Tamron confirms compatibility with Nikon Z6 for six of its Di, Di II lenses

Lens maker Tamron has confirmed new firmware issued at the end of last year to make certain lenses compatible with Nikon’s Z7 camera will also work for owners of the Z6. The firmware applies to six lenses from the Di and Di ll ranges, and allows the following lenses to be used with the cameras via the Nikon FTZ adapter:

  • SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Nikon
  • SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Nikon
  • 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Nikon
  • SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Nikon
  • SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for Nikon
  • 17-35mm F/2.8-4 Di OSD (Model A037) for Nikon

(Links to firmware below)

Tamron initially faced issues with compatibility when the company’s lenses were used on the new Nikon mirrorless cameras, and issued new firmware for certain lens models at the end of last year to make them work with the Z7. This latest announcement appears to come after tests have confirmed that the same firmware also works when the lenses are mounted on the Z6.

Users need the Tamron TAP-in to update lens firmware - or a visit to a Tamron service centre. The TAP-in console costs around $60.


For more information see the Tamron support pages.

{pressrelease}

Notice about compatibility for Nikon Z6 with Tamron lenses for Nikon mount


Dear users and potential purchasers of Tamron interchangeable lenses.


Thank you for using Tamron products and for your continuous support.


We would like to announce that we have clarified compatibility for general operations (*1) of the following Tamron Di & Di II lenses with the latest version of lens firmware (*2) when used with the Nikon Z6 and Nikon mount adapter FTZ.


*1 Defined to work on existing DSLR cameras
*2 Firmware for Nikon Z7 (announced on November 16th and 22nd, 2018)


1. Compatible models for general operations

The lens firmware can be updated with the separately sold TAP-in Console.


If you do not have a TAP-in Console, please contact your nearest Tamron distributors.
For a list of Tamron distributors, click here.


2. Lens Update Service Information
https://www.tamron.jp/en/support/release_note.html


3. How to Update
https://www.tamron.jp/en/support/update.html


4. For other models, once we confirm the compatibility with Nikon Z7 and FTZ adapter, we will announce the models sequentially at our support website.


We are sorry to keep you waiting, and also ask for your understanding of the situation.

{/Pressrelease}

Lessons from the Masters: Morley Baer

The post Lessons from the Masters: Morley Baer appeared first on Digital Photography School. It was authored by Adam Welch.

Portrait of Morley Baer

Each time I find myself cruising down Highway 1 in California between Big Sur and San Francisco, the urge to make photographs instantly strikes me. It’s an easy feeling to encounter. The rocky beaches and rolling hills tend to beg for a lens. Accompanying this sense of photographic wanderlust is a recognition of walking in the footsteps of some of the greatest American photographers that the twentieth century ever produced. Names like Weston, Adams, and Cunningham all seem to linger in this area of the country. However, there’s another name connected to the deep photographic past of the west coast that you might not know quite so well but should: Morley Baer. In this installment of “Lessons from the Masters,” we’re going to take a closer look at the prolific work of Morley Baer and learn some valuable lessons about how he went about the business of photography that you can use to improve your images.

Morley Baer

Morley Baer came into this world on April 5th, 1916 in Toledo, Ohio. After graduating from the University of Michigan with a BA in English and an MA in Theatre Arts, he briefly worked in advertising in Chicago until fate pressed him into his life’s work. After seeing an exhibition of Edward Weston’s work, Baer became captivated by the medium of photography. He left his position with the advertising firm he worked to educate himself in the art of photography. After working in commercial photography briefly, he soon made the journey to Carmel, California to track down Edward Weston.

After serving in the Navy as war photographer from 1941 to 1946, Morley and his now wife Frances (also an artist and photographer) embarked on a decades-long exploration into photography in and around the Bay Area of California until finally settling in their home/studio near Garrapata Beach. Baer became one of the most desirable architectural photographers of his time. His landscape and seascape works are also still widely regarded as some of the finest photographic representations of the west coast of California ever to be recorded on film.

Here are some, but certainly not all, of the lessons you can’t learn from Morley Baer.

