Specs

• 15 lenses in 10 groups (3 aspheric lenses, 1 aspheric ED lens, 2 ED lenses, 1 UHR lens)
• Nano surface coating
• Dustproof and drip-proof construction, can work in low temperatures (-10 ° C)
• 0.23 m minimal focus distance
• 67mm filters
• 73.4 mm × 88 mm
• 315 g
• May 25, 2017 release
• $1099
• Available at
  • https://www.amazon.com/Panasonic-H-E08018-Vario-Elmarit-Professional-Mirrorless/dp/B071QWM469/
  • https://www.bhphotovideo.com/c/product/1328548-REG/panasonic_h_e08018_leica_dg_vario_8_18mm.html

Which one do you guys recommend the most?

Specs

• 21 elements in 18 groups, including 6 ED elements, 1 SR element, 2 aspherical elements, and 1 fluorite element 
• Reflective Nano Crystal, ARNEO coatings to cut down on chromatic aberrations and a fluorine coating to resist fingerprints 
• 5 stops of built-in optical VR image stabilization, the most Nikon has ever included in a lens 
• 9 rounded aperture blades for beautiful bokeh 
• Multi-focus system with two af drive motors 
• Weather-sealed construction, with two customizable function buttons and a custom control ring
• Weighs 3.17 lbs
• The eleventh lens to join the Z mount family
• Available for $2,600
• Available in February for $2600 at
  • https://www.adorama.com/nkz70200.html
  • https://www.bhphotovideo.com/c/product/1538574-REG/nikon_nikkor_z_70_200mm_f_2_8.html
  • https://www.wexphotovideo.com/nikon-z-70-200mm-f2-8-vr-s-lens-1728151/
  • https://www.parkcameras.com/p/3243260Z/nikon-z-mount-mirrorless-lenses/nikon/nikon-70-200mm-f28-s-z-mount-lens

More info

• Pro-grade Z mount telephoto zoom lens. Covers the versatile 70-200 mm focal range with a constant f/2.8 maximum aperture.
• Superb performance. Sharpness and contrast are exceptional throughout the frame. Focusing is smooth, fast, and silent.
• Advanced optical design. 21 elements in 18 groups, with Nikon’s ED glass and SR glass as well as anti-reflective ARNEO and Nano Crystal coatings. Chromatic aberration, coma, ghosting, and flare are thoroughly countered.
• Ready for video. Focus breathing is all but eliminated, and stable aperture control delivers natural exposure changes throughout the scene.
• OLED lens information panel. Quickly confirm aperture, focus distance, exact focal length, ISO, and depth of field right on the lens.
• Fn button. Assign as many as 21 different functions to the lens’ Fn button, from AF lock to metering, bracketing, and more.
• Workhorse. Tough, compact build with extensive sealing to protect from dust and moisture.

• Aperture Range f/3.5-6.3 to 22-40
• One ED and Five Aspherical Elements
• Linear Motor AF System
• Optical SteadyShot Image Stabilization
• Dust and Moisture Resistant
• Circular 7-Blade Aperture
• 780 g
• $1000
• http://www.amazon.com/Sony-SEL24240-3-5-6-3-Standard-Zoom-Cameras/dp/B00U29GNC8/

Sony's new "all-in-one" FE 24-240mm F3.5-6.3 OSS 10x zoom lens is an ideal travel partner handling everything from landscapes and everyday portraits to sports and action scenes with ease. Its huge 24-240mm range (10x zoom) makes this full-frame high magnification zoom is an ideal travel partner, covering focal lengths from wide angle to telephoto without the need to carry extra lenses.

The advanced design includes five aspherical elements and one ED glass element, contributing to the lens' excellent optical performance in a compact design. It features an advanced linear motor that drives the focusing mechanism for quick, smooth response throughout the extensive zoom range, as well as built-in Optical SteadyShot (OSS) stabilization and dust and moisture resistance.

