Dubblefilm Teams Up with Revolog for Creative Films, Unveils Major Changes
Dubblefilm has ended its relationship with the German pre-exposed film manufacturer KONO! and has announced a new partnership with Revolog to produce its line of creative film stocks. A number of changes are also being made to the lines in the process.
One of the big changes is that all of Dubblefilm rolls will have 36 exposures instead of 24. The cost of each roll is getting bumped from £10.50 ($13.87) to £12 ($15.85), but the higher number of exposures per roll means that the cost per photo is actually falling from $0.55 to $0.44.
Dubblefilm is also renaming a few of its film names. While Bubblegum and Jelly are keeping their names, Monsoon is now Pacific, Moonstruck is now Apollo, and Sunstroke is now Solar.
“People were confusing Moonstruck and Monsoon (true) so we changed both and took the advantage to change Sunstroke as it evoked negative feelings of getting an actual sunstroke (false),” Dubblefilm founder Adam Scott tells Kosmo Foto.
Here are sample photos shot with each of the 5 films:
Dubblefilm initially started as a mobile app called dubble, launched by Adam Scott in 2013. A place to mix your photos with other people around the world creating stunning double exposures. As a response the creative user-base of the app dubblefilm was born in 2017. Dubblefilm provides them with creative films to take their photography experimentation away from the smartphone and back to the routes of the company; analogue photography.
“[A]s we combine our ideas, connections and styles we are able to work on a new range of films together and there will be another big announcement in a few weeks!” Revolog writes.
Samyang First to 3rd-Party RF Lenses: A 14mm f/2.8 and 85mm f/1.4
Samyang has announced the first 3rd-party lenses for Canon’s new RF full-frame mirrorless camera lens mount. The Korean manufacturer has unveiled an MF 14mm f/2.8 and an MF 85mm f/1.4.
“As there are currently no Canon EOS R or EOS RP camera lenses from brands other than Canon itself, Samyang’s new RF mount launch announcement is a fast response to customer demand and market trends,” Samyang says. “It also proves the competitiveness of Samyang as a leading optical manufacturer.”
Both lenses feature Samyang’s Ultra Multi Coating (UMC), which reduces flare and ghosting. The lenses are also weather-sealed to protect against light rain and snow.
Samyang MF 14mm f/2.8 RF
The new Samyang MF 14mm f/2.8 RF is an ultra-wide-angle, manual-focus lens that provides a 115.7˚ angle of view that’s geared toward landscapes, architecture, and interiors.
The lens features a built-in petal shaped hood that blocks stray light.
Other features and specs include 14 elements in 10 groups, a minimum focusing distance of 0.92 feet (0.28m), a 6-bladed aperture, and a weight of 1.76 pounds (800g).
Canon Unveils RAISE, An AI-Powered Photo Sharing Service
Canon has announced the launch of RAISE, a new AI-powered photo sharing platform that’s geared toward helping photographers improve, organize, and share their photos.
“In 2017, approximately 1.2 trillion photos were taken; turning millions of people into prolific photographers, who are spending a tremendous amount of time arranging and searching through their library of photos,” Canon says. “To help photographers streamline their workflow and continually improve their craft, Canon [has] announced the company’s first online photo-community platform – RAISE.
“This new platform utilizes artificial intelligence (AI) to help photographers organize and categorize their photos through auto-tagging.”
Photos uploaded to RAISE (in JPEG format, with all ownership retained by the photographer) will be auto-tagged with the help of AI. In addition to basic category and subject tags, the AI will even add tags related to things like composition, style, emotion, and color.
Photos can be gathered into Collections to share privately or publicly, both inside and outside of RAISE.
In addition to hosting photos, RAISE aims to be a community of photographers built around the images. You can explore other people’s photos, receive insights from other photographers, and receive a personalized feed of photos based on your own uploads, tags, and preferences.
Evaluating the Fuji GFX 50R for Street Photography
Like its predecessors, the Fuji X100 and Fuji XT, the Fuji GFX 50R is a marvel of engineering, ergonomics, size, image quality, and price.