Total proficiency with the tools you use

For the main body of his landscape and architectural studies, Baer used one camera and one camera only; the Ansco 8x10S view camera. In our modern day photography jungle, we are constantly harangued by the marketing mentality that if our cameras are not the newest, then they are somehow lacking. Of course, that’s just an opinion.

In any case, Morley was an expert operator of his Ansco to the point when it became almost an appendage and an extension of his physicality. Similar in practice to Ed Weston, the fact that Baer became so monogamous with his singular 8×10 view camera speaks volumes to us today.

Portrait of Morley Baer and his Ansco by David Fullagar

Whatever your camera or tools, make yourself so familiar with their functions that you can control them without hesitation. The adage “the best camera is the one you have with you” is not enough. We must strive to become absolute masters of the tools we use to make our photographs. The tool is secondary to the ability of the user. No matter what gear you happen to be using it is essential that you understand how to use it and use it well.

Find what works best for you

Not only was Baer’s proficiency of his 8×10 camera finely tuned in, but he was also quite fixed in the way he presented his photographs. Morley was a darkroom master printer, and he virtually always printed his photographs using the contact method and seldom used an enlarger. This meant the negative was exposed directly in contact with the paper resulting in an image the same size as the negative. Contact printing remains one of the most simple and pure forms of printing even today. Regardless of its merits or limitations, this was the vehicle Baer found worked best for him and his creative expression.

By Morley Baer

While we should all continue to learn and grow with our photography, there must also be a conscious recognition of the methods and techniques that tend to produce the best results time and time again. Hone in on the processes that allow you to reach your fullest potential and pay no mind to whether or not they are popular or follow certain “rules.” When it comes to photography the so-called “rules” are there to guide us, not limit our flight.

Healthy competition can help you grow

Every so often I get an email or a Facebook message from someone asking whether or not they should enter a particular photography contest. I’ve always had a love-hate relationship with the idea of grading one photograph against another. This is because I feel it causes us to miss the purpose of photography altogether. At the same time, a photograph is a visual medium, and as photographers possess an inescapably inherent narcissism; we want our work seen by others.

By Adam Welch

I mentioned earlier that Baer’s wife, Frances, was also a camera jockey. Not only did she make photographs herself, but she was also remarkably accomplished in her own right to the point where Morley and Frances were essentially domestic competitors with their photography. There is a famous tale of them reaching an agreement for rights to photograph scenes when they were on road trips. The agreement they reached thereby declared that everything on the left side of the road belonged to the driver while everything on the right belonged to the passenger.

It’s important for us to reach a certain level of catharsis with our photography so that we produce work that is representative of our vision. At the same time, healthy (and I do stress the “healthy” part) competition with other photographers not only keeps our creative juices flowing but also serves to engage us with our fellow shooters. We learn and better ourselves through interaction with the work we love and respect. With the correct perspective, competition with our peers promotes dynamic artistic growth.

Parting words on Morley Baer

As with all esteemed photographers, seeing the work in person brings about a level of appreciation that cannot be obtained by merely viewing a photograph on a computer screen. I’ve recently been fortunate enough to visit select galleries in and around the areas where Morley Baer lived and operated. As usual, it’s easy to look and see the beauty of Baer’s photographs, but as perpetual students of photography, we should always seek to find what we can learn from those whose work we admire.

The lessons listed here are just a few to glean from Morley. Digest them and put them into practice with your own work. However, don’t stop there. Learn all you can, when you can and where you can. Never stop exploring the incredible world of photography.

 

You may also find the following articles interesting:

Lessons you can learn from master photographers – Minor White, Ansel Adams, and Syl Arena

More Lessons from the Masters of Photography: Edward Weston

Lessons from the Masters: Robert Capa and Jerry Uelsmann

More Lessons from the Photography Masters: David Burnett and Vivian Maier

Cartier-Bresson and Stieglitz – Study the Masters of Photography to Become a Better Photographer

Masters of Photography: Bruce Davidson, Master of the Subway

The post Lessons from the Masters: Morley Baer appeared first on Digital Photography School. It was authored by Adam Welch.

NASA’s OSIRIS-REx spacecraft captures image of Earth from 71 million miles away

NASA's OSIRIS-REx spacecraft, which achieved a record orbit at asteroid Bennu earlier this month, has returned an image that, at first glance, is unremarkable. The photo, below, features two bright dots -- the larger one on the right is Bennu, and the smaller one on the left is Earth and the moon as seen from a distance of 114 million kilometers / 71 million miles.

