Sports shooters considering Sony's speedy a9 have one major hurdle to overcome: glass. There's a dearth of long, fast primes available to Sony FE shooters, and it seems like using off-brand glass while you wait for Sony to catch up just isn't a great option.
In this video, photographer Dan Watson of Learning Cameras tried both the Sigma MC-11 and Metabones Mark IV lens adapters to test how well the a9 worked when attached to the Canon EF 300mm F2.8L IS II USM and Canon EF 400mm F2.8L IS II USM.
Watson mainly wanted to test the focusing capabilities, and unfortunately, the results were somewhat disappointing.
Before you dive into the video, it's worth pointing a few things out. Our own Rishi Sanyal has tested the focus capability of the a9 with adapted lens, and points out a couple of caveats to Watson's otherwise solid points:
First, the performance of far off-center AF points depends on the lens. While Watson is correct in pointing out that they don't perform well with long lenses (despite working astonishingly fast with Sony's own 100-400 F4.5-5.6), they do work well with shorter focal lengths (we've had success with a Sigma 85/1.4, Canon 35/1.4, 24-70/2.8, etc.). With these wider lenses, 'Wide' area mode will continue tracking subjects to the extremes of the frame.
Second, Sony A-mount lenses adapted with the LA-EA3 adapter do shoot at an impressive 10 fps with autofocus, something we confirmed with the 50/1.4 (as long as you've updated the firmware of the adapter).* With the Metabones and Sigma adapters though, as with all Sony FE bodies, only the L drive mode offers continuous focus. And it's actually only 2.5 fps, not the 5 fps Watson mentions (technically L is 3 fps, but it slows to 2-3 fps with continuous focus).
With that out of the way, Watson's video is a great resource for seeing how well (or not) the a9 performs when attached to the long, fast Canon primes sports shooters love. And while single-shot focus with central points is speedy and almost 100% accurate with long adapted lenses, the lack of true subject tracking (Lock-on AF modes) or continuous focus at speeds higher than ~2.5 fps (or in video) will probably be a deal breaker for many fast-action photographers.
Once you've lost the impressive high speed shooting advantages Sony baked into the a9, you might as well be shooting with any other camera. Moral of the story: stick to Sony glass and hope they keep churning out new lenses at break-neck pace.
You can watch the full demo for yourself up top. And if you're considering jumping ship from Canon to Sony, keep this information in mind – like all previous Sony bodies, you'll only have access to the a9's slowest continuous drive mode when you're adapting your own glass.
* We've not yet confirmed the performance of off-center points with long A-mount glass.
Lucid VR has announced the general availability of the LucidCam, its 3D VR camera.
The LucidCam captures a 180º field of view, less than the spherical 360º field of view found on many consumer VR cameras, however it does so with binocular vision, creating a 3D VR experience with a sense of depth. If you want to capture a full 360º view, three LucidCams can be combined to do so.
The LucidCam was developed with the help of a crowdfunding campaign in 2015, and while it's just now becoming available, the wait appears to have had at least one side benefit: the camera's original specs called for 1080p resolution per eye, but the final product will ship with 4K cameras instead.
In addition to 4K binocular recording, the LucidCam also supports live streaming through Facebook, YouTube, and Lucid's own iOS and Android apps, so that you can share what you're doing with friends in 3D VR. The camera also features stereo audio, 32GB of internal storage as well as MicroSD card support, HDMI out, and 1.5 hour battery life.
For those of you in the in the Bay Area, Lucid will be touring around San Francisco on Friday, June 23 to give people a chance to experience the LucidCam in person. The company will begin taking orders for the $499 camera on June 26, with shipments expected to begin in early August. As a promotion, Lucid will be offering a 15% discount to anyone who orders a camera between June 26 and July 26.
Lucid VR truck to tour SF landmarks on Friday, June 23 encouraging consumers to capture and share VR experiences with friends & family far away
Santa Clara, CA – June 21, 2017— Lucid VR is officially kicking off the general availability of its simple-to-use, pocket-size 3D VR camera, the LucidCam with a billboard truck touring photogenic San Francisco landmarks all day on Friday, June 23. View the itinerary here.
This launch tour aims at encouraging more consumers to tap into VR and bridge the distances to their loved ones by capturing and sharing experiences the same way they see them. Lucid CEO Han Jin’s vision--to create a technology that brings the world closer together through a true 3D VR camera, the LucidCam--started with a crowdfunding campaign two years ago and has now come to reality.
“It’s been an incredible journey to bring this product to life and to the masses, as initially all I wanted was to build one for myself which would capture and share my life with my grandmother in China,” said Jin. “LucidCam creates images and videos which let you for the first time see the world through someone else’s eyes as if you were really there. I want everyone to have such incredible superpowers.”
On tour day, the Lucid VR truck will visit top SF tourist sights. Anyone can follow the truck, take pictures and share them with #LucidCam for a chance to win a free VR camera. Complimentary VR viewers will be handed out at every stop. The Friday tour kicks off the one-month LucidCam preview sale which starts Monday, June 26, where the camera will be discounted 15 percent off the retail price and delivered as early as August 9, just two weeks after the campaign closes July 26.
LucidCam makes virtual reality content creation and livestreaming in 3D at very high resolutions easy, with a simple plug-n-play process flow. Consumers can create their own 3D VR without a computer or any additional processing requirements, making LucidCam an all-mobile experience for capturing, viewing, sharing and delivering immersive content either through Facebook/YouTube or Lucid’s iOS and Android app to anyone around the globe. With two lenses like your eyes and two microphones like your ears, LucidCam recreates a first-person experience, allowing people to feel like they are seeing the world through someone else’s eyes.
Exceeding the original specifications of the LucidCam crowdfunding campaign, the engineers at Lucid VR enhanced it and developed a robust 4K 3D VR camera with on-the-go VR content processing of pictures and videos, plus livestreaming capabilities. With the addition of Lucid’s viewing clip or phone case, you can create and view your own 3D VR anywhere with a click of a button.
The special LucidCam preview sale begins June 26, and includes a 15 percent discount off the retail price, with delivery as early as two weeks after the promotion ends. Retail availability of LucidCams begins in August, with thousands of units coming into the online and offline sales channels. For more information about LucidCam or to purchase the device, visit www.lucidcam.com.
Taking a photo of a dog or cat can be difficult, but here to help is Flexy Paw, a smartphone attachment that dangles a treat above the device's camera. The treat serves as a lure to catch the animal's attention, giving photographers a chance to snap to a photo. Because the attachment clips to the phone, it can be connected to nearly any smartphone, and keeps the user's hands free to compose and take the photo.
