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Posts Tagged ‘still’

Does sensor size still make a difference?

28 May

We’ve seen huge breakthroughs in the computational photography techniques in the latest smartphones, as well as the launch of some excellent small sensors in more traditional cameras. Does that mean that bigger is no longer necessarily better?

To answer that question, let’s look at why big sensors tend to produce better image quality and what smaller-sensored cameras and smartphones are doing to close the gap.

Benefits of larger sensors

The three main benefits that prompt people to move to larger sensors are the ability to blur the background with shallow depth-of-field, exhibit less noise in low light situations and the ability to capture a wider dynamic range between the brightest and darkest areas of the image. Since these all primarily stem from getting more light, it presupposes that you have a lens with a wide-enough aperture to let in enough light, but this is usually possible. Collectively, these three factors mean that large sensor cameras can usually produce better-looking images. They can’t make up for the photographer, of course, but if used by the same person, the bigger sensor usually ‘wins.’

Computational photography allows small sensors to imitate the effects of a larger sensor, while leaps forwards in sensor performance can help small sensors produce better-looking images. But do these advances mean you no longer need a larger sensor?

Computational photography

The most visible example of computational photography in widespread use are the portrait modes in the latest smartphones. These use a variety of techniques but fundamentally they make some attempt to assess the depth in the scene, then apply differing amounts of blur at different depths, to simulate shallow depth-of-field.

The results aren’t always totally convincing and won’t necessarily satisfy the kind of demanding photographer that looks for particular character to the out-of-focus rendering (bokeh) of their lenses. However, as processing power and machine learning continue to improve, the results will only get better. And for many applications, will quickly exceed the threshold of being considered ‘good enough’ for an increasing number of people.

This image was taken using Portrait mode on a modern smartphone. As well as simulated shallow depth-of-field, computational photography has added artificial lighting effects to the subject’s face.

Computational photography can also help with low light and high dynamic range scenes. Again, it’s increasingly common for smartphones to be able to shoot multiple shots, then combine them. The processing is getting sophisticated enough that this can even be done with moving subjects, without the user even necessarily realizing that this is what their phone is doing.

Because most noise in photography comes from the randomness of light, shooting the same scene again and again helps to average out this randomness, just as rolling a die repeatedly helps you get a clearer picture of whether it’s weighted.

The results will start to rival the output of
larger sensors

The same can be done in good light, sampling the scene several times (sometimes with different exposures), to extend the dynamic range beyond what could be achieved in a single exposure.

Unlike the shallow depth-of-field effect, which is simulated, these multi-shot techniques directly compete with larger sensors, since they allow the image to be constructed from more light. At which point, the results will start to rival the output of larger sensors, so long as the combination of images and movement cancellation is clever enough.

More advanced sensors

We’ve seen some very good small sensors in recent years, whose performance can narrow the gap with those above them. The adoption of technologies such as back-side illumination have allowed sensors to become more efficient (capturing more of the light that’s shone on them). Again, since most of the benefits of larger sensors come from them generally receiving more light during any given exposure, an increase in efficiency can help smaller sensors narrow this gap.

G1 X Mark III
ISO 500
F3.2 (F5.2 equiv)
1/30th
G7 X Mark II
ISO 160
F2 (F5.5 equiv)
1/30th

The Canon G1 X Mark III offers an APS-C sensor to the G7 X Mark II’s 1″ sensor, but the latter uses a more efficient BSI design.

This only goes so far. Partly because these technologies are also likely to have some benefit when they ‘trickle up’ to larger sensor sizes. This widens that gap back to the extent you’d expect, just based on the size difference. Also, the gaps between most popular sensor sizes are proportional to at least two-thirds of a stop, which is more of a difference than technology advances tend to compensate for.

Small sensor advantages

There are also areas in which small sensors offer an advantage over large ones, with readout speed being the most obvious one. In general it’s quicker to read out the data from small sensors, which brings a series of benefits. The most obvious is that it allows improved video quality, either through being able to read all the pixels, enabling more detailed capture, or simply through a reduction in rolling shutter.

The RX100 V’s stacked CMOS sensor with DRAM incorporated into the chip allows faster readout, which boosts video and autofocus performance.

The other advantage, of course, is that it makes it quicker and easier to offer many of the computational photography benefits discussed earlier in the article.

There are ways to improve the readout speed of large sensors too, such as the stacked CMOS sensor that ‘trickled up’ from Sony’s smartphone and 1″-type sensors to the full frame a9. This incorporates readout circuitry and RAM into the sensor to allow faster readout. But this comes at a considerable cost premium, as these chips are extremely complex and time-consuming to make, making it difficult for large sensors to match some of the capabilities of smaller chips.

