Sigma is all in. Will have ART lenses with L Mount. They will even do a mount swap if you want for a fee. I’m also surprised they went with the Fujifilm style LCD screen. I believe it has something to do with weather proofing that hinge. People want it but they don’t seem to think it’s important. Bummer.

Nikon says it’s developing an MB-N10 Multi-Power Battery Pack that will provide long hours of shooting. It will increase the number of photos possible and the maximum recording time by 1.8x.

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The short term hit they’d likely take might make it difficult for them to recover in the long term…..

"Moving forward, we will continue our fight to make Flint whole. We have made a lot of progress in these last two years, and I do not plan on slowing down.

If it isn’t, don’t you think they risk alienating loyal users who have sat back and waited for them to release a system that competes with the likes of Sony, and hopefully outperforms them?

I started my tests of the Utility Knife with a big amp that would showcase detail in the modulations. And with a Fender Stratocaster wired up to an Orange OR50 with a 4×12 cabinet, I set the Utility Knife to its 6-stage phaser and dialed up a quick Pink Floyd “Breathe” style slow swirl. Right away, I put the volume control to use. It’s noticeably robust, and can give you quite a boost if needed—a killer feature that many classic modulators don’t offer in spite of the perceived volume drop that flummoxes users of vintage modulators from Small Stones to Boss TR-2s. And while it can make the rich phase tones really jump in a mix, I kept the volume a hair below noon, which was right around unity for the single-coil pickups. The volume control has the bonus of adding color as well as more presence to the selected modulation mode—an effect that can be really dramatic for momentary applications of flange, phase, and tremolo. But while the big OR50 handled aggressively boosted settings just fine, a little Fender Champ 600 started to break up in the face of the extra kick to the front end. This isn’t necessarily a bad thing if you like a little organic drive. But fans of crystalline, detailed modulation tones will need to mind their volume/amp matchups.

First seen in the Leica T, the renamed L bayonet mount offers users the ability to connect full-frame SL-series glass. The mount also works with existing and future TL-series lenses, though in a reduced resolution APS-C crop mode. Additionally, as with most mirrorless today, the L mount can accept a variety of adapters, such as the M-Adapter T which provides shooters with access to the entire M-mount lens library. Leica also has adapters for the S, R, and Cine series.

Flint officials say there are more damaged lead and galvanized water service lines buried than previously estimated as pipe replacement continues in the wake of the city’s drinking water crisis.(Photo: Chris Ehrmann / AP)

Andy Day is a British photographer and writer living in France. He began photographing parkour in 2003 and has been doing weird things in the city and elsewhere ever since. He’s addicted to climbing and owns a fairly useless dog. He has an MA in Sociology & Photography which often makes him ponder what all of this really means.

“It will stand to symbolize the Nikon Z mount system’s new dimension in optical performance,” Nikon says. “It has inherited the design concept behind the original AI Noct-NIKKOR 58mm f/1.2, a standard prime lens released in 1977, named for ‘Nocturne’ (a musical composition inspired by or evocative of the night), and was popular for its ability to finely reproduce point light sources as point images.

Nikon said in July 2017 that it was actively building a camera that would “raise the bar,” and the company followed up in September 2017 by saying that it must go full frame if it was to be competitive in the mirrorless market. Patents filed by Nikon for full frame lenses emerged around the same time.