Articles & News

ALPA of Switzerland Announces ALPA XO Exoskeleton aka Cage for Fujifilm GFX 100 100-Megapixel Hybrid Medium Format Camera

Medium format digital camera and lens maker ALPA of Switzerland has been showing off prototypes of its ALPA XO Exoskeleton for the Fujifilm GFX 100 DSLR-style medium format digital hybrid camera and the exoskeleton aka camera cage has an uncanny resemblance to the range of cages and accessories designed and made by expatriate Italian-Australian cinematographer/director Dante Cecchin for his LockCircle brand in northern Italy.

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ALPA of Switzerland XO Exoskeleton for Fujifilm GFX 100 medium format digital camera with ALPA Switar 80mm cinema prime lens.

ALPA has long had a reputation for producing high-priced, well-designed and beautifully-manufactured cameras and lenses and has been expanding into the cinema space with its PLATON range and now the coming new XO range for the GFX 100.

Given the reputed high quality and precision of Mr Cecchin’s cinema camera accessories and his location just below the Swiss/Italian border, a collaboration between the two companies seems like a wise decision.

ALPA XO Exoskeleton aka Cage for Fujifilm GFX 100

ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera with ALPA Switar 140mm cinema prime lens.
ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera.
ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera.
ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera with ALPA Switar 140mm cinema prime lens.
ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera with ALPA Switar 140mm cinema prime lens.
ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera.
Franziska Beck using ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera.

LockCircle Cages for Blackmagic Pocket Cinema Camera 4K and Panasonic Lumix DC-GH5 and GH5S

LockCircle HiPock, “The Pocket 4K Camera Cage”, designed by Dante Cecchin for the Blackmagic Design Pocket Cinema Camera 4K.
LockCircle Robot Skin Panasonic Lumix GH5/GH5S.

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  • Fujifilm GF lenses – B&H
  • FUJIFILM GFX 100 Medium Format Mirrorless Camera (Body Only) – B&H
  • LockCircle camera cages – B&H
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News Shooter: Panasonic S1H full-frame mirrorless 6K 24p (UPDATED)

https://www.newsshooter.com/2019/06/01/panasonic-s1h-full-frame-mirrorless-6k-24p/

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Panasonic Lumix DC-S1H 35mm mirrorless camera with Panasonic Lumix S 24-105mm f/4.0 Macro OIS zoom lens.

“…It’s best to think of the S1H as an S1 on steroids. Make no mistake though, unlike the S1 and S1R, the LUMIX S1H was designed and developed especially for film production.

The S1H is far from ready for consumers. Panasonic is only showing a prototype of the camera here at Cinegear. Just like they did with the S1 and S1R, this is more of a tease than anything else. The camera isn’t expected to be available until Autumn 2019….”

Commentary

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Panasonic Lumix DC-GH5 with 8Sinn cage and Scorpio handle and rod riser. Like camcorders, the GH5’s fully-articulated LCD monitor can be positioned exactly where you need it to be.

News Shooter is the first video production industry website to which I turn for detailed information about coming and newly released hardware and as usual they have done a fine job digging into the facts about the Panasonic Lumix DC-S1H video camera, currently in development for release later this year.

One of the few disappointments about the S1H’s slightly older siblings, the S1 and S1R, is their lack of the fully-articulated LCD monitor upon which I rely on so much when shooting stills and video on Panasonic’s Lumix GH series cameras as well as my GX8.

It is so good to see, from the evidence of a photograph in this article shot by the News Shooter team at Cinegear 2019, that the S1H has such a monitor.

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Panasonic UK: Panasonic LUMIX introduces the LEICA VARIO-SUMMILUX 10-25mm F1.7 ASPH, the world’s first* standard zoom lens achieving full-range F1.7 [Press Release]

https://news.panasonic.co.uk/panasonic-lumix-introduces-the-leica-vario-summilux-10-25mm-f17-asph-the-worlds-first-standard-zoom-lens-achieving-full-range-f17/

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Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens.

Panasonic LUMIX introduces the LEICA VARIO-SUMMILUX 10-25mm F1.7 ASPH, the world’s first* standard zoom lens achieving full-range F1.7

Panasonic LUMIX is proud to introduce a new standard zoom digital interchangeable lens, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025), which boasts a large F1.7 aperture throughout the entire 20-50mm (35mm camera equivalent) zoom range with exceptionally high optical performance clearing the stringent LEICA standards. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. is suitable not only for shooting stills but also for video to satisfy both professional photographers and videographers.

