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The Royal Photographic Society Unveils its 2021 Award Winners

The Royal Photographic Society Unveils its 2021 Award Winners

The Royal Photographic Society Unveils its 2021 Award Winners 1

The Royal Photographic Society (RPS), now in its 143rd year, has announced the 2021 recipients of its prestigious accolades, recognizing talents working across both still and moving images.

Founded in 1853, RPS is one of the world’s oldest photographic societies, supported in its efforts by its patron Her Royal Highness The Duchess of Cambridge. Each year, the charitable organization celebrates and awards excellence and innovation in photography.

Based in Bristol, United Kingdom RPS has a membership of over 10,000 photographers and aims to inspire people through its exhibitions, RPS Journal, and its highly-respected awards and events, alongside educational programs and other public initiatives.

“The 2021 recipients tell remarkable stories, and their work is a testament to the power of photography to inspire, uplift, incite change and bring about personal, social, and cultural wellbeing,” writes RPS.

The awards span across 18 categories of different genres and applications of photography, including the recognition of achievements in moving images, new media, science and imaging, education, and curation. The categories evolve alongside the medium to reflect new ways of seeing, making, and sharing photography.

Progress Medal

The Royal Photographic Society Unveils its 2021 Award Winners 2
Katie Bouman © Event Horizon Telescope Collaboration

Katie Bouman was the recipient of the Progress Medal for her scientific and technical advancement in photographic imaging. In 2019, Bouman produced the first image of a black hole, 53.5 million light years from Earth during her involvement in the International Event Horizon Telescope Collaboration.

Centenary Medal

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New York City, from East 100th Street, 1966 © Bruce Davidson / Magnum Photos

A member of Magnum Photos since 1958, Bruce Davidson was recognized for his sustained and significant contribution to photography. He is celebrated for his intimate photo essays and the documentation of counter-culture communities.

Outstanding Contribution to Photography Award

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David George, from the series East of Eden © The artist

Zelda Cheatle, acclaimed curator, editor, and gallerist, received the award for raising the profile of 20th and 21st-century photographers and young artists throughout her career, and also for the establishment of the first photography fund.

Honorary Fellowships

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Vanley Burke, Men fill the grave of a young man who was shot, 2008 © The artist
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Alec Soth, Cammy’s View, Salt Lake City, 2018 © Alec Soth / Magnum Photos
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Lola Flash, from the series AfroFuturism © The artist
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Mitra Tabrizian, from the series Another Country, 2010 © The artist
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Dana Lixenberg, Puff Daddy © Dana Lixenberg

Vanley Burke, Valie Export, Lola Flash, LaToya Ruby Frazier, Dana Lizenberg, Alec Soth, and Mitra Tabrizian were recognized for their exceptional and innovative work connected to the art or science of photography.

Lumière Award

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Phoebe Boswell, Here, Installation view, New Art Exchange, 2021. Photo: Reece Straw © The artist and Reece Straw

Phoebe Boswell received the Lumière Award for her major achievement in film and video. Her multidisciplinary practice centres upon drawing but spans across animation, sound, video, writing, interactivity, and performance to create immerse installations.

Hood Medal

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Dexter McLean, Jay-Jay © The artist

Dexter McLean, a photographer with cerebral palsy, received the award for his advocating of the disabled community through his documentary and portrait work.

Vic Odden Award

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Silvia Rosi, Self-Portrait as my Father, 2019, from the series Encounter © Silvia Rosi

Silvia Rosi was the recipient of Vic Odden Award for her self-potraiture photography that explores personal history, heritage, and origins. This award recognizes notable achievement in the art of photography by an individual aged 35 and under.

Editorial, Advertising, and Fashion Photography Award

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Tyler Mitchell, Butterfly, 2019 © Tyler Mitchell. Courtesy of the artist and Jack Shainman Gallery, New York

Photographer and filmmaker Tyler Mitchel was recognized for his work that spans genres to explore and document a new aesthetic of Blackness.

Scientific Imaging Award

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Kym Cox, Orgasmic, Rude Bubbles series © The artist

Kym Cox received the award for her photography and practice dedicated to the phenomena of soap bubbles. Cox was also previously successful in the RPS Science Photographer of the Year exhibition.

