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Field review: Fujifilm XF 18mm F1.4 R LM WR

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Field review: Fujifilm XF 18mm F1.4 R LM WR

Introduction

The Fujifilm Fujinon XF 18mm F1.4 R LM WR is a bright, fast walkaround prime lens that’s particularly well-suited to landscape and street photography. It also makes a good video lens thanks to its small size, light weight and confident, silent autofocus.

Available only for Fuji X-mount cameras, all of which share an APS-C sensor size, it offers a 35mm-equivalent focal length of 27mm.

The Fuji XF 18mm F1.4 R LM WR has a list price of $999.


Key specifications:

  • Focal length: 18mm (27mm with APS-C crop)
  • Aperture range: F1.4 – F16
  • Stabilization: No
  • Filter thread: 62mm
  • Close focus: 0.2m (7.9″)
  • Maximum magnification: 0.15x
  • Diaphragm blades: 9
  • Hood: Included plastic bayonet hood, optional LH-XF18 bayonet hood
  • Weight: 370g (0.82 lb)
  • Optical construction: 15 elements in 9 groups (3 aspherical, 1 ED)
ISO 160 | 1/320 sec | F1.4 | 27mm equiv. | Fujifilm X-T4
Photo by Chris Niccolls

The XF 18mm F1.4 is an X-mount lens with no direct competitors, either from Fujifilm itself or from third parties. In Fuji’s own lineup, the nearest alternative is the less-bright XF 18mm F2 R, but that’s a much lighter and more compact pancake-style lens aimed at consumer use.

If you’re looking for a bright, wide prime, the nearest alternatives would be Fuji’s own XF 16mm F1.4 R WR and XF 23mm F1.4 R. And there are a couple of third-party options to consider, too: The Tokina atx-m 23mm F1.4 X and Viltrox AF 23/1.4 XF.

But all of these are either a bit wider or offer greater telephoto reach than the XF 18mm F1.4, and don’t therefore compete directly.

ISO 160 | 1/320 sec | F1.4 | 27mm equiv. | Fujifilm X-T4
Photo by Dale Baskin

Compared to…

Fujifilm XF 18mm F1.4 R LM WR Fujifilm XF 18mm F2 R Fujifilm XF 16mm F1.4 R WR
Price (MSRP) $999 $599 $999
Optical construction 15 elements, 9 groups 8 elements, 7 groups 13 elements, 11 groups
Weather sealed Yes No Yes
Aperture blades 9 7 9
Filter threads 62mm 52mm 67mm
Minimum focus distance / max magnification 0.20 m (7.9) / 0.15x 0.18 m (7.1) / 0.14x 0.15 m (5.9) / 0.21x
Diameter x Length
(no hood)
69mm x 76mm
(2.7″ x 3.0″)
65mm x 34mm
(2.5″ x 1.3″)
73mm x 73mm
(2.9″ x 2.9″)
Weight 370g (13.1oz) 116g (4.1oz) 375g (13.2oz)
Lens hood Included Included Included

All images edited in Adobe Camera Raw 13 with adjustments limited to white balance, exposure, highlights, shadows, white and black levels. Sharpening and noise reduction at ACR defaults.


Handling

While it’s more than double the length and triple the weight of the older and slower 18mm F2.0 pancake, the 18mm F1.4 is nevertheless quite compact for its specification. It’s around 76mm (3.0″) in length with a barrel diameter of 69mm (2.7″), and weighs 370g (13.1oz).

By way of comparison, it’s similar in size to Fuji’s XF 18-55mm F2.8-4 kit lens when that lens’ zoom is retracted, and only weighs about 20% more. It balanced nicely on the Fuji X-T3, X-T4 and X-S10 bodies we tested it with, although it might prove a bit front-heavy on the very smallest X-mount bodies like the X-E4.

It’s double the weight and triple the length of the earlier XF 18mm F2 R (left), but the XF 18mm F1.4 (right) is nevertheless quite compact for a lens of its’ maximum aperture.

In-hand, the metal-bodied XF 18mm F1.4 has a really solid feel to it. We’ve come to expect excellent build quality from Fuji’s XF primes, and this lens is no exception.

