shelter intermittently as battle the elements and push your limits to capture the best possible footage. Camera gear is getting heavier, especially lenses as higher quality optics are implemented. PolarPro designed BaseCamp, the lightest matte box system possible at 438 grams, to alleviate the burden heavier cameras put on operators and gimbals.

Built on the foundation of PolarPro’s Quartzline series, the toolless Variable Neutral Density configuration allows photographers and filmmakers to adapt to any lighting change instantly without having to swap out filters. Its modular design, constructed out of aluminum and carbon fibers, features a removable flag and hood that allows users to customize it to suit their production requirements.

Summit Landscape Filter System

Summit is a new range filter system aimed at photographers. It allows for toolless filter swapping and, like the BaseCamp system, has been designed with a large grip handle to minimize the risk of fingerprints on the filters. Summit filters screw onto the end of your lens and were constructed, with lightweight aluminum, in a fully light-sealed system to prevent light leakage.

PolarPro is offering $100 off the first 300 people who purchase their Summit Landscape Kit, the BaseCamp VND Kit, and their Cores. The BaseCamp VND Kit retails for $799, its Core is $399, Rectangular Filters are $299 each, while Rails Kits come out to $119.99 each. The Summit Landscape Kit will cost you $699, its Core $299.99, both Gradient and Neutral Density Filters $249.99 each, and a Circular Polarizer for either the Matte Box or Filter System costs $150. All can be purchased on PolarPro’s website.

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Volta packs an 8,000mAh power bank into the handle of a camera rig

Sidste nyt fra dpreview - 12 nov 2019 - 20:10

A new Indiegogo campaign is seeking funds for Volta, an 8,000mAh power bank packed into a camera rig top handle. The product features multiple 1/4" and 3/8" screw mounts, a removable 'handle component,' and two interchangeable 21700 batteries, which are the same power cells used by Tesla.

The top handle design is presented as a convenient way to tote around an extra power bank -- one that, in the case of Volta, features a USB-C port on the front of the handle offering 7.4v versus the 5v commonly offered by commercial external batteries. When Volta isn't needed as a handle, that component can be removed to use it as an ordinary power bank.

The team behind Volta presents the device as being akin to the combination of an NPF-970 battery and a top handle, but as noted by DIY Photography, the claim doesn't quite hold up. The 8,000mAh capacity comes from two 4,000mAh power cells wired in series, which works out to 29.6Wh; Sony's 6,600mAh NP-F970 7.2v battery, on the other hand, features 47.4Wh.

Regardless, the Volta is available to back on Indiegogo with pledges starting at $32 USD. Shipping to backers is expected to start in December 2019, assuming the campaign is successful and everything goes according to plan.

Via: DIY Photography

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.

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Fujifilm X-Pro3 review: living in the moment, not a screen in sight

Sidste nyt fra dpreview - 12 nov 2019 - 15:45
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"5133487436","isMobile":false}) }) 85%Overall scoreJump to conclusion

The Fujifilm X-Pro3 is a 26 megapixel mirrorless interchangeable lens camera built around a clever optical / electronic viewfinder and designed to look like a classic rangefinder.

This, the third iteration of Fujifilm's first X-mount camera gains titanium top and base plates but the most noteworthy feature is an LCD panel that faces the back of the camera and needs to be flipped down to use it. The viewfinder and rear screen are the main distinctions between this and the similarly-specced X-T3.

A low-resolution status panel on the back of the camera speaks to the underlying ethos of the camera, which we'll look into in more detail on the next page.

Key Specifications
  • 26MP APS-C BSI CMOS sensor
  • Optical/Electronic hybrid viewfinder
  • Fold down rear LCD
  • Rear-facing Memory LCD status panel
  • Titanium top/bottom plates
  • 4K video at up to 30p, 200Mbps
  • 11 Film Simulation modes, now with 'Classic Neg'

The X-Pro3 is available in painted black version with a list price of $1799 or with the silver or black hardened, coated surface for $1999.

What's new and how it compares

The X-Pro3 looks a lot like its predecessors except for one major change.

Read more

Body and controls

A new titanium top plate, rear 'sub monitor' and hidden flip-out LCD round out the major body updates.

Read more

First impressions

Photo editor Dan Bracaglia took a pre-production X-Pro3 on holiday to Northern California. Here are his thoughts on the hidden rear screen.