The International Photography Exhibition 163 Awards

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Tim Franco, Han Song-i © The artist

The RPS also recognizes the award winners of the International Photography Exhibition 163 — the longest-running photography exhibition that celebrates the most compelling images and stories from photographers worldwide. Tim Franco has received the IPE Award for his project “Unperson,” which portrays defectors from North Korea.

The full list of the remaining awarded categories can be found on the RPS website.


Image credits: All photos individually credited and provided courtesy of the Royal Photographic Society.

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Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 16

Sony has launched the Xperia Pro-I, the world’s first smartphone to feature a one-inch sensor equipped with phase-detection autofocus. It is positioned not just as a phone, but as a member of the Alpha series family of cameras.

The Xperia Pro-I (that’s a capital “I” and not a numeral “1” which is no doubt confusing given the company’s use of numbers through its camera line), combines Sony’s one-inch sensor found in its RX100 line of high-end point and shoot cameras along with the advanced processing and autofocus found in its camera line with a 24mm Zeiss Tessar optic and compresses it all into a smartphone that is only 8.9mm thick.

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 17

Sony says that the Xperia Pro-I is developed with the same imaging technology found in the Alpha line, hence the insistence that it is just as much a camera as it is a smartphone. While there are other cameras that are available that leverage a one-inch sensor, Sony is the first to bring that size to a smartphone along with full phase-detection autofocus. Additionally, those smartphones aren’t easily available in the west, and the Pro-I will be launched with full support in the United States (it will not be sold in Canada).

The Xperia Pro-I is powered by a Qualcomm Snapdragon 888 processor, is compatible with 5G, features 240Hz touch scanning rate and heat dissipation (designed for gaming), features 12GB of RAM and 512GB of storage capacity, and supports SDXC media up to 1 TB. It also still offers a headphone jack and uses a 4,500mAh battery that can fast charge to 50% in 30 minutes with the included 30W charger. The phone is also IP 65/68 water and dust-resistant.

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 18

Photography Features

The Pro-I uses the 1.0-type Exmor RS sensor with a 2.4µm pixel pitch that Sony says will result in “stunning” low light performance. It also supports RAW 12-bit shooting and a special dual aperture (f/2 and f/4) iris system that allows photographers to physically adjust the depth of field instead of relying on software. In addition to a 1.0-type sensor, the Xperia PRO-I features a BIONZ X for mobile and a front-end LSI. Sony says that this advanced processor allows the device to deliver unprecedented speed and improved image quality in a wide range of scenes.

That main sensor features the aforementioned 315 phase-detection autofocus points that feature 90% coverage of the sensor. Sony points out that in addition to a larger sensor, that 90% is an improvement over the 70% found on the Xperia 1 III. That coverage allows the Pro-I to support real-time eye-AF for humans and animals, real-time tracking, 20 frames per second AF/AE burst shooting, and an anti-distortion shutter that allows for cleaner capture of fast-moving objects.

While the main camera is a one-inch type, it is supported by two additional cameras with smaller sensors: a 16mm ultra-wide with a 1/2.5-inch sensor and a 50mm with a 1/2.9-inch sensor. Sony chose not to add a telephoto lens to this camera because it says that based on feedback, the majority of its users would rather have access to the three focal lengths it provided instead. In short, it says its users do not generally use a telephoto even when they have access to it. In addition to the three image-capturing sensors, the Pro0I also has a single 3D iTOF sensor.

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 19

It should be noted that all three sensors capture 12-megapixel photos, despite the fact that the one-inch main sensor is a 20-megapixel sensor. In short, Sony is using a 12-megapixel crop of the 20-megapixel sensor because of the space limitations between the sensor and the lens. The quality of the photos it can take will still be dramatically better than smaller sensors because it is using a larger surface area to capture images than typical smartphone sensors, but it’s not using the full one-inch sensor here.

The photo app on the Xperia Pro-I allows for customized manual settings, easily accessible auto settings, and the ability to shoot in RAW that supports 12-bit photos. The app is designed to have an interface that is reminiscent of the Alpha line of cameras, and the aperture of the main sensor can be adjusted between f/2 and f/4 through the app.

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 20

The Xperia PRO-I also includes a dedicated shutter button that features the same shutter switch module as Sony’s RX100 series cameras and requires similar button strokes to operate AF and shutter release. The user can also long-press the shutter button to quickly launch Photography Pro and start shooting immediately, even when the display is off.

