Leica Unveils 75mm f/2 and 90mm f/2 Lenses for the SL System

Leica Unveils 75mm f/2 and 90mm f/2 Lenses for the SL System

Leica has announced two new prime lenses for its Leica SL-System: the APO-Summicron-SL 75mm f/2 ASPH and APO-Summicron SL 90mm f/2 ASPH.

As part of a new line of “high-performance Summicron-SL lenses,” the two lenses have been designed and constructed in Germany using “exceptional materials” to allow for a “long work life.”

Both lenses have fast and silent autofocus systems, with a “considerably” close focus limit: 0.50 meters (19.69 inches) for the 75mm, and 0.60 meters (23.62 inches) for the 90mm. The entire focus range can be traveled in an impressive 250 milliseconds. That’s thanks to the “extremely powerful and robust” stepping motors with DSD (Dual Syncro Drive).

Leica says that it paid meticulous attention to the prevention of stray light and reflections during the construction of the lenses, and together with high-quality coatings to each lens surface has meant for unavoidable reflections to be reduced to a minimum.

The lenses are also Apochromatic (APO), meaning they are corrected to allow photographers to capture photos in high contrast situations with minimal chromatic aberration. They’re constructed of 11 elements (in 9 groups), one of which is aspherical, and all elements feature anomalous partial dispersion.

Both lenses have 9 diaphragm blades, are sealed, and have a filter thread of 67mm. The 75mm lens weighs 720 grams, and the 90mm weighs 700 grams.

The Leica 75mm f/2 and 90mm f/2 lenses will be available in February 2018, costing $4,750 and $5,150 respectively. Leica will also be launching a 35mm f/2 and 50mm f/2 lens to the join this new series in the second half of 2018.

Source: PetaPixel

Leica Unveils 75mm f/2 and 90mm f/2 Lenses for the SL System

Nikon’s Full Frame Mirrorless to Have New Z-Mount: Report

Nikon’s Full Frame Mirrorless to Have New Z-Mount: Report

Nikon’s upcoming full frame mirrorless camera may not be compatible with F-mount lenses without the use of an additional adapter. A new report suggests that the company has developed a new “Z-mount” for its professional full frame mirrorless system.

During CES 2018 in Las Vegas last week, Nikon Rumors heard the interesting rumor that Nikon will introduce a new Z-mount with an external diameter of and a flange focal distance of 16mm.

By comparison, the Nikon 1 series mirrorless system has a flange focal distance of 17mm with its relatively tiny 1-inch CX sensor. The Nikon F-mount full frame system has a flange focal distance of 46.5mm and an external diameter of 44mm. The Sony E-mount, which is used on Sony’s full-frame cameras, has a flange focal distance of 18mm and an external diameter of 46.1mm.

A comparison of sensor sizes. Full frame and Nikon CX sizes are indicated with arrows. Image by Moxfyre and licensed under CC BY-SA 3.0.

The Z-mount will be “[d]esigned for full frame mirrorless cameras,” Nikon Rumors writes. “Keep in mind that ‘Z-mount’ may not be the final marketing name, but I believe the dimensions are right.”

Nikon said in July 2017 that it was actively building a camera that would “raise the bar,” and the company followed up in September 2017 by saying that it must go full frame if it was to be competitive in the mirrorless market. Patents filed by Nikon for full frame lenses emerged around the same time.

Canon is also turning its attention to the mirrorless market, recently asking its professionals what features and specs they would be enticed by in a professional mirrorless camera.

“This is where Canon could really have an advantage,” writes Canon Rumors. “If they can somehow make the 130 million or so EF lenses compatible with a full frame mirrorless without an adaptor, they won’t have a hard time getting Canon DSLR shooters to add a full frame mirrorless to their kit.”

Source: PetaPixel

Nikon’s Full Frame Mirrorless to Have New Z-Mount: Report

Ep. 246: Can They Really Not See This in Italy? – and more

Ep. 246: Can They Really Not See This in Italy? – and more

Episode 246 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Playemail or RSS!

Featured: Sony Artisan of Imagery, Robert Evans

In This Episode

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Show Opener:
Sony Artisan of Imagery, Robert Evans opens the show. Thanks Robert!