Read more

Image quality

The X-Pro3 offers the excellent image quality and attractive processing options we saw in the X-T3. It also gains an in-camera HDR mode.

Read more

Autofocus

The X-Pro3's autofocus is highly capable but requires more user input than the best of its peers.

Read more

Video

Despite its old-skool stills ethos, the X-Pro3 can shoot some impressive video footage.

Read more

Shooting with the X-Pro3

The X-Pro3's design pushes you to shoot with the optical finder or with the camera at waist level. We found both methods to be limiting and engaging to different degrees.

Read more

Conclusion

The X-Pro3 is an intentionally divisive camera, but one we think will hold a certain appeal for some photographers.

Read more

Sample gallery

The X-Pro3 gains the 'Classic Negative' film stimulation. Check out examples of it and more in our hardy samples gallery.

See more

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Plugable's new 1TB, 2TB Thunderbolt 3 NVMe SSDs offer read speeds up to 2800MB/s

Sidste nyt fra dpreview - 12 nov 2019 - 15:26

Computer accessory manufacturer Plugable has announced the release of its updated Thunderbolt 3 NVMe External SSDs, now with 1TB and 2TB capacities.

The compact drive is constructed of solid anodized aluminum, weighs 173g (6.1oz) and features an integrated 18cm (7in) 40Gbps Thunderbolt 3 cable (read: not removable). Plugable claims the drive offers read and write speeds of up to 2800MB per second and 1800 MB per second, respectively, thanks to its PCIe Gen3 x4 connection.

In our tests with a 1TB review unit Plugable sent our way to test out the claimed speeds, we were able to reach sustained write speeds of 1915MB per second and sustained read speeds of 2331MB per second using the Blackmagic Design Disk Speed test on macOS Catalina.

A screenshot of our test run on the latest beta of macOS Catalina using a 2016 15.6-inch MacBook Pro with Touchbar.

These drives are backwards compatible with USB-C connections, but to get the fastest speeds, you’ll want to make sure the computer you’re plugging it into features Thunderbolt 3 connectivity. The drives come pre-formatted with exFAT out of the box, but can be reformatted to work with any other macOS or Windows system.

The 1TB and 2TB Plugable Thunderbolt 3 NVMe External SSDs are currently available for $299 and $499, respectively. Plugable is offering a ‘launch discount’ of $50 on the 1TB drive and $100 on the 2TB drive for an unspecified amount of time. All units come with a 36-month warranty.

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Hands-on: The Sigma fp is shaping up to be an impressive camera for video pros

Sidste nyt fra dpreview - 12 nov 2019 - 15:00
Hands-on with the Sigma fp

The Sigma fp is the world's smallest full-frame camera. Built as a hybrid stills / video platform, the fp is highly modular and packed with features that many stills photographers would find esoteric in the extreme. The fp has clearly been designed with filmmakers in mind, and after using one for a few days, we suspect that they'll love it.

Hands-on with the Sigma fp

Measuring 112 x 70 x 45mm and weighing only 422g (just shy of one pound) with a battery and memory card, the aluminum-bodied Sigma fp is a very small, very light camera, considering its sensor format. We're told that fp stands for 'fortissimo pianissimo,' which Sigma is interpreting as 'very loud and very soft'. One way of interpreting that is 'a lot of power in a small package'.

Sigma has achieved the fp's compactness in a couple of different ways. Firstly, the body is the core of a very modular system. There's no built-in viewfinder, no integral flash, and no grip. Leaving these things out means some serious space savings, and furthermore there's no in-body stabilization, and no mechanical shutter, either. The fp is all electronic shutter, all the time. This has one major advantage for stills photographers - totally silent shooting - but a couple of disadvantages: a very slow maximum flash sync speed, and the potential for rolling shutter ('jello effect') and banding in some lighting conditions.

Hands-on with the Sigma fp

From behind, you can get an idea of the fp's minimalist ergonomics. The rear of the camera is dominated by a large, touch-sensitive LCD, with only four direct control buttons to the right, plus a control wheel / 4-way controller. The accessory grip adds a protruding thumbrest but without this, the back of the camera is essentially flat. Below the screen you'll find five more buttons, mainly geared to video shooters.

Because the form factor of the fp is essentially a flat-sided rectangle, with barely any protuberances anywhere, it's easy to incorporate into a video rig.

