‘JFK was down-to-earth, human and kind’: Andreas Hadjivassiliou meets President Kennedy

How a PE teacher was welcomed into the White House

In May 1961 I received a letter from the first American ambassador to Cyprus, Fraser Wilkins, telling me I’d been selected for a US government award to take part in an international teaching exchange. At the time, I was a 30-year-old PE teacher at a secondary school in Nicosia.

The aim of the programme was to introduce teachers from all over the world to different teaching methods and, in my case, sports. Back then, the US had some of the best coaches, and the most advanced techniques in the world, particularly in track and field, basketball and swimming. It seemed like a fantastic opportunity to learn more and to see the States. I would be gone for six months.

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Categories: News

At the market: Panasonic GH5 sample video

DP Review News - Fri, 07/04/2017 - 12:00

We've been hard at work testing the new Panasonic GH5, and while we put the finishing touches on our review, we wanted to share a video we shot with the camera at Seattle's Pike Place Market.

The video was recorded in UHD 4K with the GH5's 4:2:2 10-bit color settings. To capture the wide dynamic range in many of the scenes, we filmed using VLog gamma and used a VLog to Rec.709 LUT as a starting point for color grading. We also wanted to see how well the GH5's white balance worked, so the entire video was captured using auto WB, and we haven't made any white balance corrections, allowing you to see how the camera did in this regard. Audio was recorded using the built-in microphones.

Enjoy this little slice of life in Seattle as we finish up our review of the GH5!

Categories: News

Claressa Shields: from Flint to Olympic gold – in pictures

Like all the best boxing stories, a new book about the only American ever to win two golds at the Olympics for the sport isn’t really about boxing. Zackary Canepari has followed Claressa ‘T-Rex’ Shields for years on her inspiring journey from her hometown of Flint, Michigan, to Olympic success. He also has documented the life of her sister, Briana, who got pregnant as a teenager and remains in Flint. REX is published by Contrasto

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Categories: News

Canon EOS Rebel T7i / EOS 800D Sample Gallery

DP Review News - Fri, 07/04/2017 - 11:00

We've posted an assortment of photos from Canon's EOS Rebel T7i / 800D, which is the midrange camera in Canon's lower-end DSLR lineup. The T7i features a 24MP APS-C sensor with Dual Pixel autofocus, fully articulating LCD and snappy DIGIC 7 processor.

It's Spring here in Seattle, so expect plenty of flower photos!

Categories: News

Wildlife Photographer of the Year: unforgettable animal behaviour

From basking gharial to stampeding muskoxen, these images from the Wildlife Photographer of the Year competition have been selected for a Natural History Museum book, Unforgettable Behaviour, and offer a unique glimpse into hidden worlds of animal survival and joy

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Categories: News

The city Le Corbusier built: inside Chandigarh – in pictures

In 1950, India’s prime minister Jawaharlal Nehru invited the architect Le Corbusier to design a modernist city that broke with the country’s colonial past. Shaun Fynn explored the world heritage site

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Categories: News

Adobe Research tackles selfie photography with new AI-powered tech

DP Review News - Thu, 06/04/2017 - 19:45

Adobe Research, the company's research and development division, has released a look at a new technology that tweaks selfies to improve how they look. The technology, which is presented in a new Adobe video, is designed to improve mobile portrait photography by enabling users to adjust the photo's perspective, depth of field, and more.

Adobe describes its new technology as 'the potential future of selfie photography,' demonstrating how it can be used to replicate a more flattering focal distance, adjust the position of the subject's head within the image, adjust the depth of field using automatic portrait masking and apply styles found in other portraits, such as images found in a Google Image search.

This technology is powered by Adobe Sensei, an artificial intelligence and deep-learning framework the company introduced at Adobe MAX 2016 last November. The selfie technology isn't available to consumers at this time, but instead serves to highlight Adobe's latest developments and to introduce photographers to the kind of tools they may have access to in the future.