The clip holding the pet treat is attached to a flexible armature, enabling the photographer to reposition it out of the camera's field of view, as well as move it to one side or the other for posing purposes. Once the photo is snapped, of course, the pet can then be rewarded with the treat.
Flexy Paw is being funded through Kickstarter by Paw Champ, which is seeking $39,000 in funds. Backers who pledge $16 or more will be rewarded with a single Flexy Paw unit, while $32 or more gets backers two units. Shipping to Kickstarter backers is expected to start in November 2017.
EyeEm has rolled out an update to its mobile app for Android that brings the new EyeEm Selects feature. EyeEm Selects helps you find the best photos on your phone's storage by scanning your camera roll and then using computer vision to suggest photos to upload. Selection criteria is based on aesthetics. The algorithms picks images that are composed particularly well, have the best quality, or highest chance of selling on the EyeEm stock image platform.
EyeEm is already using advanced computer vision technology on its servers for scanning of images that have been uploaded to the service and determine their content, relevant keywords, and aesthetic quality. The app update means that some of those algorithms can now be run on your locally stored images before uploading them. Running the process locally means users save bandwidth and battery power and don't need to worry about any third parties seeing their images if they decide to not upload them.
Selects is integrated into the image uploader component of the app. Above the camera roll you'll now see thumbnails of the images suggested for upload. EyeEm says the feature also provides an easy way for finding hidden and long forgotten gems in the depth of your camera roll that weren't shared right after capture. Android users can download the updated EyeEm app from Google Play now. iOS users will have to wait a few weeks longer.
Sure, it's been a minute since the Panasonic 15mm F1.7 was introduced. But three years later it's still a solid option for a Micro Four Thirds shooter looking for a fast, compact, wide-angle prime. And what better time to travel light than the longest days of the year? We spent some of our long hours of sunlight with the 15mm F1.7 in hand – by land, and by sea.
Tamron has introduced what it is calling the 'world's first ultra-telephoto all-in-one zoom lens,' the 18-400mm F3.5-6.3 Di II VC HLD. The lens, designed for Canon and Nikon crop-sensor bodies, is equivalent to 29-640mm and 27-600mm, respectively.
Built-in Vibration Correction reduces shake by up to 2.5 stops, and the lens' HLD focus motor promises 'accurate and quiet' focusing, according to Tamron. The HLD motor also keeps the overall size of the lens down: It's 124mm/4.9in long and 79mm/3.1in in diameter. The lens has 7 circular aperture blades, a minimum subject distance of 0.45m/18in and is moisture-resistant. Nikon owners will be pleased to hear the the lens uses an electromagnetic diaphragm system.
The 18-400mm F3.5-6.3 will be available in late July for $649.
Dramatic extended range achieved by combining cutting-edge optical design and other new breakthrough technologies including a redesigned cam structure
18-400mm F/3.5-6.3 Di II VC HLD (Model B028)
June 23, 2017, Commack, NY – Tamron, a leading manufacturer of optics for diverse applications, announces the launch of the new 18-400mm F/3.5-6.3 Di II VC HLD (Model B028), the world’s first ultra-telephoto all-in-one zoom lens for APS-C DSLR cameras, which covers a focal length range of 18-400mm. Since the 1992 launch of its AF28-200mm F/3.8-5.6 Aspherical (Model 71D), Tamron has dominated the all-in-one zoom category and has produced many lenses that cover wide-angle to telephoto zoom ranges. Tamron has now developed an ultra-telephoto all-in-one zoom that extends to 400mm (35mm equivalent of 620mm) and a 22.2x zoom ratio. Packed in a light, compact body (4.8in./24.9oz.)2 is Tamron’s accumulated knowledge and experience for all-in-one zoom lenses, including the most advanced optical and mechanical designs, an HLD (High/Low torque modulated Drive) for the AF system and the Vibration Compensation system. Photographers can now enjoy wide-angle to ultra-telephoto photography using one lens, which is ideal for travel photography and eliminates the need to carry extra lenses. The new Model B028 lens enables photographing a wide variety of ultra-telephoto images including everyday casual scenes. The 18-400mm will be available in the U.S. at the end of July at $649.
The new Model B028 is the world’s first lens for APS-C DSLR cameras that covers a focal length range of 18-400mm and achieves a zoom ratio of 22.2x. The focal length of 400mm on the telephoto end enables the capturing of ultra-telephoto pictures with the 35mm equivalent of 620mm angle of view. Now, with just this one lens, a photographer can readily enjoy the power of ultra-telephoto to bring distant subjects closer as well as the perspective-flattening effects that only extreme telephoto settings can achieve. This all-in-one zoom lens is ideal for travel and everyday shooting. It allows a photographer to switch from wide-angle to ultra-telephoto without changing lenses, making it faster and easier to capture a much wider range of subjects including travel scenes, wildlife, action sports, landscapes, cityscapes, portraits and food.
The optical construction of the B028 consists of 16 lens elements in 11 groups. The use of specialized glass elements such as LD (Low Dispersion) and aspherical lens elements effectively minimizes wide-ranging aberrations, including chromatic aberrations and distortion, thereby assuring outstanding image quality. Optimum power distribution among the individual lens element groups achieves both the optical performance and the compact size necessary for an ultra-telephoto all-in-one zoom lens that boasts 400mm focal length. Also, it enables tele-macro photography with a maximum magnification ratio of 1:2.9.
Despite being an all-in-one zoom lens that achieves 400mm ultra-telephoto, Model B028 is light and compact with a total length of 4.8in. and a weight of 24.9oz.4 A new lens barrel design utilizing three-step extensions was developed to enable the necessary elongation to produce a 22.2x zoom ratio. Compared to the conventional approach, the division into a larger number of cams ensures comfortable operation and stability while zooming. Tamron’s philosophy for all-in-one zoom lenses is to allow each photographer to casually capture everyday photos with a lens of a practical size, and Model B028 fulfills this philosophy.
The AF drive system for Model B028 uses Tamron’s exclusive HLD (High/Low torque modulated Drive) motor. The power-saving HLD motor produces outstanding driving torque, and adjusts motor rotation from low to high speed to enable accurate and quiet focusing. The HLD motor takes up less space thanks to its small size and circular arc shape that allows the size of the lens to be reduced.
Despite its compact size, Model B028 is equipped with Tamron’s proprietary VC (Vibration Compensation) system, which effectively curbs camera shake under low light conditions (such as a dimly lit room or at dusk) and while taking ultra-telephoto pictures. This greatly expands opportunities for casual handheld shooting. The jitter-free stability of the viewfinder image allows for easier framing and enables the photographer to compose the subject quickly and comfortably.
The electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses5. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a motor through electronic pulse signals.
With an eye toward active outdoor photography, Model B028 features Moisture-Resistant Construction to ensure worry-free shooting as well as confidence while shooting under adverse weather conditions. Also, the Zoom Lock mechanism prevents undesired movement of the lens barrel under its own weight when the camera is angled downward while walking.
The optional TAP-in Console provides a USB connection to a personal computer, enabling the user to easily update the lens’s firmware as well as to customize features, including fine adjustments to the AF and VC.
While inheriting the design that makes use of many organic curves and the delicately polished form down to fine details that characterize the SP lens series, the new Model B028 comes with a highly sophisticated design that also places a lot of importance on the lens’s functionality and ease of use, featuring an overall form that faithfully encompasses the internal structures within, a slim Luminous Gold brand ring and the switch shape design.
 Among interchangeable lenses for DSLR cameras (As of May 2017; Tamron)
 Length and weight are based on the Nikon-mount lens
 Among interchangeable lenses for DSLR cameras (As of May 2017; Tamron)
 Length and weight are based on figures for the Nikon-mount lens.
 Available only with cameras compatible with the electromagnetic diaphragm (D3100, D3200, D3300, D3400, D5000, D5100, D5200, D5300, D5500, D5600, D7000, D7100, D7200, D300S, D500) (As of May, 2017; Tamron)
|Lens type||Zoom lens|
|Max Format size||APS-C / DX|
|Focal length||18–400 mm|
|Image stabilization||Yes (Up to 2.5 stops)|
|Lens mount||Canon EF-S, Nikon F (DX)|
|Number of diaphragm blades||7|
|Special elements / coatings||Low dispersion, aspherical, hybrid aspherical elements|
|Minimum focus||0.45 m (17.72″)|
|Motor type||Ring-type ultrasonic|
|Full time manual||Yes|
|Focus method||Extending front|
|Weight||710 g (1.57 lb)|
|Diameter||79 mm (3.11″)|
|Length||124 mm (4.88″)|
|Zoom method||Rotary (extending)|
|Filter thread||72.0 mm|
Last updated: June 23, 2017
For those wanting to step up from entry-level to midrange ILCs, there are many things to consider, including the choice between a DSLR or mirrorless camera, what sensor size suits you best, how important video is to you, and of course the lens system.
While full-frame cameras typically offer superior low light image quality and more control over depth-of-field, crop-sensor cameras are extremely capable in their own right - and (usually) more compact and less costly.
We've split the $1200-2000 ILC marketplace into two segments - full-frame sensor cameras (discussed in this roundup) and crop-sensor (APS-C/Four Thirds) covered here.
This group of full-frame cameras is split right down the middle, with three DSLRs and three mirrorless models. Sony is, by far, the major player in the full-frame mirrorless market, with most of the other manufacturers sticking with DSLRs.
Here are the cameras we'll cover in this enthusiast full-frame roundup:
Developer Abhishek Singh makes a compelling case for wearing a headset and looking silly – he created an augmented reality Super Mario Bros. level and played through it in New York's Central Park. Oh, and he dressed as Mario for the demo video below, which is the best thing ever.
Singh tells Upload VR that he had to re-think some of the game elements to make it playable on a human scale – Mario can jump much higher than any plumber we know. Of course, there would be some obvious challenges bringing a game like this to the masses. But we've got our fingers crossed for a future of virtual reality includes life-size Koopas and gold coins.
|The bright blue dot at the center of this photo by NASA's Mars Reconnaissance Orbiter is actually NASA's Curiosity Mars rover, going about its lonely mission on the Red Planet. © Photo courtesy of NASA/JPL-Caltech/Univ. of Arizona|
No human photographer could capture this aerial photograph. That's because this image is literally out of this world – it was captured by NASA's Mars Reconnaissance Orbiter on June 5th, and shows the Mars Curiosity Rover as it traverses the red planet, approximately 241,500,000 miles away from where I sit typing this right now.
It's hard to spot, and you have to look really closely, but there's a small blue dot in the very middle of the photograph above. This closer crop might help:
There, amid the Martian landscape, you can actually see the Curiosity rover as it trekked along the northwestern flank of Mount Sharp, on its way to 'Vera Rubin Ridge.'
The photograph was taken by the NASA Mars Reconnaissance Orbiter using its High Resolution Imaging Science Experiment (HiRISE) camera, which captures a red band, blue -green band, and an infrared band, combining these together to form an RGB image. Because of this, the photograph is not a so-called 'true color' image, and the rover appears bluer than it actually is.
Oh, and if you're curious, you can actually see what Curiosity was seeing when this photo was captured. The rover was using its Mast Camera to shoot these photographs of the Martian landscape while its picture was taken.
|Photo by Don Graham. Licensed under CC 2.0|
The city of Laguna Beach has cleared up some confusion about its photography permit policy. A broad interpretation of one of its two photography permits created a minor uproar recently, as many people took it to mean that the city was requiring a $100 permit for anyone taking photos. It seems now that this wasn't the intention.
As it stands, the city has two permits for two different types of photography: commercial and 'non-commercial'; the latter has a $50/hr rate with a minimum of two hours required. This meant, as the policy was interpreted, that anyone taking photos – including personal photos – in Laguna Beach were required to buy a $100 permit.
The non-commercial permit category's vague description resulted in quite a bit of public complaint, and the city has chosen to rename it as a result, leaving only talk about true commercial photography on its website's related permit page. The category was never intended to cover casual personal photography, according to a city official speaking to OC Weekly. Rather, the 'non-commercial' permit category was created as a cheaper alternative to the primary commercial permit, giving photographers an option for 'less complicated photo shoots such as engagement photos.'
The city's website still specifies two different photography permits, but one with a new name: commercial and 'professional still photo.' The latter carries the same $100/2hr minimum as the former 'non-commercial' category, explaining that this option is for 'single camera shoots such as engagement photos, wedding photos, family portraits, holiday cards, etc.' Nothing about the permit policy except the 'non-commercial' verbiage has changed. However, it is now clear that personal, non-compensated photography doesn't require a permit.
Via: OC Weekly
Yi, which already has VR offerings in the Halo and 360 VR cameras, is announcing the development of a new, stereo 3D camera called the 180 VR. They're working directly with Google Daydream, and promise it will be easy to use, and easy to view.
Any real details regarding the product, including pricing and availability are still to come.
