Monthly Archives: November 2011
Nikon has announced the SB-910, the flagship flashgun in its Speedlight range. Replacing the SB-900, the 910 gains the simpler graphic user interface (GUI) of the less powerful SB-700. Its more advanced thermal protection system slows the flash recycle time, rather than it simply shutting down to prevent overheating. It comes with hard filters for matching fluorescent and tungsten lighting and automatically switches the camera’s white balance to match the filter. Similarly it adjusts the available zoom steps to suit the body (FX or DX) that it’s attached to. The SB910 will be available from mid-December, priced around $549.95.
THE NEW NIKON SB-910 SPEEDLIGHT HARNESSES POWERFUL FLEXIBILITY AND CONTROL FOR THE REVOLUTIONARY CREATIVE LIGHTING SYSTEM
Today, Nikon Inc. announced the addition of a new flagship speedlight, the powerful and capable SB-910 speedlight. Building on the versatility of Nikon’s Creative Lighting System (CLS), the SB-910 incorporates an enhanced intuitive operating system and graphic user interface (GUI). The SB-910 speedlight comes equipped with a wide zoom range covering the most popular focal lengths as well as FX/DX-format identification that optimizes zoom settings based on the camera body. This new speedlight also provides more efficient battery usage as well as an enhanced Thermal Cut-Out function.
“As Nikon’s new flagship speedlight, the SB-910 provides exceptional high performance and versatility that users have come to value in Nikon’s Creative Lighting System,” said Lisa Osorio, general manager of marketing at Nikon Inc. “By addressing the needs of photographers that work in challenging lighting scenarios, the SB-910 delivers a new level of portable lighting functionality, with performance and intelligent features that adapt to a wide range of lighting challenges.”
The SB-910 speedlight is designed to provide easy operation and menu navigation, with its enhanced operating system featuring illuminated function buttons, a dedicated Menu button with quick access to custom settings and an improved LCD screen graphic user interface. Whether the unit is used as an on-camera flash, wireless commander or remote, the SB-910 speedlight will provide dependable and consistent flash exposure. Engineered to address the creative lighting challenges faced by today’s photographers, the SB-910 speedlight includes quick on-demand performance and the ability to adapt seamlessly to nearly any possible lighting scenario.
Additionally, the new SB-910 incorporates a new Thermal Cut-Out function, which offers protection against damage to the flash panel and body from overheating during continuous flash use. Now, the flash recycling time is automatically delayed if a significant rise in temperature is detected, rather than ceasing operation to protect the unit. For additional durability, heat-resistance and ease-of-use, the SB-910 uses new hard-type color compensation filters for fluorescent and incandescent color temperature balancing. When using these filters, the flash automatically recognizes which filter is being used and adjusts white balance accordingly on the connected Nikon D-SLR camera. Additionally, the AF-assist illuminator of the SB-910 is compatible with the complete line of AF systems used in Nikon D-SLR cameras.
The SB-910 speedlight features three illumination patterns (standard, center-weighted and even) which are designed to match almost any shooting situation when utilizing the speedlight. The “standard” pattern will cover all conventional, standard flash coverage. The “center-weighted” pattern provides larger guide numbers than other light distribution types at the same focal lengths. This illumination pattern is ideal for subjects such as portraits, in which the light falloff at the image edges can be disregarded. When “even” is selected, the light from the flash will cover a subject from the center to the edges without light falloff. This pattern is applicable for shooting group photographs indoors. For coverage with a variety of lenses, the SB-910 speedlight incorporates a multi-step power zoom range that covers a wide 17-200mm angle of view, and can automatically detect Nikon FX and Nikon DX formats to help select suitable light distribution.
The SB-910 speedlight includes support for Nikon’s advanced wireless TTL operation and can function as a wireless commander with control over three separate groups of speedlights or as a remote speedlight triggered by other SB-910 speedlights, SB-700 speedlights, SU-800 Wireless Commander or the built-in speedlight set to Commander Mode on compatible Nikon D-SLR cameras. The SB-910 incorporates a high-speed recycling time of approximately 2.5 seconds for full power with NiMH batteries, and approximately 3.0 seconds with AA Alkaline batteries.
Optional water guards will be available for select cameras to protect the connection between the flash and camera, allowing users to utilize the flash when weather conditions are less than ideal. The SJ-4 Color Filter set provides a Warming, Red, Yellow or Blue filter for adding color to the background, foreground or just to accent the scene. The SB-910 will come equipped with the AS-21 Speedlight Stand, SW-13H Diffusion Dome, SZ-2FL and SZ-2TN hard type Color Compensation Filters and SS-910 soft case.