Hands-on with the Sigma fp

This view shows the interesting design of the accessory grip, which is formed from a single curve of metal. It also shows off the fp's very simple upper control layout. A control dial and integrated shutter button, a 'REC' button and a very simple 'Cine | Still' toggle for fast switching between capture modes. In a nice touch, when the switch is set to 'Cine', the switch moves to expose a bright red painted backing, providing quick visual feedback that the camera is set to record video, even when it is powered off.

Also visible in this shot is a row of vent holes, above the rear LCD. More on those in a moment.

Hands-on with the Sigma fp

Here's the fp without the accessory grip attached. The grip, straps and tripod socket all use 1/4-inch threads, which makes modifying the camera pretty simple and gives videographers multiple attachment point options for incorporating the fp into a cage or shoulder-mounted rig.

Hands-on with the Sigma fp

Here are those same vent holes viewed from the base of the camera. The fp is passively cooled, via a large heat sink designed to dissipate heat away from internal components and out of the camera. The system is 'passive' to the extent that it does not rely on mechanical fans to do so, hence it will not create any operational sound: a potential issue when shooting video.

The vents do not lead directly to any of the fp's delicate innards. As such, if dust or moisture make their way into them, it doesn't present a problem. The fp is fully weather-sealed at 42 points, and Sigma is confident that the fp should stand up under use in poor weather.

Hands-on with the Sigma fp

The fp does not feature an integrated hotshoe, and Sigma has opted not to make an optional EVF. Instead, for cinematographers that really need a viewfinder, there's the LVF-11 finder, which attaches physically to the rear screen and offers a 2.5X magnification, for precise focus and composition adjustments in (say) bright ambient light.

While not as flexible as a true electronic finder, for video work the LVF-11 works very well, and the additional stand-off distance from the back of the camera actually ends up being very useful when the fp is built up into a multi-module rig...

Hands-on with the Sigma fp

...a rig like this Zacuto one, where as you can probably imagine, the close proximity of the LCD screen to the operator's face would make focusing on composition and focus very uncomfortable. With the LVF-11 attached, the operator can both hold the camera and look through the finder in a comfortable working position.

Hands-on with the Sigma fp

This rig demonstrates the fp with an optional HU-11 hotshoe adapter attached, allowing for the addition of a range of accessories, such as an external microphone, or of course a flash (assuming you can live with the 1/30sec max flash sync speed).

It also shows a Samsung T5 SSD drive (right) attached to the fp via USB 3, into which 12-bit CinemaDNG Raw video can be recorded directly.

Hands-on with the Sigma fp

Here's the USB port, alongside the HDMI port and mic socket. The six gold connectors are proprietary, and carry power to the accessory hotshoe unit.

Hands-on with the Sigma fp

According to Sigma CEO Kazuto Yamaki, the fp was developed on the basis of knowledge gleaned from the creation of Sigma's 'Cine' range of Art-series prime lenses. The 35mm T1.5 is shown here, dwarfing the fp. But cine primes are typically heavy things, and every ounce saved from the total setup is precious, especially for filmmakers working with shoulder-mounted rigs.

Hands-on with the Sigma fp

We've only had a full production-quality fp for a few days, but that's long enough to form some preliminary impressions. Right now, we're pretty positive for the most part, with some caveats. Stills photographers might be a little shy of it at first (I did find myself really wishing for a conventional finder, and I'd personally take a bigger body for the sake of IBIS) but with one of the optional grips attached, the fp handles pretty well. The most serious handicap for stills shooting is likely to be rolling shutter, which does introduce distortion in some situations, albeit not to a problematic extent in many shooting scenarios.

Although the fp uses a contrast-detection autofocus system, it is reasonably fast and responsive (with the L-mount 45mm F2.8 and 14-24mm F2.8 attached) and finds faces and eyes fairly quickly and accurately, assuming your subject is facing the camera. That said, overall autofocus performance is definitely a step behind the best of the mirrorless competition, with noticeable lag (for example) when placing the desired AF point by touch.

Hands-on with the Sigma fp

Realistically though, the fp is a video camera that can shoot stills - not the other way round. And video pros have a lot to be excited about. In the fp, Sigma is courting them pretty aggressively, with features like HDR video (coming via firmware), 12-bit Raw video output to an SSD and 'Directors' Viewfinder' which allows filmmakers to simulate the different viewing angles and fields of view of other popular video cameras for framing.