Convenience of small sensors

The other potential advantage of small sensors is that they allow cameras to be smaller. This tends to means lenses with smaller physical apertures, which is one of the main things that hold the image quality of small sensors back, but the trade-off is cost and convenience. So, although you can buy mirrorless cameras with large sensors, it’ll be the ones with smaller sensors that will provide the smaller overall package, most of the time.

For all the bluster you sometimes encounter with people claiming to be committed enough that they always carry a full DSLR kit around with them, most people find it’s easier to carry a small camera with you. And you know what they say about the camera you’ve got with you…

Is bigger still better?

Overall then, for conventional, single-shot photography, there’s no substitute for making a photograph using more light, and it’s usually easier to give a large sensor more light since it has a larger area to capture light. In that sense, bigger sensors are still better. However, that’s not the same as saying ‘you need a bigger sensor.’

Even though a larger sensor may be able to produce a better result, smaller sensors are getting better and better all the time

Improvements in sensor tech, the availability of large sensor compacts with bright lenses (that help get more light to their sensors), and advances in computational photography allow better images than ever before from small sensors.

At which point, we come back to the question of what’s ‘good enough.’ Which isn’t so much about accepting limitations, but more about being able to attain a quality you’re happy with for what you’re trying to achieve. So even though a larger sensor may be able to produce a better result, smaller sensors are getting better and better all the time, exceeding ever higher ‘good enough’ thresholds such that you may reasonably conclude that you don’t need any further improvement.

Articles: Digital Photography Review (dpreview.com)

 
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GoPro reveals unit growth in Q1 2018, but revenues are still down

05 May

GoPro has announced its fiscal first quarter 2018 financial results, revealing 3% year-on-year unit growth with $ 202 million in revenue. The figures exceeded analysts’ expectations, sending GoPro’s stock upward on the news, and company CEO Nick Woodman expects a similar positive outcome in the company’s second quarter.

According to Woodman, HERO5 Black and HERO6 Black sell-through drove the company’s Q1 revenue, as well as the newly launched $ 200 GoPro HERO action camera. “Initial demand for HERO is promising,” said Woodman, “and we expect it to improve as large retail partners like Target and Walmart begin selling the product in the second quarter.”

Though unit growth was up, GoPro saw a 7% year-on-year decrease in revenue. The company previously restructured multiple times to address its financial issues. In its latest financial announcement, the company said its GAAP operating expenses were reduced by 24% year-on-year.

Despite the drop in revenue versus its first quarter last year, GoPro still dominates in the US action camera market, saying it held 86% and 95% of the market share based on unit and dollar volume. “Our first quarter performance makes it clear that there is significant demand for GoPro, at the right price,” says Woodman.

Articles: Digital Photography Review (dpreview.com)

 
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CIPA: DSLRs outperformed mirrorless in February, compact cameras still tanking

03 Apr
Photo by Federico Bottos

The February CIPA report has been published, and overall, it’s still not a pretty picture for the digital camera industry. According to the Japanese agency, overall digital stills camera shipments worldwide were down 26.6% compared to the same month last year.

The CIPA report shows overall digital camera shipments remained flat—a 27% decrease compared to the same month last year.

That’s the bad news. The good news is that most of that drop is due (once again) to the demise of the compact camera.

If you break Interchangeable Lens Cameras (ILCs) out of that picture and into its own graph, the story gets a bit rosier. ILC shipments (that’s DSLR and Mirrorless combined) were down only 5.4% compared to the same month last year—DSLR sales by themselves actually eked up 0.1%, while mirrorless sales dropped by 15.8%—and outperformed February 2016 by 17.3%.

ILC shipments actually outperformed 2016, coming up only a few percent short of last year’s February report.

To get to that overall 26.6% drop, you have to account for the whopping 44.7% drop in compact camera shipments… a sad if not surprising figure. You can see each of the percentages—overall, compacts, ILCs total, DSLRs, and mirrorless—highlighted in the chart below:

This month’s shipment numbers compared to the same figures from last month.
From top to bottom: All Digital Cameras, Compacts only, all ILCs, DSLRs only, Mirrorless only.

Taken as a whole, a weak end to 2017 seems to have led into a weak beginning to 2018. But if you look at ILC numbers by themselves, the picture is a bit less bleak. Sure, 2017 still ended on a pretty sad slump compared to 2016, but February has seen a big jump over January where, in previous years, that line has stayed flat or even seen a decline.

If March outperforms February—as is usually the case—it could mean the ILC market, least, is stabilizing a bit. And if Canon and Nikon release full-frame mirrorless cameras sometime this year, we could even see 2018 outperform 2017. Of course, that’s all speculation for now, but we’ll be keeping a close eye on the numbers in the coming months.

In the meantime, if you want to dive deeper into shipment data by region, or see how camera production did in February (DSLRs up 4%, Mirrorless down 11%), head over to the CIPA website.