Price and Availability
Nikon’s new flagship speedlight, the SB-910, will be available in mid-December 2011 for a SRP*of $549.95. For more information, please visit http://www.nikonusa.com.
*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
Read more @ dpreview
The photo below that I saw an article from web and I impressive with the color of the photographer setting.Wow! then try to extract his article but not show the step but only the sample. I spend 3 days to extract the technique.
Finally, having some result…^^. So, hope I can manage this new color method well. Peace^^v.
Canon USA has made EOS 5D Mark II Firmware Version 2.1.1 available for download.
Firmware Version 2.1.1 incorporates the following fixes and improvements:
- Fixes a phenomenon where shooting stops after capturing one image when in continuous shooting or the Auto Exposure Bracketing (AEB) continuous shooting setting.
- Corrects wording in the Dutch language menu screen.
Nikon released new firmware updates for the Nikon D5100 and D7000 cameras. I actually never expected them to released another firmware update for the D7000 more than a year after it was announced.
Fixes in the Nikon D5100 v1.01 firmware update (download link):
- An error recognizing some memory cards has been addressed.
- When Selective color from the retouch menu is performed on a picture taken with the image quality set to NEF (RAW)+JPEG and an image size of M or S, the edges of the image may not have changed color. This issue has been resolved.
- When Metering was set to Matrix metering, the exposure mode set to M (Manual), and the HDR exposure differential set to Auto, the exposure differential was fixed at a value equivalent to 2 EV. This has been changed to enable automatic adjustment of exposure differential so that it is appropriate for the scene.
Fixes in the Nikon D7000 v1.03 firmware updated (download link):
- An error recognizing some memory cards has been addressed.
- The following issues occurred when the mode dial was rotated from U1 or U2 to another shooting mode or from another shooting mode to U1 or U2 when the power was off or when the exposure meters are off (Auto meter-off). These issues were resolved.
- – A new folder is sometimes created despite the fact that the current folder does not yet contain 999 files and none of the files are numbered “9999”.
- – The number of remaining exposures may not be displayed as specified in the settings.
- – The setting for Role played by card in Slot 2 may change between Overflow, Backup, and RAW Slot 1- JPEG Slot 2.
Red Digital Cinema has released the Scarlet-X professional video camera with Canon EF or PL mount. With burst modes up to 12 fps at 5K resolution and 4K video from 1-30 fps, it enables users to capture motion footage and still content simultaneously. Available for pre-orders, the basic kit (which is primarily the body, or as Red calls it “The Brain”) is priced at $9750 while the Scarlet-X AL Canon Mount Package is priced at $14,015 and includes such essentials as a power adaptor, a 5″ touch LCD, and a hand grip.
Launched the same day as Canon’s new EOS C300 Digital Cinema Camera, clearly the folks at Red have put some thought into their spec-list and price point. Whether an amateur or professional film-maker should use the C300 or Scarlet (or perhaps Canon’s forthcoming 4K DSLR) will become an interesting debate in the coming year. Read more below the fold:
SCARLET. ALL GROWN UP
November 3, 2011 – RED Digital Cinema has officially released its third industry-changing camera, the Scarlet-X. With burst modes up to 12 fps at full 5K resolution alongside 4K motion capture from 1-30 fps, the camera allows professional photographers and cinematographers to simultaneously capture motion footage and still content. Never miss a shot. Ever. Scarlet-X’s compact design, endless modularity and advanced feature set provide a future-proof solution catering to every shooter’s needs, leaving one-dimensional DSLRs and 1080p camcorders in its wake. Priced at under $10,000, Scarlet-X advances RED’s vision to democratize superlative cinema and professional photography.
Scarlet-X comes standard with a Canon EF or PL mount, which can be swapped easily using Scarlet-X’s interchangeable lens mount system. Panavision, Anamorphic, and Nikon lenses are also compatible with the camera, providing ultimate freedom when it comes to creative decision-making. The addition of HDRx reaches up to 18 stops of dynamic range, bringing digital images closer than ever to the natural perception of the human eye.
With the innate ability to capture 5K REDCODE RAW stills and true 4K motion footage, Scarlet-X produces visually lossless files that can easily be graded and finished. Combining all of the finest qualities of cinema and photography into one camera, Scarlet-X allows the customer to have the best of both worlds. Compromise nothing. Shoot everything.