So that's the fp, coming soon to a store near you for an MSRP of $1,800. With the potential to be a seriously powerful tool for filmmakers, along with some solid stills photography features, the fp is an interesting prospect, and a bold move for Sigma. Watch out for more analysis - including a detailed look at its video capabilities - soon.

Kategorier: Sidste nyt

The best cameras for portraits in 2019

Sidste nyt fra dpreview - 12 nov 2019 - 14:00

Whether you make a living out of taking professional portraits, or are the weekend warrior who knows their way around flashes and reflectors, you'll want a camera with high resolution, exceptional autofocus and a good selection of portrait prime lenses.

We've selected a group of cameras that meet those requirements and will produce pro-looking portraits that will satisfy your clients.

Best for pros: Sony a7R IV

It's hard not to recommend Sony's a7R IV as a portraitist's main camera. It gives you a ton of resolution that's backed up by an autofocus system that excels on focusing perfectly on your subjects' eyes. You also get excellent battery life, a high-res viewfinder and refined ergonomics that make this the best-handling a7-series camera yet. Helpfully, there's an extensive lens catalog of solid portrait options, including both zooms and primes, as well as a solid set of Sony flashes (though they wont help you out with an AF assist grid in low light).

Our main qualms are that the autofocus accuracy can dip during burst shooting with unpredictable subjects such as fast-moving children and that the user interface is both a little laggy and not as user-friendly as it could be. But the results speak for themselves: this is an absolutely excellent option for photographing people.

Best for amateurs: Sony a6600

The Sony a6600 incorporates some of our favorite aspects of the a7R IV into a smaller, more affordable body: including superb autofocus tracking, great image quality and industry-leading battery life. There are also some good prime lens options for the a6600 that won't break the bank, including Sigma's 56mm F1.4 and Sony's 85mm F1.8.

Our concerns from the a7R IV remain, however, including more pronounced user-interface lag. Additionally, the ergonomics on the a6600 could do with some updating to bring them in line with the camera's overall capability: this series of cameras has not benefited from the refinements bestowed upon the company's full-frame models.

Overall, though, the a6600 will assist you in capturing accurately focused, properly exposed images of people time and time again.

While the Sony a7R IV and a6600 were our winners, there are several other cameras well-suited for portrait photography that are also worth consideration. We've listed them all out below with detailed breakdowns of their features and performance:

Also available:

Kategorier: Sidste nyt

Kodak's film business saw a revenue increase of 21% last quarter, but overall profit is down

Sidste nyt fra dpreview - 12 nov 2019 - 01:13

Eastman Kodak has announced that revenue for its film business grew in the last quarter by 21%, offering a rare glimmer of positive news in a generally shrinking market. The growth though is somewhat tempered by the fact that the company made a loss of $5 million over all in the same period, and that total revenue was down compared to the same quarter last year.

Much of the company’s business is tied up in the industrial sector with specialist printing and graphics applications, and a deal with Chinese counterpart Lucky has seen it off-loading a printing plate factory in China while securing licence fees from Lucky for the use of Kodak technology. The deal also ensures that Lucky will provide services to Kodak so it can fulfil its own customer demand.

It would be nice to think that the uplift in the film business came from a rush in demand from enthusiast and professional stills photographers through sales to Kodak Alaris, but it is likely that it is the movie industry that is driving that growth. A number of recent big-budget films have been shot using Kodak stock including Once Upon A Time In Hollywood, Ad Astra and half of The Irishman – all of which have a run time of between 2 and 3 and a half hours. That’s a lot of film!

Hopefully this success will spur the company on to produce the 120 version of Ektachrome E100 that we’ve been waiting for since the summer.

For more information see the Kodak website.

Press Release:

Kodak Reports Third-Quarter Revenue of $315 Million and Growth in Key Product Areas

ROCHESTER, N.Y.--Eastman Kodak Company (NYSE: KODK) today reported financial results for the third quarter 2019, including a net loss of $5 million on revenues of $315 million and growth in key print and film product areas.

Highlights include:

GAAP net loss of $5 million for the quarter ended September 30, 2019, compared to GAAP net earnings of $19 million for the quarter ended September 30, 2018.

