The Sigma 100-400mm F5-6.3 DG DN OS | Contemporary adds a super-tele zoom option for X-mount users, giving a 150-600mm equiv. field-of-view range.

Fujifilm has announced two additional lenses for Fujifilm's X-mount: the 23mm F1.4 from its DC DN range of APS-C primes, and a 100-400mm F5-6.3 DG DN OS, both from its mid-priced Contemporary range.

Both lenses already exist for other mounts. The 100-400mm stabilized lens can cover the full-frame image circle but acts a a 150-600mm equivalent on the X-mount (with the usual caveats around depth-of-field and total light gathering).

Sigma had already announced its intention to bring the 23mm F1.4 DC DN to X-mount but has now provided price and availability details.

The 23mm F1.4 meanwhile is a native APS-C compact prime, which joins the existing 16, 30 and 56mm DC DN options, and faces direct competition from Fujifilm's own 23mm F1.4 and the more affordable option from Tokina and Viltrox.

This pair of additional lenses, take Sigma's range of lenses for X-mount to six, joining the existing three DC DN primes and the 18-55mm F2.8 DC DN.

The Sigma 100-400mm F5-6.3 DG DN OS will retail for around $949, while the 23mm F1.4 DC DN will cost around $549, with both available from September 21st. Owners of either lens in E or L mounts can pay to have them converted to X-mount using Sigma's mount conversion service.

SIGMA Announces release of 100-400mm F5-6.3 DG DN OS | Contemporary and 23mm F1.4 DC DN | Contemporary for Fujifilm X Mount System

Ronkonkoma, NY – August 31, 2023 – SIGMA Corporation of America is pleased to announce the release of two lenses for the Fujifilm X Mount camera system. The addition of the 100-400mm F5-6.3 DG DN OS | Contemporary and 23mm F1.4 DC DN | Contemporary expands the line of SIGMA products for Fujifilm X Mount to six versatile lenses.

The 100-400mm F5-6.3 is the second zoom lens for Fujifilm X Mount, joining the compact 18-50mm F2.8 DC DN | Contemporary lens; while the 23mm F1.4 joins the fast F1.4 prime lineup, which also includes the 16mm F1.4 DC DN | Contemporary, 30mm F1.4 DC DN | Contemporary and 56mm F1.4 DC DN | Contemporary lenses.

The X Mount versions of these lenses join the Leica L and Sony E-mount versions which are currently available for purchase through authorized retailers.

The SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary ($949 US) and SIGMA 23mm F1.4 DC DN | Contemporary ($549 US) will be available for Fujifilm X Mount cameras at Authorized US Dealers on September 21, 2023.

Learn more about the SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary lens:
https://www.sigmaphoto.com/100-400mm-f5-6-3-dg-dn-os-c

Learn more about the SIGMA 23mm F1.4 DC DN | Contemporary lens:
https://www.sigmaphoto.com/23mm-f1-4-dc-dn-c

---

Launch schedule of SIGMA 23mm F1.4 DC DN | Contemporary in FUJIFILM X Mount

SIGMA Corporation is pleased to announce the launch schedule of the SIGMA 23mm F1.4 DC DN | Contemporary in FUJIFILM X Mount.

Long-awaited X Mount addition

The SIGMA 23mm F1.4 DC DN | Contemporary ― a large-aperture wide-angle lens designed exclusively for APS-C mirrorless cameras ― will now be available for the Fujifilm X Mount.

A control algorithm including AF drive and communication speed optimization has been developed specifically for X Mount interchangeable lenses. In addition to realizing high-speed AF, the lens also supports AF-C (Continuous AF) and in-camera aberration correction*. The mount is rubber-sealed to cater for use in a variety of environments.


*Function available on supported cameras only. Functionality may vary depending on the camera model.

Mount Conversion Service is available to convert other mounts of SIGMA 23mm F1.4 DC DN | Contemporary to FUJIFILM X Mount.

https://www.sigma-global.com/en/support/purpose/mcs/

[ Key Features ]

Large aperture F1.4 brightness and excellent resolution from maximum aperture

The SIGMA 23mm F1.4 DC DN | Contemporary has an easy-to-use angle of view equivalent to 35mm in 35mm format, as well as the brightness of a large F1.4 aperture and high descriptive power. The optics is composed of 13 elements in 10 groups, including 3 SLD glass elements and 2 aspherical lens elements, to achieve sharp, clear images. The lens delivers excellent resolving power from the maximum aperture. Furthermore, the large F1.4 aperture allows for large, beautiful bokeh effects. The compact, palm-size body allows you to enjoy the rich descriptive power of mirrorless cameras. Careful countermeasures against flare and ghosting enable clear shooting even in backlit environments.

Compact body optimized for APS-C mirrorless cameras

To take advantage of the mobility of APS-C mirrorless cameras, the lens body is compact and lightweight, with a weight of 335g*, length of 79.2mm*, and filter diameter of 52mm. At the same time, the quality of the lens body itself has not been compromised. The high-precision machining technology of SIGMA's sole production facility in Aizu, Japan, has enabled the lens body to achieve the ideal balance between excellent optical performance based on the latest optical and mechanical design, and compactness. The AF drive system uses a quiet, high-speed stepping motor. The latest algorithm enables quick focusing for easy shooting.

* The figures are for X Mount.
* The length of a lens is measured from the filter surface to its mount.

Expands the variety of APS-C format F1.4 prime lenses

The SIGMA Contemporary line offers a wide variety of APS-C format F1.4 prime lenses. All of them share the concept of combining superior resolution with compactness and light weight. By combining them according to your needs, you can build a compact photographic system without compromising image quality.

[ Additional Features ]

• Lens construction: 13 elements in 10 groups (3 SLD, 2 aspherical elements)
• Inner focus system
• Compatible with high-speed autofocus
• Stepping Motor
• Compatible with lens aberration correction
*Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.
*On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON'(AUTO).
• Support DMF and AF+MF
• Compatible with AF assist (Sony E-mount only)
• Super Multi-Layer Coating
• Mount with dust and splash resistant structure
• Lens Hood LH554-01
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 9-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• "Made in Japan" craftsmanship

---

Launch schedule of SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary in FUJIFILM X Mount

SIGMA Corporation is pleased to announce the launch schedule of the SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary in FUJIFILM X Mount.

Long-awaited X Mount addition

The SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary, which was created in 2020 as the "Handy Tele Master", the DG DN version of the ultra-telephoto zoom dedicated for full-frame mirrorless cameras, will now be added for the Fujifilm X Mount.

With the mirrorless large-aperture F1.4 APS-C size single focal length (16mm, 23mm, 30mm, 56mm), F2.8 zoom (18-50mm), and the addition of this super-telephoto zoom lens, SIGMA's X Mount lens

lineup has expanded to six lenses. The new lineup covers a wide range of applications, from wide-angle to ultra-telephoto.