Specs

• Small 20.3mp MOS sensor (total number of pixels - 21.1 million)
• 24mm starting, 30x zoom lens
• Touch panel LCD monitor with 180 degree tilt
• Built-in viewfinder with 0.46× magnification and 1,166,000 dots resolution
• "4K Photo" "4K Selphie" modes
• Post Focus and Focus stacking
• 112.0 × 67.3 × 41.2 mm
• 322 g (including battery and memory card), 280 g (body only)
• June 15, 2017 release
• $447
• Available at https://www.amazon.com/Panasonic-DC-ZS70K-Megapixel-Flip-Front-Vario-Elmar/dp/B071R6JRZZ/

Video modes

• 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, AAC
• 1920 x 1080 @ 60p / 28 Mbps, MOV, H.264, Dolby Digital
• 1920 x 1080 @ 60i / 24 Mbps, MOV, H.264, Dolby Digital
• 1920 x 1080 @ 60i / 17 Mbps, MOV, H.264, Dolby Digital
• 1920 x 1080 @ 60p / 28 Mbps, MOV, H.264, AAC
• 1920 x 1080 @ 30p / 20 Mbps, MOV, H.264, AAC
• 1280 x 720 @ 120p / Mbps, MP4, H.264, Linear PCM
• 1280 x 720 @ 30p / 10 Mbps, MOV, H.264, AAC

Some specifications

• 6-channel portable recorder equipped
• 4 XLR/jack mic inputs
• two microphones are included
• you can attach two additional jacks (making it up to 6)

Available at:

• http://www.bhphotovideo.com/c/product/967366-REG/zoom_h6_handy_audio_recorder.html
• http://www.amazon.com/H6-Handy-Recorder-Japan-Import/dp/B00DFU9BRK/

Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics.
The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions.

Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine series is designed for digital cinematography in the first place. It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out. It is designed to have nearly zero focus breathing throughout the whole zoom range. The aperture remains fixed at t/2.9 at all focal lengths.

It is built with the true cinema level mechanics. It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears.  The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.

PR

Sound Devices is proud to announce the MixPre-10T, the newest member of the MixPre Series (MixPre-3 & MixPre-6) of audio recorders, mixers, and USB audio interfaces. As its name suggests, the MixPre-10T is a 10-input recorder with built-in timecode generator and reader, offering up to 12 tracks of polyphonic WAV file recording – ideal for production sound mixers, field recordists, sound designers, and musicians.

"Since we released the MixPre-3 and MixPre-6 in April, we’ve heard how much our users love having phenomenal mic preamps in such a small, durable package," says Matt Anderson, CEO of Sound Devices, LLC. "The MixPre-10T offers higher track count, balanced outputs for additional routing flexibility, and built-in timecode generator and reader for trouble-free sync with any production. With the addition of the MixPre-10T, the MixPre Series continues to redefine the limits of traditional portable audio recorders."

Some of the major features of the MixPre-10T include:

• Exceptional audio quality – featuring eight ultra-low-noise, discrete, Class-A, Kashmir mic preamps handcrafted by Sound Devices. The MixPre-10T offers signature analog limiters and new 32-bit A-to-D converters to ensure high quality, professional-grade audio recordings.
• Accurate Timecode – with built-in, ultra-high accuracy timecode generator and reader. Even when turned off or if all power is removed, the MixPre-10T continues to hold accurate timecode for hours. With its BNC, Aux, and HDMI timecode connections, all common frame rates and timecode modes are supported as well as the ability to lock to or output word clock.
• Versatile I/O routing - flexibility with its two TA3 balanced outputs and a 3.5mm Stereo output, each with routing matrix. The MixPre-10T comes equipped with eight XLR/TRS combo Mic/Line level inputs, and a 3.5mm Aux/Mic input, which may be used for 2-channel line input, camera return, or timecode.
• Flexible powering options - including a locking 4-pin Hirose connector for either external battery powering or AC-powering, as well as AA or Li-Ion battery sleds.
• Unintimidating design – featuring a sunlight-readable, IPS touch screen LCD, and transport control joystick, for the ultimate in convenient navigation.
• Mixing and metering - with gain control knobs, and access to panning and soloing via a simple press of the knob. Easy-to-read ring LEDs display limiter activity, and three LCD views provide easy monitoring of multitrack, mix, and USB return meters.
• Built-in Bluetooth Smart® - enables control of the device from the free Sound Devices Wingman app. Users can start/stop recording, enter/edit metadata, and arm, disarm and rename tracks. What's more, MixPre-10T users can manage and create sound reports, plus email those reports directly from an iOS or Android device via Wingman.
• Superior headphone monitoring - through the MixPre-10T’s custom-designed, wide-bandwidth headphone amp, and user programmable routing presets.
• Compact and durable - the MixPre-10T is small in stature relative to products in its class. It is also constructed with a die-cast aluminum chassis making it robust, yet extremely lightweight.

