Adobe Lightroom CC 2015.9 / 6.9 Released
Lightroom CC 2015.9 / 6.9 is now available. The goal of this release is to provide additional camera raw support, lens profile support and address bugs that were introduced in previous releases of Lightroom.
Bugs Fixed in Lightroom CC 2015.9 / 6.9
- Upright error where the “Update” button was incorrectly enabled when Upright is unable to find a correction.
- Lens Profile Auto Matching was not working for Zeiss Batis 85mm lenses.
- Cursor movements on Point Curves were erratic
- Issue related to abnormal Lightroom exit when using Full Screen mode. The issue only occurred on Mac OS 10.12 (Sierra)
- Develop Module Locked after deleting images while using two displays
- Live Photos created on iPhoto caused the JPEG to be treated like an XMP sidecar file
- Instead of deleting currently selected photo, deletes face tag from previous viewed photo
- Images from Canon EOS G7X MK II sometimes had a green color cast
- Unable to change the image after deleting a rejected photo in develop module
- Export was taking longer than expected.
- Unable to import compressed raw files from Fujifilm XT-2 and X-Pro2
- iPhone video Capture Time is shifted upon Import
- Slideshow Export as JPG text overlay issue
- If using 2-byte characters for catalog path, unable to backup
- Problem with map module (Windows)
- Cannot access Auto Import Settings form File menu
- The zoom does not work properly after the update
- Lightroom 6.8: Memory Leak
- Keyboard shortcut X for rejecting an image in Library not available (French)
- Erroneous warning message on Catalog Backup
- Messing up file ordering with panoramas
New Camera Support in Lightroom CC 2015.9
- Canon PowerShot G9 X Mark II
- Casio EX-ZR3200
- Fujifilm GFX 50S
- Fujifilm X100F
- Fujifilm X-A10
- Fujifilm X-T20
- Leica M10
- Olympus E-M1 Mark II
- Panasonic DC-FZ80
- Panasonic DC-GF9
- Panasonic DC-GH5
- Panasonic DMC-TZ82
- Phase One IQ3 100MP (“S” compression mode not supported)
New Lens Profile Support in Lightroom CC 2015.9
| Mount | Name |
| Apple | Moment Macro Lens for iPhone 7 (DNG + JPEG) |
| Apple | Moment Macro Lens for iPhone 7 Plus (DNG + JPEG) |
| Apple | Moment Superfish Lens for iPhone 7 (DNG + JPEG) |
| Apple | Moment Superfish Lens for iPhone 7 Plus (DNG + JPEG) |
| Apple | Moment Tele Lens for iPhone 7 (DNG + JPEG) |
| Apple | Moment Tele Lens for iPhone 7 Plus (DNG + JPEG) |
| Apple | Moment Wide Lens for iPhone 7 (DNG + JPEG) |
| Apple | Moment Wide Lens for iPhone 7 Plus (DNG + JPEG) |
| Canon EF | Canon EF 16-35mm f/2.8L III USM |
| Canon EF | Canon EF 24-105mm f/4L IS II USM |
| Canon EF | Canon EF 70-300mm f/4-5.6 IS II USM |
| Canon EF | TAMRON 10-24mm F/3.5-4.5 Di II VC HLD B023E |
| Canon EF | TAMRON SP 70-200mm F/2.8 Di VC USD G2 A025E |
| Canon EF | TAMRON SP 70-200mm F/2.8 Di VC USD G2 A025E +1.4x III |
| Canon EF | TAMRON SP 70-200mm F/2.8 Di VC USD G2 A025E +2x III |
| Canon EF-M | Canon EF-M 18-150mm f/3.5-6.3 IS STM |
| Canon EF-M | Canon EF-M 28mm f/3.5 MACRO IS STM |
| DJI | DJI Mavic Pro FC220 (DNG + JPEG) |
| Fujifilm X | Fujifilm X100F |
| Nikon F | TAMRON 10-24mm F/3.5-4.5 Di II VC HLD B023N |
| Nikon F | TAMRON SP 70-200mm F/2.8 Di VC USD G2 A025N |
| Nikon F | TAMRON SP 70-200mm F/2.8 Di VC USD G2 A025N x1.4 |
| Nikon F | TAMRON SP 70-200mm F/2.8 Di VC USD G2 A025N x2.0 |
| Nikon F | Voigtlander SL II – S 58mm f/1.4 Nokton |
| Sony E | Sony E PZ 18-110mm F4 G OSS |
| Sony FE | Rokinon/Samyang AF 14mm F2.8 FE |
| Sony FE | Voigtlander ULTRA WIDE-HELIAR 12mm F5.6 III |
| Sony FE | Zeiss Loxia 2.4/85 |
Download Link : Windows | Mac
Adobe Camera Raw 9.9 Update Download
Film vs DSLR camera
There is a strong believe among a section of digital camera users that film is something of the past and should be phased out just as a glorious actor on the final act of his life takes a bow amidst thunderous applause. Unfortunately that swansong can stay and there is no such thing as digital cameras being better than film cameras. They can both have their day and in the right hands can be equally awe inspiring with their results.