Articles: Digital Photography Review (dpreview.com)

 
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Judge rules that embedding a photo tweet is still copyright infringement

17 Feb

In a court case that could fundamentally change what constitutes copyright infringement online, a New York district judge has ruled that embedding a tweet that contains a copyright protected photo does, in fact, constitute a copyright violation. If the ruling is upheld, its impact across the internet is hard to understate.

The case involves a photographer, Justin Goldman, who sued several major publications including Time, Vox, Breitbart, and others, when they embedded someone else’s tweet of his copyright-protected photo of NFL star Tom Brady. Judge Katherine B. Forrest is ruling in favor of Goldman, writing:

…when defendants caused the embedded Tweets to appear on their websites, their actions violated plaintiff’s exclusive display right; the fact that the image was hosted on a server owned and operated by an unrelated third party (Twitter) does not shield them from this result.

As the Electronic Frontier Foundation (EFF) points out, this ruling rejects a decade-old legal precedent set by the Ninth Circuit Court in a 2007 ruling called “Perfect 10 v. Amazon.” That case ruled that the company hosting the content—Twitter, Facebook, YouTube, etc.—was liable, and absolved the company or publication or person who actually embeds the content. This, in essence, is how the internet has worked ever since.

Some sites, like YouTube, give creators the option to limit embedding so that only sites they specify (or nobody at all) can embed the content on their own platform, but others like Instagram and Twitter offer no such control. If your account is public, and you share a copyright-protected photo on it that goes viral, you can expect it to crop up on any number of outside websites, publications, and blogs with nary a permission request.

Of course, if it’s your own share, you could always take down the original Tweet or Instagram post or shift your account to private, breaking all of those embeds all at once. You (or the original poster) could also change what the post says or even swap out the file that shows up under that embed. But irrespective of those things, up until now, you had no legal case against the people or publications embedding your photo, since they have no control over what the hosting server will provide with that embed code—this is called the “server” test.

According to this ruling, embedding the DPReview tweet above without permission from the original creator of the GIF constitutes copyright infringement.

The server test is what Judge Forrest ultimately rejected, and if the ruling is upheld, it could apply to more than just embedding a tweet. As the EFF explains, the wording is broad enough that “the logic of the ruling applies to all in-line linking,” which could “threaten millions of ordinary Internet users with infringement liability.”

Appeals will no doubt be filed, and a closer look at the ruling and the standard practice of embedding on the internet may very well lead to its being overturned. But if it’s not, expect it to be open season for social media copyright infringement cases.

If you’d like to dive deeper, you can read the full ruling for yourself at this link.

Articles: Digital Photography Review (dpreview.com)

 
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5 Lessons I Learned by Doing Still Life Photography

22 Dec

Still life is a particular style of photography that slowly lured me into its clutches. The gateway drug was, of course, food photography, and before I knew it, my weekends were spent combing secondhand shops for props and buying up linen in all different shades.

5 Lessons I Learned by Doing Still Life Photography

The popularity of Instagram has given rise to images of every different kind of food, drink, dessert, cake, and cocktail. You name it, someone is shooting it, adding a filter and posting online before they even taste it. Except for the one thing it really shows, is how hard it is to compose and take a good still life image, especially with a cell phone. There are a lot of really awful shots out there. Someone even made a hilarious video about the effort needed to get a good shot.

Of all of the techniques I have learned in my photography journey, none has taught me as much as doing still life work.

5 Lessons I Learned by Doing Still Life Photography

My first venture into still life – an Easter challenge that needed your hands in the image. This was before I had a wireless remote.

 #1 – Slow Down, Breathe and Take Your Time

You need three things for a good still life shot – light, good composition and a subject. Pretty much the same as for any photographic image really. But one of the best things about still life is you can take as much time as you like. Usually shot inside with some control over the conditions and with a static subject, this gives you the freedom to be really present and experiment.

As seen in the video link above, the composition is a key element. Do you shoot the subject isolated? Will props help you tell more of a story? Is there a particular mood you are going for? How can you achieve that?

5 Lessons I Learned by Doing Still Life Photography

I bought these gerberas and shot them every day for a week until they were past their best. Each flower had its own distinct shape and character that needed time to bring out its best

What angle is most effective? Close-up or include more environment? Will flat lay (overhead) or side on be best?

Because you have more control over the conditions you can allow a lot of time and shoot the same subject in many different ways in one shoot. You may come out with one great shot or several good ones. It will certainly teach you a lot about how difficult it is to get a good shot.

5 Lessons I Learned by Doing Still Life Photography

My studio is my spare bedroom, one window, and a fold away craft table. Of course, a cat getting in the way!

2 – Composition is Key

Being a nature and landscape photographer originally, I am used to shooting things on a big scale. Lots of pretty mountains, lakes or sea, cloud-filled skies, and so on. A handy foreground element like a rock or driftwood or tussock is included for scale and to ground the image.