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 21

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 22

Video Features

Sony says the Xperia Pro-I is the world’s first smartphone to allow users to shoot high-quality video in 4K 120p, which is to say the footage is actually captured and stored in full 120 frames per second rather than interpolated down to 24 frames per second after capture. It is also the first in the Xperia line to offer eye-AF technology and object tracking in video capture.

Video is captured in HDR H.265 .MP4 and HLG bt2020 10-bit with 4:2:0 bit depth.

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 23

Stable video is made possible thanks to a combination of Optical SteadyShot and Sony’s “FlawlessEye” technology. The combination enables a reduction in shake even in low light conditions.

In addition to stereo microphones, the Xperia PRO-I features a built-in monaural microphone next to the main camera which allows for the clear recording of speech while other sounds remain in the background. In addition, The Xperia PRO-I includes Sony’s audio separation technology to effectively filter wind noise, both for stereo and monaural microphones.

Sony Unveils the Xperia Pro-I: First Smartphone with 1-Inch PDAF Sensor 24

Sony is also launching an optional 6.5-inch 21:9 4K OLED display with 120Hz refresh rate, the same screen as the one on the Xperia 1 III. It and the smartphone can connect to the Sony Bluetooth grip (GP-VPT2BT) to easily enable vlogging.

Below is a hands-on video by Ted Forbes:

The new Xperia Pro-I will be available in December for $1,800 and will ship in packaging that is devoid of plastic materials and instead replaces them with paper. The new vlogging monitor will be available for $200. Pre-orders for the new Pro-I will begin on October 28 at 10 AM EDT.


Image credits: Header image by Ted Forbes and used with permission.

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Apple Unveils a Redesigned MacBook Pro Featuring M1 Pro and M1 Max

Apple Unveils a Redesigned MacBook Pro Featuring M1 Pro and M1 Max

Apple Unveils a Redesigned MacBook Pro Featuring M1 Pro and M1 Max 25

Apple has launched the new, redesigned MacBook Pro that promises extreme performance, the return of many highly-requested features and ports, and is available in both 14- and 16-inch sizes.

Apple has brought the tech behind the standalone magic keyboard to the MacBook Pro and has removed the much-maligned Touch Bar. The keyboard is set in a double-anodized black well, which Apple says “elegantly highlights” the backlit glyphs on the keys, and features a full-height function row. The new keyboard is complemented by the Force Touch trackpad that Apple says is perfect for pro applications.

Apple Unveils a Redesigned MacBook Pro Featuring M1 Pro and M1 Max 26

Speaking of pro workflows, the company has added ports back to the computer: an HDMI port, three Thunderbolt 4 ports, an SD card slot, a headphone jack that supports high impedance headphones, and MagSafe 3 charging (but it also still supports charging via Thunderbolt). The new MacBook Pro also supports fast charge and can charge to 50% capacity in 30 minutes. The two new Macbook Pros can support three Pro Display XDRs and a 4K TV all at once all without a single adapter. For wireless connectivity, MacBook Pro also features Wi-Fi 6 and Bluetooth 5.0.

The display has also been reimagined. The border is 24% thinner on the sides and 60% thinner at the top. The menu bar moves up to the top of the display and hides parts of the menu bar behind the camera module, which allows for more overall useable screen space. Speaking of the camera, it features a wider f/2.0 aperture and captures video in 1080p.

Apple Unveils a Redesigned MacBook Pro Featuring M1 Pro and M1 Max 27

The 16-inch model has a 16.2-inch display in nearly the same size enclosure as before with 7.7 million pixels, which is the most ever in a Mac notebook. The 14.2-inch model has 5.9 million pixels, which is more than the previous generation’s 16-inch MacBook Pro. Both support one billion colors.

The display can also refresh up to 120Hz and features ProMotion, the same tech in the new iPhone 13 Pro, which dynamically changes refresh rate to preserve battery life, but scales up when needed. Video editors can still pick a standard refresh rate when it needs to be locked. It is a liquid retina XDR display inspired by the Pro Display XDR and uses mini LED tech that is used in the iPad Pro.

The backlight features thousands of mini LEDs arranged in individually controlled local dimming zones and features up to 1000 nits of sustained brightness and 1600 nits of peak brightness. That level of brightness allows for deeper blacks and stronger highlights that make for a better display of HDR content.

