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Mount your EOS lenses on the Fujifilm GFX with Cambo's new adapters

Digital Photography Review - Fr, 24/03/2017 - 20:25

Dutch accessory manufacturer Cambo has announced it is to produce an adapter to allow full-frame Canon EF lenses to work with the new Fujifilm GFX 50s medium-format camera. The CA-GFX sits between the camera body and the EOS lens and offers its own control dial for adjusting apertures. A small LCD displays the selected aperture but no EXIF data will be recorded by the camera.

Cambo says the adapter has been designed with the Canon T-SE tilt and shift lenses in mind as they have particularly wide covering circles which will fill the 43.8x32.9mm sensor of the GFX 50s. It isn’t clear whether other Canon lenses will cover the sensor to the same extent, but with some cropping of the edges of the frame most vignetting can be removed – with the loss of a certain number of pixels.

Earlier this month Cambo released a new ACTUS unit designed for the Fujifilm camera. The ACTUS-GFX is a bellows-and-non-rail unit that allows tilt, shift and swing movements in the front standards, as well as 27mm of vertical and 40mm of horizontal movement at the rear. The bellows unit accepts a range of medium and large format lenses via adapters. The ACTUS-GFX costs €2250 plus tax in Europe and $2795 in the US. No price has been released for the CA-GFX yet.

For more information see the Cambo website.

Press release

Cambo Lens Adapter for Fuji GFX50s

Cambo announces a new lens adapter to fit Canon lenses to the Fujifilm GFX50s.

The CA-GFX will be the third Canon lens adapter that Cambo have manufactured and marketed for camera movement. Having successfully adapted Canon lenses to the Cambo ACTUS (ACB-CA) and more recently the WIDE series camera (WRES-CA.) It was a natural transition to manufacture the adapter as it gives many photographers the option of using their existing lenses with the latest mirrorless, large sensor, Fujifilm GFX50s (CA-GFX.

Cambo CA-GFX Adapter
The CA-GFX adapter fits directly to the bayonet of the GFX camera body and the lens aperture is controlled electronically when dialling in the required f-stop. As there is no direct connection between lens and body, there is no data received; aperture, auto-focus or EXIF, from the lens.

Why make this lens adapter?
The Fujifilm GFX50s sensor measures 33x44mm and Canon lenses such as the 17mm T-SE and 24mm T-SE have very large image circles, they will cover the sensor size and will enable the photographer to apply movement.

Cambo CA-GFX Adapter
The CA-GFX (Product code: 99070301) is available from your local dealer.

Kategorien: Fotografie

Federal judge dismisses case against Kentucky 'Drone Hunter'

Digital Photography Review - Fr, 24/03/2017 - 20:02

A federal judge in Kentucky has dismissed a lawsuit against William Meredith, a self-proclaimed 'Drone Hunter,' who shot down a $1500 drone that was flying over his property.

The pilot, David Boggs, sued Meredith last year claiming that his drone was flying in legal airspace as determined by the FAA and therefore was not trespassing. A 1946 Supreme Court decision asserted that a property owner's rights extend up to 83 feet in the air.

US District Judge Thomas Russell ruled that federal court is not the proper venue for the lawsuit, noting that the FAA has not enforced any regulations regarding aerial trespassing, nor was the agency a party in the suit. Instead, the Judge said that the lawsuit should be litigated in Kentucky State Court under existing trespassing laws.

Boggs' attorneys have not said whether he will appeal to a higher court – in this case, the 6th US Circuit. In the meantime, drone pilots should probably steer clear of Meredith's property.

Via: Ars Technica

Kategorien: Fotografie

Cactus announces flash transceiver firmware upgrade to support wireless cross-brand TTL

Digital Photography Review - Fr, 24/03/2017 - 19:53

Cactus has announced a series of brand-specific firmware updates for its V6 II and V6 IIs triggers that will add TTL functions alongside their cross-brand HSS support.

The triggers are already capable of high speed sync across systems, as well as remote control over flash power and zoom. The upcoming firmware updates will add the ability to support automatic TTL exposure across brands as well. The first firmware releases will support Sigma, Fujifilm and Sony, with support for Nikon, Canon, Olympus, Panasonic and Pentax following one-by-one.

For more information on the Cactus V6 II triggers and compatible flashes check out the company's website, and for more information on the upcoming firmware releases, see the press release below.

Press Release:

X-TTL TTL without Boundaries! Cactus launches FREE firmware upgrades on the V6 II and V6 IIs to support wireless cross-brand TTL.

Hong Kong, March 24, 24, 2017 – Just nine months since the release of the Cactus V6 II and Cactus V6 IIs, Cactus is now launching a series of brand-specific firmware upgrades to transform the cross-brand HSS flash triggers to one that also supports crosscross-brand wireless TTL. The new X-TTL firmware versions, apart from supporting cross-brand high-speed sync (HSS/FP), remote power and zoom control of Canon, Fujifilm, Nikon, Olympus, Panasonic, Pentax and Sigma flashes all at the same time1, NOW support automatic TTL exposure in the same cross-brand environment, both on-camera and off-camera.2

The first wave of firmware releases will be for Sigma Sony and Fujifilm. Other camera systems, Canon, Nikon, Olympus, Panasonic and Pentax, will follow one by one as we complete system integration on the V6 II. All these X-TTL firmware versions are free of charge for V6 II / V6 IIs users. The new firmware is system-specific so users simply choose the corresponding system when updating with the Cactus Firmware Updater. Once installed, the V6 II / V6 IIs is transformed into a cross-brand wireless TTL flash trigger.

This unique function gives photographers an unprecedented flexibility. The need for matching flashes with the same camera system for on and off-camera TTL flash photography is over – TTL without boundaries.

Cross-brand TTL

The X-TTL firmware allows users to have wireless TTL automatic exposure with camera and flash that runs on the same system, such as a Canon camera triggering a Canon flash, and one that runs on different systems, such as a Sigma camera triggering a Nikon system flash.

Similar to the cross-brand HSS firmware on the V6 II, the supported flash systems for wireless cross-brand TTL include Canon, Nikon, Olympus, Panasonic, and flash that runs on the same camera system.

Two unique Exposure Locks

Cactus is unveiling a brand new approach in using TTL metering. Over the past, professionals who love the convenience from TTL metering often have to suffer inconsistency in lighting outputs, making post processing a pain. In view of this Cactus devised two types of Exposure Locks.

1. Flash Compensate: Store a desired flash exposure that will automatically adjust according to changes in camera settings. Gone is the ever-changing flash exposures between each TTL metering.

2. Flash Power Lock: Lock flash power output after a desired TTL exposure is achieved. Perfect for consistency in repeat shooting. Wireless TTL functions

The X-TTL firmware will also support advanced TTL functions on the Cactus V6 II and V6 IIs, such as first and second (rear) curtain sync, on-camera TTL, group TTL metering and TTL lighting ratios3.

New support for Sigma

We are delighted to offer firmware support for Sigma cameras and flashes. This includes remote power control, remote zoom control, wireless High-speed Sync, and wireless TTL with Sigma’s SA-TTL flashes. The same cross-brand support is also available on the Sigma X-TTL firmware. Cactus expresses appreciation to SIGMA CORPORATION for their immense support in our development for Sigma system firmware.

Fujifilm TTL and HSS

With the introduction of Fujifilm new flash system launched on the EF-X500, Highspeed Sync (HSS/FP) is finally available. Besides adopting the new HSS platform, the upcoming Fujifilm X-TTL firmware also extends support for wireless TTL to Fujifilm flashes as well as Canon, Nikon, Olympus, and Panasonic flashes. Fujifilm X-TTL Firmware release date will be announced on our website.

V6 IIs with Sony TTL

Existing Sony V6 IIs users already has a system-specific transceiver unit, and the upcoming Sony X-TTL firmware adds wireless TTL support for Sony flashes and other system flashes when paired with the Cactus V6 II. Sony X-TTL Firmware release date will be announced on our website.