ANAHEIM, CA – JUNE 22, 2017 – Today at VidCon 2017, the annual conference for online video fans, creators, and industry leaders, it was announced that YI is working with Daydream on an upcoming VR180 camera. Later this year YI Technology will deliver a new stereo, 3D camera, designed from the ground up for VR180. Technical details, pricing, exact availability dates, quantities and the product name remain undisclosed but together with Daydream, this camera will be as easy to use and as compact as a 2D camera. And 3D videos and livestreams will be just as easy to upload to YouTube.
This camera will just be the latest in YI Technology’s growing line of advanced yet approachable virtual reality solutions, including most recently, YI Halo, the most advanced, cinematic quality VR camera ever, and the YI 360 VR Camera, the first high-end, live-streaming VR camera for everyone.
To learn more as details are announced, and to be considered for early shipments, please visit the pre-launch website, www.yitechnology.com/180-vr-camera and to learn more about YI Technology’s other current VR offerings go to yitechnology.com/yi-360-vr-camera and yitechnology.com/yi-halo-vr-camera. To learn more about Daydream’s VR180 program go to vr.google.com/vr180.
About YI Technology:
YI is the leading provider of advanced, intelligent video, imaging and computer vision technologies. We are inspired by a singular, bold vision of a future powered by widespread, intelligent, video technology, where smart cameras everywhere will make people’s lives safer, richer and more fun.
We are passionately dedicated to, and humbled by, the mission to make even the most sophisticated, ground-breaking, complex innovations useful every day to everyone from high-end professionals to kids. We work incredibly hard toward these goals across a large and growing range of offerings. But across them all we stand by a consistent set of values and standards that combine the very best technology, the very best design, and great value.
At YI Technology we are committed to the promise that such technology will extend everyone’s reach so they can...
Smartphone cameras have improved considerably over the past few years but despite innovations such as image stacking and dual cameras with image fusion technology the cameras are still limited by the laws of physics. This becomes particularly evident when looking at the 'tele' lenses that have cropped up on some recent high-end smartphones with dual cameras, such as the iPhone 7 Plus or Xiaomi Mi6.
Due to space constraints in the slim smartphone bodies these lenses use smaller sensors and offer considerably slower apertures than their wide angle counterparts which makes them a lot less usable in lower light conditions. However, now it looks like a research team at Caltech could have found a solution to the problem. They have developed an 'optical phased array' chip that uses algorithms instead of a lens to focus the incoming light beam. A time delay which can be as short as a quadrillionth of a second, is added to the light captured at different locations on the chip. This allows for modifying focus without a lens.
Professor Ali Hajimiri says the system 'can switch from a fisheye to a telephoto lens instantaneously - with just a simple adjustment in the way the array receives light.' The existing 2D, lensless camera array consists of an 8x8 grid with 64 sensors and is capable of capturing a low resolution image of a barcode. The current image results are a long way from current smartphone cameras but at this point the system is only a proof of concept and potential commercial applications are a few years in the future. The team's next objective is to use larger receivers that are more sensitive and capable of capturing higher-resolution images.
Announced in February, two highly anticipated full-frame lenses from Sigma are finally on their way to consumers. Sigma has also announced pricing – the 14mm F1.8 DG HSM will cost $1600; the 24-70mm F2.8 Art will cost $1300. In both cases, that's well below the current asking prices for Canon and Nikon versions of similar lenses.
Sigma says the 14mm in Canon and Sigma mount will ship this month, and the Nikon version will be available in July. The 24-70mm will ship for all three mounts this month. Considering there's not much time left in June, that's basically now.
The world’s first and only F1.8 ultra wide-angle full-frame lens for DSLR cameras is available now for $1,599.00 USD; the new Sigma Global Vision workhorse zoom lens is available now for $1,299.00 USD
Ronkonkoma, NY – June 22, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, announced today the pricing and availability for its new Sigma 14mm F1.8 DG HSM and Sigma 24-70mm F2.8 DG OS HSM Art lenses from its lauded Global Vision line. The ultra-wide angle full-frame 14mm F1.8 Art lens begins shipping in June 2017 for Canon and Sigma camera systems and in July 2017 for Nikon camera systems, for a retail price of $1,599.00 USD. The standard zoom full-frame 24-70mm F2.8 Art lens begins shipping in June 2017 for a retail price of $1,299 USD.
The Sigma 14mm F1.8 Art, which is the first and only F1.8 ultra wide-angle lens among interchangeable lenses for digital SLRs*, incorporates the same aspherical element as Sigma’s critically acclaimed 12-24mm F4 Art, allowing the lens to deliver a new dimension of visual experience. Boasting outstanding image quality from center to edge, the 14mm F1.8 Art features an 80mm front lens — the world’s largest glass aspherical lens in the industry, offering photographers an ultra-wide prime with virtually no distortion, flare or ghosting. Equipped with a superfast and efficient autofocus system, three FLD (“F” Low Dispersion) elements, and four SLD (Special Low Dispersion) elements to reduce chromatic aberration and coma flare, the 14mm F1.8 Art is suitable for a wide range of photographic needs including astrophotography, architecture and landscape photography.
The 24-70mm F2.8 Art lens, Sigma’s new workhorse standard zoom lens, touts a brand new Optical Stabilizer (OS), Hypersonic Motor (HSM) for highly efficient and fast autofocus, as well as a dust- and splash-proof mount with rubber sealing. The 24-70mm F2.8 Art lens embodies all the technical qualities and finesse that define the high-performance Sigma Global Vision Art series. A popular industry focal range covering a wide array of shooting scenarios, the 24-70mm’s optical design also includes three SLD (Special Low Dispersion) glass elements and four aspherical elements to ensure image accuracy and sharpness. The 24-70mm F2.8 Art aspherical elements use Sigma’s thicker center glass design and highly precise polishing process, delivering stunning images and bokeh effects. The lens’ purpose-built structure boasts a new metal barrel for optimal durability with TSC composite internal moving components designed to resist thermal contraction and expansion.
Both the 14mm F1.8 DG HSM and the 24-70mm F2.8 DG OS HSM Art lenses are available in Canon, Nikon and Sigma mounts. The Sigma and Canon mount lenses work with Sigma’s MC-11 Sony E-mount converter. The Nikon mounts feature the brand new electromagnetic diaphragm.
