Innehållsförteckning för V73 Issue 2 från Pro Photo

Not entirely surprisingly Fujifilm has decided to venture into making a range of lower-priced cinematography lenses for Sony’s E Mount which is used by both the latter’s mirrorless cameras and a range of semi-pro video camcorders. Designed for the ‘APS-C’ and ‘Super 35’ formats, the new Fujinon MK lens line starts with an 18-55mm T2.9 standard zoom which will be followed by a 50-135mm T2.9 telezoom later in the year. Sensibly too, the MK cinematography lenses will also be available in Fujifilm’s own X Mount for use on mirrorless cameras such as the X-T2. They’re primarily designed as a more compact, lighter weight and affordable alternative to pro-grade cinema lenses, but without compromising durability or optical performance, including edge-to-edge sharpness and low distortion. Additionally, the MK zooms have optical and…

The World Photography Organisation and Zeiss have announced the winners of the 2017 Zeiss Photography Award. The grand prize was won by Belgian photographer Kevin Faingnaert for Føroyar, a series about life on remote and sparsely populated villages on the Faroe Islands. Now in its second year, the theme of the 2017 Zeiss Photography Award was ‘Meaningful Places’ which challenged professional photographers to look past the ordinary and every day with images which captured extraordinary aspects of the world. The winning portfolio was selected from more than 31,000 images submitted by 4677 photographers from 132 countries. Kevin Faingnaert’s prize comprises 12,000 Euros worth of Zeiss lenses and 3000 Euros in travel expenses to complete a photography project. The judges also recognised the work of nine other photographers, including Australian Fabian…

Current to 28 April: Exhibition. Wesley Stacy: The Wild Thing. Curated from the MGA’s own photography collection, surveys four decades of Wesley Stacey’s work from his lively colour snapshots to his epic black-and-white panoramas. At the Monash Gallery Of Art, 860 Ferntree Gully Road, Wheelers Hill, Victoria 3150. Gallery hours are 10.00am to 5.00pm Tuesday to Friday, 12.00 to 5.00pm on Saturday and Sunday. Admission is free. For more information telephone (03) 8544 0500 or visit www.mga.org.au Current to 18 June: Exhibition. William Eggleston Portraits. The first comprehensive exhibition devoted to Eggleston’s portraits of suburban life in southern USA. Part of the NGV Festival Of Photography. At NGV International, 180 St Kilda Road, Melbourne, Victoria 3000. Gallery hours are 10.00am to 5.00pm daily. Ticketed event. For more information telephone (03)…

REPORT BY PAUL BURROWS ONE HUNDRED! IT’S THE SCORE celebrated in cricket and, as a mega-pixel count, has to be celebrated as the pinnacle of digital medium format imaging. Yet, just as with Canon’s move to 50 megapixels in full-35mm size sensors, it comes with caveats. And this is all to do with pixel size. On the Phase One 100 megapixels ‘645’ format sensor – a CMOS device co-developed with Sony which, of course, performed the fabrication – the pixel size is 4.6x4.6 microns. On the full-35mm CMOS sensor used in the Canon EOS 5Ds and 5Ds R, the pixel size is 4.14x4.14 microns so the pixel pitch – or density – on both sensors is nearly the same. It’s this density which, ironically, poses challenges when it comes to…

Taking on Canon’s imagePROGRAF PRO-1000 is the latest addition to Epson’s new generation of SureColor photo printers, the P5070. It’s also a desktop model, but can handle paper widths of up to 17 inches for making prints up to A2 in size. It uses a ten-colour ‘Ultrachrome HDX’ pigmented ink set with large, 200-millilitres-capacity cartridges – to promote more economical printing – and newly formulated pigments. Epson says that the new black inks are 1.5x denser than previously and so deliver a wider dynamic range. Improved resin encapsulation technology has been employed to give better gloss uniformity and “optically clearer, sharper images”. Epson claims that its new-generation pigmented ink technology delivers up to twice the print permanence than before. The P5070 has a ten-channel version of Epson’s ‘PrecisionCore TFP’ print…