Both versions of the laptop are available to be configured with either the M1 Pro or M1 Max chip, which are both much faster than the previous Intel versions of the MacBook Pro and should also be more performant than the original M1 chip. MacBook Pro has up to 64GB of unified memory, which Apple says is significantly higher than any other competitor. In its presentation, Apple specifically compares the new chip to the previous-generation Intel MacBook devices, whose performance gains were already outpaced by the current M1 chip. How it performs compared to the M1 is something that will need to be tested.

Apple Unveils a Redesigned MacBook Pro Featuring M1 Pro and M1 Max 28

Not only are these computers fast, but they are also extremely power efficient. Apple says that the enclosure is precisely machined around an advanced thermal system that can move 50% more air than the previous generation, even at lower fan speed which enables “phenomenal” sustained performance while staying cool and quiet. Apple also says that the fans won’t have to turn on for most tasks users perform on it.

Apple says that battery life is up to twice as long in Lightroom Classic and the 14-inch model delivers up to 17 hours of video playback, while the 16-inch version can last for up to 21 hours. Unlike other pro notebooks that lose performance when they are not plugged in, Apple says that the MacBook Pro delivers the same level of performance whether it is plugged in or using the battery.

The 14-inch model starts at $1,999 while the 16-inch model starts at $2,499 and is available in either silver or space gray.

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Sony Unveils FE 70-200mm F2.8 GM OSS II Lens

Photo of Sony FE 70-200mm F2.8 GM OSS II Lens

Sony just unveiled the FE 70-200mm F2.8 GM OSS II lens. The 70-200mm lens, which is designed for Sony’s E-mount full frame mirrorless cameras such as the Alpha a1, is “the world’s lightest large-aperture telephoto lens,” according to Sony.

The new Sony FE 70-200mm F2.8 GM OSS II updates the original version of this lens, which was one of Sony’s first G Master lenses. The new FE 70-200mm F2.8 GM OSS II weighs just under 37 ounces (1045 grams), making it 29% lighter than the previous model.

Photo of Sony FE 70-200mm F2.8 GM OSS II Lens

Here’s a rundown of some more of the key features of the Sony FE 70-200mm F2.8 GM OSS II lens, which is the 65th optic in Sony’s E-mount lens line-up.

  • Uses four Sony-original XD (extreme dynamic) Linear Motors for fast and precise autofocus (AF) that is four times faster and with focus tracking improved by 30% when compared to the previous model
  • Features two aspherical lens elements, including one XA (extreme aspherical) element manufactured to 0.01-micron surface precision
  • The FE 70-200mm F2.8 GM OSS II is designed to controls distance-related aberration variations to produce “outstanding resolution throughout the image area.”
  • Employs two ED (extra-low dispersion) spherical glass elements and two Super ED spherical glass elements to reduce chromatic aberration without color bleeding
  • Includes an ED aspherical element for the first time in an Alpha system lens, which simultaneously suppresses chromatic and spherical aberration (common issues in other telephoto lenses)
  • Designed to produce “smooth, beautiful bokeh” thanks to the lens’ large F2.8 maximum aperture and a newly developed 11-blade circular aperture unit
  • Lens’ optical design includes an XA element to suppress the unwanted “onion ring” effect
  • Minimum focusing distance is 15.7 inches (0.4 meters) at 70mm and 32.3 inches (0.82 meters) at 200mm, with a maximum magnification of 0.3x
  • Can be paired with Sony’s 1.4x or 2.0x teleconverter to extend the lens’ focal length to 400mm at an F5.6 aperture
  • Uses Sony’s original Nano AR Coating II to produce a uniform anti-reflection coating on the surface of the lens
  • Optical design suppresses internal reflections to improve clarity
  • For video shooting, lens is designed “to dramatically reduce focus breathing, focus shift, and axis shift when zooming so that there is minimal unwanted image movement and angle of view variations”
  • For easier video use, lens features independent control rings for focus, zoom, and aperture (iris), allowing manual operation
  • Aperture ring also has a click ON/OFF switch
  • Sony’s Linear Response MF designed to ensure responsive, low-lag manual focus control

The new Sony FE 70-200mm F2.8 GM OSS II will go on sale in December 2021 for $2,800 USD and $3,500 CAD. Check out a product video at the bottom of this post showing off some of the key features of the new lens.