Sigma 14mm F1.8 DG HSM Art Lens Features and Benefits:
> Sharp, rich image quality
> Offers full-frame coverage
Sigma 24-70mm F2.8 DG HSM OS Art Lens Features and Benefits:
> Superior optical performance
> Fast and nimble autofocus photography
Sigma Global Vision Line Features & Benefits:
*As of February 2017
Vibrant colors of acrylic paint billow into clouds inside a water tank. © Photo by Alberto Seveso
Illustrator and photographer Alberto Seveso's paint photography is out of this world. His images – macro photos of billowing clouds of color – look like they were generated by an animation program. But as he tells DPReview, it's all very real.
The process itself, says Seveso, is quite easy: just pour varnish or acrylic colors into a water tank and take a burst of photos. Understanding exactly how to do that – what light you need, what works, and just as importantly, what doesn't work – is the time-consuming part.
'I spent a lot of time building all the stuff I use to shoot varnish into the water, and it’s still a work in progress,' Seveso tells DPReview. 'It’s very important to find the right light and, the hardest part, find the perfect mix between varnish and water and the way to pour this mix into the tank... not too fast not too slow.'
For his pictures, he uses either a Canon EOS 60D or Canon 7D Mark II with a Canon EF-S 60mm F2.8 macro lens attached. The tank is lit by either fluorescent light (personal projects) or higher quality tungsten Fresnel lights (for commercial assignments), two on either side of the tank, placed in front of either a black background or a softbox if he's shooting on white.
You can see the setup for yourself in the BTS shots below:
And here is a video Sony made to show off Seveso's paint work (and sell some phones and tablets while they're at it):
Seveso says he was inspired to create this kind of photography in 2009, when he saw 'something similar but classic,' probably ink drops in water.
'I realized there was more to explore, different materials to mix, so I started to experiment with different kinds of liquid like acrylic colors, different types of oils, sparkling water, gels, metallic colors, ice, food coloring, and other things,' he says. 'Over the years, I've tried to develop a personal approach to this technique, developing the project in a very personal way and trying to focus on the details.'
Translation: macro photography.
These close-up, colorful photographs have become Seveso's calling card. And what a gorgeous calling card they are.
Before we let Alberto go, we asked him one more question. Does he have any advice or tips for people who would like to try this kind of paint photography for themselves?
'Practice,' he told us emphatically. 'It takes a lot of practice to understand the exact mix between liquids to get separate colors, details and color filaments - this is perhaps the hardest part.'
Facebook's new 'Profile Picture Guard' feature makes your profile photos much harder to steal. Photo courtesy of Facebook
Photo theft is a big problem on Facebook, and the social network is finally doing a little something to combat it. Starting with its users in India, the Silicon Valley company is testing a feature called 'Profile Picture Guard,' which prevents other people from saving or even taking a screenshot of your profile pic.
As the headline suggests, Profile Picture Guard is still in the testing phase. In fact, it's currently only available to users in India, the country that Facebook says inspired the feature.
'In our research with people and safety organizations in India, we’ve heard that some women choose not to share profile pictures that include their faces anywhere on the internet because they're concerned about what may happen to their photos,' explains Facebook. So they designed a little peace of mind.
Here's a look at how it works:
As you can see, the feature works in four ways. (1) It prevents people from saving, sharing, or (Android only for now) taking a screenshot of your photo. (2) It allows only you and your Facebook friends to tag the photo. (3) It adds a blue border and shield icon to your photo, indicating it's 'protected.' And (4) if you so choose, you can overlay a watermark design across the entire shot.
Combine all 4 deterrents, and its far less likely you'll find your profile pic on some random website. How much less likely? Facebook did some testing:
'Based on preliminary tests, we’ve learned that when someone adds an extra design layer to their profile picture, other people are at least 75% less likely to copy that picture.'
Facebook 'hopes' to expand the feature to other countries soon. For our part, we hope they expand its scope even sooner. Protecting your profile picture from saving, sharing, and screenshots is a great first step; however, for the photographers out there, this kind of universal feature for all of their photos at once – or perhaps available for individual albums – would be a game-changer.
The ease with which photo thieves can filch photos off of social media sites like Facebook is one of the main reasons photographers choose to stay away. Profile Picture Guard is a small step in the right direction; a broader Picture Guard would be a giant leap.
To make a long story short, we've re-shot our studio scene shots of the Sony a9 with the FE 85/1.8 lens, and they're much sharper. We apologize for misleading any of our readers, but it's a long story - see below. To jump to the images, just click the button, but we do encourage you to read the full text as well.
You may have noted on the studio scene page of our Sony a9 review that we admitted to having quite a bit of difficulty focusing the camera with the new Sony 85mm F1.8 lens in magnified live view. The maximum magnification (x9.4) on the camera LCD made it very difficult to fine tune the 85/1.8 precisely. Multiple AF-S attempts yielded shots varying slightly in sharpness, but this is not unique by any means to the a9: all cameras exhibit some tolerance when it comes to critical focus of a flat chart (which is why we always manually focus, and use a rail to fine tune). The only way to check focus on each shot was to shoot tethered and check each shot magnified on a monitor. Of course, every time we thought we'd nailed focus, we'd try nudging the camera or focus ring just a bit to make sure we couldn't do any better, and then realize we'd fallen off a bit.
And so the search began again and again, with the quest for perfect focus ending up a bit of a fool's errand. Electro-mechanically coupled focus elements also don't make things easier: often small turns do little to nothing, requiring coarse back and forth movements to 'hunt' visually for optimal focus. We finally tuned focus to what we thought was reasonable (we look for maximum aliasing in the central Siemens stars, and color aliasing in the text), and shot our entire studio and dynamic range tests.
Subsequently, we got lots of complaints about the a9 being soft.
Was it the lens? This is the first Sony FE camera we've shot without the stellar Zeiss 55mm F1.8. We've had a long-standing policy of shooting with an on-brand 85mm equivalent lens per-system, to maintain equal distance from camera to target, something that allows for all images to be rendered with equal perspective. With Sony's recent release of the razor sharp FE 85/1.8, we thought we'd stick to our policy and give it a try.
But we don't blindly switch lenses for a system; we first verify:
Our initial testing showed equivalent sharpness between the 55 and 85mm F1.8 lenses on even a high-resolution a7R II (see below). Furthermore, DXO verified similar levels of sharpness between the 85 and 55 F1.8 lenses (which both perform better than Sony's 85/1.4 GM, surprisingly). And while we don't have a way of directly measuring lens transmission, we measured signal:noise ratio of a few grey patches in our scene with the two lenses on the same camera body, and found them to be within 1/6 to 1/10 EV of one another. That meant the new lens would not make the a9 look better, or worse, in Raw noise comparisons compared to if we were to use the Zeiss 55mm F1.8 at F5.6.
|Sony 85mm F1.8 at F5.6 (left) vs. Sony 55mm F1.8 at F5.6 (right). Shot on a7R II|
While plowing ahead with other aspects of the review, a message from forum expert Jack Hogan turned up in my inbox showing this:
Long-time forum member and all-round expert Jack Hogan did a quick MTF analysis per color channel based off of the slanted edges in our scene. Uh-oh. Looks like the red channel is focused better than the green channel, yielding a calculated MTF50 of only 945 line pairs per picture height.