I had seen wonderful, giant prints at the PhotoPlus event that were created with the Fuji GFX, and with some unbelievable Fuji deals out right now (as of right now you can get the GFX with the 63mm lens [50mm equivalent] or 45mm lens [36mm equivalent] for $1000 off), it piqued my interest regarding how it would do as a frequently used street camera. So I rented it from LensRentals, it showed up at my door a few days later, and it blew me away so much that I ended up purchasing it a week later.
Let me start by saying this is not going to be overly technical of a review. I’m just going to share my opinions and some images. And this camera is certainly not going to replace my X100.
The Fuji X100
I want to use the X100 camera as a basis of comparison for the GFX, and quickly explain why I love the Fuji X100 so much (I’m currently using the X100T) before I get into a longer review of the GFX. The X100 is my favorite camera.
The size is perfect for an everyday walk around camera – you barely feel it on your neck. The images are wonderful, sharp, the colors are gorgeous, the noise at high ISOs is not significant and has a great look to it. The autofocus is snappy for a mirrorless camera. You’ve probably heard all of this already about the X100.
There are certainly cameras out there that do better at each individual point that I just mentioned, but I don’t think there is a camera that does all of them together as well as the X100, and particularly for the price.
The APS-C sensor size is fantastic for street photography. You can still blow up these images to create large prints with a wonderful feel to them. When zone-focusing you can set the camera to F8 or F5.6 and get a large range of sharpness in the image to be able to shoot in a spontaneous manner yet still come back with well-focused images.
Here are a few X100 example images.
Fuji GFX 50R
So if I was so happy with the X100, why did I consider the Fuji GFX 50R?
First, I did want to shoot content that I could print larger with a different level of quality. I think the APS-C prints blown up are gorgeous. I am one of those people that say variations of the oft-used quote, ‘The only people who look at large prints from inches away are other photographers.’
But I am a photographer, and those large GFX prints from close up, and from far away, are special. There is an edge to edge crispness, a lack of fringing, and a subtle and fantastic look to the tones and colors that just aren’t quite there in the X100 (although the X100 tones and colors are still gorgeous).
Because of this look, while I found myself preferring to convert to black and white much more often with the X100, I’ve found myself sticking to color most of the time with the GFX. They’re that good.
I tested out the 63mm f/2.8 and 45mm f/2.8 lenses (50mm and 36mm full frame equivalent) and ended up going with the 63mm, although I would love to have the 35mm as well at some point.
There are many other detailed reviews that will tell you the specifics, but these lenses are edge-to-edge sharp, which is incredible to see on a 40×60 inch print. They both go from f/2.8 to f/32, so you can create some incredibly sharp scenes from foreground to background at very small apertures, yet the bokeh at the larger apertures has a beautiful look to it.
And you can even use a variety of adaptors to add vintage lenses to the camera, including the Minolta Rokkor lenses. I haven’t tested this out, but it will be very exciting to try.
Size and Ergonomics
The GFX is not a small camera. It’s a tiny bit larger than the Canon 5D line. The lenses are fairly large too, and the size of the 32mm-64mm zoom lens is one of the reasons I didn’t even consider trying it. The 63mm and 45mm lenses are not small, but they are a great size for the camera and quality.
But this camera is light. At least for the size, it’s extremely light. It feels much lighter than the 5D, but it’s still a substantial camera. I feel comfortable shooting for three straight hours with it, although my neck is a bit sore the next morning, and whereas I can shoot with the X100 all day long.
This isn’t an everyday camera like the X100, but it is a camera you can use a lot of the time and for specific purposes.
The ergonomics are one of the best features of it, and I’ll explain more in my next and final point. It’s a snappy camera, the dials are easy to move, and the autofocus is very accurate and fast enough (although there is a noticeable lag after each shot, which takes a couple of days getting used to). I’m more accurate with it than the X100, which, while the size makes it perfect for everyday street photography, can be tough to use sometimes because it is so small, particularly in the winter with gloves or frozen hands.
But it’s a big, slower camera. This will turn off many of you, but for me, it was something that I wanted. I wanted to change how I shot.