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More at LensShark.com/deals.

Canon makes an interesting error and Elia Locardi disagrees. (#)

Two credible reports of issues with certain Fujifilm issues. (#)

Word that Canon may be firming up a feature set for its future full-frame mirrorless system. (#)

Kodak introduces the Scanza…which isn’t as 2018 as its cryptocurrency endeavors. (#)

Facebook is limiting what you and your followers see…and what to do about it. (#)

Flying your drone drunk in New Jersey may officially be a problem soon. (#)


My other podcast with Brian Matiash, the No Name Photo Show.

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on TwitterInstagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”

Source: PetaPixel

Ep. 246: Can They Really Not See This in Italy? – and more

How to Photoshop Portraits in the Style of Pam Dave Zaring’s Family Photos

How to Photoshop Portraits in the Style of Pam Dave Zaring’s Family Photos

Want to retouch your photos to look just like Pam Dave Zaring’s amazingly bad family photos that have been going viral? Photoshop expert Antti Karppinen has just released a tutorial showing how you can achieve the exact same look in Photoshop.

In case you missed it the first time around, a woman named Pam Dave Zaring just sparked a huge viral sensation on the Internet after sharing what she claims are family photos delivered by a professional photographer Zaring had paid $250.

Karppinen studied the photos and broke down the steps you’ll need to take to correct harsh shadows in the same way. Here’s the photo he started with:

First, you’ll need to take a dark brush and bring more definition to the eyes, nose, and mouth by drawing them in over the original photo.

You then smooth out the subject’s skin by using the Mixer Brush Tool with the Wet setting at 50% and Sample All Layers checked.

Painting some more colors into the facial features and add some eyebrows, and you’re getting close to your final result.

The final step is to drop the Saturation of your photo and use Selective Color to cool down the tones.

Here’s a before-and-after comparison showing the effectiveness of this technique:

Watch the fantastic 11-minute tutorial video above for the full step-by-step guide on this retouching process. You can also find more of Karppinen’s work and tutorials on his YouTube channel, website, Facebook, and Instagram.

Source: PetaPixel

How to Photoshop Portraits in the Style of Pam Dave Zaring’s Family Photos

‘Tilt-Shift Effect’ Drone Shots of Tiny Kayakers in a Tiny World

‘Tilt-Shift Effect’ Drone Shots of Tiny Kayakers in a Tiny World

Here’s a beautiful 2-minute short film by Raphael Boudreault-Simard of Flow Motion Aerials that shrinks kayakers and the beautiful outdoors into a miniature world using a tilt-shift effect.

“We shrunk two kayakers and this happened,” writes Red Bull, which published the video.

Boudreault-Simard was a kayaker himself before his career was cut short by a shoulder injury and surgery a few years ago. He then started flying a camera drone and picked up aerial filmmaking.

For this short film, Boudreault-Simard piloted his drone through difficult terrain to film athletes Aniol Serrasolses and Nouria Newman doing their thing in British Columbia, Canada. After 5 intense days of trekking and shooting, Boudreault-Simard edited his aerial footage, speeding up the frame rate and carefully applied the digital tilt-shift effect (his drone doesn’t support a tilt-shift lens).

Voila! Tiny kayakers riding rough waters in a tiny world.

(via Red Bull via Reddit)

Source: PetaPixel

‘Tilt-Shift Effect’ Drone Shots of Tiny Kayakers in a Tiny World

Shooting a Rolleiflex with Studio Flash and Rolleinars

Shooting a Rolleiflex with Studio Flash and Rolleinars

In this fast-changing age of digital photography, one ingredient missing is a full frame square format camera or digital back. Yes, you can always crop off for a square, but this is not the same as looking through a dedicated square format camera with full resolution. So, what does a photographer preferring the square format do? My option has always been to shoot square format film cameras.

This article is about a studio shoot using a Rolleiflex T, Rolleinars 1, 2 and 3, and a Profoto D1 Air 500 w/s monolight. I have no experience with any other Rolleiflex models, so please research flash synchronization with your particular equipment, and because Rolleiflex cameras are antiques (mine was originally purchased in 1959 as per registration card), make sure your camera has been serviced and is ready to shoot. My Rolleiflex was fitted with x-synchronization from the factory which made my preference of shooting with remote control flawless.