Importantly, the green channel should have the highest MTF.
It was now clear that focus was the underlying issue with our studio shots. Not a bad lens. Not a strong anti-aliasing filter. But simply the fact that the lens was not optimally focused: if it were, the green channel would have the highest MTF.
So we sat down one day and spent the entire day shooting many, many runs of our studio scene, slowly moving a macro rail (rather than coarsely adjust focus on the lens) between each run. From these shots, we picked the (centrally) sharpest runs. While our copy of the 85/1.8 appears slightly decentered (the left is softer than the right), the results now are much more in line with where things should be:
|Jack Hogan re-analyzed some of our new studio shots of the a9, and the green and blue channels now have the highest MTF, not the red channel. The calculated MTF50 of 1125 lp/ph, which is a 19% increase in linear resolution over our previous results.|
A side benefit of analyzing properly focused shots is an ability to estimate the strength of the anti-aliasing filter, which appears to kick in around 0.744 cycles per pixel (the first minimum in the MTF curve). For comparison, the D5's anti-aliasing filter kicks in around 0.748 cycles per pixel according to Jack's analysis of our studio scene shots. Meaning the a9's AA filter is fairly typical.
Have a look at our updated images, and our updated image quality analysis based off of our new results:
As camera sensor and lens resolutions are becoming astronomically high, tiny little differences become visible in pixel-peeping. And that's precisely what our studio scene allows you to do. Remember that even within the depth-of-field, there is a plane of peak sharpness.
Our studio scene isn't perfect, but it can be helpful. It has its caveats though. For example, because we don't control for lens transmission from brand-to-brand, or any shutter speed inaccuracies, we state that noise comparisons are only accurate to within 1/3 EV. Trying to extrapolate differences smaller than that from high ISO shots of our studio scene is meaningless: margins of error are real.
The same goes for sharpness. The reality of lenses and mounts is that there is copy variation - in both. Therefore, we urge you to make sharpness comparisons largely from the center of the scene, which removes the lens (as much as it can anyway) from the equation. The rest of the scene is useful for assessing color, detail retention and noise at high ISO in JPEG and Raw, respectively, and other subjective attributes. And keep in mind common sense things: the lock of hair is well above the plane of optimal focus, and different lenses can have field curvature which either helps or hurts the sharpness of this lock. It's important to keep these sorts of things in mind when pixel-peeping our scene.
This time, with the a9, we take full responsibility for a non-optimally-focused set of shots. But the process has also been a learning experience for us: depending on a lens' electromechanical coupling and the magnification of the live feed, it can be extremely difficult to take test shots that stand-up to the level of scrutiny our image comparison tool demands. And there are the practical issues mentioned above around taking one shot, checking it, and repeating the process - returning to the position of optimal focus is nearly impossible. The results of visually checking which shot is sharpest can even vary from tester to tester. I can assure you though: we are constantly working on methods to improve these processes.
That said, it's important to keep things in perspective: in the real world it's unlikely you'd have seen the sharpness 'issues' we had with our initial a9 run (that otherwise appeared so drastic in our studio scene). Why? Because (1) you don't typically view images at 100%, (2) there will at least be a plane of maximum sharpness (which in our case, unfortunately wasn't our studio scene on our first run), and (3) your lens and shooting aperture will have far more impact on subject sharpness than which 24 MP sensor was used to shoot it.
To our readers: we offer our sincere apologies, and wish you happy shooting!
A special thanks to forum member Jack Hogan.
|Military band, Lorraine 1915, unknown photographer, Max Kranz/Europeana|
Europeana, which runs Europeana Photography, the online image archive that includes more than 2 million historical photographs from European collections in 34 countries, is launching the new Europeana 1914-1918 thematic collection, covering World War I.
The collection will be officially launched during the Europeana Transcribathon Campus Berlin 2017 which will be held on 22 and 23 June at the Berlin State Library. At the event teams from three generations and several European countries will compete to digitally transcribe as many World War One documents as possible, and link them to other historical sources such as early 20th century newspapers. Transcribathons are crowdsourcing events and gather people from across Europe and online to create digital versions of handwritten items. Since their launch in November 2016, several million characters and 12,000 documents, from love letters to poems, have been transcribed.
Frank Drauschke, of Europeana 1914-1918 project team says: “Most sources on Europeana 1914-1918 are written by hand, and often hard to decipher. Transcribathon aims to help us ‘polish’ a raw diamond by this making private memorabilia readable online. We utilise the power of our community to transcribe as many private stories and documents from diverse languages and regions of Europe and make them available to the public.”
When we shot our sample images with the brand new OnePlus 5 we noticed that the dual-camera's 2x tele-module did not quite deliver the pixel-level image quality you would expect from the 20MP Sony IMX350 sensor. Images showed low levels of fine detail and looked as if they had been upscaled which would point towards some form of digital zoom implementation.
This has now been confirmed by OnePlus co-founder Carl Pei in a tweet. He clarified that the second lens on the back uses a 1.6x optical zoom and that digital zoom is used to reach the claimed 2x zoom factor. The cropped image is then upscaled to achieve the specified 20MP image size.
The company says it is using its SmartCapture multi-frame technology to make the zoom "lossless" but arguably not everybody would agree with this term. Exif viewers show the focal length of the wide-angle and tele lenses to be 24mm and 36mm equivalent respectively which would mean a 1.5x zoom factor. However, there is a chance Exif isn't taking the SmartCapture portion of the zoom into account.
Some other dual-cam implementations we have seen, for example on the iPhone 7 Plus are using a 2x optical zoom with a smaller sensor than the main camera. It appears OnePlus opted for the same 1/2.8" sensor size in both cameras. An optical 2x lens would probably have required a thicker body or noticeable camera bump.
The Fujinon MK50-135mm T2.9 cinema lens is the second in Fujifilm's new line of MK lenses designed for Super 35 and APS-C cameras. MK lenses are designed to appeal to the emerging production market, offering features and quality typically associated with more expensive cinema lenses at a price point that's attractive to budget-conscious cinematographers. The MK lenses are based on Fujifilm's excellent Cabrio line of cinema lenses (which cost $15K and up), and share the same coatings as well as a similar mechanical build, but at a cost just under $4,000 they're more accessible to a lot of users.
