A free new Photoshop plugin from Infinite Tools adds an endless stream of jokes and puns to your workflow. Called 'Infinite Jokes,' the plugin was inspired by a recent request for jokes from viewers made by image retoucher Pratik Naik of Infinite Tools, he explained in his unveiling of the new plugin. The tool is a bit more sophisticated than merely showing jokes; it also enables users to rate the quality of the puns and to submit their own.

Infinite Jokes is, according to Infinite Tools, 'A sassy panel that tells you the best PS jokes and openly judges you as you work!' One example of a joke presented by the panel is:

Plastic surgery is like retouching. When it's bad, it's really bad. When it's good, you won't even know.

The jokes were submitted by the photo-editing community, which can continue to contribute jokes for inclusion in the plugin. Infinite Tools says users are able to choose whether the jokes are presented in the voice of a man or woman, as well as the accent used.

Every joke is presented alongside credit to the person who submitted it. In addition to rating the joke, users are also able to view the top jokes rated by users from around the world via the Infinite Tools website.

Because everyone has their own limitations and sensibilities, the company has also enabled plugin users to decide what type of jokes they want to hear -- whether they want the jokes to be restricted only to ones that are funny, or to skew more toward the 'mean' end of the mood spectrum.

Users can also choose how often new jokes are spoken by the Infinite Jokes panel, with options ranging from every 15 seconds to twice an hour.

The plugin only works in Photoshop CC 2019 or newer and it requires an online connection to work. The Infinite Jokes plugin is free to download from the Infinite Tools website here.

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What happens when even a splash of saltwater makes its way inside a $10K Fujifilm GFX 100? Just ask Roger Cicala, Founder of Lensrentals.

For their latest teardown, Roger and his trusty teardown assistant Aaron took apart one of Fujifilm’s medium format cameras that had been damaged during a rental, wherein it was used inside a dive housing. Fuji Service told Roger a ‘repair [was] not possible,’ and the insurance claims were already paid out, so the dynamic duo took it upon themselves to salvage what components they could.

That is not how a PCB should look.

The general rule of water damage, according to Roger, is ‘it’s always worse on the inside.’ And, unfortunately, in the case of this GFX 100, that tidbit proved to be true once again. While the outside looked mostly unscathed, the inside was riddled with corroded screws, flex ribbon cables and solder points.

A literal hands-on look at the massive sensor inside the GFX 100.

Roger and Aaron salvaged what they could — namely the LCD panel, hot shoe and a few other pieces — but as much as the teardown was about getting any functional pieces, it was also about being able to take apart a $10K camera without the risk of damaging it.

In the words of Roger, 'The IBIS unit looks like it could stabilize a small child, and certainly is strong enough to support this big sensor.'

In that vein, Aaron and Roger came across plenty of interesting engineering decisions and components inside the camera. From the robust IBIS assembly to the spring-mounted shutter mechanism, the GFX 100 proved to be as well-engineered as Roger had hoped for a camera of its size (and price). That said, the weathersealing wasn’t quite as impressive as is suggested, so whether it’s freshwater or saltwater, don’t press your luck too much when out in the rain or near the sea.

You can read and view the full teardown on the Lensrentals blog.

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What happens when even a splash of saltwater makes its way inside a $10K Fujifilm GFX 100? Just ask Roger Cicala, Founder of Lensrentals.

For their latest teardown, Roger and his trusty teardown assistant Aaron took apart one of Fujifilm’s medium format cameras that had been damaged during a rental, wherein it was used inside a dive housing. Fuji Service told Roger a ‘repair [was] not possible,’ and the insurance claims were already paid out, so the dynamic duo took it upon themselves to salvage what components they could.

That is not how a PCB should look.

The general rule of water damage, according to Roger, is ‘it’s always worse on the inside.’ And, unfortunately, in the case of this GFX 100, that tidbit proved to be true once again. While the outside looked mostly unscathed, the inside was riddled with corroded screws, flex ribbon cables and solder points.

A literal hands-on look at the massive sensor inside the GFX 100.

Roger and Aaron salvaged what they could — namely the LCD panel, hot shoe and a few other pieces — but as much as the teardown was about getting any functional pieces, it was also about being able to take apart a $10K camera without the risk of damaging it.