The Main Reason: The Feel and Changing How I Shoot
The final, and main reason that I think this camera is perfect is that it’s not a spontaneous street photography camera. You can still get very good at it for spontaneous shots, and I did after a few days even though that can sometimes feel like shooting while riding a large mechanical bull, but that’s not the purpose of this camera.
When I go into Manhattan on the busy streets, with chaos all around, the X100 is my camera. I zone focus and shoot so quickly and spontaneously that people barely notice. It’s so easy to be nearly invisible, to steal your shots and then maneuver away.
But I wanted to slow down. I wanted to create a new body of work that felt different. I wanted to shoot in quieter areas and I wanted to be more obvious and methodical.
The GFX is perfect for this. When I walk down a quiet street with the X100 I’m just a creepy guy slinking around with a camera trying to steal shots. In certain areas, it feels weird capturing people in these quiet moments. With the GFX, I look like a photographer, inviting myself into people’s worlds and smiling, nodding, or interacting after I take the shot.
The moments feel slower, the shooting is slower, but I feel more present and involved in what I’m shooting. The experience doesn’t feel more intimate than shooting with the X100, but it’s a different kind of intimacy.
About the author: James Maher is a street, fine art, and studio photographer based in New York City. The opinions expressed in this article are solely those of the author. You can find more of Maher’s work on his website, Facebook, Twitter, and Instagram. This article was also published here.
Costco’s wholesale warehouse stores used to be an ultra-affordable place to get film developed, as it charged less than $2 a roll while competitors often charged several times as much. But film processing started disappearing from Costco locations a few years ago (to the dismay of many). Now the entire in-store photo departments may be the next to go.
Photographers around the United States have been receiving letters over the past couple of years informing them that their local Costco locations will no longer feature a photo department.
Hawaii, Massachusetts, and California are three known states where Costco locations have closed or announced the closure of their in-store photo services in recent months by sending customers emails and letters, but there may be other locations that have quietly followed suit without local press coverage.
In Massachusetts, Costco shuttered all photo departments except one, and in Hawaii, Costco closed the photo department at its busiest store in the state (Honolulu’s Iwilei store).
It seems that the general manager of each Costco has announced the closures with the same letter template. Here’s the letter that was sent out regarding the closure at the Woodland, California, location:
“Since the introduction of camera phones and social media, the need for printing photos has steeply declined, even though the number of pictures taken continues to grow,” the letter states. “After careful consideration, we have determined the print volume at the [CITY, STATE] Costco no longer requires on-site photo printing.”
The letters point customers to other Costco locations in the general area that still offer photo printing (for now) and reminds them that Costco also offers printing through its Costco Photo Center website — the letter even provides a free $50 credit to get customers started.
But gone are the days in which customers of shuttered locations can order prints online and conveniently pick them up in the store.
And for the industry as a whole, Costco shutting down its photo departments is not a good sign for photo printing.
“Mass retailer participation in a category is considered a key indicator of the overall vitality of the category,” writes The Dead Pixels Society. “Mass retailers have access to the best analytics, and make data-driven decisions. When a high-profile retailer decides to change space allocation or even exit a category, it sends ripples across the industry.”
US Bans Lithium-Ion Batteries in Cargo of Passenger Flights
The United States has officially banned lithium-ion batteries from being transported in the cargo holds of passenger planes. If you travel with camera gear, you’ll need to bring all your lithium-ion batteries into the cabin in a carry-on bag.
The major new rule was announced by U.S. Transportation Secretary Elaine L. Chao and the FAA “to strengthen safety provisions.”
Devices containing lithium metal or lithium-ion batteries, including – but not limited to – smartphones, tablets, and laptops, should be kept in carry-on baggage. If these devices are packed in checked baggage, they should be turned completely off, protected from accidental activation and packed so they are protected from damage.
In addition to prohibiting the transport of lithium ion cells or batteries as cargo on passenger aircraft, the Interim Final Rule (IFR) also requires that lithium-ion cells and batteries shipped on cargo planes to not have more than 30% charge.