Exponents of the digital SLR cameras argue that the advantage of being able to take a few test shots before warming up to the actual task is unparalleled, something that film camera users can never be able to achieve. There is nothing to dispute here as it is indeed a plus point of using DSLR cameras. At the same time DSLR users have also got the advantage of seeing what they are going to get via the live view LCD monitor without having to actually develop the film, then printing it. A mindless amount of time between taking a shot and then waiting for it to come out is thus saved. This is again a big plus point for DSLR users. Another thing that works in favor of DSLR users is being able to control the post production, provided one has shot in RAW. Unlike in film cameras where setting up a film development and printing setup can be expensive, one simply needs a computer and post production software for editing the images and to fine tune them. The inability to do post production himself after shooting using film means that the photographer has to rely on the judgment of the lab where the film is sent. This can often result in heart burns because of improper development of the film resulting in wrong tonal balance and other mishaps.
Film camera photographers argue that the whole process involves more personal level engagement. In fact the inability to see results before they are printed and the fact that one has no way to take a few test shots means one has to be more precise about his calculations when setting up. An exponent of film camera photography will spend additional minutes setting up precise lighting, meter the light, check the color of the light and try and find out as much as he can through the viewfinder before pressing the shutter release. A film camera photographer is often the no-nonsense type. He knows what he wants, prepares for the shot and then leaves the remaining few percentages on a factor called luck.
It is hard work to shoot using film no doubt. For those who have shot using a DSLR all their life, the transition, even if it is a test, can be painful and full of hiccups and blemishes. It can make a photographer understand his shortcomings, many of which are never really exposed because of the technological marvel known as DSLR.
A lot of photographers argue that a DSLR is the best way to go when shooting for magazines, newspapers and online publications. A DSLR can provide a faster TAT when shots taken are required to be published immediately. Sporting events and news coverage are shot mostly using JPEGs and then shared for publication immediately without any post-production. DSLR photographers prefer to use the built-in image processing system on their cameras to create JPEGs. On the other hand film camera photography is often done to facilitate large format printing where DSLRs with 18, 22 or even higher megapixel are often found wanting.
Understanding Digital Noise
We often come across the term noise in photography. Noise is the random colored specs that usually dot the photograph when the film is underexposed. In digital photography they are the colored and often dark black pixilated spots which appear across the picture, when you have shot the image in low light. Noise is generally more evident when shooting images in low light and with higher ISO settings, especially with cameras which have a smaller sensor and no special low light correction features.
Why noise happens?
Any digital signal (and that includes shortwave, light and other transmissions) will always carry noise with it. It is more evident when the light or the sound signal is poor in comparison with the noise. Many other reasons can be attributed to it including flaws in the design of the camera sensor (within an allowed tolerance), less amount of light that enters the camera which makes the signal to noise ratio in favor of noise and the amplification of the noise when the camera is set to higher ISO to counter low light conditions.