A control algorithm including AF drive and communication speed optimization has been developed specifically for X Mount interchangeable lenses. In addition to realizing high-speed AF, the lens also supports AF-C (Continuous AF) and in-camera aberration correction*. The mount is rubber-sealed to cater for use in a variety of environments.

*Function available on supported cameras only. Functionality may vary depending on the camera model.

The switches have also been optimized for X Mount. The "AF Function Setting Switch" allows the user to select a function while the AF Function Button is pressed on the lens side.

Mount Conversion Service is available to convert other mounts of SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary to FUJIFILM X Mount.

About Mount Conversion Service:
https://www.sigma-global.com/en/support/purpose/mcs/

[ Key Features ]

Compact ultra-telephoto zoom equivalent to 600mm in 35mm format

The SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary for X Mount, the sixth lens to be converted to X Mount, is a ultra-telephoto zoom lens covering an angle of view equivalent to 150-600mm in 35mm format.

Despite covering the 600mm equivalent ultra-telephoto range, the lens has a compact design with an length of 199.5mm, a maximum diameter of 86mm, and a weight of 1,135g. It enables ultra-telephoto photography utilizing the compact Fujifilm X Mount system. The SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary, designed for full-frame mirrorless cameras, can be used with an APS-C format X Mount body to deliver extremely high descriptive performance right up to the extreme periphery.

Uncompromising image quality

The lens construction of the SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary comprises 16 groups and 22 elements, with one FLD and four SLDs used for the effective correction of aberrations and distortions. Built on the latest optical design technology and optimized for mirrorless systems, the lens ensures the same high-resolution image quality all the way to the edges. In addition, it constantly achieves high levels of optical performance and makes the most of its capabilities as a zoom lens in any condition, at every focal length from wide to telephoto, and from close-up shots to telephoto photography.

A full range of functionalities that enables smooth and easy ultra-telephoto shooting

In addition to a high-speed and smooth AF enabled by the stepping motor optimized to the latest algorithm, the SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary incorporates powerful image stabilization (OS) of five steps* built into the lens. When combined with a camera body with image stabilization built in, the lens corrects for pitch and yaw axis rotations, providing even more powerful image stabilization.

It also features the AF function setting switch to which the user may select AF lock/AF activation, and the focus limiter switch that allows optimizing the AF range according to the purpose of shooting, Zoom lock switch that fixes the zoom ring at the widest end, preventing it from rotating and causing the lens barrel to extend under its own weight during transportation, OS Switch which the user may switch between Mode 1 for general photography and Mode 2 for motor sports and other applications requiring panning.

In addition, the SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary supports straight zoom, which allows photographers to zoom in and out by adjusting the hood, enabling intuitive and quick view angle adjustments. It features a “Dual action zoom” which supports both straight zoom and ring zoom.

* Based on CIPA guidelines (Measured in 400mm with an APS-C size image sensor)

Lightweight & Compact lens body

SIGMA designed a light and durable ultra-telephoto zoom lens addition to its Contemporary line. The SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary packs functionalities required for angles of view corresponding to focal lengths of 100-400mm in a compact, lightweight body. It is not merely about weight reduction, but the lens is durable, with careful selections to utilize the right materials in the right place. For instance, magnesium alloy is used for the part where a tripod socket is attached, which needs to be very strong. To allow for a pairing with camera bodies of different sizes, a tripod socket, TS-111 kit (sold separately) is available. As this helps reduce any strain on the camera body, photographers can shoot long hours without worrying about it. The tripod socket comes with a strap which also helps reduce strain on the mount when carrying the lens around or during transportation.

[ Additional Features ]

• Lens construction: 22 elements in 16 groups (1 FLD, 4 SLD)
• OS (Optical Stabilizer) function
• Inner focus system
• Compatible with high-speed autofocus
• Stepping motor
• Compatible with Lens Aberration Correction
*Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.
*On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON'(AUTO).
• Super Multi-Layer Coating
• AF function button
• Focus Limiter
• AF function setting switch
• OS switch
• Zoom lock switch
• Mount with dust and splash resistant structure
• LENS HOOD LH770-05
• PROTECTIVE COVER PT-31
• Compatible with TRIPOD SOCKET TS-111 Kit
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA's proprietary MTF measuring system
• 9-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• "Made in Japan" craftsmanship

Specficiations

	Sigma 23mm F1.4 DC DN | C	Sigma 100-400mm F5-6.3 DG DN OS
Principal specifications
Lens type	Prime lens	Zoom lens
Max Format size	APS-C / DX	35mm FF
Focal length	23 mm	100–400 mm
Image stabilization	No	Yes
CIPA Image stabilization rating		4 stop(s)
Lens mount	Fujifilm X, L-Mount, Sony E	Fujifilm X, L-Mount, Sony FE
Aperture
Maximum aperture	F1.4	F5–6.3
Minimum aperture	F16	F22–29
Aperture ring	No
Number of diaphragm blades	9
Aperture notes	Rounded blades
Optics
Elements	13	22
Groups	10	16
Special elements / coatings	2 aspherical and 3 super low dispersion	FLD and SLD elements
Focus
Minimum focus	0.25 m (9.84″)	1.10 m (43.31″)
Maximum magnification	0.13×	0.71×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	No	Yes
Focus method	Internal
Distance scale	No	Yes
DoF scale	No
Focus distance limiter		Yes
Physical
Weight	340 g (0.75 lb)	1135 g (2.50 lb)
Diameter	66 mm (2.59″)	86 mm (3.39″)
Length	77 mm (3.03″)	197 mm (7.76″)
Sealing	Yes
Colour	Black
Zoom method		Rotary (extending)
Power zoom		No
Zoom lock		Yes
Filter thread	52 mm	67 mm
Hood supplied	Yes
Hood product code	LH554-01	LH770-05
Tripod collar	No	Yes

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/haXH9pK
via IFTTT

via Fstoppers https://ift.tt/WZ4FqDd

via Fstoppers https://ift.tt/IRqhQJp

via Fstoppers https://ift.tt/Yng6ZUt

via Fstoppers https://ift.tt/iOay67W

The Sony a7RC is a relatively compact camera that promises to deliver big on image quality; it provides many of the same features as Sony's more expensive a7R V, including a 61MP image sensor, in a more petite body, and should appeal to photographers who want to maximize resolution in a smaller body.

Our test period with the camera coincided with a short trip I took to Grand Teton National Park in Wyoming. Paired with the Sony 20-70mm F4 G lens, the camera was small enough to easily fit in my pack for a day of hiking or to carry around town at night. How does the image quality stack up? Check out the gallery and let us know what you think.