Categories: News

Meyer-Optik announces move into high-end lenses for mirrorless cameras with Primagon 24

DP Review News - Thu, 06/04/2017 - 19:04

German lens manufacturer Meyer-Optik-Gorlitz has announced it is to produce a new premium 24mm lens that will come in mounts for all mirrorless camera systems. The Primagon 24 will feature a maximum aperture of F2.8 and will use seven elements including one aspheric. The company says that although the lens uses the Primagon name, it isn’t a recreation of a vintage model, but is a completely new design.

Meyer goes to some length to emphasize that the lens will be made in Germany from German-constructed parts and glass. It is said to be the first in a new series aimed at compact system users that will incorporate popular focal lengths and which aims at ‘best in class’ optical performance.

The information released by the company makes no mention of autofocus, so we should assume this will be another manual lens like the brand’s other optics. Meyer says it will allow 30 photographers the chance to buy the lens at half price before general production begins so they can give feedback to the lens designers so it can be improved or altered before it goes on general sale. We'd guess that those 30 will also receive a full-production model once they become available. To qualify for this opportunity, you need to already be a backer of the company’s Kickstarter campaign for the Trioplan 35+ lens, announced earlier.

The Primagon 24 is expected to be ready at the beginning of 2018, and will retail for approximately €4.999/$5,499 . For more information visit the Meyer-Optik-Gorlitz website.

Press release

Meyer-Optik Takes Quantum Leap with New High-End Primagon 24mm

Lens Maker Seeking Photographers to ‘Test’ Lens

With its latest Kickstarter campaign for the historic Trioplan 35+ successfully underway, Meyer-Optik is moving boldly into the world of high-end, high-performance photography with the newest addition to its lineup of hand-crafted lenses. Today, Meyer-Optik announced the new Primagon 24 mm f 2.8, which will have 7 individual lenses, including one aspheric lens. It will have an 84 degree angle of view and will impress with its image quality, compact size and weight of less than 9 ounces (about 250g). It will be available for practically all mirrorless cameras.

Even though the Primagon takes its name from a famous line of historic Meyer-Optik lenses, the new Primagon 24 is a totally new development. With this lens, the young Meyer-Optik brand strives for the highest image quality achievable, sticking to its guiding principles and guarantees that practically all mechanical and optical parts are made in Germany and the lenses will also be hand assembled as individual pieces of craftsmanship in Germany. With the help of world famous development engineers, the Meyer-Optik team has been working on the Primagon 24 for more than a year. The team is also working on several more lenses for this new series to cover the full range of the most needed and popular focal lengths. These lenses are all developed under the premise that they will provide the best in class high-performance tools for the ambitious photographer.

Even though photographers will have to wait until early 2018 to get a look at this lens, as one of the rewards for backing its Kickstarter for the Trioplan 35+, Meyer-Optik is allowing 30 photographers to receive the Primagon 24 for about half of its expected retail cost. The photographers will get a chance to use the lens months before it heads into serial production, allowing them to give Meyer-Optik feedback that the company could use to make final refinements. The “testing” promotion is a unique way to reward a select group of Kickstarter backers, while giving the company a chance to receive some feedback on how the lens performs in the “real world.”

“Even though the new lenses are already high performers, we want to listen and learn from the feedback of our users,” said Dr. Stefan Immes, founder of the revived Meyer-Optik brand.

“The opinion of the Kickstarter community and the direct feedback is very important to us. We are striving for technical perfection with this lens – but we will not make any compromises when it comes to the creative part of photography. Personality and character are the most important features of all our lenses. This starts right at the beginning of the development process and we are proud that some of the best engineers nationally and internationally are supporting our team in Goerlitz," Immes said.

The new lens will be available at the beginning of 2018. It will be available for all mirrorless mounts. The suggested retail price will be 4.999,--€/5,499 US $.

Categories: News

Western Digital launches its first portable SSD

DP Review News - Thu, 06/04/2017 - 18:45

Western Digital today announced its first portable SSD, adding solid state storage technology to its My Passport line of portable storage devices. The new My Passport SSD comes with a USB Type-C port and with transfer speeds of up to 515 MB/s is WD's fastest current My Passport model. 