There is a distinct relation between the size of the sensor and that of noise. Smaller the sensor size lesser is its ability to capture light, consequently more is the noise. Smaller sensors also have a higher concentration of pixels (or light capturing photodiodes). Smaller micro four thirds or 1/2.3 sized sensors or even the 1” sensor sizes (Nikon 1 series cameras) have a significantly smaller sensor size compared to an APS-C (Canon 60D) or a full frame sensor (Canon 5D Mark III). Yet, they have 14, 16 or even higher megapixels in that same space which translates to very small sized pixels. Smaller the pixel size, less light it can capture and as a result more is the noise.
Correcting digital noise – One of the primary reasons why noise appears is when the ratio of signal to noise rises in favor of the noise. When shooing images in low light if the camera is set to Auto mode, it automatically corrects the shutter speed and the ISO to adjust for the absence of light. Modern professional full frame DSLRs have better low light sensitivity which captures more of the signal and increases the ratio of signal to noise ratio in favor of the signal. This improves the overall performance and reduces noise.
Leading camera manufacturers such as Canon and Nikon has introduced their latest image processing engines DIGIC 5 and EXPEED 2 respectively which ensures reduced noise, faster image processing and overall better quality pictures. These state of the art image processing systems can process more information from the available light. Conversely compact point and shoot cameras have been introduced with back-illuminated technology (Canon HS systems) which allows more light to be gathered by the sensor, reducing noise and increasing the quality of the pictures.
Increasing the amount of light can also help. In low light conditions a professional photographer can use the built in pop-up flash of the DSLR or even an external flash-gun mounted on the hot-shoe to fill the frame. If it is at all possible, additional light sources can be used. However where there are no such options and the built in flash is simply not too powerful, one has to opt for higher ISO or slow down the shutter speed or use a wider aperture to let in more light.
Sony Releases World’s Fastest SD card
Faster than ever before
Sony expand the current high performance memory card line up with an ultra-fast speed model that will maximise your camera performance. Introducing the world’s fastest SD card, the SF-G series is the perfect accompaniment for your high-performance DSLR or mirrorless camera, offering up to 299MB/s write speeds, contributing to longer high-speed continuous burst mode shooting for high-resolution images with cameras supporting UHS-II.
Available in 32GB, 64GB or 128GB storage capacity, this memory card’s blazing-fast write speed also allows for a shorter buffer clearing time, making sure you will never miss those life-changing moments or shots.
A Sony developed algorithm prevents loss of speed in data writing even after repeating burst shooting, and contributes to the camera’s speed of burst shooting – this is an SD card you can rely on.
Another brilliant feature of this SD card is the ultra-fast read speed of up to 300MB/s. Paired with a memory card reader, the cards can transfer large volumes and file sizes to a computer very quickly, contributing to a more efficient workflow for professionals.
“As the continuous shooting of higher-resolution images and adoption of 4K video with DSLR and mirrorless camera increases, the inherent need for larger, faster and more reliable cards becomes apparent. Thanks to the SF-G series, we continue to show our commitment to providing a full range of extremely high performance media devices to professional photographers and enthusiasts, maximising their camera performances” said Romain Rousseau, European Product Marketing Manager.
Purchase options: Adorama | B&H
The perfect back-up
Sony’s SD products are highly reliable and durable and offer such features as water proofing and anti-static protection which help keep your precious contents safe. But when you are out all day shooting fast with time at a premium, accidental deletion of images can happen. With Sony’s free downloadable File rescue software, you can quickly recover deleted images or videos, including RAW images and 4K XAVC-S video files.