The image was captured by OSIRIS-REx's black and white NavCam1 camera on December 19, 2018, according to the Bennu mission website. The asteroid's brightness is due to the image's five second exposure time, which was long enough to make both the Earth and moon visible.

Photo provided by NASA

The OSIRIS-REx probe has been tasked with exploring Bennu, a large asteroid located around 70 million miles from Earth. On December 31, OSIRIS-REx became the first spacecraft to successfully orbit an object as small as Bennu, where it will remain before briefly touching down in 2020 to acquire a small sample.

The spacecraft has returned a number of images to its team on Earth, including close-up shots of the asteroid's rocky surface. The latest image joins the iconic Pale Blue Dot photo as a rare example of space photography that puts Earth's tiny place in the universe into perspective. Future images from OSIRIS-REx will be shared in the mission's Gallery.

GoPro Fusion beta firmware brings resolution bump and 24fps recording

GoPro has announced a major beta firmware update for its Fusion 360-degree camera. With the new firmware the camera gets a resolution bump from 5.2 to 5.8 video (5.6K when stitched) and the new resolution also supports 24fps frame rates, making it easier to incorporate the Fusion into TV and film production processes.

In addition the gets a new 5.6K/24fps time lapse video mode and RAW photo support for night and time lapse modes with intervals of 5 seconds or longer.

The Fusion Studio and Adobe Premiere and After Effects plug-ins have been revamped as well. Fusion Studio v1.4 gets 5.6K exports for the new higher resolution 24fps mode and a range of updated controls and options. GoPro’s VR plug-ins have been updated for use with Adobe Premiere CC 2019 and Adobe After Effects CC 2019.

A full list of new features can be found on the GoPro website.

Lens sample gallery: Tamron 17-35mm F2.8-4 Di OSD

The Tamron 17-35mm F2.8-4 Di OSD is a compact and light-weight lens for full-frame Canon and Nikon DSLRs. This wide angle zoom features a nearly-silent AF motor and coatings to repel water and grime. We took it on a grand tour of Seattle's best tourists destinations and found it makes a pleasant, albeit wide, walking around lens.

See our Tamron 17-35mm F2.8-4 Di OSD lens gallery

852 New Zealand

Chris and Monika discuss their New Zealand adventure, Larry has a follow-up regarding subscription models and friends don’t let friends shoot vertical video, or do they?

RECEIVE EMAIL FOR NEW EPISODES

2019/2020 Photo Tours with Chris Marquardt
» Feb 2019: Arctic: Fantastic Fjords Tour 1
» Feb 2019: Arctic: Fantastic Fjords Tour 2
» Jun 2019: Silk Road Kyrgyztan
» Oct 2019: Romaina Fall Colors
» Feb 2020: Lake Baikal, Siberia
» Sep 2020: Ireland, The Wild Atlantic Way
» all photo tours

The post 852 New Zealand appeared first on PHOTOGRAPHY TIPS FROM THE TOP FLOOR.

The Secret to Sharing Photos with Lightroom CC

The post The Secret to Sharing Photos with Lightroom CC appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

After years of resisting the urge to sign up for one of Adobe’s Creative Cloud plans, I finally gave in. I purchased a subscription to the Photography bundle which includes Lightroom and Photoshop. While initially, I didn’t see a whole lot of benefits to this, I continue to discover all sorts of perks included in the Creative Cloud that I didn’t even think about before I jumped on the train.

One of the best, and also one of the least-talked-about, features has been the ability to share photos publicly right from Lightroom. This feature has been a total game-changer for me and it could re-shape the way you go about getting your work seen by others.

Traditional Lightroom sharing

With all previous versions of Lightroom, sharing images involved a few steps and some hoops to jump through. Mostly, this involved exporting images to your computer and then uploading them to social media sites, online photo platforms, or even email them to friends, family, and clients. Unfortunately, this also meant some hassles. Such as having duplicate copies of your shared images (one in your Lightroom catalog and one that you exported for sharing) and having to re-export and share images after you made any changes. The process could also be time-consuming, especially if exporting a large batch of images.