Features at a glance

1. Cross-brand wireless manual power and zoom control with HSS/FP support of Canon, Fujifilm, Nikon, Olympus, Panasonic, Pentax and Sony flashes;2

2. Cross-brand wireless TTL of Canon, Fujifilm, Nikon, Olympus, Panasonic, Pentax, Sigma and Sony flashes;2

3. Cross-brand group TTL metering is extended to use in a cross-brand setup;3

4. TTL Ratios output adjustments can be done directly on the V6 II (TX);3

5. Two Exposure Locks offer consistency with the convenience of wireless TTL.

6. Works seamlessly with Cactus RF60X to support HSS, TTL, remote power and zoom control.

Price and Availability

System-specific X-TTL firmware versions are free of charge. Download the Cactus Firmware Updater4 and select the corresponding system firmware to install the X-TTL firmware on the Cactus V6 II and V6 IIs.

After launching the initial three systems, i.e., Sigma, Fujifilm and Sony, Cactus will continue to launch X-TTL firmware for the remaining camera systems. Stay up to date for the latest releases on X-TTL’s microsite: https://www.cactusimage.com/special/X-TTL/

1 With the exception of Pentax and Sony system flashes due to special timing requirements so they must be paired with a Pentax and Sony camera respectively in order to support HSS.

2 Only Canon, Nikon, Olympus and Panasonic system flashes support cross-brand TTL.

3 This function may not be supported on all the camera systems.

4 Cactus Firmware Updater version 3.01 or later will better facilitate firmware selection. To be released soon!

Kategorien: Fotografie

How to reduce noise in a single night sky exposure without losing star detail

Imaging Resource - Fr, 24/03/2017 - 18:59
As we have seen before, stacking night sky images is the best method for reducing noise. However, this assumes that you are shooting stars or the Milky Way rather than something like aurorae, where stacking multiple exposures would wash out certain definition or colors. So what if you have a single exposure but still want to reduce noise, what is the best method? Greg Benz has just published an excellent tutorial where he relies on the plug-in Nik Dfine (which is available for free here) and luminosity masks. But before we get...
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Kategorien: Fotografie

$150 lighting kit for video plus a cool “bokeh wall” for product shots and still life

Imaging Resource - Fr, 24/03/2017 - 15:00
You may recall our post in February about an affordable video lighting kit. All that gear cost less than $500, which while certainly a great deal considering all you could get, might be a bit too expensive for some. No problem, as Caleb Pike from DSLR Video Shooter is back with a complete video light kit for only $150! The kit includes a pair of lights, a battery kit, light stand kit, umbrella, umbrella stand mount and some extra diffusion. If you want to dip your toes in video and need lighting, it’ll be hard to get equipped for...
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Kategorien: Fotografie

Making masking easy: New Adobe Research paper showcases impressive neural network technology

Imaging Resource - Fr, 24/03/2017 - 11:00
While there are plenty of ways to make selections in Photoshop, including a variety of automatic and semi-automatic methods, complex selections remain tricky and time-consuming. Wouldn’t it be great if Adobe’s automatic tools could make traditionally difficult selections simple and easy? If Adobe Research’s latest work is any indication, the future of simple selections might very well be neural networks. The team fed nearly 50,000 images into neural networks and their algorithm certainly learned a thing or two. Check out the two...
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Kategorien: Fotografie

Re-make/Re-model: Leica Summaron 28mm F5.6 Samples

Digital Photography Review - Fr, 24/03/2017 - 11:00

Leica's new Summaron 28mm F5.6 is an incredibly slim pancake lens, originally sold in the 1950s, and recently re-released in M-mount. Does it make sense in 2017?

Check out our gallery of sample images, and watch this space for a shooting report, coming in the next few days.

View our gallery of sample images

Kategorien: Fotografie

Atomos introduces Ninja Inferno off-camera recorder

Digital Photography Review - Do, 23/03/2017 - 21:43

Atomos has launched the Ninja Inferno, the latest in its line of off-camera recorders for video shooters. The Ninja Inferno has almost the exact same feature set as the company's top of the line Shogun Inferno, including 4K/60p recording, a 1500 nit display with 10-bit color, and the ability to record direct to ProRes or DNxHR formats. It also includes the company's Atom HDR technology, which matches the Log curves from major camera manufacturers to the Ninja's display in order to show the full Log signal on the HDR screen, meaning that cinematographers can see vibrant, true to life colors while recording in Log.

The major difference between the Ninja Inferno and its big brother, the Shogun Inferno, is that Atomos has removed a few features that, while important to shooters using high end video equipment, often go unused by DSLR or mirrorless filmmakers. These include SDI plugs, Genlock and Raw recording capability. The result is that Atomos is able to make the Ninja Inferno available at a very aggressive price point of $995, compared to $1995 for the Shogun version.

The Atomos Ninja Inferno mounted on the new Panasonic GH5. Together, these make a compelling combination for a budget filmmaker.

Of particular interest, Atomos is promoting the Ninja Inferno as the 'ultimate accessory' for the new Panasonic GH5, and there's a reasonable case to be made for this. It's a good match for the GH5's 10-bit signal and Log video, but more importantly it supports 4K/60p 4:2:2 recording, one of the GH5's more prominent features. Also, since the GH5 doesn't include SDI ports or shoot Raw video, users are unlikely to miss those features on the Ninja Inferno, while benefiting from the much lower price.

We've had a pre-production copy of the Ninja Inferno for a few days and have been giving it a workout, so stay tuned for our hands-on report.

Press Release:

HDR 4Kp60 Ninja Inferno Shipping now in conjunction with GH5 for $995

Prices slashed across the 4K HDR line up

Melbourne, Australia – 23rd March 2017: Today, Atomos brings the power of 4Kp60 10-bit ProRes recording and HDR monitoring to the GH5 for an amazingly low price of just $995.

“Our message to video Pro’s is to Go HDR 4Kp60 Today showcased by the GH5 and Ninja Inferno combo”, said Jeromy Young CEO and co-founder of Atomos. “For less than $3k it’s an unbeatable total package especially when considering having 4K HDR content ready for clients, Netflix and YouTube is a must”.

Atomos has always led the way advancing the quality, affordability and simplicity of filmmaking by adding professional features to popular Japanese cameras. Atomos are again first to launch a portable HDR 4Kp60 10-bit 422 monitor recorder. Timed with the release of the powerful Panasonic GH5 and a $995 price point Ninja Inferno empowers the masses.

Just as the original Atomos Ninja broke open DSLR filmmaking by giving the Canon 5DMKIII professional Apple ProRes recording & the original Atomos Shogun pioneered 4K with the Sony a7s and Panasonic GH4, the Ninja Inferno now arms the Panasonic GH5, the hottest camera of 2017, with HDR Apple Pro-Res 10-bit 4:2:2 4Kp60 over HDMI 2.0 – a feat not possible internally on the GH5. This marks another incredible Atomos breakthrough – professional 10-bit color resolution, 4:2:2 color accuracy, high frame rate 4K 60p video resolution & all with the incredible brightness range that HDR delivers in PQ or HLG.

Apart from being an obvious companion for the new GH5, the Ninja Inferno is the world’s first HDMI monitor-recorder to accept 4K DCI signals from cameras like the Panasonic GH4 / DVX200 / HCX1000 / UX180 / HCX1, Sony FS7 / Z100 and the JVC LS300. Support for the 4096 DCI standard unlocks cinema recording from these 4K video & mirrorless DSLRs.