“The future is dependent on those who push… not those who react,” said Jim Jannard, founder of RED Digital Cinema.
RED is now taking orders on RED.com for Scarlet-X.
Since delivering their first camera – the RED ONE – in 2007, RED Digital Cinema has jumped ahead of the pack over camera companies that had dominated the market for decades. Feature films shot with RED cameras such as the Academy Award-winning movie “The Social Network” and the more recent “Contagion” have contributed to a lineage of cinematic success. Since the 2011 introduction of DSMC (Digital Still & Motion Camera) technology, photography icons like Bruce Weber, Greg Williams and Inez + Vinoodh have used RED cameras to shoot covers and spreads for the some of the most influential fashion magazines in the world.
Read more @ dpreview
Canon has unveiled the EOS C300 Digital Cinema Camera interchangeable-lens video camera at a press event in Los Angeles. Available in in two models, the EOS C300 comes with an EF mount, while the EOS C300 PL features a PL mount. Both models feature an 8.3MP Super 35mm-equivalent CMOS sensor developed specially for the system, a modular design and a new range of dedicated video lenses. The C300 is scheduled to be available in late January 2012 for an estimated list price of $20,000. The C300 PL is scheduled to be available in late March 2012, also for an estimated list price of $20,000.
Vincent Laforet invited Vimeo out to film the behind the scenes of his new short film, Mobius, which was shot entirely on the new C300. In the video you can see the C300 and the new 30-300 f2.9-3.7 being handled:
A STAR IS BORN: CANON LAUNCHES NEW DIGITAL CINEMA CAMERA FOR HIGH-RESOLUTION MOTION PICTURE PRODUCTION
November 4, 2011—Canon Inc. and Canon U.S.A., Inc. today raised the curtain on an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today’s motion picture industry. The camera, which features a newly developed Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor, will be available in two models: the EOS C300 Digital Cinema Camera*, equipped with an EF lens mount for compatibility with Canon’s current diverse lineup of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras and new EF Cinema Lens lineup; and the EOS C300 PL Digital Cinema Camera*, with a PL lens mount for use with industry-standard PL lenses.
The introduction of the EOS C300/C300 PL coincides with the launch of the Cinema EOS System, marking Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital cinema camera and digital SLR camera product categories.
Star-Studded Supporting Cast
Equipped with an EF lens mount, the EOS C300 is supported by an all-star cast of high-performance EF lenses, not only the wide array of interchangeable EF lenses for EOS SLR cameras that have earned the trust and respect of photographers around the world, but also the EF cinema lenses in the newly announced Cinema EOS System. When outfitted with a Canon EF lens, the C300’s peripheral illumination correction automatically corrects for vignetting in accordance with each lens’s optical characteristics, and enables iris control from the camera. Canon EF lenses also enable the recording of such metadata as the name of the lens used, aperture setting and shutter speed.*1
Show-Stopping High-Resolution Full-HD Performance
The Canon EOS C300/C300 PL’s newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moiré while realizing high resolution with 1,000 horizontal TV lines.
Supported by a heightened signal read-out speed, the CMOS sensor reduces rolling shutter skews, a phenomenon prevalent with CMOS sensors in which fast-moving subjects may appear diagonally distorted. Additionally, the powerful combination of the sensor with Canon’s high-performance DIGIC DV III image processor facilitates high-precision gamma processing and smooth gradation expression.
In addition to MPEG-2 Full HD (MPEG2 422@HL compliant) compression, the EOS C300/C300 PL employs 4:2:2 color sampling for high-resolution performance that minimizes the appearance of “jaggies” at chroma edges. Additionally, with a maximum recording rate of 50 Mbps, the camera supports the recording of high-quality video.
The camera’s video and audio recording file format adopts the industry-standard MXF (Material eXchange Format), an open source file format ideally suited for non-linear editing systems. Recording to versatile, readily available CF cards, the EOS C300/C300 PL realizes high cost-performance and, equipped with two CF card slots, makes possible the simultaneous recording of video data to two CF cards.
Ready for Action
With a compact body design measuring 5.2 x 7.0 (h) x 6.7 (d) inches, the Canon EOS C300/C300 PL delivers exceptional maneuverability, enabling shooting from vantage points all but inaccessible to large cinema cameras, such as close to the ground for high-impact low-angle shots, and alongside walls. In accordance with on-location shooting needs, the camera can be outfitted with a handle, grip, thumb rest and monitor unit, and offers an array of industry-standard terminals, including HD/SD-SDI video output for the external recording of high-quality video content. When using a WFT-E6B wireless file transmitter for EOS digital SLR cameras (sold separately), the EOS C300/C300 PL can be controlled remotely by means of such common devices as smartphones or tablet PCs.