The My Passport SSD is available with capacities ranging from 256GB to 1TB and its small dimensions make it very portable. It has also been drop tested from a height of 2m / 6.5ft and Western Digital claims it can withstand 1500G of force.

The Western Digital My Passport SSD comes with a USB-C to USB-C cable and a USB-A adapter in the box. It is available now from Best Buy and from other select retailers starting this quarter. The 256GB model will set you back $99.99, the 512GB version is $199.99, and for the 1TB variant $399.99 have to be invested. More information is available on the Western Digital website.

Categories: News

Best photos of the day: Sydney ballet and red sheep

Photo highlights from around the world, including a flock of red sheep in Scotland and the Australian Ballet

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Categories: News

Throwback Thursday: Entering the DSLR world with the Canon EOS 10D

DP Review News - Thu, 06/04/2017 - 11:00

A few months ago I wrote a short article about the Canon EOS D30. The D30 was a groundbreaking camera in its day, being the first 'affordable' DSLR and the first to feature a large-format CMOS sensor. Yes, its autofocus system was woeful, and the LCD display on the back was about as useful as making a sketch from memory, but back in 2000, everybody wanted one.

I was definitely curious about the D30, but given that in 2000 I was a first-year undergraduate student, such an expensive camera was far beyond my reach. It would be another couple of years before I saved up enough money to buy my first DSLR, and the camera I eventually settled on was the successor to the successor of the EOS D30 - the counterintuitively named Canon EOS 10D1.

The break with Canon's previous naming convention was appropriate, though. The 10D was a substantially new camera compared to the models that preceded it, and it replaced the D60 with an almost indecent haste (the D60 had been on the market for little more than a year before the 10D came along). Compared to the plastic-bodied D30/D60 it was better built, featured a far superior rear LCD (with a usable magnification feature) offered a more rounded styling, closer in spirit to the EOS-1D series, and was much quicker in operation.

The 10D was a thoroughly modern camera in 2003, and remained on the market for some time. Canon took the basic form factor of the D60 and modernized every aspect of that model's performance and styling.

The 10D's DIGIC processor drove a blisteringly fast (ahem...) continuous shooting rate of 3 fps, operation was snappier, including reduced shutter-lag, and the 10D's 7-point autofocus system was a huge improvement over the 3-point system in the D30 and D60, which seemed prehistoric even back then. Although the 10D's 6MP CMOS sensor was based on the one previously used in the D60, Canon had refined the manufacturing process in the meantime. Consequently it offered slightly better resolution than its predecessor, superior noise performance and a wider ISO span, topping out at a grainy but usable ISO 3200.

Remarkably, despite all of these improvements, the 10D was also $500 cheaper than the D60.

Although it definitely wasn't in the same ballpark as the EOS-1D in terms of speed or construction, the 10D beat the pants off Canon's then-current pro sports model in terms of image quality. Significantly, the core specification of the 10D was close enough to the EOS 30 / Elan 7 that film holdouts didn't have to feel too badly short-changed by the costly jump into digital.

With the EOS 10D's accessory grip attached, it was almost possible to believe that I was shooting with an EOS-1D.


So, to recap - the 10D offered a very usable sensitivity range of ISO 100-3200, 3 fps continuous shooting, 7-point AF system, magnesium-alloy body shell and a substantial price reduction. In 2003, it all added up to a hugely desirable camera.2

Canon EOS 10D Sample images (2004-5) $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_8248806925","galleryId":"8248806925","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) });

Because it was so popular, the 10D was pretty scarce for several months after its introduction. After saving up my wages for an entire summer (a story told in more detail here), I ended up purchasing mine from a 'big box' high-street retailer, because it was out of stock everywhere else – something I later came to regret.

I decided to pull the trigger on a 10D for several reasons. In a rare attack of foresight, I determined that this digital thing probably wasn't a fad, and with ambitions to become a photographer of some kind, it seemed sensible to dive in as soon as possible. And while previous DSLRs had felt like too much of a compromise, the 10D seemed to meet my most important criteria.