For the Ninja Inferno, like its flagship sibling the Shogun Inferno, we have created the ultimate monitor through end-to-end custom engineering of all components. It starts with a 1920x1200 resolution LCD panel and add 10-bit processing in highlights and equivalent 10+ bit resolution in blacks. This is achieved through the patented AtomHDR engine which when combined with our custom Atomos-built backlight allows the power of 1500nits to be utilized for High Bright Rec709 or HDR PQ/HLG at 10+ stops. The full-size HDMI 2.0 connection bypasses the camera’s internal limitations by recording to 4Kp60 4:2:2 10-bit pristine video in grading-friendly Apple ProRes or Avid DNxHR. The Ninja Inferno upgrades mirrorless and DSLR camera audio by including balanced XLR input and 48V Phantom Power, negating the need to purchase separate audio recorders. For on set review, the wide angle 7” calibrated screen, playback controls, playlist and XML tagging make the Ninja Inferno the perfect client or director’s monitor, with playout to the latest HDR PQ/HLG or SDR TV’s. The Ninja Inferno is equally adept in the editing suite as it is in the field with the recorded files dropping directly onto the timeline of all the major NLE editing and grading software with the HDMI input capable of accepting HDR signals to make the Ninja Inferno an unbelievably affordable HDR reference monitor for portable or in studio color grading.

The Ninja Inferno, which is shipping now for MSRP $995, is the ultimate camera accessory for the GH5, the popular Sony FS7 or cameras with 4K DCI output & other 4Kp60 / 4Kp30 / HDp60 cameras looking for a future proof monitor-recorder.

HDR now comes free across the Atomos 4K Line-up

Timed with the release of the Ninja Inferno, Atomos have driven down the price of the existing line-up, passing on the volume savings they receive due to the popularity of the entire HDR range. The Shogun Flame and Ninja Flame are now $995 and $795 respectively (both models ship with mains power supply, recording caddy & travel case. The Shogun Flame also ships with an XLR breakout cable). To complement all models in the line-up, Atomos have developed a tailored Accessory Kit and Power Kit that arm users with everything needed to power, control, dock, charge and safely carry the units at an amazing price. The flagship Shogun Inferno continues to ship as is today.

Product New Price (MSRP ex tax) Shogun Flame $995 ($1695 saving of $700) Ninja Inferno $995 Ninja Flame $795 ($1295 saving of $500) Accessory Kit $295 Power Kit $149
Kategorien: Fotografie

OPPO launches F3 Plus with dual selfie cameras

Digital Photography Review - Do, 23/03/2017 - 19:53

Chinese smartphone maker OPPO has launched its latest upper mid-range model, the F3 Plus, and while the new device unfortunately doesn't come with OPPO's recently displayed 5x zoom camera unit, it does offer an unusual imaging feature: a dual-front camera.

The front unit features a 16MP main camera with 1/3" sensor and F2.0 aperture for standard selfies. It is accompanied by an 8MP module with 1/4" sensor and a super-wide-angle lens with 120 degree angle of view for group selfies. Thanks to built-in facial recognition, the camera app can notify users to switch to the wide angle camera if there are more than three people in the frame.

The rear camera is more conventional but offers capable-looking specifications. A 16MP 1/2.8" Sony IMX398 sensor is paired with a fast F1.7 aperture and optical image stabilization. Dual PDAF doubles the 'focus pixels' on the image sensor for up to 40% faster focus times in low light. 

In the processor department you'll find Qualcomm's Snapdragon 653 octa-core offering, backed by 4GB RAM and 64GB of internal storage. A dual-slot card tray can hold two Nano SIM cards or one Nano SIM card and a microSD card, expanding memory to up to 256GB. OPPO claims the beefy 4,000 mAh battery allows for a standby time of more than 284 hours. It also features the company's own VOOC fast charging technology which can get you up to 2 hours of talk time with 5 minutes of charging.

At the front you'll find a 6" 1080p IPS LCD display that is covered by 2.5D Corning Gorilla Glass 5. The F3 Plus features a metal unibody and comes in black or gold. It will be available from April 1st in a number of Asian regions. No information on pricing or global availability has been released yet. 

Press Release:

OPPO Launches F3 Plus, Kickstarting the 'Group Selfie' Trend with A First-ever 120° Wide-angle Front Camera

March 23, 2017 – OPPO unveiled today the F3 Plus, the latest model of its Selfie Expert series. The F3 Plus sports the brand’s first dual front selfie camera including a first-of-its-kind 120° wide-angle group selfie camera. Priced at XX, the F3 Plus will go on sale from April 1st in India, Vietnam, Indonesia, Philippines and Myanmar. 

OPPO’s F3 Plus’ dual front camera will answer urban dwellers’ pursuit of snapping perfect selfie photos with a 16-megapixel camera and group selfie photos with a 120° wide-angle camera. The rear camera is co-developed with Sony, equipped with a customized IMX398 sensor for serious photography. The F3 Plus is a high-end smartphone that is efficient, long-lasting, secure and beautiful, addressing today’s highly-demanding mobile-first world.

“OPPO is an industry leader in the Selfie Revolution with the recent ‘Selfie Expert’ F-series. Our brand has been growing rapidly across Southeast Asia and other regions around the world. We became the No.2 smartphone brand in India in 2016. The F3 Plus marks the beginning of a new ‘Group Selfie’ trend, and reinforce our position as the Selfie Expert,” said Sky Li, OPPO Vice President and Managing Director of International Mobile Business. 

“The F3 Plus was created for urban warriors, selfie photo aficionados and lifestyle mavens who want with the need to capturing flawless selfie photos, and our groundbreaking dual front camera smartphone will deliver the photos they seek. The F3 Plus is also packed with outstanding performance, premium design and amazing battery life,” Sky Li added. 

Remarkable Wide-Angle & Dual Front Selfie Camera Define the Next Expert-Class Photography

OPPO’s devotion to perfecting the selfie camera technology began at the very start of their business nine years ago, when no other manufacturer focused on the selfie snapping capturing trend. For example, in 2012, the N1 model pioneered the world’s first rotating camera. In 2016, the F1 Plus was the first-ever device to sport a 16 megapixel front camera. Taking one step further, the revolutionary dual selfie front camera will take the standards of camera hardware and selfie photography to new heights.

Set to be the next ultimate ‘Selfie Expert’, the F3 Plus features dual front selfie camera. The 16-megapixel front camera builds upon the technology offered by the previous ‘Selfie Expert’ F1s. At the core of this camera is a 1/3-inch sensor, which increases light exposure and clarity of images. The large f/2.0 aperture allows for great depth-of-field effects – clear foreground focus matched with the perfect amount of background blurriness.

In becoming the ‘Group Selfie’ secret weapon, the first-in-the-market, specialized 120-degree wide-angle 8-megapixel camera captures a much wider view, up to 105 percent more than a regular 80-degree lens. This allows even more people to enter the frame with minimized lens distortion, thanks to the 6P camera lens. The camera also features a ¼-inch sensor.

This group selfie camera is a reflection of OPPO’s ‘user-oriented’ philosophy. With the built-in Smart Facial Recognition, the F3 Plus will notify users to switch to ‘Group Selfie’ mode if there are more than three people in the frame. Users can snap their Group Selfie at ease, without compromising image stability when taking the selfie with one hand. 

The outstanding rear camera offers professional high-quality photography performance with fast focusing speed, noise reduction and advanced low-light performance. Powering the 16-megapixel rear camera is a brand-new 1/2.8-inch IMX398 sensor. This sensor is jointly developed by OPPO and Sony, which features Dual PDAF – dual phase detection autofocus technology. This new technology doubles the sensor’s pixel array area where the photodiodes are embedded, necessary for phase detection autofocus. This makes for 40 percent faster focusing speeds even in low light. Paired with the large f/1.7 aperture, the resulting images are clear and breathtaking.

There are other innovative technologies packed into the F3 Plus to help users capture picture-perfect, flawless selfies. OPPO’s pioneering beautification editing software, Beautify 4.0, will allow users to choose from various beautification modes, ensuring images presenting the favorable effects. 