In the words of Roger, 'The IBIS unit looks like it could stabilize a small child, and certainly is strong enough to support this big sensor.'

In that vein, Aaron and Roger came across plenty of interesting engineering decisions and components inside the camera. From the robust IBIS assembly to the spring-mounted shutter mechanism, the GFX 100 proved to be as well-engineered as Roger had hoped for a camera of its size (and price). That said, the weathersealing wasn’t quite as impressive as is suggested, so whether it’s freshwater or saltwater, don’t press your luck too much when out in the rain or near the sea.

You can read and view the full teardown on the Lensrentals blog.

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Have you heard the news? Google Images released their new licensable images features earlier today, which will help photographers looking to improve the discovery of their content and potentially earn more. Here at PhotoShelter, we’ve recently talked a lot about devoting extra time to SEO, but photographers have long been seeking the reward for all…

The post Google’s New Licensable Images Features Are Officially Out! appeared first on PhotoShelter Blog.

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Phase One has announced the release of the Rodenstock 90mm F5.6 lens, the latest in its growing collection of glass for its XT Camera Systems.

One of the stand-out features of the XT-HR Digaron-W 90mm F5.6 is its 120mm image circle, which is large enough to account for the 24mm of shift the XT Camera System offers on both the X- and Y-axes for correcting perspective distortion.

The lens, which Phase One suggests is designed with landscape and architectural photography in mind, features an aperture range of F5.6-F22, uses an electro-magnetical shutter (1/1000th-60 min) rated for over 500,000 actuations, has a 72mm front filter thread and uses a five-blade aperture diaphragm. It measures in at 160mm (6.3”) long, 107mm (4.2”) wide and 90mm (3.5”) in diameter, with a weight of 1,200g (2.65lbs).

The MSRP of the Rodenstock XT-HR Digaron-W 90mm F5.6 is $12,990. It’s available now through authorized Phase One Partners.

Phase One is also teasing another Rodenstock lens, which it says will be over 100mm (<40-degree angle of view) and will be announced by the end of the year. Phase One says ‘several [optical designs] are under investigation, exploring the best balance of image circle, lens speed, size, weight, and complexity.’

Press release:

Phase One Adds 90mm Lens to XT 150MP Camera Offering

Brings Large Format Feel to Full Frame Medium Format Field Camera

COPENHAGEN, Aug. 31, 2020 – Phase One today announced a remarkable new lens for its breakthrough XT Camera System: the Rodenstock 90mm. Embodying characteristics and workflow elements familiar to those shooting large format, the focal length of this lens offers outstanding sharpness and unbeatable image quality: with minute depth of field, uniform bokeh, and precise focus.

In concert with the powerful and highly integrated Phase One IQ4 Infinity Platform – a camera platform flexible enough to support evolving technology – this newest of Phase One’s Rodenstock lenses puts the XT camera in a class by itself.

Designed for landscape photography, the XT Camera System’s ability to shift 24mm on both the X- and Y-axes allows photographers to correct all perspective distortion and also to create panoramic/stitched images at tremendous scale/resolution. Since the 90mm’s 120mm image circle far exceeds the XT’s movements, this lens uniquely delivers perfect uniformity throughout all camera movements or flawless uniformity throughout camera perspectives. The combination of f/5.6 and a 67° angle of view uniquely focuses the subject.

All five available Rodenstock lenses are fitted with the Phase One designed and digitally integrated X-Shutter -- an intelligently controlled electromagnetic shutter born from Phase One’s experience with industrial applications. It ensures robust handling for the long term.

The XT – Rodenstock HR Digaron-S 23mm f/5.6 is the highest quality wide-angle lens available.

The XT – Rodenstock HR Digaron-W 32mm f/4 is an exceptional quality wide-angle lens with a large image circle and almost no distortion.

The XT – Rodenstock XT - HR Digaron-W 50mm f/4 is an ideal balance of a “normal” focal length perspective and wide-angle aesthetic, a close equivalent to human vision.

The XT – Rodenstock HR Digaron-W 70mm f/5.6 is a normal focal length lens with impeccable image quality and a large image circle.