As a budding theatre and live music photographer, I was hitting the limits of what I could do with film, both technically and practically. Technically speaking, high ISO film exposed in marginal light and processed at your average high-street pharmacy simply doesn't look very good - especially if you're talking about high-speed color emulsions. From a practical standpoint, development and printing turnaround times were a problem if I wanted to get images to people quickly. And forget about serious commercial work – by 2003, the magazines and websites I was interested in working for were increasingly insisting on digital file delivery.

A typical monochrome conversion of a shot taken in the Assembly Rooms Theatre. The 10D's highest ISO settings were grainy, but perfectly usable - especially when converted into black and white.

The first quasi 'commercial' work I ever did was head-shots and performance images for Durham University's student theatre. Student productions rotated every few weeks, and every production wanted some prints to display outside the theatre. I can't remember the first production that I shot digitally (was it Harold Pinter's 'The Caretaker'?)3 but compared to film, it was vastly easier. Ironically, I was a sort of caretaker for the theatre at the time, since I lived in a small flat above the lobby. Being able to shoot a dress-rehearsal in the theatre, then head upstairs to make my edit and print the images - sometimes all in the same evening - was a revelation. I can't remember how much I charged for my services, but I made enough over a couple of years to buy a couple of new lenses.

And for a while it seemed like it was lenses that were the problem. Initially I had two lenses for my 10D. A 50mm F1.8 (of course), and a 24-70mm F2.8L. Later I added a 70-200mm F2.8L and a 17-40mm F4L (all purchased used). The 10D worked perfectly with all of them, except the 24-70mm. For whatever reason, camera and lens did not get on at all. Chronic back-focusing was apparent even through the 10D's viewfinder, and this was before the days of AF micro-adjustment. The 24-70mm was simply unusable on my 10D, but it focused perfectly on other DSLRs that I borrowed from friends, or rented in an increasingly desperate attempt to figure out what was going on.

A live shot from one of my first proper commissions - a major awards show tour that came through Newcastle in 2005 - not far from where I lived at the time. It looks like I benefited a bit from someone else's flash, in this shot. Thank you - whoever you were.

The retailer I bought my 10D from wasn't particularly interested in helping, so I sent it back to Canon at least four times during the first year I owned it, shooting on film during the long intervals when it was away for service. Every time it came back as 'up to specification,' but the back-focusing problem remained. Finally, after a lot of back and forth, I send the 10D in with the troublesome 24-70mm, and was rewarded with a 'fixed' camera, complete – funnily enough – with a new serial number. Knowing what I know now, I should have sent the camera and lens back together in the first place.

Even this frustrating experience wasn't enough to dull my excitement at owning and using the 10D. It really was a fantastic camera at the time, and it helped me gain a footing in the not-at-all-lucrative world of performance photography. My first magazine commissions were shot with the 10D. I learned about the benefits of shooting Raw with the 10D (albeit rather belatedly). The first camera I ever had confiscated at a music venue4 was the 10D. It was my main camera for a couple of very formative years, before being relegated as a second body beside to the truly magnificent EOS-1D Mark II (which I'm hoping to write about at a later date).

The 10D couldn't do everything (it choked up when shooting several Raw files in a sequence, and in low light its off-center AF points were little more than decorative), but it opened up a completely new world for me.

One of my favorite bands of the mid-2000s was 'Hope of the States'. I probably photographed them more than any other band, for a while. This shot is from another awards show in London in 2005. Despite the off-center composition, most likely I used the central AF point for this image, since the 10D's off-center points didn't work very well at all in low light.

And it's a world I'm still living in. Without the 10D, there is no doubt in my mind that I wouldn't have become a music photographer, and if I hadn't become a music photographer, I probably wouldn't have ended up as a photography journalist. Whether or not that's a good thing is something I'm happy to leave to the commenters to decide.

Did you own a 10D? Let us know.

Read Phil Askey's review of the EOS 10D (2003)

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1 A note on Canon's confusing naming convention. The 'D30' because it was a digital camera with 3 million pixels. The D60 because it was basically a D30 with a new 6 million pixel sensor. And the switch to 10D because - I assume - Canon and Nikon's lawyers had a little chat.