A Flawless Smartphone Experience

The OPPO F3 Plus is fast, utilizing an octa-core processor backed by 4GB RAM and 64GB ROM. It also offers a dual-slot card tray that can hold two Nano 4G SIM cards or one Nano SIM card with a microSD card, expanding memory to up to 256GB. OPPO’s leading optimized ColorOS 3.0 system ensures superb speed with reduced energy consumption and flawless performance with built-in Privacy Protection feature and the Avast-based virus scanner. 

Extended daily usage is another of the device’s core features. The 4,000 mAh built-in battery gives the F3 Plus a standby time of more than 284 hours[1]. Through OPPO’s proprietary and industry leading rapid VOOC Flash Charge Solution, the battery will charge four times faster than standard batteries. can get up to 2 hours of talk time with just 5 minutes of charging. 

Privacy protection and security is also a top priority. F3 Plus’ Lightning-Fast Touch Access is undoubtedly one of the quickest in the market. The home-button fingerprint reader in the F3 Plus unlocks the phone in a mere 0.2s. The fingerprint reader is even more versatile with the fingerprint-activated calling and app launch functions. 

Users can enjoy the flexibility to multi-task and ‘work hard, snap hard’, all on one smartphone – seamlessly, securely, with a long battery life.

[1] This number is for reference only and may differ depending on individual user usage / conditions.

Stunning Design and Exquisite Craftsmanship

Created with OPPO’s belief in design excellence, the F3 Plus is constructed with a metal unibody and carefully crafted for a better sense of hand-gripping, resulting in a sleek and thin smartphone that is a wonder to hold. The 6-inch, 2.5D Corning Gorilla Glass 5 screen features a pre-applied protective screen coating, giving it an elegant, classy and premium look while retaining unmatched durability. 

The “Six-String” ultra-fine antenna is a design rethink by OPPO, removing the ubiquitous, thick pair of white antenna lines seen in previous smartphone models, and gives the back shell a stunning look. 

Amazing Colors & Competitive Pricing

The F3 Plus comes in Black and Gold. The suggested retail price is $XXX. It will be made available first in India, Vietnam, Indonesia, Philippines and Myanmar. Launches in the Middle East and North Africa will follow. 

The F3 is also announced today, featuring the dual selfie front camera and 5.5-inch screen display. It is expected to be available in May 2017.

Kategorien: Fotografie

Sony A99 II Review: Full-frame A-mount camera delivers great images, impressive speed

Imaging Resource - Do, 23/03/2017 - 18:50
Click here to read our Sony A99 II Review Conclusion The Sony A99 II is the company’s latest full-frame SLT camera, and the first since the original A99 in 2012. We have now wrapped up our Sony A99 II review, so read on to find out what we thought of the new flagship A-mount camera. The A99 II's 42.2-megapixel full-frame CMOS sensor provides excellent image quality across a wide range of ISOs, and its updated processor and front-end LSI offer some seriously impressive continuous shooting speeds, despite its high resolving...
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Kategorien: Fotografie

Practical CSS Grid: Adding Grid to an Existing Design

A List Apart - Do, 23/03/2017 - 18:30

Understanding and using CSS Grid is easier than you might expect. The day Grid support shipped in Firefox 52, I decided on the spur of the moment to convert the basic layout of my personal site to use Grid. And it was a fairly simple process—five minutes to write the grid styles, then 15-20 spent troubleshooting

Grid allows us to literally define column and row grid lines, and then attach elements to those lines in any order we choose. That may sound like tables, but Grid is so much more than tables ever dreamed.  It means more responsive layouts, far more accessible documents, and far cleaner markup than even floats and positioning ever afforded us.

It’s been decades since CSS first emerged, but it’s never contained a system anything like this. And Grid is already supported in both Chrome and Firefox, with Safari coming soon (its Technology Preview releases support Grid as of this writing). A new era in digital design is dawning right now.

The way things used to be

Before we get to the Grid, allow me to take just a moment to explain the markup structure of meyerweb’s main pages, and the positioning-and-margins approach I’ve been using for, um, about 12 years now. Here’s how the markup is structured:

<body> <div id="sitemast">…</div> <div id="search">…</div> <div id="main">…</div> <div id="extra">…</div> <div id="navigate">…</div> <div id="footer">…</div> </body>


Some of those IDs are idiosyncratic holdovers from my early-2000s view of layout and naming conventions. #extra, for example, is what most of us would call #sidebar. #sitemast stands in for #masthead. And #footer is from the days before the actual <footer> element

The divs (which should probably be sections these days, but never mind that now) are arranged the way they are so that if the CSS fails to load, or a speaking browser is used to browse the site, then the site’s masthead is first, the ability to search the site is second, and the main content of the page is third. After that, extra materials, site navigation, and the footer follow.

All of these were stitched together into a layout by absolutely positioning the navigate and search divs. The sitemast was set to be 192px tall, and both the navigate and search divs were given top: 192px; to show up just below it. In order to leave space for them to land, top margins were applied to the main and extra divs. (Fig. 1)

Fig. 1: meyerweb’s home page (foreshortened)  Constructing the grid

So that’s how things have been laid out since the middle of 2005, more or less. I fiddled with a flexbox layout at one point as an experiment, but never shipped it, because it felt clumsy to be using a one-dimensional layout tool to manage a two-dimensional layout. I probably should have converted the navigation bar to flexbox, but I got distracted by something else and never returned to the effort.

Besides, Grid was coming. In the run-up to Grid support being released to the public, I was focused on learning and teaching Grid, creating test cases, and using it to build figures for publication. And then, March 7th, 2017, it shipped to the public in Firefox 52. I tweeted and posted an article and demo I’d put together the night before, and sat back in wonderment that the day had finally come to pass. After 20+ years of CSS, finally, a real layout system, a set of properties and values designed from the outset for that purpose.

And then I decided, more or less in that moment, to convert my personal site to use Grid for its main-level layout. It took me less than five minutes to come up with the following:

body { display: grid; grid-template-rows: 192px min-content min-content 1fr; grid-template-columns: 1fr 20em; } #sitemast { grid-row: 1; grid-column: 1 / span 2; } #search { grid-row: 2; grid-column: 2; } #main { grid-row: 3; grid-column: 1; } #extra { grid-row: 3; grid-column: 2; } #navigate { grid-row: 2; grid-column: 1; } #footer { grid-row: 4; grid-column: 1; }

That’s not all I had to do, but it’s the core. Let me break it down for you.

body { display: grid; grid-template-rows: 192px min-content min-content 1fr; grid-template-columns: 1fr 20em; }

This part of the CSS sets the body element to be a grid container and sets up the grid lines. When you make an element a grid container, all of its children become grid items. (If you’ve worked with flexbox, then this pattern will be familiar to you.) So with that display: grid, I turned all of the child divs into grid items.

Next come the rows in the grid. The values in grid-template-rows actually define separation distances between grid lines (the same is true of grid-template-columns, which we’ll get to in a moment). So the value 192px min-content min-content 1fr; means: “Go 192 pixels down from the top of the grid container and drop a grid line. Then drop another two such that they provide enough vertical space for the contents of the rows they define. Finally, leave one fr (fraction) of distance between the third grid line and the bottom of the grid container.” (Fig. 2)

Fig. 2: Defining the rows 

The value min-content is pretty cool. It means just what it says: “Take up the minimum amount of space needed to fit the contents.” So for the second row, the one that will contain the navigation bar and search field, it will be as tall as the taller of the two, and no taller.

Ditto for the third row, the one containing the main and extra divs. On the homepage, the main div will be taller. On subpages, that might not always be the case. In all circumstances, the row containing those two divs will always be tall enough to contain them both.

With the rows figured out, next come the columns. I decided to keep things simple and just set up two. If you look at meyerweb’s home page, it appears to have three columns, but that’s only true of blog posts—a substantial but minority part of the site—and the left-side “column” is more of a sidebar inside the main column.