XT – Rodenstock HR Digaron – W/SW 90mm f/5.6 is the longest focal length lens and largest image circle with exceptional image resolution for getting closer to your subject.

“The 90mm focal length defines the ‘feel’ of large format photography,” said Drew Altdoerffer, Product Manager at Phase One. “When it comes to Large Format aesthetic, this is the focal length artists have in mind and a longer focal length is a welcome addition to the XT.”

To hear more about this newest lens and how it fits into the existing family of lenses, please see: https://www.youtube.com/watch?v=c0mmKVd_LT8&feature=youtu.be

Availability and Pricing

The XT Camera System is available now through Phase One Partners worldwide: www.phaseone.com/partners.

The Manufacturer Suggested Retail Price for the XT – Rodenstock HR Digaron – W/SW 90mm lens is $12,990.

The Manufacturer Suggested Retail Price for the XT IQ4 150MP Camera System, including a lens is $58,990.

All camera systems are sold with a 5-year limited warranty, including an uptime guarantee of the IQ4 Digital Back and unlimited lens actuations for the warranty period.

For more information, please go to: www.phaseone.com/XT or book a demo on: www.phaseone.com/xt-demo

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Phase One has announced the release of the Rodenstock 90mm F5.6 lens, the latest in its growing collection of glass for its XT Camera Systems.

One of the stand-out features of the XT-HR Digaron-W 90mm F5.6 is its 120mm image circle, which is large enough to account for the 24mm of shift the XT Camera System offers on both the X- and Y-axes for correcting perspective distortion.

The lens, which Phase One suggests is designed with landscape and architectural photography in mind, features an aperture range of F5.6-F22, uses an electro-magnetical shutter (1/1000th-60 min) rated for over 500,000 actuations, has a 72mm front filter thread and uses a five-blade aperture diaphragm. It measures in at 160mm (6.3”) long, 107mm (4.2”) wide and 90mm (3.5”) in diameter, with a weight of 1,200g (2.65lbs).

The MSRP of the Rodenstock XT-HR Digaron-W 90mm F5.6 is $12,990. It’s available now through authorized Phase One Partners.

Phase One is also teasing another Rodenstock lens, which it says will be over 100mm (<40-degree angle of view) and will be announced by the end of the year. Phase One says ‘several [optical designs] are under investigation, exploring the best balance of image circle, lens speed, size, weight, and complexity.’

Press release:

Phase One Adds 90mm Lens to XT 150MP Camera Offering

Brings Large Format Feel to Full Frame Medium Format Field Camera

COPENHAGEN, Aug. 31, 2020 – Phase One today announced a remarkable new lens for its breakthrough XT Camera System: the Rodenstock 90mm. Embodying characteristics and workflow elements familiar to those shooting large format, the focal length of this lens offers outstanding sharpness and unbeatable image quality: with minute depth of field, uniform bokeh, and precise focus.

In concert with the powerful and highly integrated Phase One IQ4 Infinity Platform – a camera platform flexible enough to support evolving technology – this newest of Phase One’s Rodenstock lenses puts the XT camera in a class by itself.

Designed for landscape photography, the XT Camera System’s ability to shift 24mm on both the X- and Y-axes allows photographers to correct all perspective distortion and also to create panoramic/stitched images at tremendous scale/resolution. Since the 90mm’s 120mm image circle far exceeds the XT’s movements, this lens uniquely delivers perfect uniformity throughout all camera movements or flawless uniformity throughout camera perspectives. The combination of f/5.6 and a 67° angle of view uniquely focuses the subject.

All five available Rodenstock lenses are fitted with the Phase One designed and digitally integrated X-Shutter -- an intelligently controlled electromagnetic shutter born from Phase One’s experience with industrial applications. It ensures robust handling for the long term.

The XT – Rodenstock HR Digaron-S 23mm f/5.6 is the highest quality wide-angle lens available.

The XT – Rodenstock HR Digaron-W 32mm f/4 is an exceptional quality wide-angle lens with a large image circle and almost no distortion.

The XT – Rodenstock XT - HR Digaron-W 50mm f/4 is an ideal balance of a “normal” focal length perspective and wide-angle aesthetic, a close equivalent to human vision.