2 In fact, just about the only people who weren't singing Canon's praises at the time were recent D60 owners.

3 The Assembly Rooms - it's still there, and this being student theatre, there's every chance that they're currently staging a production of Harold Pinter's 'The Caretaker', too.

4 It was all just one big misunderstanding. Specifically around two people's definitions of the word 'permission'. 

Categories: News

Andres Serrano's best photograph: a white man with black skin

‘I made sure you would see there was a white man under this black skin, because prejudice is only skin deep’

This is my friend Aaron. He begged me to take his picture. I couldn’t do it – everyone knew him in the art world – but I wondered if I could turn him into something else. He said: “OK, turn me into a woman.” He wouldn’t make a good woman. But Aaron was desperate to get in the show, and so three weeks before the deadline he called me up and said: “I’ve got another idea: why don’t you turn me into a black slave?”

I said, I don’t know about a slave, but I’ll turn you black, and I’ll call the picture White Nigger. He said: “That’s perfect – as a teenager I hung around black friends, and that was my nickname.” There’s no post-production or digital changes in this image, it’s all the work of a makeup artist. But I made sure you would see there was a white man under this black skin, because prejudice is only skin deep.

Related: Andres Serrano on Donald Trump: 'I never speak ill of people who've posed for me'

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Categories: News

Diving for gold in the Philippines – in pictures

In the mining town of Paracale, about 350km south of Manila, locals mine for gold in hazardous conditions by scavenging under the earth and diving into tunnels filled with mud using only makeshift tools

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Categories: News

Night owls: portraits of life on the night bus – in pictures

In an ongoing project, Guardian photographer Sarah Lee immerses herself in the world of London’s buses, capturing candid portraits of people during their night-time journeys

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Categories: News

Way down in the hole: Antoine Bruy's weird outback – in pictures

Remote Australian town Coober Pedy is riddled with holes from its opal mining industry. Photographer Antoine Bruy captured its decline – and its luminous strangeness

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Categories: News

Canon introduces EF-S 35mm F2.8 macro lens with built-in ring light

DP Review News - Thu, 06/04/2017 - 05:00
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Canon has introduced a compact 35mm F2.8 IS STM macro lens for crop-sensor DSLRs. Similar to the EF-M 28mm F3.5 Macro lens introduced a year ago, the 35mm F2.8 has a built-in LED ring light. 

The lens, which is equivalent to 56mm when mounted on crop body, has a minimum focus distance of just 3 cm (1.2 in.). It uses Canon's 'Hybrid' IS system, with up to four stops of shake reduction. Canon says that the lead-screw-type STM motor allows for quiet AF operation, which is ideal for video capture. The lens has seven rounded aperture blades as well as a glass-molded aspherical element.

The EF-S 35mm F2.8 IS STM lens will ship this June with an MSRP of $349.

Press Release


New Compact and Lightweight EF-S Macro Lens Opens Up a World of Photographic Possibilities and Helps Capture Close Subjects with Incredible Detail

MELVILLE, N.Y., April 6, 2017 – Compact and lightweight, the new Canon EF-S 35mm f/2.8 Macro IS STM, announced today by Canon U.S.A., Inc., a leader in digital imaging solutions, is the widest-angle Macro offering in Canon’s popular EF-S lens series. The new lens is designed to help both entry-level and advanced amateur DSLR photographers discover the incredible possibilities of macro photography. Capable of capturing close-up subjects with incredible detail, Canon’s new EF-S macro lens is also the first in the series to feature built-in Macro Lites that allow users to control lighting with ease.

“Macro lenses are an amazing way to explore the worlds that exist all around us, and the new Canon EF-S 35mm f/2.8 Macro IS STM lens is the ideal starting point for amateur photographers eager to capture incredible, up-close details on the go,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Whether capturing a delectable dessert or the subtleties of a backyard flower, users will be challenged to find new colors and shapes that turn everyday moments into art.”