Revenues for Q3 2019 of $315 million compared to revenues for Q3 2018 of $329 million.

Operational EBITDA for the quarter of $14 million compared to Operational EBITDA of $9 million in the prior-year period.

The Company finalized the establishment of a strategic relationship with Lucky HuaGuang Graphics Co, Ltd in the People’s Republic of China, including the sale of Kodak’s offset printing plates facility in Xiamen, China, a supply agreement to help Kodak fulfill its customer demand, and an IP agreement under which Kodak licenses its plates technology to HuaGuang to expand the market in China. The current quarter Operational EBITDA includes $13 million of license revenue received from this transaction.

Key product lines achieved strong year-over-year growth for the year to date:
Volume for KODAK SONORA Process Free Plates grew by 22 percent.

Annuities revenues for the KODAK PROSPER Inkjet Platform grew by 5 percent.
Revenues for the Company’s film business grew 21 percent year over year for the year to date.

The Company ended the quarter with a cash balance of $225 million.

“The Company will continue to concentrate on delivering industry-leading solutions to customers in our core print and film businesses,” said Jim Continenza, Kodak’s Executive Chairman. “Looking ahead to 2020, we will focus on generating cash by growing profitable revenue, making smart investments and eliminating unnecessary spending.”

For the quarter ended September 30, 2019, revenues decreased by approximately $14 million compared with the same period in 2018. Kodak ended the quarter with a cash balance of $225 million, an increase of $27 million from the June 30, 2019 cash balance of $198 million when adjusted for the assets associated with Kodak’s offset printing plates facility in Xiamen, China being reported as assets held for sale. The current quarter revenues and Operational EBITDA include $13 million of license revenue related to the HuaGuang Graphics Co. Ltd transaction.

“We have strengthened our financial position by eliminating significant interest costs with the transactions completed earlier in the year,” said David Bullwinkle, Kodak’s CFO. “For the year to date we have delivered growth in SONORA Process Free Plates, PROSPER Inkjet annuities and our film business. We plan to build on those successes and drive further cost efficiencies to help achieve our goal of generating cash.”

Kategorier: Sidste nyt

AMD teases huge Adobe performance boost with new 3rd-gen Ryzen 'Threadripper' CPUs

Sidste nyt fra dpreview - 11 nov 2019 - 22:18

American semiconductor company AMD has taken the wraps off its new 3rd-generation Ryzen Threadripper processors. The product line is comprised of the 24-core 3960X and the 32-core 3970x models featuring the company's 7nm 'Zen 2' core architecture, 140/144MB cache, and up 88 PCIe 4.0 lanes.

In its announcement on Monday, AMD provided some examples of the performance increases consumers can expect from its new Threadrippers, including up to a 47% performance boost in Adobe Premiere. That's with the 3970X processor model in comparison to the market's 'top-end HEDT processor,' according to AMD.

The company offers a more detailed look at the technical aspects of its 3rd-generation processors in the video above. Both models will be available to purchase globally starting on November 25. The 3rd-gen Ryzen Threadripper 3960X will be priced at $1,399 USD and the 3970X at $1,999 USD.

Kategorier: Sidste nyt

Canon reveals its first two 8K broadcast lenses, the UHD-DIGISUPER 51 and 7x10.7 KAS S

Sidste nyt fra dpreview - 11 nov 2019 - 19:13

Canon has taken the wraps off the new UHD-DIGISUPER 51 (SP51x15.5B) and 7x10.7 KAS S, its first two 8K broadcast lenses. The models are compatible with 8K broadcast cameras that feature 1.25" sensors, according to Canon, which notes that this equipment has become more popular in documentary production and sports coverage.

The UHD-DIGISUPER 51 8K model is a 51x field zoom lens with what Canon says is the longest focal range in the world at 15.5 - 790mm. An integrated 1.5x extender brings the total telephoto focal length to 1185mm. Canon says this new model offers high-end quality 'from the center to the periphery of the screen.'

Joining the zoom lens is Canon's new 7x10.7 KAS S 8K portable 7x zoom lens with a 10.7 - 75mm focal range. As with the UHD-DIGISUPER model, the 7x10.7 KAS S 8K lens features the 'same operability' as its 4K and 2/3" HDTV lens counterparts, according to the company.