Some social sites like Flickr and Facebook created plugins for Lightroom, but in my experience, those have been somewhat unreliable, and I have used some that were ultimately abandoned by their developers. This meant that relying on these plugins was an exercise in frustration and, more often than not, futility.

Psst…have you heard about Lightroom’s photo-sharing capabilities?

Before I jumped to Creative Cloud, I had several presets that I created to export images for different groups of people. I had a hierarchy of folders in my cloud storage service that I used for sharing, and a headache if I needed to re-share images after further edits. After switching to the Creative Cloud Photography plan, that includes both Lightroom Classic CC and Lightroom CC, I have replaced all of that with a simple click of the mouse or tap of my iPad.

Using the sharing features of Adobe Creative Cloud, you can instantly make individual photos or even entire albums public. Then you get a link to share with anyone you want. You can further customize these features. You can specify whether people with the link can download photos, access picture metadata, and see only pictures that have a particular Flag or Star Rating. The images you share can have comments and likes from viewers, and you can get information on this activity as well.

Sharing doesn’t use your Cloud Storage

My favorite part about this type of sharing is that none of your shared images count against your Creative Cloud storage quota. Even if you have the Photography plan with only 20GB of storage, you can share as many photos to the web as you want without using any of that 20GB allotment. This feature does not use your allocated space because Adobe doesn’t share full resolution images with this feature.

You probably wouldn’t want to do this with clients who need high-resolution downloads for printing, but it’s great for getting your pictures seen by many people without any real effort on your part.

Sharing with Lightroom Classic CC

If your workflow is dependent on the more traditional Lightroom Classic CC as opposed to the cloud-focused Lightroom CC, you still have access to most of the cloud-based sharing features. You will, however, need to launch Lightroom CC at some point if you want to fine-tune your sharing options. The first step in sharing is to enable syncing. You achieve that by clicking on your name in the top-left corner of the application and choose “Start” under the option to Sync with Lightroom CC.

No need to panic at this point – nothing is going to happen to your photos, and no images are going to be suddenly shared to the cloud or anywhere else. All this does is give you the option to sync photo albums with Lightroom CC so you can edit your images using that program on your desktop or mobile device. It’s not even sharing the actual pictures, just low-resolution preview files. After you make any edits, those changes get automatically synced back to Lightroom Classic CC.

This feature also gives you the option of making your images available publicly on the internet for anyone to view. However, first, you must choose individual albums that you want to sync with Lightroom CC. Right-click on a collection in your Library and select Sync with Lightroom CC.

Doing so doesn’t share the photos publicly, but makes them available to Lightroom CC while also giving you the option to share them with others if you wish. (Note that this feature is only available for traditional photo collections in Lightroom and will not work with Smart Collections.)

After you have synced a Collection with Lightroom CC, you will see a small two-way arrow icon next to its name, and you will have access to additional features when you right-click on it with the Lightroom CC Links option. You can now make the album Public. Once you have completed that step, you can view the photos on the web or get a public link to send out to family and friends.

It is as simple as that! With one click you can get a link to an entire photo Collection, and Lightroom does all the heavy lifting of uploading them and putting them in a clean gallery format. For more options, open up Lightroom CC on your desktop or mobile device.

Sharing with Lightroom CC

Because Lightroom CC is built from the ground up to live and breathe in the cloud, it has a more robust suite of tools available for sharing (even though the basics are relatively similar to its desktop counterpart). Whether you have your original images stored in Lightroom CC (or stored in your Adobe Creative Cloud account) or synced from Lightroom Classic CC, the process of sharing them is the same.

To get started, navigate to one of your albums on the left side of the Lightroom CC interface. Right-click on the name of the one you want to share to the internet via a public link. Then choose the option that says Share to Web…

As the saying goes, here’s where the fun begins. After choosing this option, you get presented with a dialog box giving you several options to customize how your photos get shared online. What I like about this is you can specify different parameters for each shared album. See the screenshot below.