The new Canon EF-S 35mm f/2.8 Macro IS STM captures stunning images and is a terrific companion lens for entry-level users eager to expand beyond their existing Canon EOS DSLR kit lens. Capable of shooting as close as 30mm from the end of the lens to the subject, aspiring photographers can get up close to a fruit or flower for an entirely new perspective, while capturing high-quality images with beautiful background blur. Additional technologies built into the new Canon EF-S 35mm f/2.8 Macro IS STM lens include:

  • Popular 35mm focal length (56mm equivalent) and wide f/2.8 aperture
  • Hybrid IS system offers up to four stops* of shake correction
  • Smooth Movie Servo AF with Lead Screw-type STM ensures quiet AF operation
  • Full-time Manual Focus

In a first for the EF-S lens series, the new Canon EF-S 35mm lens sports built-in Macro Lites that allow photographers to carefully arrange macro lighting without using special equipment. With built-in LED lights on each side of the lens, users can create compelling shadows on either side of a subject or adjust intensity to give images a sense of dimension. Once the scene is set, the lens uses superb rendering performance to capture high contrast, sharp images.

While specialized for high magnification photography, the Canon EF-S 35mm f/2.8 Macro IS STM is still a versatile option for day-to-day use, easily capable of capturing portraits, landscapes or snapshots. As the latest addition to the lineup of EF-S lenses, Canon continues its commitment to providing a wide-range of affordable lens options for photographers of all levels.

The Canon EF-S 35mm f/2.8 Macro IS STM lens is scheduled to be available in June 2017 for an estimated retail price of $349.99.

Canon EF-S 35mm F2.8 Macro IS STM specifications Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length35 mmImage stabilizationYes (4 stops)Lens mountCanon EF-SApertureMaximum apertureF2.8Aperture ringNoNumber of diaphragm blades7OpticsElements10Groups6Special elements / coatingsGlass-molded aspheric elementFocusMinimum focus0.03 m (1.18″)Maximum magnification1×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiterNoPhysicalWeight190 g (0.42 lb)Diameter69 mm (2.72″)Length56 mm (2.2″)SealingNoColourBlackFilter thread49.0 mmHood suppliedYesTripod collarNo
Categories: News

Canon's PowerShot SX730 HS travel zoom offers 40x lens in a very small package

DP Review News - Thu, 06/04/2017 - 05:00
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Canon has announced its PowerShot SX730 HS, the follow-up to the SX720. The SX730 has a 20.3MP BSI CMOS sensor, stabilized 24-960mm equivalent lens, a 3" (non-touch) LCD that flips upward 180 degrees, as well as Wi-Fi, NFC and Bluetooth.

The SX730 HS comes in silver and black and will ship in June for $399.

Press Release

Capture high-quality memories with the new Canon PowerShot SX730 HS digital camera

Latest PowerShot Digital Camera Provides Impressive Image Quality, Zoom Range and Tilting LCD screen in a Compact Size

MELVILLE, N.Y., April 6, 2017 – Ideal for families on vacation or parents at their kids’ sporting event looking for a convenient, easy-to- carry compact digital camera capable of producing high quality photos and videos at long distances, Canon U.S.A., Inc., a leader in digital imaging solutions, introduced today the new PowerShot SX730 HS digital camera. This new digital camera boasts a 20.3 Megapixel* CMOS imaging sensor and a powerful 40x Optical Zoom lens (equivalent to 24-960mm) in a form factor that easily fits in a pocket, making it an outstanding camera for budding photographers to capture gorgeous imagery no matter where they are.

With new features such as a convenient Self-Portrait and Smooth Skin mode, 3.0-inch LCD screen that rotates up 180 degrees and built-in connectivity capabilities like Wi-Fi®1, NFC2 and Bluetooth®3 technology, it’s now easier and more convenient than ever to use Canon digital cameras to share images and videos on the go, making the PowerShot SX730 HS digital camera a great transitional camera for those looking to use something other or move from a smartphone. 

“We live in a very connected world and want to give people the power to zoom in from far away to capture amazing scenes from a distance, while also being able to share those images in real time,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “The new Canon PowerShot SX730 HS digital camera will help photographers effortlessly capture memories, even from great distances and conveniently share their fun with friends and family.”