The 7x10.7 KAS S model will arrive first; customers will be able to special order it starting in January 2020. The UHD-DIGISUPER 51 will likewise be offered as a special order, but not until May 2020. Pricing information hasn't been revealed at this time.

Kategorier: Sidste nyt

Voigtlander's 75mm F1.5 Vintage Line Nokton lens is now available for $999

Sidste nyt fra dpreview - 11 nov 2019 - 17:29

Earlier this year, Voigtlander released details of a 75mm F1.5 Vintage Line Nokton lens for Leica M-mount camera systems. Now, the lens is shipping and effectively replacing the 75mm F1.8 Heliar Classic lens Voigtlander previously offered.

As noted in our initial coverage, the lens comes in black and silver variations. It features an optical design made of seven elements in six groups including three low-dispersion elements and one aspherical element. The lens is manual focus with a minimum focusing distance of 70cm (2.3ft) and features a clicking aperture ring with a range between F1.5 and F16 using a twelve-blade aperture diaphragm.

The 75mm F1.5 Nokton weighs in at 350g (12.35oz) and measures in at 63.8mm x 63.3mm (2.5in x 2.5in). Leica Rumors has posted a gallery of sample images (JPEG, straight out of camera) taken with the lens attached to a Leica M10 in an album on Flickr. Below is a gallery of sample images provided by Leica:

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The lens is available in black and silver models and currently in stock at B&H for $999.

Kategorier: Sidste nyt

Canon EOS-1D X III interview: We speak to the 'father of the EOS-1'

Sidste nyt fra dpreview - 11 nov 2019 - 15:00

We recently had the chance to speak to two senior executives at Canon - Mr. Toshio Matsumoto, Senior Principal Engineer, and Mr. Kazuyuki Suzuki, Chief of Operations, from Canon's Image Communication Business group. Mr. Matsumoto is known within Canon as the 'father of the EOS-1', and is pictured above holding the new Canon EOS-1D X Mark III.

Our conversation was conducted via an interpreter. As such, responses have been combined, and this interview has been edited lightly for clarity and flow.

How did you decide which features to update compared to the EOS-1D X Mark II?

There were a variety of factors. We get a lot of requests from our professional users, and we’re always listening to what they need. Their demands are sometimes very detailed! But we have to listen to their requests. In addition, we have to look at our technology - what kind of technology can meet those demands.

We then integrate [those pieces of information] and decide internally what we should include in the next model. In this new camera we’ve improved performance [in several areas], such as autofocus, networking and so on, which we’ll explain later in detail.

What were the main requests from users of the 1D X and 1D X II?

One important thing was the weight of the camera, and second, autofocus performance. We made sure there is no compromise in the AF performance of the new camera. And number three is network performance, which is very important [for wire services] - how fast you can put images into publication. We thought that there was room for improvement in that aspect of the camera’s performance. Lastly, image quality is of course a big thing. We worked on noise reduction, as well as high sensitivity image performance.

Also keep in mind that we have put a lot of effort into improving movie shooting performance as well as stills.

Canon EOS-1D X Mark III - key specifications (what we know so far):
  • All-new CMOS sensor
  • Dual-pixel 525-point CMOS AF with 90/100% coverage horizontally and vertically
  • New Digic Processor
  • 10-bit HEIF file capture (in addition to JPEG and Raw)
  • Max 16fps capture via viewfinder, and 20fps in live view (with AF)
  • Dual CF Express card slots
  • 10-bit, 4:2:2 4K/60 video with C-Log
  • Backlit buttons
Why did you make the decision to change the memory card type to CFexpress?

Speed. In terms of read and write speed, these cards are immensely faster than previous solutions. CFexpress is more than twice as fast as CFast. It has more development potential.

This is the first high-end camera Canon has released since the EOS R. Are your high-end and professional customers asking for a mirrorless solution?

Of course some professional photographers are asking for a mirrorless solution. But as of now, we also see a lot of demand from photographers asking for DSLRs, specifically [because of] the benefits of an OVF. So this time around we decided to go for a DSLR. Of course we understand that there are huge benefits to mirrorless, and we implemented, or combined as much of that [technology] as we could into the [EOS-1D X Mark III].

The Canon EOS R is an innovative camera in some respects, but there is a definite gap between the performance and price of most of Canon's new RF lenses, and the EOS R and RP bodies released to support them. A truly pro-grade R body is coming, but we'll have to wait a little while longer.