There are only a few external controls, including both focus and aperture rings as well as an aperture position lock that keeps apertures under automatic control unless overridden. Unfortunately, the manual focus ring lacks a clutch like that in the 16mm F1.4.

The aperture ring moves in 1/3-stop detents while the manual focus ring moves smoothly, but we found both to be a bit too easily-turned for our liking. Given the pre-production status of our review samples, though, it’s possible this won’t be an issue for shipping versions.

As the WR in its name suggests, the XF 18mm F1.4 R LM WR is designed for weather resistance, with a total of eight seals throughout including one in the lens mount. 62mm filter threads are provided up front, and no in-lens stabilization is available.

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Autofocus and focus breathing

Fuji’s 18mm F1.4 lens has an internal focusing design driven by a linear autofocus motor that moves a group of six focusing elements. It’s the first time Fuji has used linear AF in a wide-angle XF prime lens, and the result is very quick focus drive, with a full-rack autofocus time of well under one second.

The linear AF motor also operates silently, which is great news for video shooters. And while there is a little focus breathing present it’s fairly well-controlled, so you’re likely to notice it only if you’re looking for it.

ISO 160 | 1/2000 sec | F2 | 27mm equiv. | Fujifilm X-T4
Photo by Chris Niccolls

Manual focus conveniently offers the flexibility of two focus modes: linear or non-linear. In non-linear mode you can instantly switch between making big or small focus jumps simply by turning the ring quickly or slowly, respectively. However, you can’t pull focus repeatably, since the speed with which you turn the dial changes the distance that the focus will be adjusted.

That’s to be expected; unfortunately, in the linear mode, repeatability is good, but the manual focus throw from macro to infinity is very short, which makes fine-tuning of manual focus nearly impossible. Perhaps this is something that could be addressed in firmware.

ISO 160 | 1/100 sec | F1.4 | 27mm equiv. | Fujifilm X-T4
Photo by Jordan Drake

As for its macro capabilities, the 18mm F1.4 is average, but good for the occasional close-up shot. With a minimum focusing distance of 11cm (4.3″) from the lens’ frontmost element, or 20cm (7.9″) from the sensor plane, you can achieve a maximum magnification of 0.15x.

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Image quality

Although its a bit prone to flare / ghosting and its bokeh may not always blow you away, the Fuji XF 18mm F1.4 delivers good sharpness and decent image quality overall. And it does so even when shooting wide-open.

ISO 160 | 1/200 sec | F2 | 27mm equiv. | Fujifilm X-S10
Photo by Carey Rose

Sharpness

Focused in the center of the frame, center sharpness is very good even at F1.4, and the corners are pretty good too. Stopping down to F4 yields only minimal improvement in the center along with a more noticeable boost in corner sharpness. We only noticed a small improvement in corner sharpness when focusing in the corner, as sharpness was already very good out to the edges.

This indicates that this lens has a pretty flat field of focus, and delivers excellent sharpness across the frame even when shooting wide-open. That’s great news, because it frees you to take advantage of that bright F1.4 maximum aperture without worrying about loss of detail.

ISO 250 | 1/160 sec | F5 | 27mm equiv. | Fujifilm X-T4
Photo by Dale Baskin

Bokeh

When shooting wide-open, out of focus highlights are circular thanks to the 9 rounded blades, and the discs are fairly uniform with no onion rings and only the slightest edge appearing at times. We should mention that of the two copies we received, one unit had distracting patterning within out-of-focus highlights that yielded a ‘dirty’ look to the bokeh, but we can’t make a definitive statement about that given that both our samples are officially pre-production.

Some minimal cat’s eye is noticeable in the corners when shooting wide-open, but it’s well controlled and goes away by F2.8. The bokeh discs do start to take on a bit of a polygonal shape at the same time, but the fact that they remain largely circular even with the lens stopped down roughly two stops is impressive. Overall, it’s a very decent performance.

ISO 160 | 1/100 sec | F1.4 | 27mm equiv. | Fujifilm X-T4
Photo by Chris Niccolls

Flare, ghosting and sunstars

The Fujifilm XF 18mm F1.4 comes with a plastic bayonet-mount hood, which you’ll want to utilize to reduce flare if you find yourself shooting into the sun or other bright light sources with any regularity. There is an optional metal lens hood as well should you want to shell out the $70 for it – in our experience, the plastic hood does fine.

