Nikon has announced the first full frame wide-angle zoom Nikkor to feature VR stabilisation – a light weight (though not especially compact) 16-35mm f/4 design. They have also confirmed after a long wait the arrival of the new 24mm f/1.4 Nikkor, one of the first fast primes other than standard 50mm to appear from the company for some time. Read the rest of this entry »
Tokyo, Japan, November 10, 2009—Ricoh Co., Ltd. (president and CEO: Shiro Kondo) today announced the development and release of the GXR interchangeable unit camera system featuring the world’s smallest and lightest* digital camera with the ability to change lenses.
The new GXR is an interchangeable unit camera system in which lenses are changed by using a slide-in mount system to attach camera units to the body. The lens, image sensor, and image processing engine are integrated into the camera units so the body itself does not contain an image sensor.
With world-leading small size and low weight* enabling easy carrying, the GXR interchangeable unit camera system features a highly rigid magnesium alloy body and multiple camera units that can be changed to best fit the scene to be photographed. You can enjoy easy lens changes as well as amazing image quality and shooting flexibility. Concealing infinite possibilities in its small body, the GXR is a revolutionary camera system that pioneers a new realm of photography.
Distinctive characteristics:
1. Lens, image sensor, and image processing engine comprise an integrated unit which can be changed to match the scene being photographed.
2. World’s smallest and lightest* digital camera with interchangeable lenses
3. System potential expanded through use of interchangeable units
Comment from David Kilpatrick:
Though the Ricoh system as revealed through this press release appears to show only a GR-size body with a zoom lens module suitable for a 2/3rds or slightly smaller imaging sensor, Ricoh has said that sensors right up to the size of APS-C will be built in to further lens modules. The ultra-wide angle version would have an APS-C sensor making similar to the Sigma DP-1. For similar reasons, high ISO and fast lens may be combined with a different size of sensor.
This is not the first time a digital camera has been designed with lens-sensor modules that could be changed. The Minolta Dimage EX 1500 accepted either a standard zoom module, or a wide-angle module. These included viewfinders (missing from the Ricoh concept, which relies entirely on the rear screen or electronic viewfinders) and had the unique ability to be removed from the camera on a 1.5m long Cable EX. This allowed users to position the wide-angle module inside scale models, doll’s houses and similar subjects to obtain realistic human-scale perspectives. It was only a 1.5 megapixel camera, and Minolta abandoned the concept before they had a chance to develop it further, whatever dPreview said ten years ago:
http://www.dpreview.com/reviews/minolta1500/
The technology behind the Ricoh is not all that different from the way consumer digital cameras are constructed anyway. Lenses are already sold sealed to CCD/CMOS sensors, as a single unit. That is how the OEM sources of the lens-sensor modules market them. At photokina, you can see (every two years) a new crop of such modules with both the technical resolution specs of the optical unit and the megapixel count of the sensor, identifiable to this non-Chinese/Japanese reader in the middle of a description which is usually inb Chinese. In 2006, I tracked such a module from its maker to the first camera I could find which used it – a compact branded as Vivitar. The customisation consisted of building any body the maker chose to design, and putting a ring on the lens front labelling it is a high resolution Vivitar lens; actually, it was just a generic lens-sensor assembly from China.
Ricoh has also pioneered unusual digital designs in the past, including rotatable or detachable lens modules and one of the first viewfinder-less designs, where the viewing screen was intended to be used at waist-level rather than today’s habit of waving the camera in front of your face.
This differs from anything previously done in the power of the CPU unit in each lens, and control module with screen display and card interface in the host body. It should allow any reasonable pixel count and sensor size to be built in to future optical modules. If the accessories do eventually include dedicated APS-C lens-sensor sealed modules, ‘dust on sensor’ will be one clear benefit (or the lack of it will). A supertelephoto module is also planned which will use a sensor smaller than APS-C.
London. — October 22, 2009 — Adobe Systems Incorporated (Nasdaq:ADBE) today introduced Adobe® Photoshop® Lightroom® 3 beta software for Macintosh and Windows®, a public preview of new and improved functionality to be delivered in the next major release. Lightroom is the essential digital photography workflow solution, helping serious amateur and professional photographers quickly import, manage, enhance, and showcase all their images from one application. Available as a free download on Adobe Labs, Lightroom 3 beta delivers a preview of new tools that will be in Lightroom 3, including more intuitive importing, unparalleled noise reduction and sharpening tools and enhanced slideshow capabilities.. Adobe encourages photographers to test this early selection of new features and provide the product team with their feedback.