For example one of the things that we implemented from the mirrorless side was the ability to shoot at 20fps using electronic shutter. And autofocus performance, specifically subject tracking is on par with some of today’s top-notch mirrorless cameras.

Your professional users have a lot of legacy EF lenses in their collections. Do you have a target timeframe for transitioning those users to RF?

Obviously that’s a very tough question to answer. We are of course aware of this - a lot of photographers own EF lenses, and they’ve invested a lot in that system. How we look at it is when we work on mirrorless cameras, we always consider how our users can utilize the asset [provided by their] EF lenses. We always keep that in mind when developing new cameras.

That’s why we have three EF to RF adapters.

Do you have any idea of how many of your users are adapting EF lenses to EOS R cameras using those adapters?

I wish we knew that. It’s hard to say, because we do some promotional bundles with free adapters, so that affects the attachment rate. And some users [might buy multiple adapters and] put an adapter on each of their EF lenses.

In terms of the development of your DSLRs going forward, will you be focusing mostly on high-end users in future?

I can’t be specific about future plans, but we always listen to our customers to decide which direction we should go in. We don’t necessarily [think in terms of focusing] on just one area - we look at the overall picture before we decide what to focus on.

How much communication is there between the EF and RF teams within Canon? Are engineering resources shared?

We don’t have separate teams for mirrorless and DSLR cameras, it’s just one team. Some of the engineers that worked on the EOS R have worked on the EOS-1D X Mark III. And some of the engineers who worked on this camera could be working on the next mirrorless. It’s a combined organization.

One of my responsibilities is to work on the next generation of EOS cameras. I could be working on mirrorless, or DSLR, or even something else.

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_9317094560","galleryId":"9317094560","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); The EOS-1D X Mark III looks and works the way it does for many reasons, but its DNA dates back to 1986, with the manual-focus T90. Canon built on the T90's innovative ergonomics in the original EOS-1 (1989) which included a then-unique rear control dial.

The first digital EOS-1, the appropriately-named 1D, added a rear LCD screen and an integrated vertical grip, and the rest is (more recent history). Impressively, as you can see, some of the design principles laid out in the T90 are still honored by the EOS-1D X Mark III, after more than 30 years. I know you were one of the engineers that worked on the T90 and the original EOS-1. What is your thinking on how the heritage of the EOS-1 series should evolve in future models?

Major principles for the EOS-1 series from the beginning have been durability, reliability, speed and control. A big mission of the EOS-1 series is that the cameras should never miss a shot.

Some of the controls from the original EOS-1 are still found in the same place on the EOS-1D X Mark III, thirty years later. How did you come up with the original control layout?

When we were working on the very first EOS-1 camera we made a lot of mockups, and we had a lot of professional photographers handle those mockups and we noted how quickly and smoothly they were able to operate the cameras. One of the things that was most challenging about the EOS-1 originally was the rear control dial. In the development stage, initially, we didn’t [plan on having] a dial on the back.

What we found through the development process is that when professional photographers in the field were [using our mockups] thinking about exposure control, it wasn’t as smooth without that dial on the back. So we had a number of discussions with those photographers about the design, and we spent a lot of time getting it right. We actually had to delay the launch of the camera in order to implement the perfect solution for exposure control.

How have the needs of digital photographers affected the design decisions you’ve made in subsequent EOS-1 series cameras?

One important thing we always kept in mind with the original EOS-1 was that it should work as soon as you take it out of the box. But now [with digital] there’s a monitor on the back, and as we thought about how to utilize that we had to consider various [new] factors, such as the possibility of photographers shooting using live view, and various other things.

One of the principles that we always keep in mind when designing the controls of the cameras [in this series], for example when implementing the touch-sensitive panels is that we have to make sure that there is no possibility for erroneous control inputs.

Do you think that in future, when there is a mirrorless solution for professional sports photographers, that it will still look a little like the original EOS-1?

In terms of form-factor we have no idea at this point. But one thing I can say is that our principal focus on reliability and control will always be the same.

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6401974860","galleryId":"6401974860","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); The magnesium alloy-bodied Canon EOS-1D X Mark III is a solid camera, built for use in tough conditions. An evolution of the EOS-1D X and 1D X Mark II, the Mark III does bring some new controls and new features to the table - many of which Canon has not yet publicly commented on. Obviously one thing that mirrorless cameras allow you to do, which DSLRs do not, is through-the-viewfinder video capture. Are your professional photographers asking for more video features? Or are they mostly still focused on stills capture?