View our Sony a7CR sample gallery

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/hP7JtdK
via IFTTT

via Fstoppers https://ift.tt/EXqShB4

via Fstoppers https://ift.tt/n7ZzXRM

via Fstoppers https://ift.tt/IpadDHC

The Sony a7C II has some significant upgrades compared to its predecessor, including updated processors, more sophisticated autofocus and improved controls. That's all great, but the camera still needs to deliver the goods where it counts: image quality.

At the heart of the a7C II is the same 33MP BSI CMOS sensor and Bionz XR processor found in Sony's a7 IV. Although it's a modest bump in resolution compared to the original a7C, we found the image quality from this sensor in the a7 IV to be extremely good, with excellent levels of detail and good dynamic range. Can the a7C II deliver similar results in a smaller package? Click through to our sample gallery and judge the results for yourself.

View our Sony a7C II sample gallery

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/VCp8dtY
via IFTTT

via Fstoppers https://ift.tt/I2XYMtT

via Fstoppers https://ift.tt/2mTwxai

via Fstoppers https://ift.tt/sSQRqKi

via Fstoppers https://ift.tt/hnPzp7f

via Fstoppers https://ift.tt/VmLNCJi

Sony's new FE 16-35mm F2.8 GM II updates the third of its trio of GM series F2.8 zooms in a 10% smaller and 20% lighter package. Sony also promises improved corner-to-corner sharpness, reduced chromatic aberrations and improved close-up performance down to 22 cm. This sets the bar pretty high, as its predecessor, from 2017, already performed very well.

Focus is achieved through two independently moving focus groups driven by four XD ‘extreme dynamic’ linear motors (two per group) which allow the lens to focus down to 22 cm (8.7"). The lens is composed of 15 elements in 12 groups, including three extreme aspherical elements and one extra-low dispersion (to reduce chromatic aberration), one ED aspherical element and one conventional aspherical lens.

The lens has rings for zoom, focus and aperture, with a switch to move between smooth and and clickable aperture and an iris lock switch to prevent accidental changes. There are also two customizable focus hold buttons.

For video users, Sony also says focus is silent and the lens supports blackout-free video up to 30fps and AF tracking while zooming. Focus breathing is stated to be 'minimal' and can be further reduced by the breathing compensation function on compatible cameras.

The FE 16-35mm F2.8 GM II becomes the 74th E-mount lens and the 51st full frame E-mount lens from Sony.

Pricing and availability

The Sony FE 16-35mm F2.8 GM II will be available in September at a price of at $2,299.99 / $3,099.99 CAD.

Press Release

Sony Electronics Introduces the FE 16-35mm F2.8 GM II Full-frame Zoom G Master lens, the World's Smallest and Lightest[1] Full-frame F2.8 Wide-Angle Zoom Lens

The FE 16-35mm F2.8 GM II Full-frame wide-angle Zoom G Master completes the second generation of standard and telephoto zoom lenses with a maximum aperture of F2.8, enhancing Alpha system capabilities

SAN DIEGO, CA. August 29, 2023 — Sony Electronics announces the launch of the wide-angle zoom lens G-MasterTM FE 16-35mm F2.8 GM II, a 35mm full-frame αTM (AlphaTM) E-mount lens that covers focal lengths from 16mm to 35mm with a maximum aperture of F2.8 over the entire zoom range.

FE 16-35mm F2.8 GM II (model SEL1635GM2) satisfies the needs of photographers and videographers seeking high-performance lenses, and with the descriptive power and high-speed AF (autofocus) unique to G Master, it is possible to fully bring out the high performance of our advanced camera bodies. With the expansion of this wide-angle zoom lens, a maximum aperture of F2.8 second-generation[2] zoom lens will be available, along with standard (24-70mm/ SEL2470GM2) and telephoto (70-200mm/SEL70200GM2). These lenses, which are each the world's lightest in their category[1] , have excellent resolution performance, further strengthening the Alpha system, by capturing rich and varied shooting
environments.

“The newest FE 16-35mm F2.8 GM II answers the call for all creators who want the highest performance lens in the lightest body,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc.

World's smallest and lightest[1] high-resolution F2.8 wide-angle zoom lens

The FE 16-35mm F2.8 GM II has a new optical design that effectively arranges the extremely high surface precision XA (extreme aspherical) lens which achieves high resolution with a maximum aperture of F2.8 over the entire zoom range. This is made possible by creating an aspherical shape with a higher degree of freedom than before. In addition to the stunning G-Master bokeh expression with a wide angle, it offers an outstanding close-up performance throughout the zoom range, a minimum shooting distance of 0.22m and a maximum shooting magnification of 0.32x. Sony's original Nano AR Coating II suppresses ghosting and flares to capture clear images even when a strong light source comes into the frame. This is the world's smallest and lightest[1] wide-angle zoom lens with a total length of 111.5mm and
a weight of approximately 547g, which is about 20% lighter[3] than the first-generation model.

Extraordinarily fast and precise AF that brings out the best in advanced bodies

FE 16-35mm F2.8 GM II includes the latest XD (extreme dynamic) linear motors that effectively work on high-speed drive. It achieves quiet AF that is suitable for both still images and movies and is up to twice as fast as conventional models[4]. Even with high frame rate videos where focus shifts are noticeable, the subject is tracked with high precision. When combined with the Alpha 1 camera body, high-speed continuous shooting[4] at up to 30 fps is possible with high-speed, high-precision, and quiet focusing.

Operability and reliability for comfortable shooting of both still images and movies

FE 16-35mm F2.8 GM II offers comfortable operability and excellent still image and movie shooting performance that meets the needs of professional and advanced hobbyist users. By reducing focus breathing during video recording compared to previous models, it is possible to achieve high-quality image expression without fluctuations in the angle of view. In addition, it suppresses the movement of the center of gravity during zooming and enables stable shooting, so any user can shoot comfortably with a gimbal. Operability has also been improved with features such as an aperture ring that can be clicked on/off with a switch, and two focus hold buttons that can be assigned a desired function from the camera body.

Fluorine coating is applied to the front lens, so dirt adhering to the lens surface can be easily removed. The dustproof and splash-resistant design allows the camera to be used safely even outdoors[5], giving greater freedom in shooting.

Pricing and Availability

The new FE 16-35mm F2.8 GM II will be available in Fall 2023 at a variety of Sony authorized dealers for approximately MSRP $2,299.99 USD, $3,099.99 CAN.

[1] As of the August 2023 product announcement. Compared to full-frame F2.8 16-35 mm zoom lenses that support autofocus.
Sony survey.

[2] Standard zoom lens “FE 24-70 mm F2.8 GM II” / Telephoto zoom lens “FE 70-200 mm F2.8 GM OSS II”

[3] Compared to” FE 16-35 mm F2.8 GM”

[4] With the Alpha 1: “Hi+” continuous shooting mode. Effective at 1/125 sec. or higher shutter speed.

[5] Not guaranteed to be 100% dust and moisture proof.

Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	16–35 mm
Image stabilization	No
Lens mount	Sony FE
Aperture
Maximum aperture	F2.8
Minimum aperture	F22
Aperture ring	Yes
Number of diaphragm blades	11
Optics
Elements	15
Groups	12
Special elements / coatings	3 extreme aspherical, 1 aspherical, 1 ED aspherical, 2 ED, 1 super ED elements, Nano AR & fluorine coatings
Focus
Minimum focus	0.22 m (8.66″)
Maximum magnification	0.32×
Autofocus	Yes
Motor type	Linear Motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	547 g (1.21 lb)
Diameter	88 mm (3.46″)
Length	112 mm (4.41″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	No
Filter thread	82 mm
Hood supplied	Yes
Tripod collar	No

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/7HU5qm4
via IFTTT

via Fstoppers https://ift.tt/XHF96i7

via Fstoppers https://ift.tt/xXNeEdb

The new Røde Wireless PRO wireless microphone kit offers a vast array of pro-level audio features, including 32-bit float audio recording.

Røde, the Australian audio equipment company, recently announced its Wireless PRO wireless microphone system. Røde is calling it the 'most powerful compact microphone system ever.' Despite its diminutive size, it offers a versatile range of professional features to address the needs of demanding filmmakers and video creators, including timecode sync, intelligent GainAssist technology and over 40 hours of onboard recording time.

One of the standout new features of the Wireless PRO system is its built-in 32-bit float audio recording capabilities, a technology we've previously argued should come to hybrid cameras and something that Røde's consumer-grade wireless mics lack.

Touted as a feature that lets you avoid clipping from loud audio and recover audio that's too quiet without noise, 32-bit float audio seems too good to be true. It essentially frees you from having to set recording levels on your camera or audio recorder.

But is that true? What is 32-bit float audio, how does it work, and why is it suddenly a big deal for video creators?

What is 32-bit float audio?

The Røde Wireless PRO mic is not the first, nor the only, audio recording system to utilize 32-bit float audio. However, given the company's popularity and solid reputation in the video world – especially among vloggers, YouTubers and other independent video creators – 32-bit float audio will only grow in popularity.

Before diving into the details, a simple analogy as to what 32-bit float audio is will give you the gist of what this technology allows. To put it in photo terms it's a little bit like moving from JPEG to Raw capture, with all the extra flexibility it brings, but this is a very loose analogy. In digital photography, sensors clip completely when they receive too much light, and all of the data output is typically encoded into the Raw file. In audio recording, microphones can continue to respond even to incredibly loud sounds: it's the process of squeezing it into the digital file that imposes the most significant limitation.

32-bit float provides a vast increase in the available space to record louder sound. In simple terms, fixed point audio records its data values as simple numbers, whereas floating point math records its data as scientific notation.

An example of clipping of a digital waveform. The red lines indicate full scale, and the waveform is shown before and after hard clipping (grey and black outlines, respectively). 32-bit float allows you to capture way beyond the traditional 'full scale' limits. Credit: Gutten på Hemsen, CC BY-SA 4.0, via Wikimedia Commons

So, whereas in 16-bit, the audio standard for CDs, you have 65,535 values per sample. With 24-bit audio, the overall idea is similar, but more values per sample are available, at over 16 million. You have much more space for audio information with the 24-bit format.

When audio is recorded in 16-bit or 24-bit, the recording can clip if something gets too loud. The audio will sound distorted, just like the white point in your photos clipping. The sound values are just too much for the audio format to store all that information. In other words, the dynamic range of the audio container is too narrow. A 16-bit fixed point audio file has a calculated maximum dynamic range of 96.3 dB (-96.3 db up to 0 dB), and a 24-bit fixed point has a maximum dynamic range of 144.5 dB (-144.5 dB up to 0 dB). However, whereas using 32-bit fixed point would boost this to 192 dB, using scientific notation allows you to encode vastly large values, and the potential dynamic range expands to a whopping 1,528 dB.

Why is it a big deal for video creators?

This extreme latitude afforded by 32-bit float audio leads to the notion that video creators never have to worry about audio levels again. To a certain degree, that's true, but it's not quite that simple. With 32-bit float audio recorders, like the Røde Wireless PRO mic kit, Sound Devices MixPre-10 II recorder or TASCAM's Portacapture X8 recorder, for example, it's true that you don't necessarily need to adjust audio levels on the recorder in 32-bit float mode prior or during recording.

Notably the Røde mics promise a GainAssist function to try to keep the audio you're trying to record distinct from any background noise. The extreme dynamic range offered by this audio recording format lets you freely capture audio at essentially any audio volume level.

24-bit audio is the industry standard for post-production workflows and final deliverables. You will need to re-map 32-bit float audio back into a 24-bit fixed point space at some stage of post-production.

If you've recorded audio tracks with moments of super-loud sounds and simply convert that straight to 24-bit, you'll probably end up with clipped, distorted audio. You'll need to fine-tune the levels after capture to ensure they've been adjusted to within the limits of the 24-bit audio format, just as you would ultimately have to choose which highlights and black tones to retain in a Raw photograph to preserve the details ahead of printing, even if you'd captured an absolutely vast dynamic range when you took the photo.

Is this the ultimate in audio for professionals? Well, seeing how Hollywood productions have dedicated audio engineers on-set, probably no. That said, it can be a big help for smaller production teams, independent filmmakers, live event filming scenarios or single-person video creators where it is difficult to monitor audio levels all the time. Having the flexibility of 32-bit float audio to recover sounds that are too loud or too quiet in post-production can be a lifesaver.

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/qfnXz5p
via IFTTT

The new Røde Wireless PRO wireless microphone kit offers a vast array of pro-level audio features, including 32-bit float audio recording.

Røde, the Australian audio equipment company, recently announced its Wireless PRO wireless microphone system. Røde is calling it the 'most powerful compact microphone system ever.' Despite its diminutive size, it offers a versatile range of professional features to address the needs of demanding filmmakers and video creators, including timecode sync, intelligent GainAssist technology and over 40 hours of onboard recording time.

One of the standout new features of the Wireless PRO system is its built-in 32-bit float audio recording capabilities, a technology we've previously argued should come to hybrid cameras and something that Røde's consumer-grade wireless mics lack.

Touted as a feature that lets you avoid clipping from loud audio and recover audio that's too quiet without noise, 32-bit float audio seems too good to be true. It essentially frees you from having to set recording levels on your camera or audio recorder.

But is that true? What is 32-bit float audio, how does it work, and why is it suddenly a big deal for video creators?

What is 32-bit float audio?

The Røde Wireless PRO mic is not the first, nor the only, audio recording system to utilize 32-bit float audio. However, given the company's popularity and solid reputation in the video world – especially among vloggers, YouTubers and other independent video creators – 32-bit float audio will only grow in popularity.