The full-range F1.7 high-speed aperture provides beautiful bokeh and outstanding image quality. Covering a focusing distance from wide angle to standard zoom range, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. functions as a multiple fixed focal length lens providing the same or an even higher level of image quality than prime lenses can offer. It is suitable for a variety of daily shooting situations, from dynamic landscapes to low-light , dispelling the need to change lenses depending on the situation.

Comprising 17 elements in 12 groups, the lens system features three aspherical lenses and four ED (Extra-low Dispersion) lenses that will effectively suppress axial chromatic aberration and chromatic aberration of magnification. Spherical aberration and distortion are also corrected by the aspherical lenses for stunningly high resolution. The use of aspherical lenses and the optimum design of the lens system results in a compact size and light weight despite its outstanding optical performance.

Compatibility with a maximum 240-fps high-speed sensor drive realizes high-speed, high-precision auto focusing. Notably, the new lens excels in video recording performance. In addition to the silent operation achieved by the inner focus drive system, the step-less aperture ring and micro-step drive system in the aperture control section help the camera to smoothly catch up to brightness changes when zooming or panning. The optical design achieves exceptional barycentric stability to minimize image shifts during zooming. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. also excels in performance with a mechanism that suppresses focus breathing, which was a problem of interchangeable lenses designed for still image photography.

The rugged dust/splash-resistant*1 design withstands use under harsh conditions even in 10 degrees below zero for high mobility. Nine blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings. Filter diameter is 77mm. Highly reliable metal mount ensures long term use.

The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH has a recommended retail price of £1,799.99 (Ireland €2,079.99) and will be available from 15th July 2019.

Panasonic is committed to expanding the line of Micro Four Thirds line up through its LUMIX G series of cameras and lenses.

* As a digital interchangeable lens for a mirrorless camera, as of 31st May 2019
*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
Design and specifications are subject to change without notice.

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  • Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH. Lens – B&H

Panasonic Global: Panasonic Develops a New LUMIX S1H Full-Frame Mirrorless Camera With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability [Press Release]

https://news.panasonic.com/global/press/data/2019/06/en190603-2/en190603-2.html

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Panasonic Lumix DC-S1H 35mm mirrorless camera with Panasonic Lumix S 24-105mm f/4.0 Macro OIS zoom lens.

Panasonic Develops a New LUMIX S1H Full-Frame Mirrorless Camera With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability

Osaka, Japan – Panasonic Corporation announced today the development of the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. It is the world’s first camera capable of video recording at 6K/24p *1 (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K.*2 *3 Combining the professional-level video quality and high mobility of the mirrorless camera, Panasonic will release the LUMIX S1H to world markets in fall 2019.

Since starting the development of video recording technologies for digital cinema in the 1990s, Panasonic has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. Panasonic has been working with film creators for over a quarter of a century to design and develop a number of cinema cameras, which has resulted in stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording.*4 The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera*5 capable of 4K video recording. And in 2017, the LUMIX GH5 was released with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.*6 The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production.

The new LUMIX S1H has been designed and developed by applying the vast expertise and technologies accumulated in the cinema cameras of the LUMIX S Series of full-frame mirrorless cameras. It packs all of these technologies, especially in the field of digital signal processing and heat dispersion, into a compact, lightweight body to achieve both high performance and nimble mobility. It opens the door to creative film production in ways that conventional, bulky camera systems simply could not do.

The main features of the new LUMIX S1H are as follows:

1. High resolution up to 6K for multiple formats
Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world.*1 It is also the world’s first full-frame digital interchangeable lens system camera*1 to enable 10-bit 60p 4K/C4K *2*3 video recording. It accommodates a variety of recording formats, including 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used for creating 4K videos with higher image quality or for cropping images in 4K.

2. Rich gradation and a wide color space virtually equal to those of cinema cameras.
The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, to precisely capture everything from dark to bright areas. The color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or V-Log L footage recorded by LUMIX GH5/GH5S.