With this EOS-1D X Mark III our main focus is stills. But we understand that there are a lot of ‘hybrid’ professional photographers that shoot stills and video. One of the things we’re really focused on right now, and we’re putting in a lot of effort, is the question of how and when EVFs will go beyond the capabilities of optical viewfinders.

As a camera manufacturer making products for a professional customer, what does a DSLR allow you to provide that a mirrorless camera does not?

At this point in time the biggest difference is the finder. The fact that you can see everything in real time, without any layers in the way. That’s really big for a lot of professional sports photographers. On the other hand, we do see a lot of the younger generation of professionals favoring EVFs, because what you see is what you get. We understand that there is a demand for that benefit of mirrorless cameras. So what we always do is we strive to make a perfect solution out of these different demands.

Have you been working with photographers on the EOS-1D X Mark III ahead of the Olympics next summer?

Yes, we’ve started communicating with some of the agencies around solutions for their needs. One of the important things for major events like the Olympics is robotics, of course. When we’re communicating with those photographers and videographers we look at a total solution.

Editors' note: Barnaby Britton

Until I got into the meeting room, I didn't know I would be speaking to Mr. Matsumoto at PPE. It was a huge and unexpected privilege to meet the person responsible for the development of the original EOS-1, and before that the T90: unarguably two of the most important cameras in terms of modern D/SLR design, and two of my personal favorites.

As you can see, a lot of the decisions that Canon made in those 1980s models lead to ergonomic details that persist even today, more than 30 years later, and not just in the company's own DSLR and mirrorless options. The fact that that design philosophy doesn't look out of date after three decades is testament to just how forward-thinking Mr. Matsumoto and his team were, way back in the pre-digital era.

Unsurprisingly, Mr. Matsumoto himself was not able to speak in any great detail on-record about the precise specifications of the EOS1-D X III. What we know officially about the camera is what Canon has publicly released. That being said, you'd expect any camera that builds on the strengths of the EOS-1D X Mark III to be well-suited to the needs of Canon's professional customer base, and I can tell you from handling the Mark III that the upgrades compared to the Mark II appear significant.

As Mr. Matsumoto says, ever since the original EOS-1 debuted 30 years ago, the focus of the 1-series has been durability, speed, reliability and control. Compared to the film-era EOS-1/1N/1V, the EOS-1D X Mark III is a complex and immeasurably more powerful machine, but its also a much tougher camera, and more usable in a range of different environments.

I expect that most people reading this are like me - we don't need 20fps capture. But some professional sports photographers do. And the slow introduction of transformative technologies like Dual CMOS autofocus into Canon's professional line makes each progressive model more capable, none more so than the new Mark III, which can shoot at this rate in either electronic or mechanical shutter mode.

It looks like we'll have to wait a little longer before we see an EOS R model aimed at sports and action shooters

Mr. Matsumoto describes these autofocus and continuous shooting capabilities as 'mirrorless' features, probably in a nod to competitive offerings like the Sony a9 II. And there's no doubt that they enhance the usability of the EOS-1D X Mark III in some situations. But there's no getting away from the fact that there is a mirror, getting in the way of the Mark III ever being as versatile a camera for hybrid stills / video use as a Sony a9 II, or a Nikon Z7, or a Panasonic Lumix DC-S1, etc.

For now though, according to Mr. Matsumoto, Canon is focusing on a mainly stills photography audience with the Mark III. In other words, the kinds of photographers we'll see on the sidelines of the 2020 Olympic games next summer in Tokyo: many of them agency photographers, shooting stills, using pool equipment. Some people (myself included) had hoped for a truly professional mirrorless camera from Canon for 2020, but it looks like we'll have to wait a little longer before we see an EOS R model aimed at sports and action shooters.

That being said, you never know with Canon. The company has a reputation for careful and conservative product development, but it can be imaginative and decisive when it needs to be. As the EOS-1D X Mark III demonstrates, with more than 30 years of (D)SLR development behind him, Mr. Matsumoto and his team is confident that they can still ring the changes in the professional sports / photojournalism market segment, even without a mirrorless product.

Kategorier: Sidste nyt

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