I reviewed the first MK lens, the MK18-55mm T2.9, a few months ago and really liked it. Since the two lenses are designed to work as a set, they're basically indistinguishable except for focal length, so if you want to read my detailed thoughts on how the MK lenses perform I recommend reading my earlier review, which for all practical purposes applies to both lenses.
If you're not yet familiar with the MK cine lenses, you may be surprised to learn that they use Sony E-mount. Why? Fujifilm wants to address the growing market of independent filmmakers, small production houses, and other professionals who use the Super 35 and APS-C formats. Sony has a huge presence in this market thanks to cameras like the FS7, FS5, and even a-series mirrorless, and many users of these cameras adapt other lenses, such as Canon EF-mount, to their cameras.
What about Fujifilm's own mirrorless cameras? The company has announced plans to release MK lenses in X-mount later this year so that Fujifilm shooters can take advantage of them as well.
When I tested the MK18-55mm lens earlier this year, I did so with a Sony FS7, a Super 35mm camera mounted on a shoulder rig with rails, a follow focus, and an accessory EVF. However, Fujifilm emphasizes that the MK lenses are also designed for use on similarly sized APS-C sensors, so this time I decided to go that route. Unfortunately, during our short window of time with the lens I didn't have access to a rig for a full setup, so I was limited to basic tripod and handheld use.
When mounted the Sony a6500, it's easy to see how large the MK50-135mm is compared to the diminutive camera. While it's technically possible to shoot this combination handheld, it's not terribly practical thanks to its large size and all mechanical controls.
The great news is that the video I captured looked beautiful, and the lens appears to deliver the same quality that we saw on the MK18-55mm.
I also tried using the MK50-135mm with the full frame Sony a7R II in Super 35mm mode. The size mismatch is a bit less obvious than with the a6500, however it's no more practical for shooting handheld. That's not necessarily a bad thing – chances are good that if you're considering this type of lens, you're planning to rig it in some way.
In fact, this lens works very well with both the a6500 and a7R II (in Super 35 mode), and would be a great lens to pair with either of them. With a basic set of rails and a follow focus, the setup would work just as effectively as with a dedicated video camera.
One of the reasons for using cinema lenses is that they often come in matched sets, and this is the case with the MK lenses. The MK18-55mm and MK50-135mm are physically identical, including T2.9 iris, gearing, dimensions, and even weight (right down to the gram). They're also matched optically, meaning they can be interchanged seamlessly without changing the look of the resulting footage.
Why are matched lenses important? In a cine setup the lens is often mounted on rails, and likely has attachments such as a follow focus or matte box. Ideally, you don't want to have to readjust every accessory each time you change lenses, and having physically matched lenses means you can swap them in and out very quickly without needing to readjust everything. The MK lenses are so similar that I would have a difficult time telling them apart without seeing the zoom range printed on the lens barrel.
When it comes to build quality, the MK50-135mm is very solid thanks to its all metal construction. As with most cinema lenses, it's completely mechanical, and every movement feels well damped. It's a pleasure to use and gives one the sense of using a high quality piece of precision equipment.
One thing that sets the MK50-135mm apart from most still photo lenses is the large 200 degree focus rotation angle. This offers a lot more precision than you'll get with the shorter focus throw of a DSLR lens, or the unpredictability of focus-by-wire, so it's easy to make very fine adjustments as your subject moves. The lens includes very precise distance marks, in both English and metric units. This is particularly helpful if you have a separate focus puller who is following the action in a blocked scene.
The MK50-135mm also has a parfocal design, meaning it can maintain precise focus while adjusting the focal length. As still photographers, we don't usually worry about this capability since it's easy to refocus after zooming. In contrast, when shooting video you may actually intend to zoom while recording, and you want to maintain focus on your subject through the entire transition. Losing focus during a zoom can ruin the shot.
I was really impressed with the parfocal performance on the first MK lens, and the MK50-135mm performed to the same standard.
Another common property of cinema lenses is that they resist breathing, a phenomena that causes the lens's field of view to change slightly when focus is adjusted. This becomes particularly important when you're doing something like racking focus between two subjects; you don't want the field of view of the scene to change when you do this as it can be very distracting. The MK50-135mm suppresses lens breathing very effectively, which is not surprising given that the MK18-55mm did so as well.
Based on a couple days of use, I really like the Fujinon MK50-135mm lens, which – not surprisingly – is the same conclusion I came to after testing the MK18-55mm version. They're both beautiful pieces of equipment that are a joy to use, and which deliver excellent results. The fact that there are now two of them spanning the entire 18-135mm range makes me want the set even more. If you're a videographer using an E-mount camera, it's really tough to go wrong with these lenses.
The MK lenses should also appeal to Fujifilm X-mount users. In particular, we found the Fujifilm X-T2 to be a credible 4K video camera, especially since it's capable of outputting F-Log gamma over its HDMI port. We don't yet know the exact release date for the X-mount versions, but Fujifilm tells us it will be later this year, and we saw prototypes at NAB in April.
The MK50-135mm T2.9 will be available in E-mount in mid-July for a price of $3,999, which is just slightly higher than the $3,799 MK18-55mm.
|The M8 was Leica's first digital rangefinder. Smooth, sleek, but distinctly rough around the edges, it nevertheless laid down the basic pattern for the cameras that came after it, while remaining true to its film roots.|
I share an anniversary with the Leica M8 - sort of. The M8 was announced in the same week that I started my career as a camera reviewer - September 2006. We were both very green, both a little unsteady on our feet and both decidedly unpolished.
Up to that point, Leica's experiments with digital had been unconvincing. The clunky Digital Modul R was emblematic of the company's lack of confidence when it came to digital. Designed to clip onto the back of R8 and R9 film SLR bodies and in effect convert them into digital cameras, the Digital Modul R was a good idea but a bad product. It took two years to actually ship, and when it did, it was extremely pricey, costing more than $5000 (and that's without a camera body on which to mount it).
In the mid 2000s, whether or not Leica would ever bother to risk an digital M-series rangefinder was still an open question. After the much-maligned M51, Leica's approach to upgrading the M-series in subsequent decades might charitably be described as 'conservative.'