In the original design, the sidebar (#extra) is 18em wide, with some extra space to keep it away from the main column. But the column also has to fit the search box, which is a bit wider. After some experimentation, I settled on a width of 20em. The rest was left to flex as 1fr. (Fig. 3)

Fig. 3: Defining the columns 

Now that I’ve used the fr unit twice, a few words of explanation are in order. fr stands for “fraction,” and means “a fraction of the available unconstrained space.” In this grid, there are two columns. One of them has an explicit width of 20em, which is thus constrained—there’s no room for flexibility. The rest of the column space is unconstrained—as the width of the grid container changes (say, due to changes of the browser window) the unconstrained space will change to be the container’s width minus the 20em of constrained space.

Imagine for a moment I’d decided to split the grid into four columns, with the rightmost being 20em wide and the rest being equal, flexible widths. That would have looked like:

grid-template-columns: 1fr 1fr 1fr 20em;

Alternatively, I could have written it as:

grid-template-columns: repeat(3, 1fr) 20em;

In any event, that would have caused the unconstrained space to be divided equally among the first three columns. If the grid container were 65em wide, the last column would be 20em wide, and the other three 15em each. (3 x 15 = 45; 45 + 20 = 65.) Shrink the grid container down 50em wide, and the first three columns would shrink to 10em each.

In my case, I wanted that first column to take all of the space not given to the constrained last column, so it got 1fr. The final result is shown in Fig. 4.

Fig. 4: The complete grid  Placing the items

With the grid lines set up, now it’s just a matter of attaching grid items to the grid lines. This can be done automatically, using the grid-flow algorithm, but this is a case where I want to place each item in a specific place. That leads to the following:

#sitemast { grid-row: 1; grid-column: 1 / span 2; } #search { grid-row: 2; grid-column: 2; } #main { grid-row: 3; grid-column: 1; } #extra { grid-row: 3; grid-column: 2; } #navigate { grid-row: 2; grid-column: 1; } #footer { grid-row: 4; grid-column: 1; }

For each of the six divs, I simply said, “Pin your top edge to this row line, and your left edge to this column line.” I used line numbers because that’s all I gave myself—it’s possible to assign names to grid lines, but I didn’t. (But stay tuned for an example of this, later in the article!)

So, to pick one example, I set up the #main portion to start on the third row line and the first column line. That means it will, by default, fill out the space from the first to second column lines, and from the third to fourth row lines.

Almost all of the divs were set up in this way. The exception in this case is the #sitemast. It starts at the first column and row lines, but since I wanted it to go all the way across the grid, I set its column value to 1 / span 2. That means “Start at column line 1, and span across two columns.” I could have gotten the same result with the value 1 / 3, which means “Go from column line 1 to column line 3.” (Fig. 5)

Fig. 5: The grid items’ placement 

But realize: that’s just a diagram, not the actual layout situation. Not yet, at any rate.
Something I want to be clear about here is that while you can explicitly assign all of your grid items to specific rows and columns, you don’t have to do so. Grid has a flow model that allows grid items to be automatically assigned to the next open grid cell, depending on the flow direction. In my case, I could have gotten away with literally just these rules:

#sitemast { grid-column: 1 / span 2; } #navigate { grid-row: 2; grid-column: 1; }

That would have ensured the masthead was two columns wide, and that the search and navigation divs were placed in the exact grid cells I wanted. That would have left the second row filled by navigation and search, and the rest of the grid cells open.

Given that, the unassigned items would be flowed into the grid in source order. The masthead (#sitemast) would be placed in the first two-column row it could find, which turns out to be the first row. The search div would flow into the next open cell, which is row 2, column 2, because row 2, column 1 is already occupied by the navigation div. After that, the main div would flow into the first open cell: row 3, column 1. Extra would go into the next cell: row 3, column 2. And then the footer would be placed into row 4, column 1.

The end result would be exactly what’s shown in Fig. 5. The difference would be that if I had a special page where another div was added, it could throw off the whole layout, depending on where it appeared in the HTML. By explicitly assigning my layout pieces to the places I want them, I prevent a stray element from upending everything.

Given the styles I wrote, if a child element of the body is added to a page, it will become a grid item. If I don’t give it an explicit place in the grid, it will end up flowed into the first available grid cell. Since the lower-right cell (row 4, column 2) is unoccupied, that’s where the extra element would be placed…assuming it isn’t set to span two columns. In that case, it would end up at the bottom of the grid, in an automatically-created fifth row.

Accommodating the past

It’s easy enough to set up a grid, but when you drop grid items into it, they bring all of their existing styles in with them. That might not be a big deal in some cases, but in mine, it meant all of the margins and padding I’d used to keep the layout pieces apart from each other were now messing with the placement of the grid items. You can see this in Fig. 6, created using a local copy of the site.

Fig. 6: Grid + legacy = yoinks 

Ouch. It was time to override the pieces of the legacy layout styles I didn’t need in Grid, but did need to keep for browsers that don’t yet understand Grid.

So I wrapped the whole bit in an @supports block. Since I wanted to constrain the grid layout to wider displays, I put an @media block just inside @supports, and then proceeded to zero out or otherwise change the various margins and padding I didn’t need in a Grid context. Here’s how it turned out:

@supports (display: grid) { @media (min-width: 60.001em) { body { display: grid; grid-template-rows: 192px min-content min-content 1fr; grid-template-columns: 1fr 20em; } #sitemast { grid-row: 1; grid-column: 1 / span 2; } #search { grid-row: 2; grid-column: 2; position: static; padding: 0.25em 0 1em; } #main { grid-row: 3; grid-column: 1; margin-right: 0; margin-top: 1.25em; padding-top: 0; } .hpg #main { margin-top: 0; padding-top: 0; } #extra { grid-row: 3; grid-column: 2; position: static; top: 0; margin-top: 0; padding-top: 0.5em; margin-left: auto; } #navigate { grid-row: 2; grid-column: 1; position: static; margin-top: 1px; padding-bottom: 0; } #footer { grid-row: 4; grid-column: 1; margin-right: 0; } } }

I probably could refactor that to be more efficient, but for now, I’m going to leave it as-is. It makes clear what had to be done to which grid item—which ones needed to override position so their absolute positioning didn’t interact weirdly with the grid, which margins and padding needed to be changed, and so on. Let’s look at the end result (Fig. 7).

Fig. 7: Grid + @supports = yowza! 

You might be forgiven for thinking that this was much ado about not very much. Why go to all that effort just to make it look the same? The real power here, in what is admittedly a simple case, is how I no longer have to worry about overlap. The footer will always be below the main and extra divs, no matter which is taller. When I was using positioning, that was never guaranteed.

Similarly, the navigation and search will always maintain a shared height, making sure neither will overlap with the content below them—and thanks to min-content, I don’t have to guess at how tall they might get. Grid just handles all that for me.

And remember, the layout still functions in old browsers just as it always did, using positioning. I didn’t “break” the site for browsers that don’t understand Grid. The more capable Grid layout is there, waiting for browsers like Chrome and Firefox that understand it.

If you want to see all this live for yourself, head over to meyerweb.com and inspect elements in Firefox 52 or later. There you’ll see a little waffle icon next to the display: grid declaration on the body element. Click it, and Firefox will draw the grid lines on the page for you to scrutinize. (You can also enable a more powerful layout tool in Nightly builds of Firefox; see my post “ Grid Inspection ” for details.)

Naming conventions

I mentioned earlier that it’s possible to name grid lines. I didn’t do it for my own styles because the grid I defined was so simple, but for more complicated grids, naming the lines might be useful.