“This rule will strengthen safety for the traveling public by addressing the unique challenges lithium batteries pose in transportation,” says Chao.
TechCrunch notes that the UN International Civil Aviation Authority already implemented the same restriction for member countries back in 2016, so the US regulation is codifying the guidance that has already been in place.
The upcoming Sony TOUGH CFexpress Type B memory cards will boast blazing-fast speeds of up to 1700MB/s for reading and 1480MB/s for writing. By comparison, the ProGrade 1TB card tops off at 1400MB/s read and 1000MB/s+ write speeds.
The Sony card will be about 3 times faster than Sony’s fastest CFast memory card (which has a 530MB/s read speed), perfect for high-res cameras.
“With a write speed of up to 1480MB/s, this card meets future requirement needs for secure industry data-recording or requirements from professionals to capture hi-resolution images or high-bitrate video,” Sony says.
But with more speed comes less capacity: Sony’s card will initially be launched in a 128GB capacity, with 256GB and 512GB models planned for the future.
In addition to being fast, Sony’s upcoming card will be extremely durable. Sony says the card’s strength is three times stronger than the CFexpress standard — it’s able to withstand 70N of bend force. The card is 5 times better (than the standard) at surviving falls as well, as it’s rated for falls from up to 16.4 feet (5m).
The card is also temperature proof, X-ray proof, anti-static, and features a UV guard.
If you have an XQD-compatible camera, you’ll likely be able to use CFexpress cards if/when the manufacturer pushes out a firmware update that adds CFexpress compatibility.
Sony TOUGH CFexpress Type B 128GB memory card (and a card reader) is set to hit the market sometime in the summer of 2019.
Photographer Finds Owner of Camera That Fell 1,500ft in Zion 3 Years Ago
New Zealand photographer Luke Riding was hiking around the base of Angels Landing in Zion National Park when he stumbled upon a smashed-up Fujifilm camera that had clearly fallen from atop the 1,488-foot-tall rock formation. The memory card was intact and Riding found a number of photos on it.
After trying and failing to find the owner through posts on Instagram and Twitter, his friend (and fellow photographer) Ben Horne got involved with the search. On February 20th, Horne shared this 3-minute video in an effort to track down the owner to return the photos.
Here’s the camera that Riding found:
And here are some of the photos that were discovered on the memory card:
Amazingly, the owner was identified less than 24 hours after Horne published his YouTube video.
“I posted the video at 6am Pacific time, and it was in turn posted on Reddit by a third party,” Horne tells PetaPixel. “On the Reddit page, a guy named Patrick recognized one of the girls in the photo as a high school acquaintance from nearly 10 years ago.
“He remembered her name, saw he was still Facebook friends with her, then reached out to her. The girl confirmed that it was indeed her sister’s camera, and by 7:30pm that same day, I got a message from Sarah on Instagram. The whole thing took place in just over 12 hours.”
It turns out the camera’s owner is a gal named Sarah Salik who had been hiking Angels Landing with her sister in mid-2016. Upon reaching the top, the pair stopped to have lunch, at which time Salik accidentally knocked her camera over the edge.
Luke is now working to send the camera and memory card back to Sarah (seen on the left in the photo of the two sisters) so that she can be reunited with the gear and photos she lost nearly three years ago.
“It’s a pretty simple story really, but it shows how interconnected we all are and the power of social media,” Horne says.
New Photos of Jupiter Show the Planet from Fresh Perspectives
Jupiter is usually shown with its cloud layers running horizontally across the face of the gas giant. NASA has released new photos from its JunoCam showing full-disc views of Jupiter from uncommon angles.
The composite photo above shows Jupiter’s southern latitudes. The photos were captured by the JunoCam camera on NASA’s Juno orbiter on February 25th, 2019. The composite photo below was captured on February 21st, 2019.
The individual JunoCam shots that went into both images were released on NASA’s Image Processing website before being combined and processed by Kevin M. Gill, a software engineer and “data wrangler” at NASA’s Jet Propulsion Laboratory (JPL).