The camera is equipped with four start/stop buttons positioned at various locations to satisfy any preferred camera-holding style, and can be outfitted with a variety of third-party accessories, including matte boxes, follow focuses and external video and audio recorders. The unit also achieves seamless integration with third-party editing systems and provides added peace of mind through its dust-proof, drip-proof construction and built-in cooling system.
The new camera allows users to adjust image quality to match that of professional camcorders and EOS-series digital SLR cameras, and offers Canon Log Gamma, enabling flat image quality with subdued contrast and sharpness for maximum freedom in post-production editing and processing. In addition to frame rates of 59.41i, 50.00i, 29.97P, 25.00P and 23.98P, the EOS C300/C300 PL features a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras for high compatibility with common film-production workflows.
Other features include fast-motion shooting, achieved by capturing fewer frames per second to create action up to 60x normal speed, and slow-motion down to 1/2.5x*2 made possible by capturing more frames per second. Frame rates between 1 and 60 frames per second (fps) *3 can be adjusted in increments of 1 fps.
Additionally, a selection of Custom Pictures lets users freely adjust image quality for greater control over how content looks.
Pricing and availability
The Canon EOS C300 (EF mount) digital cinema camera is scheduled to be available in late January 2012 for an estimated list price of $20,000. The Canon EOS C300 PL (PL mount) digital cinema camera is scheduled to be available in late March 2012 for an estimated list price of $20,000.
For more information and to view online demonstration footage of the new products please visit: http://www.usa.canon.com/cinemaeos
*1 Compatible features differ depending on the EF Cinema Lens used.
*2 1/2.5x possible only when recording in 720p mode.
*3 When 59.41i frame rate is selected.
Read more @ dpreview
Alongside the EOS C300, Canon has launched seven EF Cinema lens series, all of which carry a new ‘CN-E’ designation. Two zooms, a 14.5-60mm T2.6 L and 30-300mm T2.95-3. 7 L, will each be available in EF and PL mounts and be compatible with both Super 35mm-equivalent and APS-C cameras. Meanwhile the 24mm T1.5L, 50mm T1.3L and 85mm T1.3L primes will come in EF mount and be compatible with all sensor sizes up to 35mm full frame. All of the lenses feature manual focus and aperture control, and include an 11-blade aperture diaphragm for attractive defocus effects.
CANON CASTS EF CINEMA LENSES IN STARRING ROLE FOR NEW CINEMA EOS SYSTEM
November 4, 2011— Canon Inc. and Canon U.S.A., Inc. today announced the introduction of seven new 4K EF Cinema Lenses, an all-new series of video cinematography lenses that, in addition to the company’s current lineup of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras, form the core of Canon’s new Cinema EOS System. The launch of the Cinema EOS System marks Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital cinema camera and digital SLR camera product categories.
Canon’s new EF Cinema Lens lineup includes four top-end zoom lenses covering a zoom range from 14.5 mm to 300 mm—two models each for EF and PL lens mounts—and three single-focal-length lenses for EF mounts. All seven new lenses are capable of delivering exceptional 4K optical performance and offer compatibility with the Super 35 mm-equivalent image format. The three single-focal-length EF lenses can be used with cameras equipped with 35 mm full-frame sensors.
The seven new lenses represent the starting cast of Canon’s new EF Cinema Lens series, a star-studded lineup that will continue to grow in the future with the introduction of new A-list zoom and fixed-focal-length lenses.
Wide-Angle and Telephoto Cinema Zoom Lenses for EF and PL Mounts
- CN-E14.5–60mm T2.6 L S / CN-E14.5–60mm T2.6 L SP *
- CN-E30–300mm T2.95–3.7 L S / CN-E30–300mm T2.95–3.7 L SP *
The four new Canon zoom cinema lenses comprise the CN-E14.5–60mm T2.6 L S (for EF mounts) and CN-E14.5–60mm T2.6 L SP (for PL mounts) wide-angle cinema zoom lenses, and the CN-E30–300mm T2.95–3.7 L S (for EF mounts) and CN-E30–300mm T2.95–3.7 L SP (for PL mounts) telephoto cinema zoom lenses. Each lens supports 4K (4096 x 2160 pixels) resolution, which delivers a pixel count four times that of Full HD (1920 x 1080 pixels), and offers compatibility with industry-standard Super 35 mm-equivalent cameras as well as APS-C cameras*.