Using the stripped-down version of the styles, the one without all the legacy overrides, naming the grid lines would look something like this:

body { display: grid; grid-template-rows: [masthead] 192px [navsearch] min-content [mainextra] min-content [footer] 1fr; grid-template-columns: [left] 1fr [middle] 20em [right]; }

Each of those square-bracketed words is assigned as a name to the corresponding grid line. (Fig. 8)

Fig. 8: Named grid lines 

Once those names are defined, you can refer to them in your grid-row and grid-column properties. For example:

#sitemast { grid-row: masthead; grid-column: left / span right; } #search { grid-row: navsearch; grid-column: middle; } #main { grid-row: mainextra; grid-column: left; } #extra { grid-row: mainextra; grid-column: middle; } #navigate { grid-row: navsearch; grid-column: left; } #footer { grid-row: footer; grid-column: left; }

Much like class names, you can assign multiple names to a grid line by supplying a space-separated list. Try this one for size:

grid-template-columns: [start left] 1fr [middle sidebar] 20em [right end];

You can then refer to any one of those names in your grid-column declaration. There’s no defined limit on the number of names, but remember what comes with great power.

In case you were wondering, you can mix grid line names and numbers, so something like grid-row: navsearch; grid-column: 2;} is completely fine. You can use any name the browser can parse, which means you can specify just about anything Unicode and your CSS file’s character encoding will allow.

Grid and Flexbox

A question you may have is: now that we have Grid, do I throw away Flexbox? Absolutely not! The two can and do work very well together.

Consider the navigation bar of my design. For years, it’s been laid out using an unordered list and float: left for the list items. Simplified a bit, the CSS and markup looks like this:

#navlinks { float: left; width: 100%; } #navlinks li { float: left; list-style: none; margin-left: 1px; } <div id="navigate"> <ul id="navlinks"> <li><a href="…">Archives</a></li> <li><a href="…">CSS</a></li> <li><a href="…">Toolbox</a></li> <li><a href="…">Writing</a></li> <li>><a href="…">Speaking</a></li> <li>>><a href="…">Leftovers</a></li> </ul> </div>

Why not display: inline-block instead of float: left? Because that literally wasn’t an option when I wrote the CSS for the navlinks, and I never got around to updating it. (You may be sensing a theme here.)

Now I have two much better options for arranging those links: Grid and Flexbox. I could define a grid there, which would go something like this:

#navlinks { display: grid; grid-template-columns: repeat(6,min-content); } #navlinks li { list-style: none; margin-left: 1px; }

That would essentially get the same result, only in a grid, which is far more robust than either floats or inline blocks.

On the other hand, I’d be using Grid, which is a two-dimensional layout system, for a one-dimensional piece of layout. It’s certainly possible to do this, but it feels a little like overkill, and it’s not really what Grid was designed to do. Flexbox, on the other hand, is designed for exactly these kinds of situations.

So I might write the following instead:

#navlinks { display: flex; justify-content: flex-start; flex-wrap: wrap; } #navlinks li { list-style: none; margin-left: 1px; }

Again, that would be basically the same result, but in a more robust fashion. In addition to keeping the links all lined up, the wrap value will let the links go to a second line if need be. And because the flexbox sits inside a grid item that’s part of a grid row whose height is min-content, any increase in height (due to line wrapping or whatever) will cause the entire row to become taller. That means the rows after it will move down to accommodate it.

And now that I look at the markup again, I’ve realized I can simplify that markup without needing to touch any grid styles. Instead of wrapping a list with a div, I can drop the div and reassign its ID to the list. So the markup can become:

<ul id="navigate"> <li><a href="…">Archives</a></li> <li><a href="…">CSS</a></li> <li><a href="…">Toolbox</a></li> <li><a href="…">Writing</a></li> <li><a href="…">Speaking</a></li> <li><a href="…">Leftovers</a></li> </ul>

After adjusting the selectors in my CSS from #navlinks to #navigate, the resulting layout will be exactly as it was before. The ul will become a grid item and a flex container. That is a thing you can do.

The downside in my case would be dealing with any interactions between that change and my legacy layout, but it’s not a huge issue to solve. It’s just a matter of doing it.

Letdowns

So what are the down sides?  Not many, but they do exist.

Most fundamentally, there’s no way to define an overall page grid that has all items relate to it. In other words, if I say:

body { display: grid; grid-template-columns: repeat(16, 1fr); }

…then that sets up a 16-column flexible grid for the body element only, and its child elements are the only ones that can become grid items. I can’t reach down into the document tree and assign elements to be placed on that body grid. That’s the main reason I didn’t try to put the little sidebar bits on my blog posts into a shared grid: I literally can’t, at this point, unless I resort to ugly CSS or HTML hackery.

The capability to do such things is known as subgrid, and it hasn’t been implemented by any browsers as yet. There are questions as to exactly how it should or shouldn’t work, so there’s still plenty of hope that everything will work out in the end. It’s a disappointment that we don’t have it yet, and that lack restricts the full range of grid’s power, but hopefully only for a short while.

In the meantime, I’m sure people will come up with ways to work around this limitation. A basic workaround in this case: I could define a grid that applies to every blog post individually, and arrange the pieces of each post on those nested grids. The CSS would look something like:

div.post { display: grid; grid-template-columns: [meta] 10em [main] 1fr; grid-template-rows: [title] min-content [main] 1fr; }

With that, I could place the metadata, the title, and the post’s body text into the defined grid cells, using either grid line numbers or the grid names I set up. Something like:

div.post h3 { grid-column: 2; grid-row: title; } ul.meta { grid-column: meta; grid-row: main; } div.post div.text { grid-column: main; grid-row: main; }

The drawback is that the metadata is then constrained to be a specific width, instead of my being able to set a column that all metadata shares, and size it by the longest bit of content.  That’s no worse than right now, where I’m setting the floated metadata to an explicit width, so this doesn’t lose me anything. It’s just a (temporarily) missed opportunity to gain something.

Another limitation, one that may or may not be addressed, is that you cannot directly style grid cells. Suppose I’d wanted to put a box around the #extra sidebar, completely filling out that cell. I’d have to style the div. I can’t do something like this:

@grid-cell(2, 3) { background: teal; border: 1px solid; }

I mean, I’m not even sure the syntax would look anything like that (probably not), and this sort of capability is only now starting to be debated by the Working Group. If you have use cases for this sort of capability, definitely share them with the world and the folks at www-style. The more real-world cases there are, the stronger the case for supporting them.

And there will, inevitably, be bugs to fix. For example, as I was finishing this article, I discovered that in some situations, Chrome 57 can suffer from a page-blanking bug when using Grid. It appears to be caused by having absolutely-positioned elements removed from a Grid page, and can be triggered by extensions like Window Resizer and LastPass. The good news is that a fix has been accepted for Chrome 58, so it should be fixed by the end of April 2017 at the latest.

Grid power

I hope this exploration of applying Grid to a live site has given you a taste of what’s possible. But I want to warn you that it’s just a taste, and a minor one at that. I was only able to scratch the surface of what the Grid syntax makes possible, so if this has captured your imagination, I strongly encourage you to experiment and then to dive into the Grid specification to see what else is possible. (Grid gaps! Dense grid packing! Inline grids! Auto-filling rows and columns!)

But even more, what I explored here was the barest wrinkle on the outer edges of a scratch on the surface of everything that Grid will make possible. Sure, it can make our existing designs more flexible, robust, and simple to maintain. That’s pretty great. It also makes possible layouts we’ve never even dreamed of, because they were impossible given the tools we had available. There are new techniques, even new art movements, waiting to be discovered. We haven’t experienced a phase shift this profound since the original move from tables to CSS. I hope you’ll be a part of exploring this new realm.