In this example, I opted to show only photos with a Pick status that are rated three stars or higher. I’m not allowing any location data to be visible either. The link can be copied and shared with anyone you want, or posted on social media sites. Any changes made to the album are automatically reflected in the shared link as well. So, if you add more images to the album, or change the Flag status or Star Rating, anyone with the link can automatically see the revised images.

If at any point you want to stop sharing the album, you can right-click on the name of the album and choose the Stop Sharing option. If you re-share it in the future, a new link gets generated for you to re-send to friends, family, and clients.

When visitors click on the link to your shared album, they will see a grid with all your images that they can scroll through and click. Icons in the top right corner can be used to play a slideshow or download a ZIP archive of the photos in the gallery if you have that option enabled.

When viewers click on an individual image, they have the option to leave comments or click a Like button. This information automatically syncs with Lightroom Classic CC so you can see it on your desktop.

When you view the link of one of your shared albums, you can also see any user comments and delete ones you don’t want. The one catch with this is that anyone who wants to leave a Like or Comment will need an Adobe ID. It’s a bit of extra effort but helps cut down on spam and other unwanted input from random internet users.

When people leave comments on publicly-shared photos, you can see a yellow icon appear by the Collection name in Lightroom Classic CC. Click the Collection to review the comments.

Finally, you can share any individual picture from an album on the web using its own unique link. Right-click on a single photo to get a unique link for that one image as well as the same sharing options that you have for full albums.

Sharing is a great way to get feedback from clients and see what photos they really like.

User control and privacy

The advantages of Lightroom’s built-in photo sharing system are enormous. Not the least of which has to do with user control and privacy.

When you share pictures on social media sites, your images and personal data get mined and used for advertising. However, no such activity takes place when using Lightroom shared albums. You control exactly what you share, and can remove images at any time. Deleting your images from the internet is as simple as clicking the Stop Sharing button.

Where sharing is beneficial

Here are a few scenarios to help you see where photo sharing may be beneficial:

  • After returning from a trip, create an album with your favorite images and share the link instantly with family and friends.
  • Create an album with pictures of your kids or other loved ones in your life and share the link. As you add more pictures to the album, anyone with the link can automatically see the new images.
  • Share a preview album with clients after a photo session, and ask them to click Like on their favorites. Then you can see the results and know which ones they appreciate. This can help you if you are assembling a physical album for them.

I took a lot of photos at a Petting Zoo birthday party my kids were invited to. Instead of uploading them to social media, I just shared a link to the album with parents and enabled downloads.

The more I use these sharing features, the more I have come to appreciate them. I don’t think I’ll ever go back to my old workflow again. Moreover, I hope this is useful for you and would love to hear any thoughts you may want to share in the comments below.

The post The Secret to Sharing Photos with Lightroom CC appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Olympus teases upcoming sports-oriented camera once more

Olympus has released teaser number three for the sports-oriented camera the company is releasing in a week. The previous teasers only gave a quick glimpse of the camera, instead focusing on what it can do: sports.

In this latest episode, the camera is seen out in nature (including the rain). We'll have a lot more on this intriguing new camera when it launches on the 24th!

Fujifilm announces 100-200mm F5.6 lens for GFX system

Fujifilm has announced its new GF 100-200mm F5.6 R LM OIS WR tele-zoom lens, for medium format. When attached to a GFX body, the lens covers an equivalent focal length range of 79-158mm (the GF 1.4x teleconverter is supported if you need extra reach). The lens is stabilized, with Fujifilm claiming 5 stops of shake reduction. Optical construction comprises 20 elements in 13 groups, including one aspherical and two super ED elements.

The 100-200 uses a linear motor for 'silent and high-speed autofocus' which locks in place when the camera is powered down. The minimum focus distance is 0.6m at wide-angle and 1.6m at telephoto, with a max magnification of 0.2x. The lens is weather-sealed and weighs just over a kilogram (2.3 pounds).

The GF 100-200mm F5.6 will be available in late February for $2000.

Press release:

FUJIFILM INTRODUCES NEW TELEPHOTO ZOOM LENS FOR THE GFX MEDIUM FORMAT MIRRORLESS SYSTEM

The FUJINON GF100-200mm F5.6 R LM OIS WR lens is a welcome addition for outdoor photographers

Valhalla, New York, January 17, 2019 – FUJIFILM North America Corporation today announced that it will release the FUJINON GF100-200mmF5.6 R LM OIS WR lens for the GFX Medium Format mirrorless digital camera system on February 14th, 2019. Designed with outdoor enthusiasts in mind, the camera has a durable, lightweight design paired with Fujifilm’s excellent image quality and five stop image stabilization features.