ISO 160 | 1/100 sec | F14 | 27mm equiv. | Fujifilm X-T4
Photo by Chris Niccolls

We did sometimes notice some washed-out flare and a little bit of ghosting in difficult conditions, but neither was too bad. As is typically the case, ghosts become more defined the more you stop down, as in the F14 shot above. Stopping down also affords you some really nice sunstars, with nice clean lines and a pretty dramatic effect.

Lateral and longitudinal chromatic aberration (fringing)

Lateral chromatic aberration, which shows up as green and magenta fringes around high contrast edges at image peripheries, is optically well corrected for and any residual aberrations are nearly fully removed digitally in the JPEG or Raw conversion.

Some longitudinal chromatic aberration is present, resulting in slight magenta fringing in front of the plane of focus, along with green fringing behind it, but it’s really well-controlled, only really visible wide open and generally shouldn’t be an issue in real-world use.

ISO 160 | 1/320 sec | F16 | 27mm equiv. | Fujifilm X-T4
Photo by Dan Bracaglia

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Conclusion

What we like What we don’t
  • Fills a gap in the F1.4 lineup for X-mount
  • Quite compact for a lens of its type
  • Solid build and weather-sealed
  • Swift, silent autofocus
  • Good sharpness, even wide-open in the corners
  • Minimal chromatic aberrations
  • Most potential optical defects are well controlled
  • Nice sunstars when stopped down
  • Short focus throw in linear mode makes precise focus pulls difficult
  • A bit prone to flare and ghosting

As we noted at the outset, the Fujifilm XF 18mm F1.4 has no direct competition, either from within Fujifilm’s XF-series lineup or from third parties. If you need its bright maximum aperture and an 18mm focal length, it’s really your only option. Thankfully, it’s a pretty good one too, offering sold, compact build and decent image quality.

With swift, silent autofocus from its linear AF drive, and a relatively light weight that makes it well-suited to gimbal-based shooting, the XF 14mm F.4 also shows potential as a video lens. And to prove that point, we shot with the 18mm F1.4 for our DPReview TV episode at the end of this review.

ISO 160 | 1/1000 sec | F2 | 27mm equiv. | Fujifilm X-T4
Photo by Dan Bracaglia

Really, our only concern on the video front is the short focus throw that can make it hard to fine-tune manual focus when set to linear mode, and this seems likely to be an unintended bug that could be fixed in firmware.

For stills shooters, image quality is pretty decent in most respects, even when shooting wide-open. That’s particularly important as if you’re paying a price and portability premium for a bright F1.4 optic, you’ll likely want to shoot at or near maximum aperture quite often.

ISO 160 | 1/2000 sec | F1.4 | 27mm equiv. | Fujifilm X-T4
Photo by Chris Niccolls

But with that caveat aside, we think the Fuji XF 18mm F1.4 represents a solid option for a bright, fast walk-around prime for X-mount shooters. And short of switching to a wider 16mm or more telephoto 23mm lens, it’s really your only option if you want a bright F1.4 maximum aperture. It’s certainly in a different class to the now rather long-in-the-tooth XF 18mm F2 R pancake, and well worth the price premium over that lens.

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DPReview TV review

See what our team at DPReview TV has to say about the Fujifilm XF 18mm F1.4 R LM WR.

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Sample galleries

Please do not reproduce any of these images without prior permission (see our copyright page).

Fujifilm XF 18mm F1.4 pre-production sample gallery

Fujifilm XF 18mm F1.4 pre-production sample gallery (DPReview TV)

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Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount

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Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount


Image: Tamron

Tamron has announced it will release its popular 28-75mm F2.8 Di III VXD G2 fast standard zoom for Nikon’s Z-mount.

Nikon already sells a 28-75mm F2.8 with an optical formula and calculated MTF charts that are a match for Tamron’s original, stepper-motor driven 28-75mm F2.8 Di III RXD. The newer, linear-motor-driven G2 model features improved optical performance.