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Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 29

Fujifilm has announced the Instax Link Wide Smartphone Printer. The Link Wide prints images in a larger format, specifically on Instax Wide instant film, a first for the company’s smartphone printer lineup.

Fujifilm says the Link Wide will create high-quality, wide photo prints using images from a smartphone camera roll, transferred to the printer via the Instax Link Wide App. The printer connects to a smartphone via a Bluetooth connection.

In addition to smartphone compatibility, the Link Wide is also usable with the X-S10 and will allow photographers to send images directly from the camera to be printed on the Link Wide printer.

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 30

Fujifilm says that the main features of the Link Wide printer hinge on its lightweight design which it says is built for portability and speed. The company also says that it surpasses the functionality of other smartphone printers “in its class” and is able to transfer an image and start a print in about 12 seconds. It also supports continuous printing and is capable of generating around 100 Instax instant prints per battery charge.

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 31

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 32

The Link Wide has two print modes: Instax Rich and Instax Natural. Rich is touted as accentuating deep, warm colors while Fujifilm says that Natural emphasizes the inherent tones in the image.

Fujifilm says that in addition to providing printer functionality, the app — which is required in order to fully take advantage of the printer — also has a variety of “fun and creative” features and options. It has some editing tools including cropping, about 30 filters, collage creation capabilities, offers the ability to add text to a printed image, and also has digital stickers and frame templates. It additionally allows users to import sketches and handwritten text and add them to photos before printing. The app also allows users to select a frame within a video file and print it as if it were a still photo.

Prints can also be embedded with a QR code that, when scanned, links to a website where a recorded sound, tagged location, and message can be shared.

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Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 34

Also accompanying the launch of Link Wide is the new Instax Wide Black instant film that Fujifilm says is a new contrast on the traditional white-bordered look and provides more contrast against printed images. The Instax Wide Black instant film will be available in a single pack with 10 exposures for $22.

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The Link Wide Smartphone Printer is available in Ash White or Mocha Gray and is expected to be available for purchase in late October for $150.

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Canon Unveils the RF 5.2mm f/2.8 L Dual Fisheye Lens For VR Capture

Canon Unveils the RF 5.2mm f/2.8 L Dual Fisheye Lens For VR Capture

Canon Unveils the RF 5.2mm f/2.8 L Dual Fisheye Lens For VR Capture 36

Canon has announced what it describes as its first product for virtual reality capture: the RF 5.2mm f/2.8 L Dual Fisheye Lens. It is capable of enabling stereoscopic 3D 180-degree virtual reality (VR) shooting to a single image sensor.

It appears the rumors of the dual fisheye lens were true and Canon is making its foray into the virtual reality hardware space.

The new lens is designed to work on Canon RF camera systems as part of what the company is calling the EOS VR System. It will also come with a firmware update for the EOS R5 camera that will support the new lens along with new VR capture functions. Additionally, the company will release new software that will convert and process the footage for viewing on VR devices. Canon mentions that a compatible VR headset is recommended for use, and specifically calls out the Oculus Quest 2.

Canon says that the lens is the first interchangeable dual fisheye lens capable of capturing stereoscopic 3D 180-degree VR imagery onto a single image sensor and hopes that it will make the complexities of virtual reality production more streamlined for both professionals and newcomers.

Canon Unveils the RF 5.2mm f/2.8 L Dual Fisheye Lens For VR Capture 37

The lens uses Canon’s high-quality L-series optics that are engineered with an interpupillary distance — the space between two eyes — of 60mm to deliver 3D imagery in VR with what it calls natural parallax that closely resembles human vision. The lenses are capable of shooting with a 190-degree field of view captured from two separate optical systems, which it says is perfect for finishing 180-degree VR footage.

Canon says that the lens has subwavelength coating technology that offers “impressive” flare control even in backlit conditions which will enable VR creators can have the freedom to shoot regardless of the time of day or position of the sun.

The lens has a set of electronically controlled apertures with a range of f/2.8 through f/16. It also features dust and water-resistant sealing as well as fluorine coating that, when paired with the R5, allows it to operate in even challenging weather conditions. Canon says that from an operation perspective, the dual fisheye lens works just like any other RF lens. Canon’s free Camera Connect app and Canon’s EOS Utility program both will be updated in the future to offer remote-control live view functionality for monitoring purposes as well.