Like the MixPre-3 and MixPre-6, the MixPre-10T also makes an excellent USB audio interface featuring 12 channels into and 4 channels out from a Mac or Windows computer at up to 96k sample rate. The Mixpre-10T features the unique ability to record to an SD, SDHC or SDXC media card while simultaneously audio streaming via USB. As an added benefit, the MixPre-10T includes the ability to automatically copy recordings to a USB thumbdrive, which may be handed off to a client or kept as a backup copy.

The MixPre-10T offers three modes of operation: Basic, Advanced, and Custom modes. Designed to allow a user to start recording right out of the box, the Basic mode takes the guesswork out of audio recording and is intended for stereo recording applications. Advanced and Custom modes offer more experienced audio professionals and enthusiasts access to multi-channel recording and advanced settings, such as metering, routing, timecode, mic pre gain, stereo and M/S channel linking, input/output delay, headphone presets, and more.

The MixPre-10T is available to order from any Sound Devices authorized reseller, and is anticipated to ship by end of October.

https://www.sounddevices.com/products/recorders/mixpre-10t

10 track recorder priced somewhere between the MixPre-6 and 633, I assume. Further competition to the Zoom F8! (as while the MixPre-6 is great, there are still many reasons why people might prefer an F8 instead)

My blog post on this news: http://ironfilm.co.nz/news-leak-zoom-f4-with-six-inputs-and-eight-tracks-is-like-a-new-low-priced-zoom-f8/ (some of it repeated below)

I thought the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies.

Now the F4 is even cheaper ($650 vs $1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The "F" = field recorder, "H" = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8.

But everything else (such as pre amps, and time code) is basically exactly the same as the F8!

Some specs

Designed to provide big Hollywood sound on an affordable indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy. The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.

The advanced on-board limiters provide overload protection for all inputs and outputs, which lets you capture audio in a wide range of environments. Limiting can be applied simultaneously at full resolution with 10 dB of headroom and features controls for setting threshold, attack, and release.

The F4 offers four combo XLR-1/4" inputs, a 1/8" stereo input, and includes a Zoom mic-capsule input for recording six discrete tracks with an additional stereo mix, all at full 24-bit/192 kHz resolution. Additionally, inputs 5/6 can function as a camera return for audio monitoring only for confidence checks. The dual-SD card slot features simultaneous recording to both cards allowing you to make a backup or split recording with all eight tracks on one card and a stereo mix on the other. Each of the four XLR-1/4" inputs offers a dedicated preamp with gain control, phantom power, a six-segment LED level meter, plus a Record Ready and PFL switch. In addition to the 1/4" headphone output with a dedicated volume control, the F4 provides two main balanced XLR outputs, as well as two sub outs on a single unbalanced 1/8" stereo mini-jack, enabling easy connection to a camera. All timecode I/O is provided on BNC connectors and the unit includes a variable-frequency slate-tone generator to confirm levels.

An easy-to-read 1.9" LCD display is suitable for use in all lighting environments including dark low-light sets to bright sunlight. The on-board mixer not only provides user-adjustable level, pan, and input/output delay, but also offers high-pass filtering for noise and wind reduction, phase inversion, and Mid-Side decoding. The F4 ships with a camera-mount adapter, AC power adapter, and download codes for Cubase LE and Wavelab LE.