The XT – Rodenstock HR Digaron-W 70mm f/5.6 is a normal focal length lens with impeccable image quality and a large image circle.

XT – Rodenstock HR Digaron – W/SW 90mm f/5.6 is the longest focal length lens and largest image circle with exceptional image resolution for getting closer to your subject.

“The 90mm focal length defines the ‘feel’ of large format photography,” said Drew Altdoerffer, Product Manager at Phase One. “When it comes to Large Format aesthetic, this is the focal length artists have in mind and a longer focal length is a welcome addition to the XT.”

To hear more about this newest lens and how it fits into the existing family of lenses, please see: https://www.youtube.com/watch?v=c0mmKVd_LT8&feature=youtu.be

Availability and Pricing

The XT Camera System is available now through Phase One Partners worldwide: www.phaseone.com/partners.

The Manufacturer Suggested Retail Price for the XT – Rodenstock HR Digaron – W/SW 90mm lens is $12,990.

The Manufacturer Suggested Retail Price for the XT IQ4 150MP Camera System, including a lens is $58,990.

All camera systems are sold with a 5-year limited warranty, including an uptime guarantee of the IQ4 Digital Back and unlimited lens actuations for the warranty period.

For more information, please go to: www.phaseone.com/XT or book a demo on: www.phaseone.com/xt-demo

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Olympus has introduced several groundbreaking technologies in its cameras over the years, including high-performance multi-axis stabilization, and high-resolution shot modes, which combined multiple exposures to create a single, much larger final image.

The technology is complex, but the idea behind the classic tripod high res shot mode (introduced in the OM-D E-M5 Mark II) is simple: the camera’s sensor is shifted in minute increments across multiple exposures, so that the scene is ‘covered’ by more pixels. Those images are then combined in-camera to create a single, higher resolution photograph.

The Olympus E-M1 Mark III and E-M1X offer two high-res shot modes, ‘Tripod’ and ‘Handheld'

Today’s flagship OM-D E-M1X and E-M1 Mark III include the latest iteration of this feature, alongside a new mode: ‘Handheld high Res Shot’. Handheld High Res Shot mode enables ultra high-resolution images to be captured without the need for a tripod.

In Handheld High Res Shot mode, blur from camera shake is avoided thanks to a powerful in-camera stabilization system, which compensates for any accidental camera movement during this process.

The Olympus OM-D E-M1 Mark III and E-M1X feature a powerful inbuilt stabilization system. This system is also used in the cameras High Res Shot modes.

Choosing the right High Res Shot mode

The E-M1 Mark III’s high-res shot modes are available for those times when you want more than the camera’s normal resolution of 20MP. Which of the two modes you choose will depend on the kind of subject you want to capture.

With both the OM-D E-M1 Mark III and E-M1X, the maximum output resolution of 80MP is available in ‘Tripod’ mode, while in ‘Handheld’ it is possible to capture images of up to 50MP.

---

Tripod mode (max 80MP)

• Download Tripod High res shot mode (80MP) sample
• Download conventional (20MP) sample

This is a great mode for architecture, interiors and still life or reproduction work – basically, any scene where nothing in your subject is moving. With your camera steady on a tripod, and a stationary scene, you’ll be able to get the maximum resolution out of the system.

In 'Tripod' High Res Shot mode, the E-M1 Mark III and E-M1X's sensor is shifted in tiny increments across multiple exposures. These exposures are automatically combined in-camera to create an 80MP file.

In this mode, your camera shifts the sensor eight times, in increments of one micron, capturing one exposure per adjustment. These images are then combined automatically to create a single 80MP photograph in either JPEG and / or Raw file format.

Use for:

• Architecture
• Landscape (on a still day)
• Interiors
• Still life
• Macro
• Night sky

---

Handheld mode (max 50MP)

• Download Handheld High res shot mode (50MP) sample
• Download conventional (20MP) sample

Handheld mode is great for situations where you want more resolution, but you either don’t have a tripod handy, or you want to shoot something where slight movement in your image is unavoidable, like a posed portrait, or landscapes.

In 'Handheld' High Res Shot mode, the E-M1 Mark III and E-M1X capture 16 images in quick succession, and combine them to create a 50MP file. The cameras' powerful inbuilt stabilization system is employed to reduce the risk of shake.