MRW-S1, the fastest card reader for SF-G series
In conjunction with SF-G series, Sony is introducing a new memory card reader, model MRW-S1, the perfect solution to drastically improve workflow efficiency after shooting by quickly transferring large data from SF-G series SD cards to a PC. This compact card reader offers an in-built SuperSpeed USB (USB3.1 Gen.1) standard A port for cable-free PC connection, so that your files can be copied faster than copying through the SD slot on a PC.
The new SF-G series SD cards will be available in stores in March 2017 and the MRW-S1 card reader will be available in stores in April 2017.
For more information on Sony’s SD card lineup, including the SF-G series, please visit; https://www.sony.co.uk/electronics/storage-devices/t/sd-cards
**As of 22nd February 2017
Fujifilm X-A3 – New Firmware Version – 2
Fujifilm X-A3 Firmware – 2
Change log:
- Image quality of Portrait Enhancer is improved by smooth processing.
- Improvement of AF performance
- Night (Tripod) function is added in Advanced SR Auto mode. (introduced from firmware ver.1.10)
Download
Sony α6500 – New Firmware Version -1.02
Sony α6500 (model ILCE-6500) Firmware – 1.02
Change log:
- Improves operability of the left side of the PMCA (PlayMemories Camera Apps) keyboard during touch panel operation
Improves overall stability of the camera. - Improves a condition where the camera will not power-on after making certain setting changes
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Nikon WT-7 Wireless Transmitter – New Firmware Version 1.1
WT-7 Wireless Transmitter Firmware – 1.1
Change log:
- The D810, D810A, D750, and D7200 are now supported.
- HTTP server mode is now available in Turkish.
- Fixed an issue that prevented PASV mode connections to certain ftp servers.
Download
Nikon D810 & Nikon D750 Firmware Update Brings Wireless Transmitter Support
Nikon D810 Firmware “C” – 1.12
Change log:
- The WT-7 wireless transmitter is now supported.
• Fixed the following issues:
– Multiple exposures were not recorded correctly.
– Incorrect histograms would be displayed for some images viewed in the RGB histogram display during playback.
– If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for JPEG/TIFF recording > Image size.
– Photos taken immediately after lenses were exchanged would not be recorded at the correct exposure.
– The protect icon did not display correctly.
– If On was selected for Auto distortion control, the camera would stop responding when the user attempted to take pictures with NEF (RAW) + JPEG fine selected for Image quality, Small selected for NEF (RAW) recording > Image size, and RAW primary – JPEG secondary selected for Secondary slot function.
– Shutter speeds for the electronic front-curtain shutter would sometimes be faster than 1/2000 s.
– Pictures would sometimes not be recorded.
Note:
The D810 “C” firmware can be upgraded directly from version 1.00 to version 1.12 with no adverse effects. While updating to this version reduces the bright spots customers have noticed in long exposures, it does require that an imaging adjustment be performed by a Nikon-authorized service representative.
This update also reduces the bright spots that have been noted in photographs taken with 1.2× selected for image area.
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Nikon D750 Firmware “C” – 1.11
Change log:
- The WT-7 wireless transmitter is now supported.
• Fixed the following issues:
– Incorrect histograms would be displayed for some images viewed in the RGB histogram display during playback.
– If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for Image size.
– The option chosen for Custom Setting f5 (Customize command dials) > Change main/sub in CUSTOM SETTINGS MENU group f (Controls) would not be saved when Save settings was selected for Save/load settings in the SETUP MENU.
– Pictures would sometimes not be recorded.
Download
New Firmware for Nikon D500 & Nikon D7200
Nikon D500 Firmware “C” – 1.12
Change log:
- Fixed an issue that resulted in unreliable connections between the camera and the iOS 10.2 version of the SnapBridge app.
Download
Nikon D7200 Firmware “C” – 1.02
Change log:
- The WT-7 wireless transmitter is now supported.
• Fixed the following issues:
– If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for Image size.
– Pictures would sometimes not be recorded.