Resources

As I said, this is at best an introduction. Want to know more? Here are some great resources to get you going:

 

Kategorien: Webdesign

Try these super-useful Photoshop techniques to make your work stand out

Imaging Resource - Do, 23/03/2017 - 18:00
These two post-production techniques are examples of techniques that are easy to learn, yet bring considerably more "value" to your images. Firstly, have you ever wondered how graphic artists make text appear as though it was written on objects in Photoshop? The key to this is not just placing text over an object, but actually making that text interact with the object so that it appears to be part of it. The process in Photoshop involves using what is known as a "displacement map." I personally thought this technique was a lot...
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Kategorien: Fotografie

Thrifty Thursday: Panasonic GH5 with gift card, lots of Canon deals and much more

Imaging Resource - Do, 23/03/2017 - 15:27
Thrifty Thursday is back to save you money! Let’s get right into it as we have a wide variety of deals to share with you. Panasonic GH5 filmmaking kit with free $100 gift card You can preorder the brand-new Panasonic GH5 as part of a camera filmmaking kit with a free $100 B&H gift card. The filmmaking kit comes with the camera body, a DMW-XLR1 microphone adapter, DMW-BGGH5 battery grip, DMW-AC10 AC adapter and DMW-DCC12 DC coupler. As a bonus, if you order your camera before March 31, you can extend the free 1-year warranty to...
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Kategorien: Fotografie

Wear your loyalty on your sleeve: Canon launches new line of official merchandise

Imaging Resource - Do, 23/03/2017 - 14:00
Are you a crazed Canon fan? Canon UK (and presumably Canon USA at some point) has just the merchandise for you. The new line of accessories includes a wide variety of items, including a windbreaker, camera bags, t-shirts, sweatshirts and more. Have you ever wanted to rep Canon’s vintage Camera Kwanon logo? Now you can! The old-school – and cool – logo is emblazoned on an array of items, including an olive green sweater, gray t-shirt, white t-shirt, black cap, navy blue hoodie and gray zip-up...
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Kategorien: Fotografie

Throwback Thursday: Panasonic Lumix DMC-LX3, Multi-Aspect Master

Digital Photography Review - Do, 23/03/2017 - 12:00

Back in 2008 there weren't a whole lot of enthusiast compacts. The two models which got the most attention were the Canon PowerShot G10 and Nikon Coolpix P6000. At that time, the 'Megapixel race' was really getting going, with the G10 and P6000 having 14.7MP and 13.5MP sensors, respectively (the LX2 was still at 10MP). All three of the aforementioned cameras had lenses with lovely focal ranges, but slow maximum apertures (F2.8-4.5 for the Canon, F2.7-5.9 for the Nikon).

Enter the Panasonic Lumix DMC-LX3. Panasonic didn't go crazy with Megapixels like other companies, instead using a 10 Megapixel, 1/1.63" CCD with a unique 'multi-aspect' feature. An even bigger story was its 'Leica' DC Vario-Summicron lens that had an equivalent focal length of 24-60mm (yep, kind of short) and a max aperture range of F2-2.8. Despite that fast lens and because of that limited range, the LX3 remained extremely compact.

The LX3 is remarkably compact considering its lens. Its metal body gave it a quality feel.

Indeed, one of the fun things about the LX3 was its multi-aspect capabilities. Using the switch on top of the lens barrel you could choose between 4:3, 3:2 and 16:9. On most cameras the angle-of-view would change at each of those ratios, but on the LX3 they are all the same. Simply put, the focal range (24-60mm equiv.) was the same, regardless of which of the three aspect ratios used. Having the ability to quickly switch aspect ratios made it a lot more tempting to mix things up a bit, since a trip to the menus wasn't required.

The back of the LX3 had a pretty standard layout, with a 3" LCD and cluttered controls.

The LX3 had a snappy UI, effective 'MEGA OIS' image stabiliization and plenty of manual controls. It could even capture 720/24p video, which was uncommon in that era. It's battery life of 380 shots/charge was pretty darn good, too.

A pricey optical viewfinder was an available accessory. Third parties made teleconverters, like this 2.5x model from Fujiyama.

Two other nice things about the LX3 were its support for an optional viewfinder and a threaded lens barrel. The DMW-VF1 was attached via the hot shoe and was framed for 24mm shooting. If you wanted to screw something onto the lens, Panasonic sold a 0.75x wide-angle converter and a number of filters. While Panasonic didn't sell any teleconverters, third parties did. Fujiyama produced a 2.5x teleconverter, which brought the long end of the lens to 150mm equivalent. 

Ultimately, it's was the sensor + lens combination that made the LX3 so appealing. The LX3 had very good image quality at its base ISO and it held up well through ISO 800. Having that bright lens made the LX3 very capable in low light, as it allowed the photographer to keep the ISO as low as possible. And at a time when CCDs weren't exactly noise-free, that made a huge difference.

My colleague Richard Butler adds:

The LX3 is the first compact I ever liked. It also, arguably, rejuvenated the entire sector: everyone else started to make small cameras with bright lenses, including Canon re-launching the S series. Sure, the move to 1" sensors make the LX3 look rather less impressive, but it still pointed the way towards a generation of enthusiast pocketable compacts with lenses that let you get the best out of their sensors.

Have fond memories of your Panasonic LX3? Share them in the comments below!  Feel free to leave suggestions for future TBT articles as well.

Read our Panasonic LX3 Review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"9924184790"}) })
Kategorien: Fotografie

Canon EOS 77D / 9000D sample gallery

Digital Photography Review - Do, 23/03/2017 - 11:00

With a Rebel on one side and an 80D on the other, the Canon EOS 77D appears to occupy an interesting space in Canon's DSLR lineup. We haven't wasted any time getting our loaner unit out into the great outdoors (and the great indoors, for that matter). Take a look at our initial sample gallery, and stay tuned for updates once we get Raw support.

See our Canon EOS 77D sample gallery

Kategorien: Fotografie

Zeiss is teasing a new telephoto Batis lens on its Instagram account

Digital Photography Review - Do, 23/03/2017 - 08:01

Recently, Zeiss started teasing a 'new Batis portrait telelens' on its Instagram account. A couple of Zeiss Ambassadors have posted photos from the yet-to-be-named lens as part of a weekly account takeover. The photo below was taken by music photographer Greg Watermann. Zeiss mentions that the E-mount lens will be available this spring.

 

Next week on our #TakeoverTuesday ZEISS Ambassador Greg Watermann (@gregwatermann) will show you #adayinthelifeof #gregwatermann. Stay tuned for exciting behind the scenes. By the way, he has something new in his camera bag. Our new Batis portrait telelens. Stay tuned for more info. ????Photo shot by Greg with the new lens.

A post shared by ZEISS Camera Lenses (@zeisscameralenses) on Feb 22, 2017 at 7:05am PST

UK-based wedding photographer Lisa Beaney also got a chance to use the new lens for a series of portraits.

 

Meet Joe: Joe's watch tattoo has a very special meaning to him. The time (26 mins past 2) is actually his Dads birthday and the ink for this tattoo was mixed with some of his Dads ashes so he always has his Dad with him whatever else happens in life..... This photo was taken with the new (yet to be released) Zeiss Batis lens and I can't get over how sharp it is... sharper than my 85mm Batis ! #takeover #takeovertuesday #instatakeover #instagramtakeover #zeissstories #ambassadorstakeover #zeisstakeover #zeisslive #instazeiss #zeissmoments #zeissambassador #zeisscameralenses #welovelenses #zeisstakeover #zeissfriend #adayinthelifeof #lisabeaney @lisabeaney #tattoo #tattoophotography #inked @shoelessjoe80

A post shared by ZEISS Camera Lenses (@zeisscameralenses) on Mar 21, 2017 at 4:33am PDT

Internet speculation is pointing to a 135mm F2.8. What do you think? Are you hoping for something faster than F2.8? Let us know in the comments.