• Six-input / eight-track multitrack field recorder with integrated mixer
• Six discrete inputs, including four with locking Neutrik XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input
• Compact and lightweight metal chassis, weighing just two pounds (without batteries)
• High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs
• Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution
• Accurate timecode (0.2 ppm) I/O on standard BNC connectors; dropframe/non-drop formats with Jam Sync
• Two different power supply options: 8x AA batteries or external DC battery pack with 4-pin Hirose connector
• Dedicated gain control knob, 6-segment LED level meter, and PFL/Solo switch for each channel
• Phantom power (+48V/+24V) on every preamp
• Advanced on-board limiters for input and output
• High-pass filter, phase invert, and Mid-Side decoder
• Input delay of up to 30ms per channel / output delay of up to 10 frames per output
• Compatible with all Zoom mic capsules; optional ECM extender cable enables remote positioning
• Dual XLR balanced Main Outs plus 1/8" stereo mini-jack Sub Out
• Dedicated headphone output (100mW) with front-panel volume control
• 1.9” white, backlit monochrome LCD
• Dedicated PFL display with viewable trim settings
• Dual SD/SDHC/SDXC card slots, up to 512GB each
• Records in BWF-compliant WAV or MP3 file formats
• Support for extensive metadata (BWF and iXML); input time, date, project, scene number, etc.
• Built-in tripod mount; camera-mount adapter also included
• Use as a 6-in/4-out USB audio interface (@ 96 kHz)

Available for $650 at https://www.amazon.com/Zoom-F4-Multitrack-Field-Recorder/dp/B01KZHQWY0/

Available for preorder at: https://www.bhphotovideo.com/c/product/1278222-REG/zeiss_2149_289_21_100mm_t2_9_3_9_lightweight_zoom.html

Specs:

• Focal length - 21-100mm
• Aperture range - 2.9 – 22, 11 blades
• Lens - 22 elements in 18 groups
• Close focus is 0,8m/ 2’8”
• Focus ring rotation angle (inf-MOD) - 294°
• Zoom rotation angle - 100°
• Aperture rotation angle - 48°
• Front diameter is 114mm/ 4.49”
• Length is 226mm/ 8.9”
• Weight - 2.0kg/ 4.4 lbs
• Sensor coverage - ANSI Super 35mm

Specs

• 17 lenses in 12 groups, one UD lens
• 9 circular aperture blades
• 1.2m minimum focusing distance
• 0.25x times magnification
• 4 stops IS
• 67mm filter
• 80mm × 145.5mm size
• 710g
• Nano USM drive
• Full-time manual focus
• $550 price
• Available at http://www.adorama.com/ca70300is2.html

Specifications

• Construction - 23 lenses in 17 groups
• New image stabilization system. Up to 5 stops making it best in class.
• Three stabilization correction modes including panning-only mode.
• Special lens coating to eliminate scratches
• Dustproof and waterproof construction
• Electromagnetic diaphragm adjustment
• Teleconverter compatible
• Works with TAP-in console
• Minimum shooting distance is 0.95 m
• Filter diameter is 77 mm
• Maximum diameter × length - 88 mm × 191.3 mm
• Weight - 1,485 g
• Available in Canon and Nikon mounts
• $1,299 at https://www.bhphotovideo.com/c/product/1317272-REG/tamron_afa025n_700_sp_70_200mm_f_2_8_di.html

Note: Price and availability are unknown at the moment.

Lens Features:

1. 4x ultra-telephoto zoom lens with a focal length range of 150mm to 600mm The focal length range of this lens was extended by 50mm on the wide-angle side and 100mm on the telephoto side compared to the existing model (Model A08), making it possible to take even more striking photographs of birds, wildlife, sports, and other distant subjects. Mounted on APS-C DSLR cameras, it has a stunning equivalent focal length range of 233mm to 930mm, almost to 1000mm.