– Optimal exposure would sometimes not be achieved in photos taken in live view using a lens with electromagnetically controlled aperture (type E and PC-E lenses). -
Note
Updating to firmware version 1.02 resets menu settings for cameras with firmware that displays as “A X.XX”, “B X.XX”, “L X.XXX”, “D X.XX”, “L X.XX”, or the like. We recommend that you save settings before performing the update.
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New 4.6K URSA Mini Pro Camera from Blackmagic Design
Product Summary
- Model name: URSA Mini Pro
- Release Date: March 2, 2017
- Format : Super 35mm
- Mounts: Canon EF | PL | B4
- Availability: March 2017
- Price: $5,995
- Purchase options: Adorama | B&H | Amazon
Key Features
- Digital film camera with15 stops of dynamic range.
- Super 35mm 4.6K sensor with third generation Blackmagic Design color science processing of raw sensor data.
- Interchangeable lens mount with EF mount included as standard. Optional PL and B4 lens mount available separately.
- High quality 2, 4 and 6 stop neutral density (ND) filters with IR compensation designed to specifically match the colorimetry and color science of URSA Mini Pro.
- Fully redundant controls including ergonomically designed tactile controls which allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
- Built in dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders allow unlimited duration recording in high quality.
- Lightweight and durable magnesium alloy body.
- LCD status display for quickly checking timecode, shutter and lens settings, battery, recording status, and audio levels.
- Support for CinemaDNG 4.6K RAW files and ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at Ultra HD and HD resolutions.
- Supports up to 60 fps 4.6K resolution capture in RAW.
- Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
- Built in high quality stereo microphones for recording sound.
- 4 inch foldout touchscreen for on-set monitoring and menu settings.
- Includes full copy of DaVinci Resolve software color grading and editing software.
Fremont, California, USA – March 2, 2017 – Blackmagic Design today announced URSA Mini Pro 4.6K, a new professional camera that combines high end digital film quality with the ergonomics and features of a traditional broadcast camera. URSA Mini Pro features a massive number of tactile control buttons, switches and dials that make it faster to use, built in optical ND filters, a new interchangeable lens mount, dual CFAST 2.0 and dual SD/UHS-II card recorders, and much more.
URSA Mini Pro 4.6K is available now for $5,995 from Blackmagic Design resellers worldwide.
The new URSA Mini Pro combines the best digital film technology with the most advanced broadcast features and ergonomics available, making it perfect for use in high end feature films, television shows, commercials, and indie films as well as broadcast news, studio and even live multi camera production.
URSA Mini Pro is designed to be the toughest and most fully featured camera available. It includes everything customers need in a compact handheld magnesium alloy body that’s durable and light enough to use anywhere. There’s an external high visibility LCD status display for viewing critical shooting information, a foldout touch screen for reviewing shots without needing an extra on-set monitor, professional connections such as 12G-SDI, XLR audio, built in high quality stereo microphones and more. Plus, every single control on the camera is redundant, including the power, so if anything should go wrong in the field, the camera can still be used.
When it comes to image quality, URSA Mini Pro features a custom 4.6K image sensor that captures up to 4608 x 2592 pixels with a massive 15 stops of dynamic range and a super wide color gamut. Third generation Blackmagic Design color science is used to process the raw sensor data, enabling amazingly rich skin tones, natural color response and an enormous amount of dynamic range. URSA Mini Pro is ideal for everything from standard rec. 709 broadcast HD to the latest rec. 2020 high dynamic range digital film production.
URSA Mini Pro features neutral density (ND) filters with IR compensation for quickly reducing the amount of light that enters the camera. The 2, 4 and 6 stop filters are specifically designed to match the colorimetry of the camera and provide additional latitude, even under harsh lighting conditions. That means customers can use different combinations of aperture and shutter angle to achieve shallower depth of field, or specific levels of motion blur, in a wider range of situations. The IR filters evenly compensate for both far red and infrared wave lengths to eliminate IR contamination. The ND filters are true optical filters with a precision mechanism that quickly moves them into place when the ND filter dial is turned.