The lens has a close focusing distance of 7.87-inches/0.2m and a maximum magnification of 0.03x. It also features a built-in Gelatin Filter Holder which allows ND gel filters to be used in bright environments without needing to stop down the lens.

Canon Unveils the RF 5.2mm f/2.8 L Dual Fisheye Lens For VR Capture 38

Canon says that the EOS VR System’s workflow is particularly impressive and because it can record left and right fisheye images to a single full-frame image sensor and therefore bypasses the common challenges of stitching and synching since the footage is output to a single image file.

Canon is currently developing two paid subscription-based software solutions for completing the post-production process. Canon’s EOS VR Utility will offer the ability to convert clips from dual fisheye images to equirectangular and make quick edits, as well as select the resolution and file format before export. With the EOS VR Plug-In for Adobe Premiere Pro, creators will be able to automatically convert the footage to equirectangular and edit as they would normal footage from there.

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The Canon RF 5.2mm f/2.8 L Dual Fisheye lens is scheduled to be available in late December 2021 for $1,999. Both of Canon’s EOS VR Software solutions (EOS VR Utility and the EOS VR Plug-in for Adobe Premiere Pro) are currently scheduled to be available in late December 2021 with pricing to be revealed later, but they will be, as mentioned, based on a subscription model.

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Ilford Unveils a Pop-Up Darkroom For Film Photographers

Ilford Unveils a Pop-Up Darkroom For Film Photographers

Ilford Unveils a Pop-Up Darkroom For Film Photographers 40

Ilford Photo has announced a new Pop-Up Darkroom that gives film photographers the opportunity to develop their prints on-the-go or in any indoor space without needing to convert it.

Ilford, the United Kingdom-based photographic film, paper, and chemicals manufacturer, is a well-known name in the analog photography world. At the start of the year, the company, which was founded in 1879, invited interested photographers to go on a virtual tour and see what its factory looks like today and how the film manufacturer operates. It also employs a modern approach and shares insightful and educational film photography videos that are accessible for everyone on the company’s YouTube channel.

The company’s latest product, the Pop-Up Darkroom, supports Ilford’s goal “of encouraging and enabling film photographers to take the next step in their analog journey and experience the creativity and magic of darkroom printing.”

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The Pop-Up Darkroom has been created for film photographers who want to print their negatives but who may struggle to convert their existing spaces into suitable darkrooms. Not everyone has the space for a large darkroom or the tools to modify an existing tent into a darkroom. Ilford designed its pop-up darkroom to fit indoors, based on most standard ceiling height rooms in American, European, and Asian homes.

When erected, the darkroom stands approximately 7.2 feet (2.2m) tall and still affords a workable 4.3×4.3-foot (1.3×1.3m) space to process and print while the user is seated or standing. It has a built-in air vent that allows users to add an optional fan or air blower, and a smaller vent is included closer to the top of the darkroom to attach air extraction tubes.

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The darkroom has a durable light-tight black material that clips to the frame in addition to an accompanying ground mat which adds extra protection for the flooring and can also be fastened to the darkroom material. It also has a material loop at the top to allows photographers hand a safelight.

For easy storage and transportation, the darkroom can be easily folded down using the included carry case.

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The Ilford Pop-Up Darkroom will hit store shelves in the final quarter of 2021. Pricing has yet to be announced, but Digital Camera World is hearing that it will carry a price tag of around $265.

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Sigma Unveils 24mm F2 and 90mm F2.8 Lenses

Photo of Sigma 24mm lens

Sigma just announced two new full-frame prime lenses for mirrorless cameras: the Sigma 24mm F2 DG DN Contemporary and the 90mm F2.8 DG DN Contemporary lenses. Both new Sigma lenses will be available in L-mount and Sony E-mount versions and will sell for $639 each.

The Sigma 24mm F2 DG DN Contemporary and the 90mm F2.8 DG DN Contemporary lenses will go on sale at the end of September 2021. The two new lenses are part of Sigma’s “I Series” line, which are distinguished by their all-metal bodies, metal internal parts and metal lens hoods. All I Series lenses feature a manual aperture ring and knurled surfaces for a better grip.

Photo of Sigma 90mm lens

“Sigma I series lenses are compact, stylish prime lenses,” Sigma said in a press announcement this morning. “Featuring machined metal barrels and lens hoods, manual aperture rings, and magnetic lens caps, the I series are high-performance lenses that pair perfectly with modern mirrorless cameras. The I series was first announced on December 1, 2020, and these two lenses expands the line to six.”