In this mode, the E-M1 Mark III captures 16 exposures very rapidly, totaling 320MP of data, and combines them to create a single 50MP image. The sensor-based stabilization system does double-duty, turning on and off throughout the sequence of exposures, helping to prevent excessive movement due to motion blur, and analyzing the amount of camera movement that occurs during the sequence. The camera uses this information to automatically align the images for the final image and clone out any blurred areas.

If too much motion is detected, the camera will flash a warning to let you know.

Use for:

• Landscapes
• Portraits (static)
• General photography at wide / medium focal lengths
• Any situation where a tripod isn't practical / allowed

Tips for using High Res Shot modes

• With the Olympus OM-D E-M1 Mark III and E-M1X it is possible to hand-hold exposures down to four seconds*. Used in combination with Handheld High Res Shot mode, this makes it possible to capture long exposure nighttime photographs.
  
  
• For best results with Handheld High Res Shot mode, shoot at wide and medium focal lengths, where the image stabilization system of the OM-D E-M1 Mark III and E-M1X is most effective.
  
  
• Because it combines 16 exposures, Handheld High Res Shot mode also cancels out a lot of noise. Try switching to handheld High Res mode in low light situations for better image quality at high ISO settings.
  
  
• When shooting in High Res Shot mode, avoid shooting at very wide apertures, especially for scenes with out of focus objects in the foreground. You'll get best results at smaller apertures, where more of your scene is in focus.

---

* Exact performance is dependent on lens and focal length

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Olympus has introduced several groundbreaking technologies in its cameras over the years, including high-performance multi-axis stabilization, and high-resolution shot modes, which combined multiple exposures to create a single, much larger final image.

The technology is complex, but the idea behind the classic tripod high res shot mode (introduced in the OM-D E-M5 Mark II) is simple: the camera’s sensor is shifted in minute increments across multiple exposures, so that the scene is ‘covered’ by more pixels. Those images are then combined in-camera to create a single, higher resolution photograph.

The Olympus E-M1 Mark III and E-M1X offer two high-res shot modes, ‘Tripod’ and ‘Handheld'

Today’s flagship OM-D E-M1X and E-M1 Mark III include the latest iteration of this feature, alongside a new mode: ‘Handheld high Res Shot’. Handheld High Res Shot mode enables ultra high-resolution images to be captured without the need for a tripod.

In Handheld High Res Shot mode, blur from camera shake is avoided thanks to a powerful in-camera stabilization system, which compensates for any accidental camera movement during this process.

The Olympus OM-D E-M1 Mark III and E-M1X feature a powerful inbuilt stabilization system. This system is also used in the cameras High Res Shot modes.

Choosing the right High Res Shot mode

The E-M1 Mark III’s high-res shot modes are available for those times when you want more than the camera’s normal resolution of 20MP. Which of the two modes you choose will depend on the kind of subject you want to capture.

With both the OM-D E-M1 Mark III and E-M1X, the maximum output resolution of 80MP is available in ‘Tripod’ mode, while in ‘Handheld’ it is possible to capture images of up to 50MP.

---

Tripod mode (max 80MP)

• Download Tripod High res shot mode (80MP) sample
• Download conventional (20MP) sample

This is a great mode for architecture, interiors and still life or reproduction work – basically, any scene where nothing in your subject is moving. With your camera steady on a tripod, and a stationary scene, you’ll be able to get the maximum resolution out of the system.

In 'Tripod' High Res Shot mode, the E-M1 Mark III and E-M1X's sensor is shifted in tiny increments across multiple exposures. These exposures are automatically combined in-camera to create an 80MP file.

In this mode, your camera shifts the sensor eight times, in increments of one micron, capturing one exposure per adjustment. These images are then combined automatically to create a single 80MP photograph in either JPEG and / or Raw file format.

Use for:

• Architecture
• Landscape (on a still day)
• Interiors
• Still life
• Macro
• Night sky

---

Handheld mode (max 50MP)

• Download Handheld High res shot mode (50MP) sample
• Download conventional (20MP) sample

Handheld mode is great for situations where you want more resolution, but you either don’t have a tripod handy, or you want to shoot something where slight movement in your image is unavoidable, like a posed portrait, or landscapes.