Before diving into the details, a simple analogy as to what 32-bit float audio is will give you the gist of what this technology allows. To put it in photo terms it's a little bit like moving from JPEG to Raw capture, with all the extra flexibility it brings, but this is a very loose analogy. In digital photography, sensors clip completely when they receive too much light, and all of the data output is typically encoded into the Raw file. In audio recording, microphones can continue to respond even to incredibly loud sounds: it's the process of squeezing it into the digital file that imposes the most significant limitation.

32-bit float provides a vast increase in the available space to record louder sound. In simple terms, fixed point audio records its data values as simple numbers, whereas floating point math records its data as scientific notation.

An example of clipping of a digital waveform. The red lines indicate full scale, and the waveform is shown before and after hard clipping (grey and black outlines, respectively). 32-bit float allows you to capture way beyond the traditional 'full scale' limits. Credit: Gutten på Hemsen, CC BY-SA 4.0, via Wikimedia Commons

So, whereas in 16-bit, the audio standard for CDs, you have 65,535 values per sample. With 24-bit audio, the overall idea is similar, but more values per sample are available, at over 16 million. You have much more space for audio information with the 24-bit format.

When audio is recorded in 16-bit or 24-bit, the recording can clip if something gets too loud. The audio will sound distorted, just like the white point in your photos clipping. The sound values are just too much for the audio format to store all that information. In other words, the dynamic range of the audio container is too narrow. A 16-bit fixed point audio file has a calculated maximum dynamic range of 96.3 dB (-96.3 db up to 0 dB), and a 24-bit fixed point has a maximum dynamic range of 144.5 dB (-144.5 dB up to 0 dB). However, whereas using 32-bit fixed point would boost this to 192 dB, using scientific notation allows you to encode vastly large values, and the potential dynamic range expands to a whopping 1,528 dB.

Why is it a big deal for video creators?

This extreme latitude afforded by 32-bit float audio leads to the notion that video creators never have to worry about audio levels again. To a certain degree, that's true, but it's not quite that simple. With 32-bit float audio recorders, like the Røde Wireless PRO mic kit, Sound Devices MixPre-10 II recorder or TASCAM's Portacapture X8 recorder, for example, it's true that you don't necessarily need to adjust audio levels on the recorder in 32-bit float mode prior or during recording.

Notably the Røde mics promise a GainAssist function to try to keep the audio you're trying to record distinct from any background noise. The extreme dynamic range offered by this audio recording format lets you freely capture audio at essentially any audio volume level.

24-bit audio is the industry standard for post-production workflows and final deliverables. You will need to re-map 32-bit float audio back into a 24-bit fixed point space at some stage of post-production.

If you've recorded audio tracks with moments of super-loud sounds and simply convert that straight to 24-bit, you'll probably end up with clipped, distorted audio. You'll need to fine-tune the levels after capture to ensure they've been adjusted to within the limits of the 24-bit audio format, just as you would ultimately have to choose which highlights and black tones to retain in a Raw photograph to preserve the details ahead of printing, even if you'd captured an absolutely vast dynamic range when you took the photo.

Is this the ultimate in audio for professionals? Well, seeing how Hollywood productions have dedicated audio engineers on-set, probably no. That said, it can be a big help for smaller production teams, independent filmmakers, live event filming scenarios or single-person video creators where it is difficult to monitor audio levels all the time. Having the flexibility of 32-bit float audio to recover sounds that are too loud or too quiet in post-production can be a lifesaver.

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/RV5Qq2i
via IFTTT

via Fstoppers https://ift.tt/6Nmo1QU

We're hard at work completing our final review of Canon's ultra-compact EOS R50 mirrorless camera. While those of us with larger fingers have found the R50's tight controls challenging to use, the camera delivers when it comes to the most important thing: image quality. A fresh set of samples with a production camera are now available for your perusal.

Click here to see our Canon EOS R50 sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/178QNXS
via IFTTT

We're hard at work completing our final review of Canon's ultra-compact EOS R50 mirrorless camera. While those of us with larger fingers have found the R50's tight controls challenging to use, the camera delivers when it comes to the most important thing: image quality. A fresh set of samples with a production camera are now available for your perusal.

Click here to see our Canon EOS R50 sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/0UFOhra
via IFTTT

We've added the Leica M11 Monochrom images to our studio scene comparison tool. The images show the added detail level that can be achieved if you don't have to demosaic the images, as well as the improved noise performance that comes once you remove the color filter array.

A roughly one stop increase in the amount of light reaching the sensor silicon means around a one stop improvement in noise at each ISO (albeit with a resulting one stop increase in the camera's base ISO, canceling out some of the benefit when you have enough light to use base ISO).

Interestingly, at higher settings, you may conclude that the improvement is more than a single stop, as the monochromatic rendering of the noise is perhaps more akin to film 'grain' in some regards and is arguably less visibly objectionable (though it doesn't vary in size with ISO as physical grain does).

Retraction of M11 images

As we worked on the M11 Monochrom images, it became apparent just how far from optimal the color M11's images were. The images looked similarly sharp as they were being shot and, without a reference point for this lens, seemed to be acceptably in-focus when assessed in isolation. Seeing the M11 Monochrom images shows that the lens is capable of much greater sharpness than we'd achieved with the color camera.

We apologize for publishing these potentially misleading images and are working with Leica to borrow the camera again so that we can ensure our test images represent the camera in the most accurate light. These will be shot as soon as the studio scene has been set up and validated in our new studio.

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/IhHg7mX
via IFTTT

Keep it classy and affordable with the Canon Demi EE17 half-frame camera. Photo: Dan Bracaglia

No, you aren't imagining things – the cost of shooting film has gotten ridiculous. You can’t even pick up a 36-exposure roll of Kodak UltraMax 400 for less than $10 these days. Want a roll of Portra? That'll be $18. Not only is this a bummer for current analog shooters but it’s also a financial barrier for those curious about the medium.

Fortunately, there’s a simple way to double the number of shots you get per roll – from 24 to 48 or 36 to 72 – and that’s by using a half-frame film camera. While standard 35mm frames are 36x24mm, half-frame cameras split the image vertically, producing two 24x18mm images for every single full 35mm frame.

[Half-frame] cameras became popular for their diminutive size and cost-saving design

First introduced in the 1960s in Japan, these cameras became popular for their diminutive size and cost-saving design. These days, they are popular for similar reasons and also because they make it super-easy to capture in-camera diptychs.

Below you’ll find a selection of half-frame models to suit every taste, from entry-level automatics to fully manual models. Some of these cameras were released in the past few years, while others debuted in the past several decades. Whether you prefer Space Age design, a chunky 80s aesthetic or a sleek modern look, we’ve got you covered.

Most affordable: Kodak Ektar H35 half-frame camera

The Kodak Ektar H35 is the simplest half-frame camera on our list. It's also the newest. Photo: Kodak

The Kodak Ektar H35 is the newest half-frame camera on our list. Launched in May 2022, this model is your most affordable entry point into the world of half-frame film photography (aside from disposables).