Buy now:


The G2 uses a more complex 17 element / 15 group design and has a fractionally shorter minimum focus distance (18cm/7.1″ vs 19cm/7.5″) to deliver very slightly increased maximum magnification. The G2 is also a fraction lighter than the Nikon-branded 28-75mm, weighing 550g (19.4oz), rather than 565g (19.9oz). On the E-mount versions, Tamron claimed the VXD linear motor design was twice as fast as the RXD version.

The focal length range makes the 28-75mm a wide to short-telephoto lens for Nikon’s full-frame Z-mount cameras but could, in principle, be used as a 42-113mm equivalent on DX APS-C bodies, if you wished.

Click here to see the Tamron 28-75mm F2.8 G2 gallery shot on Sony E-mount

The announcement adds a more affordable option for Nikon’s Z-mount users, but the hope has to be that, letting Tamron compete against its own-brand lenses, might also indicate some relaxation of Nikon’s restrictions around the mount. As the footnotes make clear, this lens is “developed, manufactured and sold under the license agreement with Nikon Corporation.”

The Tamron 28-75mm F2.8 Di III VXD will be available from April 18th at an MSRP of $999. This is $100 more than the E-mount version and a match for the current price of the Nikkor Z 28-75mm F2.8. It’s $200 below Nikon’s launch price for the Nikkor version.

TAMRON announces the launch of fast-aperture standard zoom lens for “Nikon Z mount system”

28-75mm F/2.8 Di III VXD G2 (Model A063) for Nikon Z mount

March 27, 2024, 11pm ET / 8PM PT, Commack, NY – Tamron announces the launch of the 28-75mm F/2.8 Di III VXD G2 (Model A063), a fast-aperture standard zoom lens, for Nikon Z mount full-frame mirrorless cameras1. The lens will be available April 18, 2024, at $999 USD / $1399 CAD.

The 28-75mm F2.8 G2 is compact and easy to use yet has excellent optical performance and is compatible with the latest digital cameras with increasingly high pixel resolution. The AF drive uses a linear motor focus mechanism VXD (Voice-coil eXtreme-torque Drive) that is fast, highly accurate and quiet. The lens also excels at close-up shooting, achieving an MOD (Minimum Object Distance) of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7. Additionally, the lens design takes operability into consideration by including a coating with excellent scratch resistance on the barrel of the lens and a rubber focusing ring for a comfortable, secure grip among other features.

TAMRON pioneered the category of compact fast-aperture standard zoom lenses for mirrorless models. Now the 28-75mm F2.8 G2 will be available for Nikon Z mount as the ideal everyday lens for Nikon full-frame mirrorless camera users.

Product highlights

1. Best image quality in the standard zoom lens class

The new zoom leverages the latest design expertise and comprises an optical construction with 17 elements in 15 groups. Two optimally arranged LD (Low Dispersion) and GM (Glass Molded Aspherical) lens elements control optical aberrations to the highest degree. The lens provides high-resolution performance from edge-to-edge and corner-to-corner over the entire zoom range, even at wide open aperture. In addition, the soft, beautiful, round bokeh that can be achieved with a fast-aperture lens adds a distinctive dimension, especially to portraits. The overall compact size and high performance can be used advantageously with top-class, ultra-high-resolution mirrorless cameras.

2. Fast, quiet VXD linear motor for high-speed and high precision autofocus

The AF drive system employs TAMRON’s VXD linear motor focus mechanism. The high-speed, high-precision AF is exceedingly responsive and provides dependable and accurate focusing performance from MOD to infinity, despite the fast F2.8 aperture. The lens delivers excellent focus tracking of moving objects, so you are always ready for fast action. Additionally, the focus motor is quiet, so it’s ideal for shooting both still images and video in situations that demand low noise.

3. Lightweight and compact

The 28-75mm F2.8 G2 is a fast-aperture standard zoom lens with a remarkably compact and lightweight design, just 4.7” (119.8mm) long. The maximum diameter is 75.8mm and it weighs only 19.4 oz. (550g). Filter size is 67mm. With a size that’s easy to carry and a light weight that’s well-suited for handheld shooting for extended periods, the 28-75mm F2.8 G2 will surely become your favorite zoom for travel, street shooting, everyday carry, and spontaneous photo opportunities.