The broadcast camera ergonomics of URSA Mini Pro put powerful tactile control buttons, switches, knobs and dials on the outside of the camera, giving customers direct access to the most important camera settings. The controls are laid out in a logical order that makes them easy to remember so cinematographers can operate the camera without having to look at the buttons, hunt through menus, or take their eye off of the action. URSA Mini Pro also features a high visibility status screen that displays important information such as timecode, shutter and lens settings, battery, recording status, and audio levels. The status display features a backlight and is designed to be clearly visible in both dimly lit studios and outside in direct sunlight.
URSA Mini Pro has a revolutionary new interchangeable lens mount that makes it compatible with virtually all professional lenses so customers can choose exactly the right lens for the job. Included standard is an EF mount for working with high quality photographic lenses. If the camera is being used on a high end film or commercial shoot that calls for large cinematic lenses, simply remove the EF mount and replace it with the PL mount. There’s even a B4 broadcast lens mount for working with broadcast HD lenses. URSA Mini Pro also includes a standard 12 pin Hirose lens control connector. URSA Mini Pro comes with an EF mount and customers can purchase the optional PL and B4 lens mounts separately.
Featuring both dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders, customers can choose the media that works best for their projects. C-Fast cards are ideal for full resolution RAW recording, while UHS-II SD cards are inexpensive and commonly available, making them perfect for recording ProRes Ultra HD files or RAW HD files. Simply choose the media type, insert the cards and start shooting. With dual slots for each media type, the camera never has to stop recording because when the first card is full, it automatically continues onto the next card. Full cards can be swapped for empty ones, all without stopping the camera. URSA Mini Pro can record lossless 12-bit CinemaDNG RAW files for the highest possible quality, or 10-bit ProRes files for easy post production workflows with minimum storage requirements.
URSA Mini Pro includes the full DaVinci Resolve Studio software, giving customers a complete post production solution. This powerful software combines professional nonlinear video editing with the world’s most advanced color corrector for importing, editing, color correcting, finishing and delivering projects shot on URSA Mini Pro. DaVinci Resolve Studio works natively with the RAW and ProRes files from the camera, so customers can take them directly into post production without having to convert or change them. Every single bit of quality is preserved because it is a true lossless workflow. Using DaVinci Resolve Studio is the fastest and highest quality way to work with files from URSA Mini Pro.
“Professional DoP’s and cinematographers love the incredible image quality of URSA Mini and we have been working with them and listening to their feedback,” said Grant Petty, CEO, Blackmagic Design. “URSA Mini Pro is so exciting because it combines high end digital film quality with broadcast camera and live production features, all into a single camera. URSA Mini Pro is powerful enough to be used on high end feature films and television shows, versatile enough to be used for broadcast news and live multi camera event production, and affordable enough for indie filmmakers and even students! It’s like getting 3 cameras in one!”
Product Photo
Fujifilm RAW Converter Powered by SILKYPIX Now Supports FUJIFILM GFX 50S
The software update Ver.4.2.6.0 incorporates the following issues:
- Applicable models for the “RAW FILE CONVERTER EX 2.0 powered by SILKYPIX” are added. *Applicable Model： FUJIFILM GFX50S
Download : Windows | Mac
SILKYPIX is “RAW development software” that generates a high-resolution picture from the RAW data of a digital camera and offers accurate color from shadows through to highlights. This is pure made in Japan software. SILKYPIX corresponds to more than 550 different models digital camera and are supported from professional photographers and shutter bugs.
Nikon SB-5000 – New Firmware Version 14.002
Nikon SB-5000 Firmware – 14.002
Change log:
- Fixed the following issues:
– Zoom (angle of illumination) did not function as expected at low temperatures.
– When AF ONLY (AF assist illumination activated, flash function canceled) was selected for Custum (Custom menu) > AF (AF-assist illumination/canceling flash function), pressing the shutter-release button halfway after restarting the standby timer or after turning on the camera would not activate the AF-assist illuminator.