Employing anomalous dispersion glass, effective in eliminating chromatic aberration, and large-diameter aspherical lenses, the zoom lenses achieve high-resolution imaging from the center of the frame to the outer edges. Each lens is equipped with a newly designed 11-blade aperture diaphragm for soft, attractive blur characteristics, making them ideally suited for cinematographic applications.
The focal length range of 14.5–300 mm covered by the new zoom lenses represents the most frequently used focal lengths in theatrical motion picture production, a range that often requires a combination of three or more separate zoom lenses. Canon’s new wide-angle and telephoto cinema zoom lenses, however, offer a wider angle and powerful zooming to provide complete coverage across this range with just two lenses. The new wide-angle cinema zoom lenses will offer the industry’s widest angle of view among 35 mm digital cinema lenses with a wide-angle-end focal length of 14.5 mm*2.
Zoom, focus and iris markings are all engraved on angled surfaces for improved readability from behind the camera. With a focus rotation angle of approximately 300 degrees and a zoom rotation angle of approximately 160 degrees, the lenses facilitate precise focusing performance while making possible smooth and subtle zoom operation.
The new top-end cinema zoom lens lineup can be used with standard manual and electronic movie industry accessories, as well as matte boxes. Featuring a unified front lens diameter and uniform gear positions, the lenses do away with the need to adjust or reposition accessory gear when switching between other lenses in the series.
Pricing and availability
Both the Canon CN-E14.5–60mm T2.6 L S (EF mount) lens and the Canon CN-E14.5–60mm T2.6 L SP (PL mount) lens are scheduled for late January 2012 availability for an estimated list price of $45,000 each. The Canon CN-E30–300mm T2.95–3.7 L S (EF mount) and Canon CN-E30–300mm T2.95–3.7 L SP (PL mount) lens are scheduled for late March 2012 availability for an estimated list price of $47,000 each.
Single-Focal-Length Cinema Lenses for EF Mounts
CN-E24mm T1.5 L F / CN-E50mm T1.3 L F / CN-E85mm T1.3 L F *
Like their wide-angle and telephoto cinema zoom lens co-stars, Canon’s new CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F cinema lenses deliver 4K optical performance. The three lenses, designed for use with EF mounts, are compatible with not only industry-standard Super 35 mm-equivalent cameras, but also 35 mm full-frame, APS-H and APS-C sensor sizes. The trio incorporates anomalous dispersion glass and large-diameter aspherical lenses for high resolution imaging throughout the frame, and features a newly designed 11-blade aperture diaphragm for gentle, attractive blurring.
With focus and iris markings that are easily visible from behind the camera, Canon’s three new fixed-focal-length lenses support convenient film-style operation and, offering a focus rotation angle of approximately 300 degrees, facilitate precise focusing performance.
The CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F support standard manual and electronic industry accessories and matte boxes, and have a unified front lens diameter and uniform gear positions, eliminating the need for adjustments when switching lenses.
Pricing and availability
The Canon CN-E24mm T1.5 L F (EF mount) and CN-E50mm T1.3 L F (EF mount) lenses are scheduled to be available in late July 2012. The CN-E85mm T1.3 L F (EF mount) lens is scheduled to be available in late August. The Canon CN-E24mm T1.5 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E50mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E85mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800.
*1 Not compatible with 35mm full-frame or APS-H camera sensors.
*2 As of November 3, 2011, according to published competitive data.
Read more @ dpreview
Plenoptic camera maker Lytro has unveiled its first product – the Lytro Light Field Camera. Available in early 2012, the camera will come in 8Gb and 16Gb versions, costing $399 and $499, and capable of storing 350 and 750 images respectively in their internal memory. The cameras feature a 35-280mm equivalent, constant F2 lens with what the company is calling an 11 megaray sensor, that captures photos that can be refocused after shooting. Company Founder and CEO Ren Ng showed us the camera and talked us through the shooting experience.
Lytro, Inc. Unveils the World’s First Consumer Light Field Camera
October 19, 2011 – Lytro, Inc. (www.lytro.com) unveiled the first Lytro consumer light field camera, introducing a new way to take and experience pictures. Unlike conventional cameras, the Lytro light field camera captures all the rays of light in a scene, providing new capabilities never before possible, such as the ability to focus a picture after it’s taken. The pocket-sized camera, which offers a powerful 8x optical zoom and f/2 lens in an iconic design, creates interactive “living pictures” that can be endlessly refocused. The camera is available in two models and three colors, starting at $399.