As the successor to Canon’s PowerShot SX720 HS digital compact camera, the PowerShot SX730 HS digital camera also features: 

  • Powerful 40x Optical Zoom with Zoom Framing Assist
  • Sleek, Lightweight and Pocket-size Design
  • Built-in Wi-Fi®1, NFC2 and Bluetooth®3 technology
  • 3 Megapixel* CMOS sensor
  • DIGIC 6 Image Processor
  • 0-inch Tilt-type (180° up) LCD
  • 1080p Full HD Video at 60p
  • Self Portrait Mode
  • Story Highlights
  • Geotag4 & Date Stamp Options

Canon’s PowerShot SX730 HS digital camera is scheduled to be available in June 2017 for an estimated retail price of $399.99.

Canon PowerShot SX730 HS specifications PriceMSRP$399Body typeBody typeUltracompactSensorMax resolution5184 x 3888Image ratio w:h1:1, 4:3, 3:2, 16:9Effective pixels21 megapixelsSensor photo detectors20 megapixelsSensor size1/2.3" (6.17 x 4.55 mm)Sensor typeBSI-CMOSProcessorDigic 6Color spacesRGBColor filter arrayPrimary color filterImageISOAuto, ISO 80-1600White balance presets5Custom white balanceYesImage stabilizationOpticalUncompressed formatNoJPEG quality levelsSuper fine, fineFile format
  • JPEG (Exif v2.3)
Optics & FocusFocal length (equiv.)24–960 mmOptical zoom40×Maximum apertureF3.3–6.9Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lampYesDigital zoomYesManual focusYesNormal focus range2 cm (0.79″)Macro focus range1 cm (0.39″)Screen / viewfinderArticulated LCDTiltingScreen size3″Screen dots922,000Touch screenNoScreen typeTFT LCDLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed15 secMaximum shutter speed1/3200 secExposure modes
  • Program
  • Hybrid Auto
  • Auto
Scene modes
  • Creative Shot
  • Portrait
  • Smile
  • Wink Self-timer
  • Face Self-timer
  • High-speed Burst
  • Handheld Night Scene
  • Low Light
  • Fireworks
  • Long Shutter
Built-in flashYesFlash range4.00 m (with Auto ISO)External flashNoFlash modesAuto, on, slow synchro, offDrive modes
  • Single
  • Continuous
Continuous drive5.9 fpsSelf-timerYes (2 or 10 secs, self-timer)Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation±2 (at 1/3 EV steps)Videography featuresFormatMPEG-4, H.264Modes
  • 1920 x 1080 @ 60p / 35 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 24 Mbps, MP4, H.264, AAC
  • 1280 x 720 @ 30p / 8 Mbps, MP4, H.264, AAC
MicrophoneStereoSpeakerMonoStorageStorage typesSD/SDHC/SDXC cardConnectivityUSB USB 2.0 (480 Mbit/sec)HDMIYes (micro HDMI)Microphone portNoHeadphone portNoWirelessBuilt-InWireless notes802.11b/g/n + NFC + BluetoothRemote controlYes (via smartphone)PhysicalEnvironmentally sealedNoBatteryBattery PackBattery descriptionNB-13L lithium-ion battery & chargerBattery Life (CIPA)250Weight (inc. batteries)300 g (0.66 lb / 10.58 oz)Dimensions110 x 64 x 40 mm (4.33 x 2.52 x 1.57″)Other featuresOrientation sensorYesGPSNone
Categories: News

Ultra large and custom film sizes now on order from Ilford Photo

DP Review News - Thu, 06/04/2017 - 04:59

UK black and white film manufacturer Harman Technology has announced that its annual large format and custom film ordering scheme is open from now until May 26th. The scheme allows users of cameras that take unusual film formats to order certain Ilford emulsions within a set window so the company can set aside factory time to bulk-produce formats it wouldn’t otherwise be able to make financially viable.

As was the case last year Ilford FP4 Plus, HP5 Plus and Delta 100 emulsions will be available to order in sheet sizes from 2.25 x 3.25in to 20 x 24in. Rolls are also on offer for 127 film and formats 9cm wide, as well as 50 foot rolls of 20in film. Not all emulsions can be ordered in all formats but most of the more popular formats are covered. 120 backing paper can be ordered in 100ft lengths.