4. MOD of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7 for creative close-ups

The 28-75mm F2.8 G2 features an MOD of 7.1” (0.18m) at the wide end. The working distance shrinks to around 1.7” (4.4cm) when used at MOD. Because the maximum magnification ratio is 1:2.7, you can get close to your subject for wide macro photography, enabling powerful visual impact with the subject positioned large in the frame while keeping a wide view of the background.

5. TAMRON Lens Utility™ expands the possibilities of still photography and video shooting

The 28-75mm F2.8 G2 is compatible with the dedicated TAMRON Lens Utility software developed in-house by TAMRON that empowers users to easily update the lens to the latest firmware without going through the camera2 and includes functions to support focusing operations and other actions when shooting still images or video. By utilizing a wide range of functions3, users can expand the breadth of expression in still images and video. For example, A-B Focus allows users to limit focusing to two pre-selected focus points, shifting focus from one subject to the other with just a click of the Focus Set Button. Users can also choose between Linear and Non-Linear, which affects how the focus shifts during manual focusing.

6. Enhanced overall lens design for user-friendly operation

Every individual part of the lens has been carefully scrutinized, right down to the fine details, resulting in an enhanced design that optimizes both operability and ergonomics. The surface of the lens exterior is glossy black. Improved abrasion resistance makes the lens barrel harder to scratch and resists fingerprints. Additionally, the grip performance has been improved. The smoothly curved, elegant surface of the brand ring creates a dignified appearance with a design that signifies functional beauty and high quality.

7. Moisture-Resistant Construction and Fluorine Coating provide extra protection

1. The lens for Sony E-mount previously launched on October 28, 2021.

2. To connect your PC and lens, use the TAMRON Connection Cable (USB Type-A to Type-C/ Model CC-150, or USB Type-C to Type-C/ Model CC-350) sold separately. To connect your smartphone and lens, use the TAMRON Connection Cable (USB Type-C to Type-C/ Model CC-350) sold separately. Lens firmware updates are not supported with the Mobile version. Performing firmware updates requires the TAMRON Lens Utility for PC and a computer.

3. The ring function (Focus/Aperture) is not supported for Nikon Z mount.

Tamron 28-75mm F2.8 Di III VXD G2 specifications

(Length and weight refer to E-mount version)



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Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV

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Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV


Photo: Dan Bracaglia

Sony has announced major firmware updates for four of its current full-frame range, bringing many features and behaviors up to its latest standards and adding C2PA authenticity verification capabilities.

Sony a1 f/w v2.00

Firmware v2.00 for the Sony a1 is perhaps the most extensive, adding features that have appeared in other models in the three-and-a-bit years since it was launched, such as the lens breathing compensation function. It also adds a handful of new features and modifications of behavior, including an option to ensure the EVF remains on, regardless of the LCD position, and relay playback of images across multiple media. Among the extensive list of additions an updates are features such as Timecode Sync, previously only available in Sony’s Cinema Line cameras.

A series of FTP options, including SFTP support are also added.

The firmware doesn’t activate the C2PA function – which not only authenticates the camera and date/time but also that the photo is of a 3D subject, not a photo of a photo – but instead adds the capability to the camera. Once installed, users need to activate a separate license via the Creators’ App to use the function.

Sony a7S III f/w v3.00

Firmware v3.00 brings many of the updates seen in the a1, including Timecode Sync, breathing compensation and relay playback. It also adds the ability to close the mechanical shutter when the camera is turned off, to mitigate dust ingress, and the ability to transfer Raw files to smartphones.

In addition to the C2PA capability, firmware v3.00 includes the ability to add DCI 4K 24p shooting. Again a license needs to be downloaded to a camera running the new firmware to actually activate the function.

Sony a7 IV f/w v3.00

As one of the most recently updated cameras on this list, the a7 IV gains fewer features than the other cameras here. But in addition to C2PA capability, it adds network streaming, direct cloud upload support and an expansion of the features accessible via software development kit (SDK).