When it finally arrived, the M8 was a mixture of new technology and traditional rangefinder operation. It featured a 10MP APS-H format CCD sensor, a decent-ish LCD screen and a modern-ish menu system, but it retained the pure rangefinder focusing system and (by and large) the same ergonomics as previous M-series film bodies. And it was not, as Leica's representatives were at pains to point out, definitely not intended to replace the M7.
|Compared to Leica's long-serving flagship film rangefinder (M7, left) the M8 was slightly bigger, heavier and noticeably cleaner in terms of design, thanks to the omission of the film wind and rewind levers.|
For a lot of people, rangefinder shooting is a pain, but if you love it, you love it. While the rangefindery parts of the M8 were for the most part nice and mature, Leica was new to digital, and it showed. The first M8 I used personally, in late 2006, was a buggy mess. Its frame counter was basically just a random number generator, and its battery level indicator wasn't much better. It also crashed frequently, and had a nasty habit of getting worryingly hot when it was turned off and placed inside a camera bag. These days, Sony trolls like to shout and scream about the a7-series overheating, but you could have fried an egg on that particular M8.2
And then there was the shutter. Leica's M-series film bodies have rubberized cloth shutters which operate with an almost apologetically quiet 'snick' sound. I still shoot with an even older IIIC from time to time and unless you're standing right next to the camera, its shutter is almost inaudible. By comparison, the M8's shutter fired with a loud whirring 'ker-cloink' which I could never quite get used to. Very un Leica-like.
|Not a great picture, but a good illustration of the M8's ability to render detail. The lack of an AA filter meant that pixel-level output at low ISO sensitivity settings was very crisp.|
Another thing I struggled to get used to was the M8's 1.33X crop. When you look through the viewfinder of a crop-sensor DSLR, the increase in magnification is effectively invisible. You don't need to mentally convert the field-of-view of an 18mm lens to 28mm equivalent in order to frame your shot accurately, because what you see through the finder is what you get.
Things aren't so simple with a rangefinder. In a rangefinder, framing is approximate to begin with, and the limits of the frame are indicated by bright lines in the finder, which change depending on the lens you have mounted. Adding a crop factor makes things even more complicated.
Since the 1980s, there have typically been three sets of framelines built in to Leica's rangefinders, which change to show indicators for pairs of focal lengths: 28mm and 90mm, 35mm and 135mm and 50mm and 75mm, depending on the lens you have mounted. Simple, right?
A rough illustration of the scene through an M8's viewfinder with a 35mm lens attached. The inner framelines represent the approximate coverage of the 35mm lens (~50mm equivalent on the cropped-sensor M8) and the outer framelines represent 24mm (~30mm equivalent).
Almost all of Leica's film rangefinders since the 1960s have featured 0.72X magnification finders, which are well-suited to shooting at the 35mm focal length, with 28mm lines (where present) indicated at the extremes of the finder. Of course on an M8, 35mm = 46mm, so Leica had to change the framelines.
But but this is where it gets confusing, because the magnification of the M8's viewfinder was actually reduced compared to film (i.e., full-frame) cameras, to compensate for the increase in effective focal lengths resulting from the cropped sensor.3 When you attach a 35mm lens, you see framelines covering ~50mm and ~30mm equivalent fields of view. That's all well and good, but of course rather than the 35mm lens field-of-view being represented by the outer set of lines, as would be the case on a non-cropped film body, they're the inner set of framelines because of the crop. The outer set of lines is actually for 24mm and the two sets are pretty close together in the finder (see illustration above).
The end result is that with a 24mm or 35mm lens attached, the view through the M8's finder looks a bit like a deconstructed zebra crossing. Faced with unfamiliar framelines, some experienced M-series users also found themselves second-guessing their effective focal lengths quite a lot when first using the camera. The M8's framelines were optimized for accuracy at 0.7m, becoming increasingly inaccurate beyond that, which didn't help matters either.
|One of the weirder features of the M8 (and subsequent digital rangefinders) is the design of its memory card / battery compartment. Like the older film models, the entire baseplate must be removed if you want to swap either the battery or memory card. Sure - why not?|
Let's assume though that you've familiarized yourself with the unique framelines, you've grown used to the grey-on-black-on-grey menu system, you don't mind removing the entire base of the camera to swap batteries and your M8 isn't one of the ones that self-immolates. What kind of pictures can it produce? Really nice ones, actually - on the whole.
Although there were definitely better sensors on the market in 2006, the M8 was reasonably competitive in terms of detail and noise levels at low / medium ISO sensitivities, and the lack of an anti-aliasing filter means that images are really, really sharp. Auto white balance has never been a Leica strength, and JPEGs from the M8 tended to look a bit murky, but it was easy enough to get acceptable results from converted Raw files.
As far as image quality was concerned, there was one major gotcha though, which inexplicably made it past Leica's experten: infra-red sensitivity. Too much of it, to be specific. The M8 was very sensitive to IR light, which isn't major issue most of the time, but when it's a problem, it can be a real show-stopper. As reviewers found out, you'll mostly see it when shooting green foliage (which sometimes comes out looking too yellow) and black manmade fabrics (which often come out looking distinctly magenta).
Leica's solution - shipping two screw-in IR filters to all M8 owners for free - was really more of a goodwill gesture, and wasn't until the introduction of the M9, several years later, that the problem was actually solved.
The M8 was superseded pretty quickly, by the M8.2 in 2008. The M8.2 introduced a quieter shutter, a more discreet black dot, a nicer body covering (the fluffy plastic finish of the M8 was cheap-feeling and icky), more accurate framelines and a badly-needed scratch-resistant coating on the rear LCD.
Partly because it was so quickly superseded, second-hand M8s can be picked up relatively cheaply these days, at least by the admittedly insane standards of previously-owned Leica digital rangefinders. But if you're really curious about trying one, my advice would be to save a little extra and grab yourself an M8.2 instead.
1. The M5 was a highly advanced and eminently practical camera when it was released in 1971, but an utter commercial failure, and is widely (and probably unfairly) talked about as The Camera That Almost Ruined Leica.
At any rate, the M5 served as an early lesson (it would not be the last) to Leica's product planners that while a lot of photographers might balk at weird film loading, external light metering, limited close focus capability and eye-wateringly high pricing, just about the only thing that Leicaphiles won't put up with is change.
2. Author is a professional exaggerator. Do not attempt.
3. This might sound odd, but makes complete sense. Effective focal lengths are increased by the sensor's crop, so Leica reduced the magnification of the M8's finder because inevitably, M8 users would be mounting wider lenses to achieve similar fields of view to the 'classic' 28/35/50 primes. Hence the addition of 24mm framelines which actually show a 30mm field-of-view (etc.).