In 'Handheld' High Res Shot mode, the E-M1 Mark III and E-M1X capture 16 images in quick succession, and combine them to create a 50MP file. The cameras' powerful inbuilt stabilization system is employed to reduce the risk of shake.

In this mode, the E-M1 Mark III captures 16 exposures very rapidly, totaling 320MP of data, and combines them to create a single 50MP image. The sensor-based stabilization system does double-duty, turning on and off throughout the sequence of exposures, helping to prevent excessive movement due to motion blur, and analyzing the amount of camera movement that occurs during the sequence. The camera uses this information to automatically align the images for the final image and clone out any blurred areas.

If too much motion is detected, the camera will flash a warning to let you know.

Use for:

• Landscapes
• Portraits (static)
• General photography at wide / medium focal lengths
• Any situation where a tripod isn't practical / allowed

Tips for using High Res Shot modes

• With the Olympus OM-D E-M1 Mark III and E-M1X it is possible to hand-hold exposures down to four seconds*. Used in combination with Handheld High Res Shot mode, this makes it possible to capture long exposure nighttime photographs.
  
  
• For best results with Handheld High Res Shot mode, shoot at wide and medium focal lengths, where the image stabilization system of the OM-D E-M1 Mark III and E-M1X is most effective.
  
  
• Because it combines 16 exposures, Handheld High Res Shot mode also cancels out a lot of noise. Try switching to handheld High Res mode in low light situations for better image quality at high ISO settings.
  
  
• When shooting in High Res Shot mode, avoid shooting at very wide apertures, especially for scenes with out of focus objects in the foreground. You'll get best results at smaller apertures, where more of your scene is in focus.

---

* Exact performance is dependent on lens and focal length

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It’s not just hockey that’s seeing sports photographers change the way they have to operate during events. Like many other sports during this global pandemic, the Formula 1 season is quite different than usual, with an altered schedule and different race tracks than expected, but as with all sports, there are still photos that need to be taken.

View this post on Instagram

Who's ready for another episode of My Job in 60 Seconds? 👊 This week meet Steve, our team photographer since 2010! From Schumacher to Senna, Hamilton to Hakkinen, Steve's photographed all the greats in @f1 during his impressive career!

A post shared by Mercedes-AMG F1 (@mercedesamgf1) on Aug 26, 2020 at 9:53am PDT

As part of its ‘My Job in 60 Seconds’ series the team hosts on Instagram, Mercedes-AMG Petronas F1 Team photographer Steve Etherington shares what it’s like to photograph the pinnacle of motorsports at a time when team personnel and fans are limited due to the COVID-19 pandemic.

Throughout the video, Etherington shares what it is he does on a race weekend, how the social ‘bubbles’ put in place have changed how he shoots and more. It’s a great, albeit quick look into shooting Formula 1 — something Etherington has been doing every race weekend for 28 years.

You can find more of Etherington’s work on his website.

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It’s not just hockey that’s seeing sports photographers change the way they have to operate during events. Like many other sports during this global pandemic, the Formula 1 season is quite different than usual, with an altered schedule and different race tracks than expected, but as with all sports, there are still photos that need to be taken.

View this post on Instagram

Who's ready for another episode of My Job in 60 Seconds? 👊 This week meet Steve, our team photographer since 2010! From Schumacher to Senna, Hamilton to Hakkinen, Steve's photographed all the greats in @f1 during his impressive career!

A post shared by Mercedes-AMG F1 (@mercedesamgf1) on Aug 26, 2020 at 9:53am PDT

As part of its ‘My Job in 60 Seconds’ series the team hosts on Instagram, Mercedes-AMG Petronas F1 Team photographer Steve Etherington shares what it’s like to photograph the pinnacle of motorsports at a time when team personnel and fans are limited due to the COVID-19 pandemic.

Throughout the video, Etherington shares what it is he does on a race weekend, how the social ‘bubbles’ put in place have changed how he shoots and more. It’s a great, albeit quick look into shooting Formula 1 — something Etherington has been doing every race weekend for 28 years.

You can find more of Etherington’s work on his website.

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