Tiny in size with a weight of just 100 grams (3.53 oz), the Ektar H35 is built entirely of plastic and sports a fixed 22mm F9.5 wide-angle lens and a built-in flash. Aside from toggling the flash on and off, there are no additional creative or exposure controls; the shutter always fires at 1/100 sec. Simply point, shoot and advance the film. Focus is also fixed.

This camera is perfect for someone just beginning their creative adventure in analog

This camera is perfect for someone just beginning their creative adventure in analog. The flash is powered by a single AAA battery, though the camera can be operated sans battery. Plus, the Ektar H35 comes in four snazzy colors, including my favorite, Sage (pictured above).

Another affordable option in this category, the AgfaPhoto Half Frame camera, is similar in design and simplicity to the Kodak. Either can be purchased for less than $50 from major camera stores and retailers.

Most versatile: Lomo LC-Wide 35mm

The Lomo LC-Wide 35mm is pricey but feature-packed. Photo: Lomography

For a more feature-rich modern half-frame option, look no further than the Lomo LC-Wide 35mm. This tiny wonder allows users to choose between shooting full-frame or half-frame images on the fly. There’s also an option to shoot square frames.

Like the Kodak Ektar H35, exposure control on the Lomo LC-Wide 35mm is fully automatic, though you can use the ISO wheel to manually override it. However, exposure control is more sophisticated on the Lomo thanks to a variable-speed shutter (bulb to 1/500 sec) and variable aperture lens (F4.5 to F16).

This tiny wonder allows users to choose between shooting full-frame or half-frame images

Up front, the Lomo sports a high-quality 17mm wide-angle lens with two focus settings: Near (0.4m to 0.9m) and Far (0.9m to infinity). There’s no built-in flash, but a hotshoe allows for an accessory unit to be attached.

Other notable features include the ability to shoot multiple exposures, a bulb mode, a threaded shutter release and a bottom tripod socket. Of course, all this sophistication comes at a somewhat steep price of $400. But hey, this is the most advanced new half-frame camera available in 2023.

Classy and fully manual: Canon Demi EE17

With full manual controls and stunning good looks, the Canon Demi EE17 is among our favorite classic half-frame options. Photo: Dan Bracaglia

Forget Hasselblads and Leicas – I’m convinced this 1960’s Canon half-frame model is the classiest-looking camera of all time. Better yet, these bodies are fairly easy to come by in decent working order, which is impressive for a nearly 60-year-old camera.

Oozing Space Age charm, the Canon Demi EE17 was Canon’s top-of-the-line half-frame model when it launched in 1966. With a sharp, fast 30mm F1.7 lens, a bright viewfinder and accurate metering, there’s a lot to like here. You also get fully manual controls as well as shutter priority shooting.

The controls are a bit strange, though. Users set their shutter speed via a dial on the lens barrel (from bulb to 1/500 sec). Meanwhile, the aperture control is located around the front of the lens (F1.7 to F16).

Oozing Space Age charm, the Demi EE17 was Canon’s top-of-the-line half-frame model when it launched in 1966

Focus is adjusted using a tab along the left side of the lens barrel – you’ll also find a corresponding focal distance scale at the base of the barrel. Additionally, a rudimentary focus distance scale is visible at the bottom of the viewfinder. Metering info is also displayed in the finder; a needle points to the correct corresponding aperture based on your chosen shutter speed.

Constructed of aluminum and wrapped in leatherette, the Canon Demi EE17 doesn’t just look pretty; it’s also solidly built (and a tad heavy). On the used market, you can expect to pay anywhere from $150 to $300. And while these cameras work without a functioning meter (or batteries), you’ll get more enjoyment out of one that does function properly.

A fan favorite: Olympus Pen EE-2

The Olympus Pen EE-2 is another handsome 60s-era half-frame camera. Photo: Jastrow

The Olympus Pen series is perhaps the most well-known half-frame family of cameras ever created. With 15+ variations to choose from, many of which are still great today, we’re going to focus on just one: the Olympus Pen EE-2. This doesn’t mean that other Pen models are more or less worthy of your consideration – the Olympus Pen F SLR certainly is – this is just our favorite thanks to its simple, straightforward design.

If you found the Canon Demi EE17 tempting but prefer something a bit more automatic, the pocket-friendly Olympus Pen EE-2 is worth considering. Making its debut in the late 1960s, the ‘EE’ in the name stands for ‘electric eye,’ which refers to the selenium cell light meter located around the lens. These meters require no battery power to function, nor does the camera.

The Pen EE-2 is easy to operate with fixed focusing and automatic exposure control

The Pen EE-2 is easy to operate with fixed focusing and automatic exposure control. The camera chooses between two shutter speeds, 1/40 and 1/200 sec, depending on the aperture, which ranges from F3.5 to F22. For additional control, users can bias the automatic exposure using the ISO dial (25 through 400). There’s also a manual override that allows you to dial in the aperture of your choice.

In addition to the camera’s stellar looks – just look at that gorgeous frame counter – users also get a super-sharp 30mm F3.5 lens as well as a flash sync port and cold shoe mount.

The Olympus Pen EE-2 can be picked for under $200 on the used market but be sure to opt for one that’s been fully tested. Selenium cell meters eventually stop working, especially when continuously exposed to light. So you’ll want to buy one that’s been stored with a lens cap on. That said, even if the light meter is fried, the camera is still operable, though considerably less simple to use.

Strangest looking: Yashica Samurai X3.0

Say hello to one of the world's first 'Bridge' cameras. Photo: BlueBreezeWiki

Not all half-frame cameras look like rectangular boxes with a lens attached. Some look like a camcorder RoboCop might use. Meet the Yashica Samurai X3.0, a half-frame camera from, you guessed it, the late-1980s.

Larger and whackier than any of its aforementioned half-frame friends, this is the only model on our list that’s an SLR instead of a viewfinder camera. The ‘X3.0’ in the name refers to the built-in x3 optical 25-75mm F3.5-4.5 zoom lens. You also get autofocus, autoexposure and a built-in flash. Other fun features include a self-timer, sequence shooting and a strange handgrip that slides between the user’s index and middle finger.

This is the only model on our list that’s an SLR instead of a viewfinder camera

Weird form factor aside, this is a super-capable half-frame point and shoot, and a camera that’s definitely going to turn some heads. It’s also one of only a handful of half-frame cameras with a zoom lens and autofocus. Best of all, you can easily find one for around $100.

The wrap

Ultimately, half-frame photography is a great way for anyone to dip their toes into 35mm without worrying too much about wasted shots. And the options there, both new and vintage, are plentiful and fairly affordable. These cameras can let you dabble or dive right in and get creative – that’s what film photography is all about, after all!

What’s your favorite half-frame film camera? Let us know in the comments below.