3. High product reliability that allows unlimited video recording.*7
In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.
Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for taking high-resolution pictures, the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed and developed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.

The LUMIX S1H prototype will be exhibited at the “Cine Gear Expo 2019.”*8

Notes:
*1. As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.
*2. As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research. In Super 35mm-equivalent size.
*3. Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).
*4. As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.
*5. As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.
*6. As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.
*7. Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.
*8. Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.
– Design and specifications are subject to change without notice.

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Paul Leeming: How to ETTR – Quick And Dirty Edition! [Video]

How to Expose To The Right (ETTR) to maximise your camera’s sensor dynamic range 🙂 I also create highly accurate Rec709 corrective LUTs (optimised for these ETTR principles) which you can buy from here: https://www.LeemingLUTPro.com

Commentary

Paul Leeming has made a quick and dirty video to show how to set your camera for ETTR – expose to the right – when shooting video.

ETTR also applies to obtaining optimum exposure and thus optimal image quality for stills photography and is best achieved with zebras rather than blinkies.

Now if only all digital camera makers would equip every camera with fully programmable zebras for photography and video.

Fujifilm, I am looking at you!

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Peak Design Everyday Camera Bags and Backpacks Are Susceptible to Mould Infection

I was recently prepping for a shoot in the city the next day so one of the first things was to decide which camera bag or backpack to carry my gear in.

I opened the big closet in my storage room where Peak Design, F-Stop Gear, Think Tank Photo and MindShift Gear camera bags and backpacks are kept, took a Peak Design Everyday Backpack out into the sunlight and, lo and behold, found it was infected with mould.

I then took out two Peak Design Everyday Messenger bags out into the light to find that they, too, are infected with mould.

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I recently discovered that two Peak Design Everyday Messenger bags and one Everyday Backpack were infected with camera and lens destroying mould while camera bags and backpacks by other manufacturers that were stored in the same large equipment storage closet remain untouched by mould.

None of the Think Tank Photo, MindShift Gear, Cosyspeed, and F-Stop Gear bags and backpacks appear to have been infected with mould.

For safety’s sake I had no choice but to immediately throw out all three Peak Design camera bags and backpack and luckily there was a trash collection tomorrow morning in order to get them out of the building.

I was saddened by having to do so as I applaud the creativity and innovation inherent in Peak Design’s products and have enjoyed using all three in the way for which they are designed, for daily carrying of the more mundane items of life and work along with camera, a lens or two and other smaller photographic items.

I have a large collection of Peak Design camera straps but almost all of them are stored attached to cameras in reasonably well-sealed plastic boxes with silica gel packs inside, and so far I have not found evidence of mould on any of them.

None of the Peak Design bags and straps had leather trim on them; they were all in the Charcoal colourway that is trimmed with synthetic materials whereas the Ash colourway is trimmed with leather.

As soon as I threw out the Peak Design bags I checked the straps on my cameras as well as two other boxes containing several spare straps and accessories.

Ever since the climate here in Sydney started becoming progressively more subtropical several years ago I have been conscious of the possibility of mould infection in leather products after discovering mould on a leather jacket, leather boots and leather-trimmed shoes.

I tried out several brands of anti-mould sprays on them but the mould eventually returned so the jacket and footwear had to be thrown out.

Then I discovered that certain types of plastics can also become infected with mould, most notably several Hedgren shoulder bags made from synthetics.

I have been progressively  swapping over to shoes and other products made from synthetics rather than leather but it is clear that certain synthetic materials can also be a threat.

Mould infection on two Peak Design Everyday Messenger Bags and one Everyday Backpack

DIY Photography: Fujifilm X-Pro2 Design Story: Decisive Usability

https://www.diyphotography.net/fujifilm-x-pro2-design-story-decisive-usability/

“Digital cameras are notoriously difficult to design and get right. Where do you start? Who is the customer? What features do you include on the camera? There are uncountable ways to approach a camera development and design programme.

For example, you can create a spreadsheet listing current and near-future ‘must-have’ specifications and cross them out one-by-one to please the techno-consumer. Or you can specialise and excel in specific areas—a more difficult proposition altogether. For the X-Pro2, Fujifilm chose the latter simply because of their heritage of crafting cameras for particular needs.