The Lytro is the only consumer camera that lets people instantly capture a scene just as they see it by recording a fundamentally richer set of data than ever before. Lytro cameras feature a light field sensor that collects the color, intensity, and the direction of every light ray flowing into the camera, capturing a scene in four dimensions. To process this additional information, Lytro cameras contain a light field engine that allows camera owners to refocus pictures directly on the camera. When the Lytro’s living pictures are shared online, the light field engine travels with each picture so anyone can interact with them on nearly any device, including web browsers, mobile phones, and tablets — without having to download special software.
The Lytro’s sleek design was created with simplicity in mind. With no unnecessary modes or dials, the camera features just two buttons — power and shutter — and has an intuitive glass touchscreen that lets pictures be viewed and refocused directly on the camera. While the Lytro camera houses complex technology, it is fundamentally easy to use, opening new creative opportunities for anyone interested in sharing their favorite memories with friends and family.
The Lytro camera’s features include:
- Form follows function: The Lytro’s unique compact design is driven by its 8x optical zoom lens, which features a constant f/2 aperture. The Lytro’s anodized aluminum body is lightweight yet sturdy. At less than eight ounces, the Lytro puts remarkable power in a pocket-sized camera.
- Proprietary light field science: The Lytro is the only camera that captures life in living pictures. Its innovative light field sensor captures 11 million light rays of data (or 11 megarays), including the direction of each ray, something conventional cameras don’t do. The light field engine then processes the data into a picture that is displayed in HD quality.
- Unparalleled speed: The Lytro’s speed ensures that people never miss a moment. It turns on instantly and has an instant shutter. With no need to auto-focus, the Lytro has no shutter delays.
- Low-light sensitivity: By using all of the available light in a scene, the Lytro performs well in low-light environments without the use of a flash.
- Significant storage: The Lytro is available in both 8GB and 16GB models, storing 350 and 750 pictures respectively. In addition, our first camera owners will enjoy free storage for the light field pictures they’ve uploaded to Lytro.com.
- Seeing in 3D: Coming soon! Captured as a full light field, all pictures taken with the Lytro are inherently 3D. Special light field algorithms, available in 2012, will be applied to the light field pictures to enable viewing on any 3D display and to enable viewers to shift the perspective of the scene.
The Lytro light field camera is accompanied by Lytro’s desktop application, a free software download that easily imports pictures from camera to computer. Currently available for Mac OS X, the desktop application lets people view, interact with, organize and share their light field pictures. Lytro pictures can then be uploaded to Lytro.com to be shared via Facebook, Twitter, blogs, or as links in email messages. Once shared, Lytro’s living pictures allow viewers to live the moment with the photographer and explore a scene like never before. Viewers can continually interact with Lytro pictures – focusing them over and over – expanding the creative possibilities of each and every shot.
Concepts related to the light field and computational photography have been researched in academic circles for more than a century. Light field science was the subject of Lytro CEO and Founder Dr. Ren Ng’s Ph.D. dissertation in computer science at Stanford, which was awarded the internationally-recognized ACM Dissertation Award in 2007 as well as Stanford University’s Arthur Samuel Award for Best Ph.D. Dissertation. Dr. Ng’s research focused on miniaturizing light field technology into the body of a single camera to make it practical for everyday use.
The digital still camera market is large and growing with $38.3 billion in worldwide revenue in 2010 and expectations to increase to $43.5 billion worldwide by 2015.* Visual storytelling is universal, with 60 billion photos shared on Facebook in 2010, projected to reach 100 billion photos by this summer.
“Light field photography was once only possible with 100 cameras tethered to a supercomputer in a lab,” said Ng. “Today it’s accessible to everyone in a camera that’s small and powerful, but incredibly easy to use. Our goal is to forever change the way people take and experience pictures, and today marks our first major step.”
Pricing & Availability
The Lytro camera is available in two models: 8GB ($399, 350 pictures, in Electric Blue or Graphite) and 16GB ($499, 750 pictures, in Red Hot). It is now available to order at Lytro.com and will ship in early 2012. The Lytro desktop application will be available initially for the Mac operating system; a Windows version will be available in 2012.
For a demonstration of living pictures, visit the Lytro Picture Gallery: www.lytro.com/living-pictures.
* ―Digital Still Cameras: Devices, Features, Lenses, Sensors, and Semiconductors,‖ In-Stat (2011)
Read more @ dpreview