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Hasselblad Announces Four New XCD Lenses for The X1D
Product Summary
- Model name: Hasselblad XCD 120mm
- Release Date: 28 February 2017
- Availability: Late June 2017
Following the hugely successful launch of the ground-breaking X1D in 2016, Hasselblad is delighted to introduce four new XCD lenses. The XCD 120mm Macro lens is the first to complement the existing XCD lens family, and will be available at the end of June 2017.
The exceptionally high performing 120mm f/3.5 lens brings together the compact format of the XCD range with the maximum optical quality across the frame with a flat image field. Providing a new versatility to the X1D user, the lens is suitable for both close-up work up to a 1:2 image scale, and also as a mid-range telephoto lens for portrait or other photography requiring a longer focal length. Auto or manual focusing goes from infinity to 1:2 without the need for extension tubes.
Like the other XCD lenses, XCD 120mm Macro lens has an integral central shutter offering a wide range of shutter speeds and full flash synchronisation up to 1/2000th second.
Hasselblad Product Manager, Ove Bengtson commented: “The XCD 120mm Macro lens complements the existing XCD dedicated autofocus lenses which were developed to support optical quality and portability. This is the first addition to the X1D range of lenses in 2017 and we are excited to launch more lenses later in the year.”
Over the next 12 months, Hasselblad will also launch the XCD 35-75mm Zoom*, XCD 65mm*, and XCD 22mm Wide Angle* lenses. By the beginning of 2018, the X1D will have access to seven dedicated XCD lenses and all twelve HC/HCD lenses using the XH lens adapter.
Product Photo
Specification
Focal length : 120 mm
Equivalent Focal length : 95 mm
Aperture range : 3.5 – 32
Angle of view diagonal/horizontal/vertical : 26°/21°/16°
Elements/Groups : 10/7
Filter thread : 77 mm
Magnification at close range : 1 : 2.0
Length : 150 mm
Diameter : 81 mm
Weight : 970 g
Minimum distance object to image plane : 0.43 m
Corresponding area of coverage : 88 x 66 mm
Corresponding exposure reduction : 0.7 f-stops
Focusing : Internal with floating mechanism
Lens type : Leaf shutter lens
Shutter speed : 60 minutes to 1/2000 sec
Flash sync speed : Flash can be used at all shutter speeds
Full Frame vs Crop sensor vs Micro 4/3rd Sensors: What are sensor sizes and how they can affect your photographs?
Digital photography is an ocean of acronyms, names and numbers. It is very easy to sink in this ocean if you don’t know how to swim, or at least how to wear a life jacket. The chances are if you are just starting off as a photographer, you may have already been pestered with terms such as full frame, crop, 4/3rd and so on sensor sizes. The sensor size and its features are probably the most heard and talked about aspect of a digital camera. You are certainly going to be hearing more about these as you progress further in your journey. There are already oodles of information about them on the Internet and some of them are really so technical that it takes the fun out of something which was originally supposed to be pure enjoyment. It will remain a priority to use as less acronyms as possible in this brief study of sensor sizes to ensure that you are not further pestered with acronyms.
Let’s just take one size at a time and understand a bit more about it. First up is the full frame sensor. But before we can delve into that, let’s just say a few quick words about what the sensor is and why it is so important. If there would have been no sensors, then it would be like, well, shooting pictures with your old film camera except without any film! The sensor is to a digital camera what the film it to a film camera. It is where the images projected through the lens gets transposed and then captured. Basic thumbrule of photography is larger the sensor size, the more light it can capture and thus better the images.
Image sensor format . Courtesy: Wikipedia
Full frame cameras are those digital cameras which uses a sensor size roughly equivalent to that of the size of a 35mm film. In precise measurements, if I am allowed to use at least dimensional measurements, it is 24mm by 36mm. Large sensors are also more expensive to build and as such you can only find them in the professional or upper semi-professional bodies. One very popular camera using the full frame sensor is the Canon 5D Mark III. The newly launched and highly acclaimed Nikon D800 also uses a full frame sensor.