If you take a look at Fujifilm’s history of cameras, you get a sense of a company that sees photography not only as a technological endeavour but also an artistic one. For example, I have in the past used two remarkable Fujifilm cameras — the GX680 III and the GA645….”

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Fujifilm X-Pro2 with Fujinon XF 16mm f/2.8 R WR “Fujicron” lens and lens hood.

Commentary

While awaiting the announcement later this year of the Fujifilm X-Pro3, hoping that it will have exactly the improvements that I need for my documentary photography work, reminding oneself of Fujifilm’s many past analog and digital camera milestones provides a pleasant pastime.

The X-Pro2 embodies much of the brilliance of Fujifilm’s 120 rollfilm rangefinder cameras as well as that of other such instruments I have known and loved such as those by Mamiya, Plaubel and others, but pushes into new territory that combines the ease of use of 35mm analog rangefinder cameras with the high image quality of medium format cameras loaded with slow, fine-grain films such as Fujifilm Velvia or Kodak Panatomic-X.

This article by designer, entrepreneur and photographer Aage Granaas is well-considered and benefits from insights shared by some of the X-Pro2’s creators.

Highly recommended, and a salutary reminder of why I rely on my X-Pro2 for certain types of demanding documentary photography genres and subjects when I also have access to some other cameras excellent in their own way but that are not digital rangefinders.

Some historical Fujifilm and other cameras

Fujifilm GX680III 6x8cm format 120 rollfilm camera.
Fujifilm GA645 Professional 6×4.5cm 120 roll film camera.
Fujifilm GA6435Zi Zoom Professional 6×4.5cm 120 rollfilm zoom lens camera. Photograph copyright Photo Jottings.
Fuji GS645 II Professional Wide 60 120 roll-film rangefinder camera with wide-angle lens, great for photojournalism. Photograph courtesy KEH Camera.
Fujifilm GX680 II 6cm x 8cm format 120 roll-film camera, like a cross between a view camera with camera movements and a waist-level twin lens reflex camera, lovely for portraits and product shots. Photograph courtesy of Cambo.
Fujica GW690 120 roll film rangefinder camera, image kindly released into the public domain by Jfriedl.
Fujifilm 670 Professional medium format 120 roll film camera. Image courtesy of Japan Camera Hunter.
Some of the last Fujifilm analog 120 roll film cameras.
Mamiya 7 II interchangeable lens 120 rollfilm rangefinder camera. Photograph courtesy of Japan Camera Hunter.
Plaubel Makina 67 6c7cm format 120 rollfilm rangefinder camera.

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  • FUJIFILM X-Pro2 Mirrorless Digital Camera (Black) – B&H
  • FUJIFILM X-Pro2 Mirrorless Digital Camera with 23mm f/2 Lens (Graphite) – B&H
  • Fujifilm XF lenses – B&H

Visual ArtsHub: A new foundation for Australian women’s art

https://visual.artshub.com.au/news-article/news/visual-arts/visual-arts-writer/a-new-foundation-for-australian-womens-art-258076

Sheila: A Foundation for Women in Visual Art was officially launched in Perth yesterday (28 May). The initiative comes out of a swelling need for greater gender equality within the visual arts.

‘According to The Countess Report (a Sheila-funded project) women are 75 per cent of art school graduates but only 34 per cent of artists exhibited in our state museums and galleries. Gender inequality is apparent in art prizes, representation of female artists in media and the proportion of female artists represented in exhibitions at state museums,’ reminded Sheila Cruthers on the occasion of the launch.

Sheila aims to redress that in a multi-prong way: to provide scholarships for art historians and curators, assist the purchase and commission works by women artists, and run annual lecture and symposiums focused on women’s art….

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PanasonicLumixVideo: LUMIX LIVE @ Cine Gear Expo 2019 [Video]

Panasonic Lumix DC-G9 with Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens.
Panasonic Lumix DC-S1H 35mm mirrorless camera with Panasonic Lumix S 24-105mm f/4.0 Macro OIS zoom lens.

Commentary

In an era when female moviemakers, like female photographers, remain badly underrepresented amongst hardware company brand ambassadors, it is so refreshing to see that Panasonic asked Director of Photography Alicia Robbins to produce a short movie using the video-oriented Panasonic Lumix DC-S1H hybrid camera.

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