Sony a9 III f/w v2.00 [Expected April 9th]

As the newest of the cameras here, the a9 III receives fewer additions and updates than the a1 and a7S III, as in many instances they are gaining the features that the latest a9 introduced. However, in addition to details such as outputting lens names in video file metadata, the a9 III gains the promised ability to use the camera’s full shutter speed range when continuous shooting. But beyond this, the a9 III gains a small array of feature expansions and refinements being added across the four cameras, including the ability to extract stills from video capture, to take advantage of its lack of rolling shutter.

{PressRelease}

Sony Electronics Delivers Firmware Updates including C2PA Compliancy as a Next Step to Ensure Authenticity of Images

SAN DIEGO, March 27, 2024 – Today, Sony Electronics delivers the highly anticipated firmware updates for the Alpha 1 (Ver. 2.00), Alpha 7S III (Ver. 3.00), Alpha 7 IV (Ver. 3.00), and after April 2024, the Alpha 9 III (Ver.2.00). The update contains some of Sony’s most impactful technology, including Camera Authenticity Solution, the proprietary in-camera digital signature and C2PA (Coalition for Content Provenance and Authenticity) format support1. Together, these tools will make it possible for news agencies to ensure the authenticity of images, contributing to industry efforts to protect creators, and society from fake imagery.

Additionally, the firmware updates include many requested features to improve everyday use. The update evolves shooting functions and post-shooting workflow and brings advanced movie features like breathing compensation. It also includes new remote-control capabilities, new features for professional applications, and expanded access to cloud services applications.

“There is nothing more core to our mission than listening to the voices of the photographers, videographers, and filmmakers who shoot with Sony Alpha cameras. We know this community has been asking for these updates, and we’re happy to deliver. Each of these updates are designed to promote ease of use for our creators and allow them to maximize the strengths of their cameras,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We’re especially pleased to deliver C2PA compliancy with this update. This compliancy paired with our unique digital signature technology, allows us to offer the most secure and comprehensive solution to protect professional photographers, news agencies, and society from manipulated imagery.”

Camera Authenticity Solution

Last year, Sony announced its commitment to developing technology in its cameras to aid in the fight against manipulated imagery and AI-generated fakes. The severity of this issue is only increasing and it’s a complex problem that requires the focus and attention of our entire industry.

One critical part of the solution is making more Sony cameras C2PA compliant. C2PA is a Joint Development Foundation project, where Sony is a steering committee member. C2PA aims to develop an end-to-end open technical standard to provide publishers, creators and consumers with opt-in, flexible ways to understand the authenticity, and provenance of different types of media. The C2PA is a standards-setting body that will develop technical specifications on content provenance and authentication by certifying the source and history of media content. With this firmware update, the authenticity information embedded on images from Alpha 1, Alpha 9 III, Alpha 7S III, and Alpha 7 IV can be maintained from capture through publication. This provides professional photographers with the ability to preserve their digital signature from the camera, while tracking the editing history throughout revisions.

Another critical component of the solution is Sony’s in-camera digital signature technology2 that signs images in real-time. This new feature certifies the authenticity of an image at the point of capture and creates a ‘digital birth certificate’ that is retained throughout revisions. The signature contains metadata including 3D-depth information captured through the proprietary technology in the image sensor developed by Sony. This depth information can show if the image captured was of an actual 3D object, vs a photograph of an image or video, providing an extra level of protection and even more assurance of the content’s authenticity, and making Sony’s solution especially unique for photojournalists and news agencies.

Sony’s solution also helps protect the authenticity of content by including an Image Validation Site, which verifies the image even after edits have been made by C2PA-compliant editing software. This service confirms the authenticity of the photo was taken by a specific camera and that the object of the photo is 3D. This service will initially be offered to select news media agencies, expanding to other agencies at a later date.