I enjoy abstract art and decided to shoot geometric shapes for this test. I find playing with shapes fundamental to how I approach framing shots. I like to keep things simple with lighting, so I will use one light with mirrors-as-fill light, and the camera will be mounted on my studio camera stand. Take note that because of the waist level design, the camera will be low to the ground since I am 5’3”.

Profoto D1 Air 500, Westcott Round Softbox, Mirrors as Fill Light (custom made), Profoto Air, Studio Stand

Here is the connection between my studio light and the Rolleiflex, a basic PC Sync Cord with a 3.5mm mini plug to PC (Prontor-Compur). I buy these a few at a time because from my experience, the PC cord is the first to break the connection between camera and flash. Before I retired from commercial work, I had Paramount Cords make custom cords for my equipment, and I may resort to that again, but as long as I have a few in the studio, I have backups. Different remotes may use different sized mini plugs, so do your research here as well. If your light does not have a remote-control trigger, use a cord that fits your light’s PC connection and your camera.

Common PC Sync Cord with 3.5mm Mini Plug that Fits Air Remote and Rolleiflex T
PC Sync Cord Connection Between Air Remote and Rolleiflex T

Now that the lighting is set, I can test the Rolleinars. Why am I testing these? Because the first time I used them, I screwed up a few photos by not paying attention to a very important Red Dot. The newest of the Rolleinars come in a set of two. The smaller lens is for the taking lens (bottom lens takes the picture), and the larger lens is for the seeing lens (top lens is for seeing). The top part of the Rolleinar is larger because it incorporates a prism along with the diopter that corrects for close focusing parallax.

Rolleinar 3 (Bay 1): Seeing Lens (left) and Taking Lens (right)

If you do not have the Red Dot aligned as shown in the photo, “what you see is not what you get.” At least in my case that is what happened, as I lost about a third of my photo. Not only did I want to test for parallax in this session, but I also wanted to see from a standing position what I could do with the power of the Rolleinars.

Rolleinar Red Dot in Correct Position

The Results

The photos below were shot at f/16 with Acros 100 developed in Pyrocat HD. The film was scanned on an Epson V700 and post-processed in Lightroom. There was no stacking of filters and the four photos were shot in an orderly sequence: no Rolleinar, Rolleinar 1, 2 and 3. The following photos are shown not in the sequence as shot, and it is up to your vision to try to guess which Rolleinar was used. I hope you have enjoyed what you have read and seen in this article. Happy Holidays!

About the author: Darlene Almeda is a commercial photographer and photography teacher of over 30 years. You can find more of her work and writing on her website and blog. This article was also published here.

Source: PetaPixel

Shooting a Rolleiflex with Studio Flash and Rolleinars

Proenza Schouler Unveils Earthy SS18 Campaign

Proenza Schouler Unveils Earthy SS18 Campaign
Barely a month after releasing a sexy campaign spread for Spring 2018, New York-based duo Jack McCollough and Lazaro Hernandez reunited with photographer Tyrone LeBon to show off more from Proenza Schouler’s SS18 collection. Trading sensuality for elegance, the spread features items from the designer label that were featured in Paris during their Haute Couture show last season.

With a picturesque Long Island sky as the backdrop, model Sasha Pivovarova is draped in breezy pastel gowns and swi…

Keep on reading: Proenza Schouler Unveils Earthy SS18 Campaign
Source: V Magazine

Proenza Schouler Unveils Earthy SS18 Campaign

Fujifilm Lenses Have Quality Control Issues: Reports

Fujifilm Lenses Have Quality Control Issues: Reports

Fujifilm may have a quality control issue on their hands. Two reports have emerged this month of new Fujifilm lenses arriving with sizable dust specks, cracks, and excessive variations between copies.

Photography Life reported on January 3rd that they discovered “multiple samples of a number of lenses” having debris between lens elements that is impossible for the photographer to remove without having the lens serviced at a repair center.

“While I am generally happy about lens variation of GF lenses and I am especially happy with their excellent performance, I am not a big fan of Fujifilm’s QA processes,” writes Nasim Mansurov. “It seems to me that Fuji is almost rushing with the medium format GF lenses, trying to deliver as many units as possible to try to match the demand, while paying less attention to its manufacturing processes.”