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/mHBOG1r
via IFTTT

via Fstoppers https://ift.tt/g9Xe6AZ

via Fstoppers https://ift.tt/sl6j7aU

via Fstoppers https://ift.tt/lPsKnDU

via Fstoppers https://ift.tt/Q7M5ghT

via Fstoppers https://ift.tt/CdvGe1K

An aircraft taking off from Ronald Reagan National Airport is seen passing in front of the supermoon as it rises, Sunday, Dec. 3, 2017, in Washington. (Image credit: NASA/Bill Ingalls)

Astronomers and astrophotographers will already be in the know, but if you're interested in getting some spectacular photos of the Moon any time soon, then be on the lookout for the upcoming 'blue supermoon' on August 30, 2023. We already had one 'supermoon' earlier in the month, back on August 1st, but if you missed your chance, then there's another opportunity right around the corner. While the monthly occurrence of a full moon is a pleasing and often awe-inspiring sight, the larger and brighter supermoon phenomenon is a bit less common. It also provides an excellent opportunity to create some truly stunning and unique images of our lunar neighbor.

For those who are curious about what a supermoon actually is and are interested in some tips on properly photographing this event, let this handy little guide help you out!

What exactly is a supermoon?

First things first, though. What is a supermoon, and why is it different than a normal full moon? Also known as a 'perigean full moon' in astronomical terms, a supermoon occurs when the Moon's phase is at its fullest, and its orbit is at the closest to the Earth – otherwise known as the perigee. In other words, when we have a full moon happen at the same time as when the Moon is at its closest point near the Earth, we get a 'supermoon'.

NASA Armstrong Flight Research Center photographer Lauren Hughes takes photos of the Super Blue Blood Moon eclipse from California’s Trona Pinnacles Desert National Conservation for the Jan. 31 of the total lunar eclipse that provided a rare opportunity to capture a supermoon, a blue moon and a lunar eclipse at the same time. Image credit: NASA/Lauren Hughes

The reason for this phenomenon is due to the fact that the Moon's orbit is not perfectly circular but rather elliptical. There are points during this oval-shaped orbit where the Moon is the furthest away from the Earth, the apogee, and then closest to the Earth, the perigee. From our perspective here on Earth, the Moon's apparent size fluctuates during this orbit as it gets closer and farther away from us. During a supermoon, the Moon can appear about eight percent larger and approximately 16 percent brighter than a typical full moon. Compared to full moons that occur at the farthest distance from Earth (at the apogee), supermoons appear about 14 percent larger and about 30 percent brighter.

However, this upcoming August 30th supermoon is notable for a couple of reasons. For one, this will be the biggest and brightest supermoon of the year, as the Moon is coming particularly close to the Earth, at 357,344 km (222,043 miles) – or about 27,359 km (17,000 miles) closer than average.

A supermoon, is seen as it rises behind the U.S. Capitol, Monday, March 9, 2020, in Washington, DC. Image credit: NASA/Joel Kowsky

The second special thing about this upcoming supermoon is what gives it its unique name as a 'blue bupermoon'. You may recognize the phrase 'once in a blue moon'. It's an idiom used to describe a rare but repeating event. A 'blue moon' happens when you have two full moons during the same month. We had a full moon on August 1st, and we'll have another one again on August 31st. In an astronomical sense, a blue moon isn't, despite the idiom, all that rare. They happen about every two and a half years or so. However, a blue supermoon is, in fact, much more uncommon. The last blue supermoon occurred in December 2009, and after the one at the end of the month, we won't see another one until August 2032. Yes, 2032. Fingers crossed for good weather and clear skies!

So, it goes without saying that capturing some beautiful photos of the blue supermoon would make for a special treat.

How to photograph the supermoon

Most will tell you there's no inherently right or wrong way to photograph any subject. We photographers all have our own unique perspectives, visions and creative styles in how we approach making a photograph. There are a plethora of ways to photograph the upcoming supermoon, and there's not one correct way to do it necessarily.

During the supermoon, you can, of course, capture excellent shots of the Moon just on its own in the night sky. The procedure for capturing this type of photo is pretty straightforward and is the same as how I would approach taking photos of a regular full moon. However, given the supermoon's characteristic larger and, well, super appearance compared to a regular full moon, classic supermoon photographs tend to be shot in a way that emphasizes the size of the Moon through perspective, juxtaposing it against the surroundings.

Get up close and person to the moon with a long, telephoto lens. Taken with an OM-1 and the 300mm F4 Pro + 1.4x teleconverter, this is a good image of the Moon itself alone in the night sky. However, it lacks any sort of context or foreground objects to give the Moon a sense of scale to showcase its sheer size. Image credit: William Brawley

For starters, a word about exposure settings: the Moon, super or otherwise, is surprisingly bright. Unlike typical night-sky photography, you won't need a super-fast aperture lens or high ISOs. For the Moon, you'll want the opposite. Start at ISO 100, and don't be afraid to stop your lens down some. You may also need to dial back the exposure, either through manual exposure mode or by using exposure compensation, to keep the Moon from being overexposed against the darker evening or night sky.

What equipment do I need to photograph the supermoon?

For lunar photography, it does help to have some specialized equipment, namely, a long telephoto lens – something around 300-400mm is a great starting point, but I've gone even longer, such as 600mm-equivalent with my Olympus 300mm F4 PRO lens. Even a long-zoom camera with a far-reaching, built-in zoom lens can work well, too.

Another key piece of gear is a tripod. While many modern cameras have fantastic image stabilization, you'll have better results with a sturdy, solid tripod in this situation.

Taking a shot of the Moon in the dark night sky is all fine and good, but to really emphasize the supermoon, it's best to juxtapose it with some buildings, terrain or other objects in the foreground to give the Moon a sense of scale. Let your creativity run free. You could capture a shot of the huge supermoon peeking out from behind skyscrapers downtown or perhaps have some trees silhouetted in front of a giant orange moon. It's up to you and what your surroundings have to offer.

A supermoon rises behind the Washington Monument, Sunday, June 23, 2013, in Washington. Image credit: NASA/Bill Ingalls

To get that low-to-the-horizon composition or that vibrant, orange glow to the Moon, you'll need to time your shooting during the early moonrise period in the late evening. Having the Moon just peeking over the horizon gives you a better chance to get the classic shots with objects in the foreground. Plus, due to the Earth's atmosphere, much like with the 'golden hour' during sunset, the Moon will take on those golden, yellow or orange hues. When it's lower to the horizon, light reflecting off the Moon travels a longer distance through the atmosphere. During that time, the bluer, shorter wavelengths of light are scattered away, leaving more of the redder wavelengths.

How do I plan my shot of the supermoon?

But where will the Moon be relative to my location? Where do I need to go to get a good shot? One way to help plan your composition is to use apps like the Photographer's Ephemeris or PhotoPills. These apps will let you map out your location and give you the time, angle and other critical details as to where the Moon will be at a specific point and what angle you'll need to face.