Harman says there are minimum order quantities that need to be reached before manufacturing can go ahead, but in the case of the sheet films usually a single order of a box of 25 sheets is enough. Roll films though need between 2 and 15 orders to make them practical to cut.

The company lists retailers across the world with which orders can be placed and the sizes/emulsions on offer. Prices will need to be checked with those retailers. Shipping to distributors will begin in August 2017. For more information see the Ilford Photo website.

Press release


Buoyed by ongoing global resurgence in photographic film use, HARMAN technology Limited is delighted to be offering film photographers the opportunity to place orders for a range of specialist film products and formats for the 12th consecutive year.

To enable this film photography revival, it is vital that a wide range of film formats are available including film for ultra large format and collectable cameras.

By consolidating orders HARMAN technology can supply products that would not normally be viable to manufacture.

“This program enables us to further support film photographers who use and value our conventional products” said Giles Branthwaite, Director of Sales and Marketing at Harman technology. “Through running the ULF program each year, we are able to satisfy the strong demand for specialist film formats. Whilst manufacture is not easy, we have been rewarded by high demand ensuring we will continue to address and care for this market.”

Films available for this year are ILFORD FP4 PLUS, HP5 PLUS, and DELTA 100 PROFESSIONAL. Not all films are available in all formats.

For a full list of the 2017 items and participating dealers visit:

The options available reflect what has been asked for over the past 12 years. HARMAN technology is happy to consider any other size suggestions but do not guarantee to make them available.

For sheet sizes an order for just one single box can be made, but for roll sizes this is not possible due to potentially excessive waste. Please see the minimums and multiples required next to the appropriate roll size.

Orders must be placed with the listed ULF reseller partners no later than Friday 26th May.

The UK factory will start to ship orders to Distributors during August and end users should check with the local ULF reseller for expected arrival dates.

Categories: News

Canon outfits industrial drone with ME20F-SH all-purpose camera

DP Review News - Thu, 06/04/2017 - 01:29

If you're looking for a drone that can fly in nasty weather and see in the dark, then Canon has something for you. The PD6E2000-AW-CJ1 is an industrial drone with a Canon ME20F-SH all-purpose camera designed to help in disaster relief, thanks to its ability to shoot at ISO 4 million and generally see in the dark

It's not a Canon-made drone. In late 2016 Canon Marketing Japan made an investment in Prodrone Co., a Japanese drone maker, stating that Canon would install imaging devices on the company's drones and act as a principal distributor. Canon is aiming for ¥5 billion worth of drone-related imaging sales by 2020.

The PD6E2000-AW-CJ1 (say that five times fast) appears to be based on Prodrone's all-weather PD6-AW, which supports a 10 kg / 22 lb payload, can fly at up to 65 km/h / 40 mph and can handle wind speeds up to 10 m/s / 22 mph. Take a look at the drone in action below.

Via: Canon Rumors Source: Canon

Categories: News

New York Times reportedly more than doubles photographers' pay rate

DP Review News - Wed, 05/04/2017 - 19:21

The New York Times has more than doubled its photographers' pay, according to a new report, increasing its day rate from $200 to $450. The report's sources also claim that the publication's pay rate for photographers working less than a day is now $300, though it isn't clear what the previous rate was. This follows a report the company published in January stating, among other things, that it 'need[s] to expand the number of visual experts who work at The Times and also expand the number who are in leadership roles.'

The Times discussed its 'strategy and aspirations' in its 2020 report published in January 2017. Chief among the details about many changes the publication needs to make is discussion of photography and its role in modern journalism. 'Too much of our daily report remains dominated by long strings of text,' the report explains, detailing ways it could improve articles using visual elements.

In addition to enabling reporters and others to improve their visual storytelling capabilities, The Times says, 'We also need to become more comfortable with our photographers, videographers and graphics editors playing the primary role covering some stories, rather than a secondary role.' 

Via: PetaPixel

Categories: News
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