“Outdoor photographers need to consider a plethora of challenges including lighting, environment and timing – all while battling the natural elements,” said Yuji Igarashi, General Manager, Electronic Imaging Division & Optical Devices Division, FUJIFILM North America Corporation. “As the first GF telephoto zoom lens that has a 35mm equivalent focal range of 79-158mm in a compact, weather-resistant design, this lens will meet the needs of outdoor and landscape photographers.”

Ideal to shoot landscape, travel and nature photography, the new telephoto zoom lens is resilient with its ability to operate in extreme temperatures (down to 14 °F) and sealed lens to resist dust and moisture –all without sacrificing image quality.

Key features of the FUJINON GF100-200mmF5.6 R LM OIS WR lens:

Ultra-High Image Quality: The lens is made up of 20 elements in 13 groups including two super Extra Low Dispersion Glass lenses and one aspherical lens to reduce chromatic and field curvature aberrations.

Powerful Image Stabilization: Equipped with an excellent five stop image stabilization (CIPA guidelines), the lens allows photographers to make the most of the GFX’s high image resolution performance even without the use of a tripod.

Silent and High-Speed Autofocus: The linear motor which drives the focus is accurate, quiet and fast. The lens also includes an enhanced mechanism for fixing the linear motor position when turning the power off or using playback mode to avoid any additional vibration.

Robust Durable Design, Appropriate for Tough Shooting Environments: The lens is sealed across 10 areas for dust and weather resistance allowing photographers to shoot with stability in tough environments.

GF1.4X TC WR Compatible: The 1.4x teleconverter (GF1.4X TC WR) extends the telephoto shooting range to 140-280mm (equivalent to 111-221mm in 35mm format) while maintaining superior image quality.

The GF100-200mmF5.6 R LM OIS WR lens complements the FUJIFILM GFX 50S and FUJIFILM GFX 50R as well as the full lineup of GF lenses for the Fujifilm GFX mirrorless digital camera system. GF lenses are known for top image quality using the finest optical design and production technologies to achieve high-resolution and rich tonal reproduction, making them popular among professional photographers and photo enthusiasts.

The GF100-200mmF5.6 R LM OIS WR lens will be available in late February 2019 in the U.S. and Canada for USD $1,999.95 and CAD $2,599.99.

Fujifilm GF 100-200mm F5.6 R LM OIS WR specifications

Principal specifications
Lens typeZoom lens
Max Format sizeMedium Format (44x33mm)
Focal length100–200 mm
Image stabilizationYes
CIPA Image stabilization rating5 stop(s)
Lens mountFujifilm G
Aperture
Maximum apertureF5.6
Minimum apertureF32
Aperture ringYes
Number of diaphragm blades9
Optics
Elements20
Groups13
Special elements / coatings1 aspherical + 2 super ED elements
Focus
Minimum focus0.60 m (23.62)
Maximum magnification0.2×
AutofocusYes
Motor typeLinear Motor
Full time manualYes
Focus methodInternal
Distance scaleNo
DoF scaleNo
Focus distance limiterYes
Physical
Weight1050 g (2.31 lb)
Diameter90 mm (3.52)
Length183 mm (7.2)
MaterialsMagnesium alloy
SealingYes
ColourBlack
Zoom methodRotary (extending)
Power zoomNo
Zoom lockNo
Filter thread67 mm
Hood suppliedYes
Tripod collarYes

Sony announces new Imaging Edge mobile app, updates desktop software

Sony has announced the 'Imaging Edge' mobile application that replaces the PlayMemories Mobile app. It offers remote control capability and geolocation. Users of recent Sony cameras (RX10 IV, RX100 V(A) and VI, a7 III, a7R III and a9) will be able to transfer 4K video in addition to full-resolution images (by selecting media on-camera). a9 owners will also be able to auto-transfer 2MP images.