Apps like the Photographer's Ephemeris can help you map out your shot, showing you the time, the light direction and more information about the Sun, Moon and the Milky Way. Available on desktop (seen here) or on mobile apps, the mobile version can also use augmented reality to overlay where the Moon will be at a specific time in a given location.

If you have an idea of where to shoot, I'd also recommend doing a little reconnaissance mission a day or so beforehand, if possible. That will help you plan the ideal location, where to place your camera and give you a sense of what the landscape looks like and what subjects or objects you can incorporate in your supermoon composition.

The Photographer's Ephemeris mobile app uses AR to help visualize where the Moon will be in the sky at a certain time in a specific location.

Lastly, one more tip about composition. You'll want to use your telephoto lens or the longest lens you get your hands on. Ideally, you'll also want the objects, whether trees, a hillside or a building, far off in the distance. You'll use your telephoto lens to help compress the scene, bringing the far-away object(s) and the supermoon up close. The perspective compression offered by the telephoto focal length helps accentuate the size of the Moon, providing a kind of optical illusion effect in terms of the sense of scale compared to the foreground scene.

Have you taken photos of the supermoon before? What are some of your favorite places to take moon photos? Do you have a favorite tip or trick to pull off fantastic moon photos? Leave us a comment down below!

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/bC39AVM
via IFTTT

via Fstoppers https://ift.tt/YbjNoL4

Hasselblad announced a new XCD 28mm F4 P wide-angle prime lens for its compact X System of medium format mirrorless cameras. This constant-aperture prime lens features a 22mm-equivalent focal length in 35mm terms and is the company's second widest X System lens, after the XCD 21mm F4 prime. The new 28mm F4 lens takes the crown from Hasselblad's earlier XCD 45mm F4 P lens as the smallest and lightest lens in their X System lens lineup.

Constructed from metal and featuring a matte black finish, the Hasselblad XCD 28mm F4 P lens is a highly portable prime designed for street photography, landscapes, or anyone looking to have a travel-friendly setup for their X1D II 50C or X2D 100C cameras. The lens's design is straightforward, with minimal external features apart from a rubberized focusing ring. Unlike Hasselblad's higher-end V-series lenses, this 28mm F4 lens does not offer a manual aperture ring nor a marked focusing distance scale on the lens itself.

Optically, the XCD 28mm F4 P lens is comprised of nine total elements in eight groups. The lens includes two aspherical elements and one ED element to help combat chromatic aberrations. Other optical design features include a 22mm minimum focusing distance and a 1:6 magnification ratio. It's not characterized as a macro lens, but the 28mm F4 P lens should offer good close-up photography capabilities. Like all XCD lenses, the 28mm F4 P also features a leaf shutter design, allowing for flash sync up to 1/4000s.

X2D 100C + XCD 4/28P. Photo courtesy of Hasselblad. Credit: Linus Englund

Autofocus is powered by a linear stepping motor, which should offer fast and quiet focusing performance, even when used with the phase-detection AF system of Hasselblad's X2D 100C.

As part of Hasselblad's P Series, the XCD 28mm F4 P is designed as more of an entry-level, everyday lens compared to the V Series lenses. These higher-end optics feature higher optical performance, faster apertures and additional control features, such as physical aperture dials. Despite this, the new XCD 28mm F4 P lens is designed to meet the resolution requirements of Hasselblad's 100-megapixel X2D 100C.

X2D 100C + XCD 4/28P. Image courtesy of Hasselblad. Credit: Qianli Zhang

Pricing & Availability

The Hasselblad XCD 28mm F4 P lens is now available for pre-orders at an MSRP of $1,697.

Press Release:

Hasselblad Announces XCD 4/28P, a Lightweight, Wide Angle Lens for Street Photography

XCD 4/28P is a wide-angle lens with a 22mm equivalent focal length and F4.0 aperture, making it a breeze to capture a wide range of scenes from nature, city streets, and urban architecture. Measuring 43.5mm in length and 245g in weight, XCD 4/28P is the lightest and smallest lens of the Hasselblad X System.* This portable lens with precise optical design empowers photographers to capture the world with the click of a shutter.

XCD 4/28P adopts an optical structure of nine elements in eight groups, including two aspherical elements and one ED element, which ensures excellent imaging while effectively suppressing chromatic dispersion. With a thoughtfully crafted arrangement, the lens has a compact size and a powerful performance, meeting the resolution requirements of 100 million pixels. The lens yields sharp imaging with high precision and high resolution from the centre to the edges, achieving stunning image quality across the frame.

The metal lens features an engraved focus ring with a Hasselblad “H” pattern, a nod to the design of the XCD Series lenses, and holds to Hasselblad’s ongoing dedication to detail and craftsmanship.

With a 22cm minimum focusing distance and 1:6 magnification, rich close-ups of flowers, cuisine, and much more are effortlessly captured.

XCD 4/28P sports a linear stepping motor and a lighter, smaller focusing lens group. When used with the PDAF technology of X2D 100C, the focusing lens group can quickly reach the focusing position and achieve a precise stop. Resulting in fast, accurate, and responsive focusing.

The lens’s small but powerful leaf shutter supports shooting with flash synchronisation at all shutter speeds, with flash synchronisation up to 1/4000s.

There are currently two Hasselblad XCD lens series, V Series and P Series. The P Series consists of entry-level thin, lightweight lenses that can meet daily photography needs. P Series lenses work with the X2D to offer more shooting possibilities for travelling photographers.

The V Series focuses on optical performance and control experience. The lenses have a larger aperture delivering a more pronounced background blurring effect. They also feature a depth of field scale, distance scale, and a focus ring that can be switched between autofocus and manual focus, with a customisable control ring. The V Series currently includes the XCD 2,5/38V, XCD 2,5/55V and XCD 2,5/90V.

The Hasselblad XCD 4/28P Lens has an MSRP of EUR €1,899, including sales tax, and USD $1,679, excluding sales tax. It is now available to order immediately. See details of the new product at www.hasselblad.com.

* As of August 2023.

Principal specifications
Lens type	Prime lens
Max Format size	Medium Format (44x33mm)
Focal length	22 mm
Image stabilization	No
Lens mount	Hasselblad X
Aperture
Maximum aperture	F4
Minimum aperture	F32
Aperture ring	No
Optics
Elements	9
Groups	8
Special elements / coatings	2 aspherical, 1 (ED) element
Focus
Minimum focus	0.22 m (8.66″)
Maximum magnification	0.17×
Autofocus	Yes
Focus method	Internal
Physical
Weight	245 g (0.54 lb)
Diameter	75 mm (2.95″)
Length	44 mm (1.73″)
Filter thread	72 mm
Tripod collar	No

from Articles: Digital Photography Review (dpreview.com) https://ift.tt/wCSefsn
via IFTTT