Here’s a rundown of some of the key features of the Sigma 24mm F2 DG DN Contemporary and the 90mm F2.8 DG DN Contemporary lenses.

Sigma 24mm F2 DG DN Contemporary Lens

  • Designed for night sky photography, events, and interiors
  • Uses two SLD glass elements and one FLD glass element to correct axial chromatic aberration
  • Incorporates two high-precision glass-molded aspherical elements
  • Lens construction: 13 elements in 11 groups, with 1 FLD, 2 SLD and 2 aspherical lens elements
  • Designed to suppress Sagittal coma flare for better night sky photography
  • AF drive system incorporates a quiet, high-speed stepping motor
  • Inner focus system
  • Supports DMF and AF+MF
  • Super Multi-Layer Coating
  • Aperture ring
  • Focus Mode switch
  • Designed to minimize flare and ghosting
  • 9-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • Price: $639
  • Availability: Late September 2021

Sigma 90mm F2.8 DG DN Contemporary Lens

  • Designed for portrait photography, close-ups, weddings and events
  • Includes five SLD glass elements to reduce axial chromatic aberration that cannot be corrected in-camera
  • Minimum focusing distance of 50cm and maximum magnification ratio of 1:5 for close-up, macro photography
  • AF drive system incorporates a quiet, high-speed stepping motor, making it suitable for still images as well as video recording
  • Lens construction: 11 elements in 10 groups, with 5 SLD and 1 aspherical lens elements
  • Inner focus system
  • Compatible with high-speed autofocus
  • Supports DMF and AF+MF
  • Super Multi-Layer Coating
  • Aperture ring
  • Focus Mode switch
  • Designed to minimize flare and ghosting
  • 9-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • Price: $639
  • Availability: Late September 2021

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Sigma Unveils 90mm f/2.8 and 24mm f/2 Primes for E- and L-Mounts

Sigma Unveils 90mm f/2.8 and 24mm f/2 Primes for E- and L-Mounts

Sigma Unveils 90mm f/2.8 and 24mm f/2 Primes for E- and L-Mounts 44

Sigma has expanded its series of primes categorized under its I-series line with the 90mm f/2.8 DG DN and the 24mm f/2 DG DN lenses. Both will be available in Sony E-mount and Leica L-mount.

Sigma says that both lenses have been designed with the idea of balancing performance with compactness as have all the lenses in the I-series line. The two new primes join the 24mm f/3.5, 35mm f/2, 45mm f/2.8, and 65mm f/2, bringing the total number of lenses in the I-series to six.

“Built to the mechanical and operational standards of Sigma Cine lenses, in compact mirrorless form, the I series have outstanding feel and tone in the hand,” Sigma says. “The feel of the manual focus ring, aperture ring, and switches embody true functional beauty.”

Sigma 90mm f/2.8 DG DN Lens

This mid-telephoto length lens is the longest in the I-series but Sigma says it remains remarkably compact despite this and is fully optimized for mirrorless systems with a fast and accurate autofocus system, high image quality, and smooth bokeh. The bokeh is further enhanced thanks to the lens’s nine-bladed aperture.

The 90mm lens is 64mm (about 2.5 inches) in diameter and 59.7mm (about 2.4 inches) long and weighs 295 grams (about 10.4 ounces). The lens uses an all-metal construction using what Sigma describes as precision-cut aluminum.

It is constructed of 11 elements in 10 groups and that includes five SLD glass elements to reduce axial chromatic aberration to help it achieve high resolution and clear images with no color bleeding. It also has a single molded aspherical lens to again aid in the rendering of high-resolution images.

Sigma Unveils 90mm f/2.8 and 24mm f/2 Primes for E- and L-Mounts 45

Sigma says that the lens utilizes the camera’s optical correction functionality, which it says is an advantage of mirrorless systems, so that its optical designers were able to concentrate on correcting aberrations that can only be corrected by the optical design, thereby improving rendering performance and reducing the size and weight of the lens.

The lens has a minimum focusing distance of 50 centimeters (about 19.7 inches) and a maximum magnification ratio of 1:5. The aforementioned high-speed autofocus system is made possible thanks to the integration of a stepping motor. The lens also has an aperture ring, focus mode switch, a magnetic metal lens cap, and is dust and splash resistant.