Kategorien: Fotografie

For a two-time combat veteran, photography is an outlet and a way to give a face to PTSD

Imaging Resource - Mi, 22/03/2017 - 22:00
Michael McCoy served two tours in Iraq. He returned home with a photography hobby and post traumatic stress disorder (PTSD). “On my first trip to Iraq, I would take tons of pictures to keep up the morale and to send back to friends and family,” McCoy told TIME. All the photos he captured had been backed up to a hard drive and McCoy lost that hard drive, which proved devastating. “I had pictures of family members that are deceased. I realized the only thing I could do was document life in the present.” A Baltimore native, McCoy...
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Kategorien: Fotografie

Major firmware updates coming for Fujifilm X-T2 and X-Pro2

Digital Photography Review - Mi, 22/03/2017 - 20:21

Fujifilm will launch a couple of major firmware updates for its X-T2 and X-Pro2 cameras. The first one, available at the end of this month, brings the X-T2 up to version 2.00 and the X-Pro2 up to 3.00. Another update will arrive in late May.

The first update brings no less than 27 feature improvements to Fuji's flagship mirrorless cameras, including an option to enable focal length-dependent minimum shutter speed in ISO Auto, up to 15 minute exposures in T mode, more options for bracketing while shooting Raw and added autofocus flexibility.

Several other updates are aimed at improving handling during video shooting, including the addition of a live histogram for X-T2 owners.

A second round of updates will come in May. Firmware 2.10 for X-T2 and 3.10 for X-Pro2 will add -6 and -7 EVF brightness settings for very low light shooting and the ability to assign functions to the rear command dial. A few functions are added for the X-T2 only including tethered shooting via Wi-Fi. See the very long list of updates below.

You'll be able to download the updates from Fujifilm's support website.

X-T2 version 2.00 & X-Pro2 version 3.00 - due late March 2017

1. Shooting RAW in Bracketing and Advanced Filters
The update enables you to use the RAW format when shooting not only in AE Bracketing but also in other Bracketing modes (ISO, Dynamic Range, White Balance, Film Simulaitons) and also in Advanced Filter modes.

2. Extended ISO 125 and 160 selectable
The update adds ISO125 and ISO160 to extended ISO levels available.

3. Programmable long exposure of up to 15 minutes
Long exposure in the T mode currently goes only up to 30 seconds. The update will allow users to extend it up to 15 minutes.

4. ON/OFF for 1/3-step shutter speed adjustment (X-T2 only - already in X-Pro2)
The update allows you to turn off the Command Dial's function to adjust shutter speed by 1/3 steps in order to prevent unintended adjustments.

5. Full-range ISO adjustments with the Command Dial (X-T2 only)
With the update, set the ISO "A" position to "Command" to adjust ISO sensitivity across the full range, including extended ISOs, with the Front Command Dial.

6. "AUTO" setting added for the minimum shutter speed in the ISO Auto setting
The update adds an AUTO option for the minimum shutter speed in the ISO Auto setting, that allows the camera to automatically define the minimum shutter speed according to the focal length of the lens attached.

7. Faster "Face Detection AF"
The update enables the use of Phase Detection AF for faster performance in Face Detection AF.

8. Improved in-focus indication in the AF-C mode
The update reduces focus hunting in the AF-C mode, making it easier to track a subject.

9. Addition of a smaller Focus Point size in Single Point AF
The update adds a smaller Focus Point size in Single Point AF, bringing the total number of available sizes to six. The new smallest size facilitates pin-point focusing.

10. Addition of "AF Point Display" (X-Pro2 only - already on X-T2)
With the update, you can choose to have AF Points constantly displayed in Zone AF and Wide / Tracking AF, making it easier to track a subject.

11. Addition of "AF-C Custom Setting" (X-Pro2 only - already on X-T2)
The update adds "AF-C Custom Setting" for specifying focus-tracking characteristics. Choose from five presets according to your subject's type of movements.

12. Addition of "Portrait / Landscape AF Mode Switching" (X-T2 only)
The update allows you to specify separate AF mode and AF point settings for portrait orientation and landscape orientation.

13. Change of focus frame position while enlarging it
The update allows you to move the position of focus frame while enlarging it in Single Point in the AF-S mode or in the Manual Focus

14. Activation of the Eye Sensor in video recording (X-T2 only)
The update allows you to use the Eye Sensor during video recording to automatically switch between EVF and LCD.

15. Change of ISO sensitivity during video recording (X-T2 only)
The update allows you to change ISO setting during video recording.

16. Re-autofocusing in video recording
With the update, half-press the Shutter Release button or press the button assigned to "AF-ON" function during video recording to re-do autofocusing.

17. Display live histogram during video recording (X-T2 only)
The update allows you to display a live histogram during video recording.

18. Optimization of external microphone's input level (X-T2 only)
The update optimizes external microphone's input level (lower limit revised from -12dB to 20dB) to reduce white noise when an external microphone with preamp is connected.

19. Addition of "Eye Sensor + LCD Image Display" in the View Mode
The update gives the "Eye Sensor + LCD Image Display" option in the View Mode that allows you to shoot through the viewfinder and check images on the LCD, just as you would with an SLR.

20. Shorter EVF display time-lag (X-Pro2 only - already in X-T2)
The update shortens EVF's display time-lag in the AF-C mode so that you will not miss a photo opportunity.

21. Constant "Dual" mode display (X-T2 only)
With the update, the small window in the Dual mode stays on even when you half-press the shutter release button.

22. Automatic vertical GUI for LCD (X-T2 only)
With the update, when you hold the camera in the portrait orientation, the camera will automatically display the GUI on the LCD in the same orientation.

23. Name Custom Settings
The update allows you to assign a specific name to Custom Settings 1 - 7.

24. Copyright information in EXIF data
The update allows you to register the photographer's name and the copyright holder's name in advance so that the camera automatically adds the information to EXIF data for each image.

25. Voice Memo function
The update enable you to record 30-second "Voice Memo" clips in the Playback mode.

26. Extended AE Bracketing
The update extends AE Bracketing from the current 3 frames +/-2EV to up to 9 frames +/-3EV.

27. Addition of "Shoot Without Card" mode
With the update, you can have the "Shoot Without Card" mode turned OFF so that the camera can not shoot when there is no SD card inserted.

X-T2 version 2.10 & X-Pro2 version 3.10 - late May 2017

28. Support for computer tethering via Wi-Fi (X-T2 only)
The update adds support for computer tethering via Wi-Fi.

29. Addition of "All" AF mode (X-T2 only)
With the update, select "All" in the AF mode so that you can select the AF mode and Focus Area size by only using the Command Dial.

30. Function extension for "Shutter AF" and "Shutter AE" (X-T2 only)
With the update, you can specify different settings for AF-S and AF-C in "Shutter AF" and for AF-S / MF and AF-C in "Shutter AE."

31. Addition of "-6" and "-7" to EVF's brightness setting
Additional options of "-6" and "-7" to the "EVF Brightness" setting so that, even in an extremely low-light condition, the brightness of the EVF does not distract you from shooting.

32. Switchover of the main and sub displays in the Dual Display mode (X-T2 only)
The update allows you to switch between the main and sub displays in the Dual Display mode.

33. Function assignment to the Rear Command Dial
With the update, you can assign a specific function to be activated when the Rear Command Dial is pressed.

Kategorien: Fotografie

Leica launches stealthy, limited camera and lens; Meyer-Optik adds colorful options to Kickstarter

Imaging Resource - Mi, 22/03/2017 - 20:15
Leica "Blue Stain" MP and Summilux-M 50mm f/1.4 ASPH To celebrate the ten-year anniversary of the Leica Store in Berlin, the legendary company is releasing a special series of the Leica M, dubbed “Blue Stain.” This is a particularly limited edition as the special MP will be produced in a series of ten cameras. Less limited is the accompanying Leica Summilux-M 50mm f/1.4 ASPH lens, which will be produced in 20 pieces. Despite its name, the camera and lens aren’t blue, but are rather very dark gray. Blue stain is actually an...
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Kategorien: Fotografie