Transfer & Tagging add-on

A pro workflow 'Transfer & Tagging add-on' will be available for the a9, a7R III and a7 III. This allows metadata tags to be added to images, including voice-input for quick captioning.

In addition, a9 users will be able to use the camera's background FTP capability to quickly transfer full-res photos automatically to the smartphone or a remote server. Users will be able to do so wirelessly via a Wi-Fi access point or via direct tethering to a mobile phone (if the phone supports it), or via wired USB connection to the mobile device. Both the Imaging Edge app and the Transfer & Tagging add-on will be available this spring.

Later this month, version 1.4 of Sony's desktop applications will be updated. The Remote, View and Edit apps will support time-lapse movie creation along with improved usability.

A bit more info can be found on Sony's website.

Press Release:

New Imaging Edge Software Enhances Mobile Connectivity and Expands the Creative Capabilities of Sony Cameras

Sony Announces New Imaging Edge Mobile Applications, Plus Several Updates to Existing Desktop Applications

SAN DIEGO — Jan. 15, 2019 — Sony Electronics Inc. today announced the release of new Imaging Edge™ mobile applications plus several updates to the ‘Remote,’ ‘Viewer’ and ‘Edit’ desktop applications that will bring exciting new features to all Sony imaging customers ranging from casual hobbyists to working professionals.

New Imaging Edge Mobile Applications

The newly introduced mobile application named Imaging Edge Mobile is the successor to Sony’s PlayMemories Mobile™ app and will offer instant transfer of images from camera to a connected mobile devices while shooting. Images can be transferred when utilizing the new “Auto background transfer to Smartphone” functionality, allowing users to easily share content direct from their phone to social media platforms. The mobile application also supports 4K movie transfer and remote control functionality.

For professional photographers, Sony will be releasing a new mobile application ‘Transfer & Tagging add-on’ that will support instant delivery workflow by allowing users to transfer content to their mobile devices via the camera’s FTP background transfer functionality, without distraction from their shooting. It also enables voice input for text captioning to help streamline communication and overall workflow between photographers and other team members. There is also an online function that will allow you to sync a Caption Glossary between multiple devices.

Sony’s new Imaging Edge mobile application and ‘Transfer & Tagging add-on’ will be available in March 2019.

Enhancements of ‘Remote’ ‘Viewer’ ‘Edit’ Desktop Applications

The desktop version of Sony’s Imaging Edge application will be updated as well, with workflow support of time-lapse movie creation, making it an ideal match for Sony’s newest interchangeable lens cameras with built-in interval recording. Other new features to maximize usability have been added as well, such as comparison display and collection functions, as well as a new and improved user interface.

The latest Version 1.4 of Desktop Applications ‘Remote’ ‘Viewer’ ‘Edit’ will be available later this month.

For more information on the new application updates, please visit the Imaging Edge website at https://imagingedge.sony.net.

A variety of exclusive stories and exciting new content related to all of Sony’s exciting announcements can be found at www.alphauniverse.com, a site built to educate and inspire all fans and customers of the Sony α brand. The new content will also be posted directly at the Sony Camera Channel on YouTube.

1. A successor application of PlayMemories Mobile. Existing PlayMemories Mobile users can use this by updating PlayMemories Mobile

2. Compatible with ILCE-9 with software update Ver.5.0 or later. Files are imported in 2MP size when using this function

3. Compatible with ILCE-9 with software update Ver.5.0 or later, ILCE-7RM3, ILCE-7M3, ILCE-6400, DSC-RX10M4, DSC-RX100M6, DSC-RX100M5A. Availability of video transfer and playback varies depending on smartphone in use

4. Add-on mobile application for ‘Imaging Edge Mobile’. Available countries: US/Canada/UK/France/Germany/Hong Kong/China/Australia/Japan. User registration is required to use this application. Compatible with ILCE-9 with software update Ver.5.0 or later, ILCE-7RM3, ILCE-7M3

5. Compatible with ILCE-9 with software update Ver.5.0 or later

6. The voice input of this application uses the service provided by Google. If Google services are not available, you cannot use the voice input. Please use the keyboard input

7. RAW processing adjustments by batch, adding music/texts, outputting 4K movie are also available

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