Cropped sensor is a term used to denote a sensor that has a size which is smaller than full frame. All sensors smaller than full frame are considered as cropped sensors. However there are several different sizes and each one has a unique name associated with it. A cropped sensor is less expensive to make and as such most of the current DSLR camera makers have several cameras with cropped sensors and compatible lenses in their product range. However there is a distinct disadvantage when it comes to shooting images in low light for cropped sensors. As full frame sensors are larger, they have a distinctly better low light performance as they can collect more light compared to their smaller brethren.
Micro 4/3rd system was designed by Olympus and Panasonic. However unlike the 4/3rd system this is not an open system. This system is widely used in their mirrorless interchangeable lens cameras which are smaller when compared to the DSLRs with an APS-C sensor. Smaller size comes from the fact that these cameras don’t have a mirror to project the image to the optical viewfinder. Needless to say that there are no optical viewfinders either.
Canon EOS M3 – New Firmware Version 1.2.0
Canon EOS M3 Firmware – 1.2.0
Change log:
- Support for the new Electronic Viewfinder EVF-DC2 has been added.
Download
Olympus OM-D E-M1 MARK II – New Firmware Version 1.1
Olympus OM-D E-M1 MARK II Firmware – 1.1
Change log:
- Stability of RAW file formation has been improved.
Download
US vs. Gray Market Lenses: Knowing the Differences
US vs. Gray Market Lenses
If you’ve tried to purchase lenses in the USA, you might have noticed two very distinct labels: USA and Gray. Gray market lenses are, in a nutshell, lenses which were imported from other countries. USA lenses are locally manufactured and sold. They have quite a number of differences and similarities and this article should give you at least the most important points.
Price
The main difference you’ll notice is the price. Usually, you’ll expect imported goods to be more expensive than USA labeled products, right? However, in the case of lenses, USA lenses are more expensive than Gray Market or imported ones. The label “gray” might make you suspicious already. Why is it cheaper?
Warranty
This is probably the reason why gray market lenses are cheaper than USA labeled ones. USA lenses come with manufacturer warranty and this can last for as long as 4 years, depending on the brand. Gray market lenses don’t come with manufacturer warranties. At least theoretically, they’re sold as they are, and once you break them, they’re gone. However, a lot of reputable retailers in the USA do offer warranty service equivalents for Gray Market lenses. You just need to look for a retailer who can be trusted and who has the facilities to actually fulfill their promise. An equivalent warranty from a shady retailer means nothing.
Material
This topic is controversial because some retailers claim that USA lenses are made from top quality glass while Gray Market lenses are made from plastic. This can’t be farther from the truth. The truth is that Gray Market lenses are made from the very same materials that USA lenses are made from. This is especially true with branded lenses like Nikon and Canon who have factories all over the world. These firms maintain the quality of their products, so they won’t go around selling plastic just because the factory is in the USA.
If you have a retailer trying to sell you USA lenses using the plastic argument, step out of the store and look for another one. The only real differences between USA and Gray Market Lenses are the prices and the manufacturer warranty.
Other options
Are you thinking of getting Gray Market lenses because of the price? You might want to consider purchasing USA lenses instead which are second hand. There are plenty of these sold over at eBay, and some of them are in good condition. However, it is true that even if the lens looks good from the surface, it doesn’t mean that it’s in perfectly good condition. It could have been exposed to a lot of dust, impact, and spillage.
Best solution
It is still best to go for USA lenses if you’re in the USA. The same thing goes for photographers who may be based in Canada or any other country. It’s best to choose lenses which are manufactured in their own countries. This way, you’ll be able to get the benefits of a full manufacturer’s service warranty. For a price difference of 30%, most photographers say that the expense is worth it.
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