Sigma 24mm f/2 DG DN

As is the case with the 90mm f/2.8 and the other lenses in the I-series, the 24mm f/2 lens is extremely light and compact. It weighs 365 grams (about 12.8 ounces) and is 70mm (about 2.7 inches) in diameter and 72mm (about 2.8 inches) long.

The 24mm f/2 lens is constructed of 13 elements in 11 groups which includes two SLD glass elements and one FLD glass element to correct axial chromatic aberration, which Sigma says is a particular concern with fast lenses. It also incorporates two high-precision glass-molded aspherical elements which the company says has enabled the total number of lens elements to be kept down and the size and weight of the lens to be reduced without sacrificing the ability to correct for those aberrations. The aperture diaphragm is made up of nine blades.

Sigma Unveils 90mm f/2.8 and 24mm f/2 Primes for E- and L-Mounts 46

The lens has a minimum focusing distance of 24.5 centimeters (about 9.7 inches) and a maximum magnification ratio of 1:6.7.

As is the case with the 90mm lens, the 24mm uses a stepping motor for fast and accurate autofocus performance. Also like the 90mm (and all the other lenses in the I-series), the 24mm uses an all-metal, splash and dust-resistant construction. It should be noted that the same metalwork is used in Sigma’s cinema line of lenses.

The cover ring between the focus ring and the aperture ring has hairline processing that is also used for the rear cylinder of the Art line. This covering functions as a finger hold when attaching or detaching the lens.

Offered for L-mount and Sony E mount cameras, the Sigma 90mm f/2.8 DG DN Lens and 24mm f/2 DG DN will each be priced at $639 and will be made available for purchase beginning in late September.

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Fujifilm Unveils The Latest Development Roadmap For The X Series Of Mirrorless Digital Cameras

Fujifilm Unveils The Latest Development Roadmap For The X Series Of Mirrorless Digital Cameras

Adding two new lenses and two under development, Fujifilm has created a 40-lens line-up for the X Series of cameras.

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Fujifilm X-T30 II in Interchangeable Lenses

X-T30 II

 

FUJIFILM Corporation (President: Teiichi Goto) has unveiled the latest development roadmap for interchangeable lenses for its mirrorless digital cameras. The company has been actively and continuously introducing new interchangeable lenses for use on the X Series of digital cameras to reinforce the lineup, thus offering comprehensive coverage in focal lengths from ultra-wide-angle to ultra-telephoto.

Today, Fujifilm has also announced the release of “FUJINON Lens XF 33mm F/1.4 R LM WR” and “FUJINON Lens XF 23mm F/1.4 R LM WR.” These two lenses join “FUJINON Lens XF 18mm F/1.4 R LM WR,” released in May, to form a series of large-aperture prime lenses, offering ultra-high resolution capability to accommodate future cameras with higher-resolution sensors to be able to capture even the finest of details.

Take a look at our hands-on with the Fujifilm Fujinon XF 33mm f/1.4 R LM WR where we also have sample photos (pre-production) to share. 

The first lens to be added is the XF 18-120mm zoom lens (equivalent to 27-183mm in the 35mm film format), designed to cater to the growing needs for video lenses. It is to become the first XF lens that provides a function facilitating one-person shooting of full-scale video, catering to the comprehensive needs of today’s camera users in both stills and videos.

Another zoom lens to be added to the roadmap is the XF150-600mm (equivalent to 229-914mm in the 35mm film format), an ultra-telephoto zoom that extends to the Series’ longest focal distance among zoom lenses. This would be a perfect choice in situations that require a long focal distance, such as wildlife photography and sports photography. Its compact and lightweight design, one of the benefits of the X Mount, makes the lens highly portable and easy to hand-hold to allow users to explore new territories in their photography.

The latest announcement lists a total of 40 interchangeable lenses for the X Series. Fujifilm will continue to enhance the lineup to address users’ diverse photography needs and broaden their enjoyment of photography. The XF 18-120mm and XF 150-600mm should be available in 2022.

Until we have these new lenses to review, see our round-up (so far) of the top 15 best Fujifilm X-Mount lenses we’ve had our hands-on

You can also view our best premium mirrorless cameras we’ve reviewed so far.

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