2. World class image quality
   Employing 20 elements in 13 groups and boasting an advanced optical design, it delivers a superior balance of resolution and contrast for sharp, clear images. The front group contains three LD (Low Dispersion) glass elements (two in the first group, one in the third) for enhanced optical correction effectiveness, enabling the lens to thoroughly compensate for on-axis aberrations at the telephoto end.
   The lens also adopts eBAND Coating, developed from state-of-the-art coating technologies, and conventional BBAR(Broad-Band Anti-Reflection) Coating to greatly suppress ghosting and flare even when shooting under adverse lighting conditions.

3. Achieves a 600mm focal length in a compact easy-to-handle package
   Ingenious optical design features minimize the movement of lens groups within the lens when zooming. This reduces the amount of barrel extension needed to cover the complete focusing range, making the entire lens more compact.

4. Beautiful background blur effects
   Adopting a 9 blade circular diaphragm enables users to create beautiful background blur effects (bokeh), which provide even greater potential for creative expression. This circular diaphragm retains a nearly circular shape even at two stops down from its maximum aperture.

5. Vibration Compensation
   Tamron’s proprietary VC (Vibration Compensation) image stabilization system uses a three-coil system, delivering significantly sharper images and creating greater opportunities for handheld ultra-telephoto photography.

6. Comfortable autofocus
   Tamron’s new SP 150-600mm F/5-6.3 Di VC USD features a USD (Ultrasonic Silent Drive) ultrasonic motor drive*³ for swift and accurate AF response, it delivers high torque, very fast response times, and very low noise. The full-time manual focus mechanism allows users to make fine manual focus adjustments at any time even when AF is engaged.

7. New elegant, high-class external finish
   Tamron has upgraded the cosmetic design and finish of this lens to create a more sophisticated, high-end look in keeping with the demands of discerning full-frame DSLR users.
   Employing a sophisticated linear pattern rubber grip on the zoom and focus rings and an attractive and stylish tungsten silver name-brand ring, this newly designed model accentuates its visceral presence with understated elegance and class.

8. Easy-to-use tripod mount
   The tripod mount has been completely redesigned to provide superior stability, durability, ease of use, and portability.

9. Comes with "SILKYPIX Developer Studio for Tamron", RAW image development processing software for Tamron’s SP lenses

Specs

• https://www.bhphotovideo.com/c/product/1332674-REG/canon_70_200mm_t4_4_cine_zoom.html

was testing out the clear image zoom on the a6500 to reduce RS for some handheld but felt the quality was off.

So I did a comparison, static wide with the Sigma 30mm f1,4 and the Sony 16mm f2.8 with 2x CIZ. Both at f5,6, shot in 4k.

And the later was indeed awful, see attached snaps (SOOC). Top is 16mm+CIZ, second is 30mm.

This is not even close to the good results I've seen of others' tests online. Any setting I need to change?

Canon TV Zoom Lens V5x20 20mm-100mm Focal Length Constant f2.5 Aperture (C-Mount)

Reasonable condition cosmetically....there are a few minor marks and scratches.

Glass looks excellent....no scratches, dust or fungus I can see.

Zoom, Aperture and Focus all seem to work fine - It is meant to be a Parfocal lens

Has English and Japanese Instruction Manuals + Original Box + Both front and rear end caps.

One for sale at 250 Euro on Ebay now.

Works with all C-mount cameras, BMPCC, Digital Bolex etc Works in crop-mode with MFT, may be some vignetting at wide focal lengths.

Freebie Offer....

Tominon 16mm f1.8 TV Lens (C-Mount)

16mm Fixed Focal Length f1.8 Aperture

OK condition cosmetically. Glass looks OK....

Focus doesn't seem to work and is stuck at infinity (won't rotate)

Both lenses have sat around unused and stored in a box for years in South Australia (Very low humidity). Neither lens has been tested as I dont have a camera to test them on....Any problems with the Zoom lens and I will issue a refund.