Sony’s Camera Authenticity Solution overview diagram
Example image of 3D Image verification

Shooting and Playback Updates

The firmware updates include over 10 new features, as well as improvements to existing features, designed to improve the user’s overall shooting experience. These improved capabilities showcase Sony’s commitment to continuing to evolve the functionality of Sony’s existing camera models. A few highlights of the firmware update functions include:

  • Relay Playback: Enables seamless sequential playback from one memory card slot to another on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Playback Filter Condition: Lets users categorize image playback based on select criteria including date, folder, file format, and more on the Alpha 1 and Alpha 7S III
  • Breathing Compensation: The highly requested Breathing Compensation function3 is now available on the Alpha 1 and Alpha 7S III.
  • Upgrade DCI 4K / 24.00p Upgrade License on Alpha 7S III: via a free downloadable license through Creators’ Cloud4.
  • Sync Release function: Enables simultaneous shutter release with two or more multiple cameras connected to the main camera5 on the Alpha 1 and Alpha 9 III.
  • Focus frame display: Focus frame will be displayed on the Remote Camera Tool screeniii on the Alpha 1 and Alpha 9 III.
  • Enhanced image stabilization: The camera body and lens effectively work together to correct larger blurs6 on the Alpha 1.
  • Increased upper limit of recordable images in a folder from 4,000 to 9,999 on the Alpha 1, Alpha 7S III, A7 IV, and Alpha 9 III.
  • Matching the time code with other devices is now possible with a dedicated adapter cable (sold separately)7 on the Alpha 1 and Alpha 7S III.
  • Up to 20 IPTC presets can be on the Alpha 1 and Alpha 7S III.
  • Custom Grid Line is available as a paid license basis for some models8.

File Transfer and Network Connectivity

Additional updates aimed to optimize the post-production workflow efficiency include improvements to International Press Telecommunications Council (IPTC) preset and File Transfer Protocol (FTP) transfer operability. To streamline processes for users, expanded cloud upload and application services will be available. Key updates include:

  • Cloud upload (camera direct) function allows users to upload images directly to the Sony’s Creators’ Cloud9. Key additional features include simplified camera software updates, direct camera registration to the Creators’ Cloud, and a flexible system for uploading, storing, and sharing content. Additionally, the capability to manage video and LUT files via mobile apps, along with the transfer of RAW files to smartphones, optimizes the creative process in fast-paced environments.
  • FTP Transfer Improvements: A “Protected Images Only” option for the Auto FTP Transfer and a “Protect Image in FTP Transfer” option for the FTP transfer function have been added. Available on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Support for USB streaming10 on the Alpha 1.
  • Secure File Transfer Protocol (SFTP) has been added to secure protocol on the Alpha 1, Alpha 7S III, and Alpha 9 III and WPA3-SAE is now supported for wireless LAN on the Alpha 1 and Alpha 7S III.
  • Network streaming enables direct live streaming from the Alpha 7 IV to a streaming sitevii.
  • Expansion of app support with Creators’ App and Monitor & Control app now supported with the Alpha 1 and Alpha 7S III.

Many of these updates are applicable to multiple cameras, however for a list of each body’s specific update please check the Sony website.

Exclusive stories and exciting new content shot with Sony’s imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony α – Alpha brand.

1. This feature is available to some news organizations at the press release timing.
2. Both Sony’s in-camera digital signature technology and C2PA compliancy are currently available through a separate upgrade license.
3. For compatible lens information, please refer to the support page (https://www.sony.net/dics/breathing/)
4. For regional app/service availability, check here. To use this service, it is necessary to download and install the upgrade license.
5. Remote Camera Tool Version 4.1.0 is required to activate the function.
6. For compatible lens information, please refer to the support page (https://www.sony.net/dics/func1002/)
7. A dedicated adapter cable, which is sold separately, is required to connect to the timecode source equipment.
8. Availability varies depending on country and region. Available through the Upgrade and License Management Suite at https://ulms.sony.net.
9. For regional app/service availability, check here. Creators’ App Ver.2.3.1 or later is necessary. Settings must be made in the Creators’ App in advance. For more information, please visit the Creators’ App support website (https://www.sony.net/ca/help/opr/)

10. When connecting to a device with a USB Type-C port, please use a commercially available USB cable or a conversion adapter.

{/PressRelease}



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Ricoh creates GR III HDF and GR IIIx HDF with highlight diffusion filters

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Ricoh creates GR III HDF and GR IIIx HDF with highlight diffusion filters


Image: Ricoh

The Ricoh GR III HDF and GR IIIx HDF are variants of the company’s existing fixed-lens APS-C premium compacts. They feature a unique “highlight diffusion filter” instead of the ND filter fitted in the standard versions of both cameras.