Today sees the announcement of Nikon’s most significant camera body this year so far – bringing the D3 in line with the resr of the Nikon range, and improving it with customer feedback and to continue competing in a rapidly developing sector of the market. With headline grabbing ISO performance and D-Movie, the D3s looks set to repeat the success of the original D3…
The Awards 2009 edition of Master Photo digital is now readable on-line:
Click to launch the full edition in a new window.
- DK
EVERYONE is welcome to come along to the Newcastle Gateshead Hilton Hotel on Sunday October 11th, from 11am onwards. There will be a range of trade exhibition stands and the complete exhibition for the 2009 Master Photography Awards will be on show – though the winners will not be revealed until later in the day at the awards dinner.
Received today from Nikon:
TOTAL PRODUCTION OF NIKKOR LENSES REACHES FIFTY MILLION
Nikon Corporation is pleased to announce that its production of NIKKOR lenses (interchangeable lenses for Nikon SLR cameras) reached a total of fifty million units last month.
Nikon released the first NIKKOR lens, the NIKKOR-S Auto 5cm f/2 in 1959, along with Nikon’s first digital SLR camera, the Nikon F. In the fifty years since the launch, NIKKOR lenses have been extremely well received by a great number of photo enthusiasts and professional photographers.
Nikon’s current product line-up includes more than sixty NIKKOR lenses for Nikon SLR cameras, from fisheye lenses, super wide-angle to super telephoto lenses and micro lenses.
For more information about the range of lenses and cameras please visit www.nikon.co.uk
(no prizes of 50-year-old digital camera will be offered for correct answers!)
Emerging photographers seeking support for their work have until the end of the month to apply for a bursary of up to £20,000 from the National Media Museum. Following the success of the scheme in 2007 and 2008, the National Media Museum in Bradford, in partnership with five sponsors, is inviting applications until 25 September 2009, as part of its ongoing commitment to new photography.
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Nikon has teamed up with six of the industry’s most influential technology suppliers to bring cutting-edge, digital workflow solutions to professional photographers across Europe.
Nikon, Adobe Systems, Apple, Hewlett Packard, Nik Software, Wacom and X-Rite have joined forces for a unique, nine-city Creative Alliance Tour. The tour has been set up to provide creative professionals with a comprehensive insight into a complete digital workflow. A full-day seminar will take place at each city stop, hosted by photo professionals and evangelists Keith Thompson, Kevin Dopson, Robin Preston, and Guy Gowan among others. These influential master photographers will demonstrate live shoots, and talk about why colour profile and calibration is key to getting the best end product.
From image capture to printing and marketing, delegates of the Creative Alliance Tour will learn how to achieve optimum results (high resolution in, high resolution out) using the most innovative techniques available to photographic professionals. The seminars will consist of inspirational presentations and in-depth technical workshops, with the opportunity to share questions and experiences with the experts.
“The long-established professional photographic community has seen dramatic changes to photographic technology in the past few years, with the transition from silver halide to digital, and from traditional SLR to digital SLR. Combining the resources and expertise of the seven companies, this tour will provide a unique platform for the photographic community to learn about the latest technological innovations and take advantage of a complete digital workflow within their existing production process,” said photographer and digital artist, Robin Preston.
Photographers should not miss this opportunity to gain valuable insight into the latest workflow tools that could help their business maintain its competitive edge.
Registration and dates
The Creative Alliance Tour has started in Ede on the 24th June 2009, in the Netherlands. The tour will resume the 15th September 2009 in Manchester and 17th September 2009 in London.
Spain, Germany, Italy and France will follow in October and November 2009. For the exact dates and registration information please visit: www.thecreativealliancetour.com
The deadline for entries to the 2009 Master Photography Awards has been extended to August 12th, 2009.
All entries must be received at MPA – Jubilee House, 1 Chancery Lane, Darlington DL1 5QP – by close of business on Wednesday August 12th. Each entry should consist of an unmounted print (10 x 8 or A4) which either shows the image area only of a final print, to be mounted and sized appropriately on a 20 x 16 mount; or shows a 1/4 size reproduction of the finished 20 x 16 exhibition print. This must be made from the same image file to be used for the final print, on the same materials, with the same finish (but not mounted).