Price: Buy the zoom and you will get both lenses together...Any sensible offers considered + Postage...Paypal Only

Specs

• 18 elements in 15 groups, 6 aspherical elements, 3 ED (Extra-low Dispersion)
• 7 blade circular aperture design
• Not parfocal zoom. but in AF mode it can emulate it (how good is uncertain)
• High resolution suited to professional 4K movie production
• Smooth Motion Optics (SMO) design and construction to minimize unwanted focus and image shifts whilst focusing or zooming
• Three separate focus, iris and zoom rings for professional operation
• Optical image stabilization
• Dust and moisture resistance
• $3,500 US price, and somehow 4000 EUR in EU
• Available in November

Specifications

• 16 elements in 11 groups
• Fluorine coating, and usage of LD, XLD, aspherical, and hybrid aspherical elements
• APS-C lens
• Minimum focus distance is 0.24 m
• 4 stops optical stabilizer
• Mounts - Canon EF-S, Nikon F
• 440g weight
• 84mm x 85mm size
• 77mm filter
• $499 at https://www.bhphotovideo.com/c/product/1317274-REG/tamron_afb023n_700_10_24mm_f_3_5_4_5_di_ii.html

Tokina has a cinema line of zooms that come in MFT, but they are made for S35mm sensors. And JVC's LS300 can do their digital zoom in, but you need that specific camera. Panasonic's FZ2500 now has useable zoom motion w/ great range, but the lens is not constant aperture, nor is it fast enough, plus it's a 1 inch sensor. And yes there are plenty of broadcast zoom lenses, as well as C-mount zooms that can work with the right adapter & extender.

Something in the lines of 10-100mm, or 12-120mm with at least T2.1, has to be parfocal, but macro optional.
Kind of like the vintage 16mm zooms from Angenieux / Zeiss / Cooke.

I've been using the Olympus 12-40mm with gears for both zoom and focus, but it's not quite parfocal; was even dreaming of a full Duclos mod like their 11-16mm!

Anyone had the same problem?

Sell it because unfortunately it unexpected vignettes at close focus in combination with different zoom and iris settings on BMMCC sensor and i can't accept this. If focused to infinity - it vignettes closer to 110-120 zoom range and almost don't vignettes at wide angle. If focused to 1.5-3 meters - it vignettes closer to 12-40 zoom range.This lens made for 16 mm cinema. It will fit well to Panasonic GH, Ursa 4.6k, RED, Nikon 1 in 1:1 crop mode or to any camera with small sensor, like Pentax Q or 2/3" CCTV camera. Its heavy (1kg) and needs support, its far from perfect as all zooms are. It has its own character, dreamy with blue-orange abberations at wide open. The lens is sharp starting from T5.6. Front focus ring block was cleaned and greased with HELIMAX-XP grease. Works very smooth. I got this lens from local TV studio sale, seems it was used a lot in far past. Front glass is clear but got a few marks. Rear glass is clear. The iris ring can be easily declicked by loosing a screw. It has a rotating arm attachment for zoom, It is more-less usable but fixation clamp is broken (anyway modern follow focus will work way better for this). There is a 74 to 77 mm front ring adapter installed and additional 77 mm lens cap included.

Also i got additional Kinor-16SX-2 lens to MFT camera mount adapter http://www.rafcamera.com/en/adapters/adapters-for-cine-lenses/kinor-16/adapter-kinor-16sx-2-mft-bayonet , with bayonet lock it works well with other lenses but for some reason the bayonet nut don't screws to this lens so the adaprter must be fixed by grinding 0.1-0.2 mm from inner side of nut. Maybe i'll fix it by myself soon.

Located in Ukraine, Odessa city. Will ship worldwide. Can accept only Payoneer (Make A Payment service from Payoneer to Payoneer account 0% fee) or any Card to Payoneer (Request a Payment service) with 3% fee. Ask $150 for all package + shipping and payment fees.

More large photos and test images are here https://www.dropbox.com/sh/a5actydy2fjbjnl/AAB6Ymzv0T548CuVyVnvlupma?dl=0

Well known sensor coverage test:

Well, seems that Google just claimed to have invented such technology.

But don't let the images fool you: "Deep neural networks" have already been shown to be easily fooled when classifying pictures, and I dont's see why a tool like the great Ostrichinator could not just as easily fool Google's "guessing zoom" to derive the picture of some arbitrary person from just any seemingly innocent 8x8 pixel sample.