Ricoh says the HDF has been developed using its inkjet technology and adds a diffusion effect to the images, particularly visible in highlight areas, comparable with a ‘black mist‘ filter. This, it says gives images “resembling those captured in film photography or vintage movies.”

By replacing the switchable ND filter in the optical path, the HDF effect can be turned on or off, depending on what you’re trying to achieve in each shot. By default, the Fn button will be set to engage and disengage the HDF fitler.

Other than the filter, the cameras gain more customization around white balance (which will come to the standard GR III and GR IIIx in a forthcoming firmware update). There’s also a Zone Select AF feature that lets you select a zone within which the camera narrows down when focusing.

The shutter buttons of the HDF versions of the cameras are dark silver, rather than black, to denote the difference, in every other respect, the HDF versions of the cameras are identical to their conventional versions.

Ricoh announces GR series cameras featuring built-in highlight diffusion filter

PARSIPPANY, NJ, March 27, 2024 — Ricoh Imaging Americas Corporation today announced the RICOH GR III HDF and RICOH GR IIIx HDF premium digital compact cameras. These new versions of the acclaimed RICOH GR III and RICOH GR IIIx cameras feature a newly-developed Highlight Diffusion Filter (HDF) that diffuses highlights for softer light, creating more expressive images with a sense of depth and emotion. The HDF, which can be turned on and off in a single action, allows the user to add a totally different kind of visual expression to captured images.

Developed using RICOH’s advanced inkjet technology cultivated over the years, this special- effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to produce images resembling those captured in film photography or vintage movies. Since the HDF can be instantly switched on and off with a single action, it lets the user effortlessly alternate between two completely different visual expressions — clear, sharply focused images characteristic of the RICOH GR series, and softer light, more expressive images captured by the HDF — depending on the subject or creative intention.

“The RICOH GR III HDF and RICOH GR IIIx HDF inherit the fundamental merits of our GR series – exceptional image quality, flawless point-and-shoot operation and outstanding portability,” said Ken Curry, president, Ricoh Imaging Americas Corporation. “The new GR HDF models give users a new creative option that expands the visual boundaries of snapshot photography.”

| Pricing and Availability |

The RICOH GR III HDF and RICOH GR IIIx HDF will be available in April at www.us.ricoh- imaging.com as well as at Ricoh Imaging-authorized retail outlets at a manufacturer’s suggested retail price of $1,069.95 for the RICOH GR III HDF and $1,149.95 for the RICOH GR IIIx HDF.

| Main features of the new RICOH GR III HDF and RICOH GR IIIx HDF |

  • Single-action switching to the new, built-in HDF to create softer light, more expressive images:
    The new GR HDF versions incorporate the newly developed HDF (Highlight Diffusion Filter) to emphasize highlights and produce softer light and more expressive images. Developed using RICOH’s advanced inkjet technology cultivated over the years, this special-effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to capture images resembling those captured in film photography or vintage movies. Since the Highlight Diffusion Filter can be instantly switched on and off with a single action, it lets the user effortlessly alternate between two completely different visual expressions — clear, sharply focused images characteristic of the RICOH GR series, and softer light, more expressive images captured by the HDF — depending on the subject or creative intention. This creative versatility expands the visual boundaries of snapshot photography.
  • The color of the shutter-release button has been changed to dark silver to subtly differentiate the HDF models from other GR series models and to symbolize the effortless shift of visual expression. The default setting of the Fn (Function) button has also been changed to the ON/OFF switching of the HDF,* allowing the user to quickly engage the HDF with a press of a button.
  • The user can pre-program up to three white-balance settings as the base white balance.** It is also possible to couple the base white balance with the White-balance Fine Adjustment function.
  • The new models feature Zone Select AF,*** which automatically sets the focus at the most appropriate point within the image area after the user shifts the 3X3 focus area to the desired zone.

* The user can also select another function as the default setting of the Fn button.
** This function can be added to all RICOH GR III- and GR IIIx-series models using function- expansion firmware, which is scheduled to be released along with the market launch of these new models.
*** The 3X3 focus area is identical in size to that of the Auto-area AF (Center) mode.



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