Mansurov says he has found that this issue is particularly rampant in Fuji GF lenses. For one lens, the GF 110mm f/2, Mansurov had to return two different copies in search of one that was dust-free.

What’s more, Mansurov has found that cheaper Fujifilm lenses have too much quality variation between copies of the same lens.

“[C]heaper lenses like the GF 45mm f/2.8 and GF 63mm f/2.8 have shown more variation than I would like to see,” he says. “The lens to watch out is the GF 32-64mm f/4. While it is a pretty solid performer overall, the samples I have tested so far had uneven corner to corner performance, indicating poor assembly / decentering issues.”

Fujiaddict echoed the same findings today. After ordering a Fujinon GF 110mm f/2, Louis Ferreira found specs and “fuzz” throughout the lens elements as well as a nasty crack through the lens hood.

“I know there have been some reports of a speck here or there, but I have never seen a lens this bad from Fujifilm, nor have I ever purchased a lens that came in this shape,” Ferreira writes. “There was no damage to the shipping container or box and these lenses come very well packaged, so I have to presume this damage occurred entirely at Fujifilm.

“The lint coating had to have happened at the factory because the lens comes tightly wrapped in plastic and the plastic and inside of the box were clean. The cracked hood also likely occurred at the factory before packaging and went unnoticed while packaging.”

We’ve reached out to Fujifilm for comment and will update this post if/when we hear back.

Source: PetaPixel

Fujifilm Lenses Have Quality Control Issues: Reports

How To Get Medium Format Colors With Full Frame

How To Get Medium Format Colors With Full Frame

Over the last few months, I have been in contact with Phase One to test their latest medium format camera, the IQ3 100MP Trichromatic. The standard 100MP backs from both Hasselblad and Phase One, already have incredible colors, due to being able to produce 16-bit raw files. Phase One, however, decided this wasn’t enough and their latest sensor is a genuinely brilliant update.

I have been rather tough on medium format in the past, however, this new camera is a significant step in the right direction. I will confidently call this the best sensor currently on the market.

The best, unfortunately, comes with a price, and the Trichromatic isn’t cheap (to say the least). Spending around $40,000 on a camera isn’t feasible for many of us, however, it may not be necessary.

In my latest video I demonstrate how you can achieve colors up to and possibly even beyond the capabilities of the Trichromatic with your full frame camera. Using a few techniques, I compare colors from the Canon 5DS R and the Phase One Trichromatic.

First thing is to ensure that your monitor has been correctly calibrated and to do this I use the i1 Studio from X-rite. I find this to be the best and most accurate. I’ve used a number of different calibrators and settled with the i1 due to the results and the ease of use. It may be advisable to have a number of custom ICC profiles that you can use depending on the project.

Ensuring that’s already been done, to get the desired colors from your full frame camera, I use a color checker passport. You may have already seen a number of videos about how the passport works, but, chances are you’ve probably never seen it compared to medium format and you’ve definitively never seen it compared to the Trichromatic. It’s incredible how much of an impact this small, relatively cheap device can have on your images. For less than $100.00 you’re able to create images with colors, that compete with and to some extent beat one of the most expensive cameras currently available.

Canon 5DS R
Phase One Trichromatic

As you can see from the images above, difficult colors like purples, reds and greens are more accurate and vibrant on the Canon image. There are certain areas like the CIF bottle on the far left and the highlighter on the bottom right of the image that really display differences. Of course, this is not to say that the Canon 5DSR with a profile is going to be “better” than the Phase One because it is still limited to 14-bit. The Phase One with its 16-bit files is going to have a much wider gamut and have far more flexibility.

Having said that, it’s still incredible what the color checker can do for your images and for that reason, I strongly recommend that every photographer have something like this in their workflow. Colors are extremely important.

Check out the full video for a more detailed comparison.

About the author: Usman Dawood is the lead photographer of Sonder Creative, an architectural and interior photography company. You can find more of his work on his website, Instagram, and Twitter.

Source: PetaPixel

How To Get Medium Format Colors With Full Frame