Pentax is quickly becoming the D-SLRs most active supporter as it launches yet another new model. The KP continues the Pentax tradition of packing a lot of features into a compact and affordable body. The KP employs magnesium alloy covers, is fully weather-proofed and also insulated to allow shooting in sub-zero temperatures. The styling is a mixture of retro with modern and a largely dial-based control layout with interchangeable handgrips (there’s a choice of three). The pentaprism-type optical viewfinder provides 100 percent subject coverage and a 0.95x magnification plus it has interchangeable focusing screens. The 7.62 cm monitor screen is adjustable for tilt. On the inside is a new 25 megapixels ‘APS-C’ format CMOS sensor – which goes without an optical low-pass filter – mated with the latest ‘PRIME IV’…

ART was essentially frowned upon when Hugh Hamilton went to Sydney Grammar. Of his generation – other than Hugh – one boy became a musician and another the head of acting at NIDA, but the rest of the class all went into either medicine or law. In fact, Hugh was also expected to become a lawyer. Hugh became a photographer partly after winding up at the NSW Institute of Technology (now UTS) where he studied for a degree in communications. He wanted to write – which he did – and then spend the rest of the time surfing at Newport Beach. Not being of the calibre of Nick and Tom Carroll, Peter Phelps or anyone else who was a regular at the time, Hugh ended up taking photographs and started…

Type: Professional digital medium format mirrorless camera with Fujifilm G bayonet lens mount. Focusing: TTL automatic using contrast-detection measurements. 117 or 425 measuring points (13x9 or 25x17 patterns). Single-point, zone (7x7, 5x5 or 3x3 point clusters selected from 117 points) and wide/tracking modes. Six focus point sizes. Face/eye detection with left/right priority. Manual switching between one-shot and continuous AF modes. AF+MF mode. Low-light assist via illuminator. Manual focus assist via magnified image (up to 16.7x), focus peaking display (white, red or blue; low or high levels). Metering: 256-point multi-zone, centre-weighted average, full average, spot (2.0% of frame area) and TTL flash. Spot metering can be locked to AF point/zone. Metering range is EV -4.0 to 20 (ISO 100/f2.0). Exposure Modes: Continuously-variable program with shift, shutter-priority auto, aperture-priority auto and metered…

With Fujifilm planning to deliver six GF mount lenses by year’s end for its mirrorless digital medium format system, Hasselblad has announced plans to add a further four lenses to the three existing XCD series models for the X1D. The current models are a 45mm f3.5 wide-angle (equivalent to a 35mm in the 35mm format), a 90mm f3.2 short telephoto (equivalent to 70mm) and a 30mm f3.5 (equivalent to 24mm). Due around mid-year is a 120mm f3.5 macro (equivalent to 90mm) to be followed by a 22mm ultra-wide (18mm), a 65mm standard lens (50mm) and a 35-70mm zoom (28-60mm) which should probably be a priority given Fujifilm has kicked off with a zoom. Hasselblad says there will be seven XCD lenses available “by the beginning of 2018”. The 120mm f3.5…

A professional quality printer is as much a part of the modern professional photographer’s armoury as is lights, camera action and DNP has a model to suit most needs. Capture and print the memories of the biggest sporting events, best corporate sponsorship events, award ceremonies, weddings and memorable holidays with ease and unsurpassed quality. DS Series™ award winning professional event photography printers are competitively priced, high-resolution dye-sublimation printers that produce rich photos that display full colour details and smooth gradation. DS Series™ printers are specifically designed to use DNP’s high-quality, value-priced dye-sublimation media, which incorporates a lamination layer to provide resistance to fading, fingerprints, water, ozone, and dust. DS40 The DS40 is a high-volume printer – shooting out four print sizes at fast print speeds. Trouble-free operation and easy loading…

ALONG WITH THE 24-70mm f2.8, the 70-200mm f2.8 is a staple of any working photographer’s kit. Together they span a focal range that takes in a wide variety of applications and the constant aperture of f2.8 provides plenty of flexibility when it comes to low light situations or reducing depth-of-field. Not surprisingly then, the D-SLR makers pride themselves on their 70-200mm f2.8 zooms and there have been regular upgrades to incorporate new features – such as optical image stabilisation – and improved optical designs utilising the latest materials and manufacturing techniques. Nikon, for example, has only just recently introduced its third-generation model boasting numerous performance enhancements and a more compact, lighter weight design. The ‘independents’ too have recognised the importance of having a high-performance 70-200mm f2.8 in the range –…