So when I tried to shoot much smaller things up close it was a bit of a shock to find how difficult it was to compose those images well.

5 Lessons I Learned by Doing Still Life Photography

One black background, one silver spoon, and some raspberries.

It is interesting to learn how a subtle difference in angle can affect the outcome of the image. How close or far away your camera is can completely change the balance of the subject within the frame. How scale becomes really important and a tool to be leveraged for the most effective images.

I spent hours taking so many shots, discarding nearly all of them over and over again until I figured out my problem. Complexity. I made the rookie mistake of trying to include too many elements, which threw off the balance of the composition. It was crowded and messy and the subject was overpowered by all the extra stuff I was shoving in the frame.

5 Lessons I Learned by Doing Still Life Photography

A black background, a silver spoon, and some raspberries. Taken at a different angle, closer up, more intimate and inviting. Subtle differences.

This is where lesson one really started to make sense. By taking the time to slow down, breathe and see my subject, see the possibilities, feel the story it was trying to tell me, I shot a lot less, but my keeper rate vastly improved.

The trick was keeping it simple and strong.

3 –  See the Possibilities

This step naturally emerges after steps one and two. Once you take time to be in the moment with your subject, position it within the lighting you have, turn it this way and that, then it will show you its best side.

If you give yourself and your subject time to get to know each other, then its secrets will be revealed. It might be an onion, or it could even be a portrait, the same rule applies. If you take the time to get to know your subject, you begin to see different possibilities. Perhaps this background over here is less cluttered, maybe this plate enhances the natural color better, that rustic board gives a great farmhouse appeal.

5 Lessons I Learned by Doing Still Life Photography

Be the garlic clove! Feel the garlic clove! Hear its story.

I know, it sounds a bit zen and probably a bit corny, but it doesn’t make it any less true. Yes, you can take two seconds to position a shiny red apple and shoot it and have a perfectly acceptable image.

But what else might you end up with if you took 20 minutes, positioning the apple at different angles, on different surfaces? Maybe you cut it open or take a big bite out of it? Pose it with a glass of cider? Maybe you have a handful that looks great arranged in a decorative bowl?

5 Lessons I Learned by Doing Still Life Photography

The focus of this shot is the funny squiggle of butter on the bagel, but the story is Sunday Morning Brunch. Yes, it was delicious too!

Unless you give yourself time to relax and let the possibilities make themselves known to you, rather than focussing on one outcome, taking that shot and moving on, you will miss out on lots of opportunities. Plus you limit your chances to learn and grow as well.

I failed consistently when starting out with still life photography and it was really frustrating, but it made me work even harder. Once I did get it, the quality of my work improved faster than expected, which was a nice bonus.

4 –  Go Abstract

It is easier to shoot something whole and give it obvious context so that the viewer doesn’t have to think about what they are seeing.

But how much more intriguing would your work become if the viewer did have to take some time to think about what they were seeing? Where it teased at the edge of their consciousness that they should know what the object is but couldn’t quite figure it out? What if your image stuck with them and niggled away in the back of their mind? Where they actually remember it out of the many hundreds of images seen that day scrolling past on their phone?

5 Lessons I Learned by Doing Still Life Photography

A metal bench in the city but taken side on and obvious context removed with the focus on the lines and the circles instead.

Don’t be afraid to go abstract. To shoot something in a way that hides its original shape, form, or purpose. Be as obscure as you like so long as it’s interesting and arresting. Obscurity for the sake of it may put people off rather than engaging them.

5 Lessons I Learned by Doing Still Life Photography

A piece of glacier iceberg taken up close from a boat to capture the intense blue color and the texture of the bubbles froze within the ice.

Again taking the time to look at your subject, seeing its possibilities and angles, and being creative all apply here. This tip you can easily take out into the world. There are many small intricate elements adorning the world if you take time to see them, interesting shapes revealed when you hide the obvious context. The devil is in the details, have fun finding them.

5 Lessons I Learned by Doing Still Life Photography

A wonderful art deco stairwell.

5 – Props

Props are an essential part of still life photography. They set the scene, the color tone, the mood and the feel of the image you are creating. Learning to prop and style a shot well was the hardest thing for me about still life. It’s difficult to do well without enough options to work with.

This doesn’t mean you need hundreds of dishes and bowls and towels and fabric and cutlery (though it’s easy to end up with them). But a few carefully chosen options that give you flexibility are a good choice.

5 Lessons I Learned by Doing Still Life Photography

Most of my still life prop collection. Enough variety to be useful and flexible.

This is not the only style of photography that benefits from props: portraits, engagement, wedding, children, pets, and family photography all benefit from the use of props. Anytime you have people in your image, having something for them to interact with can help engage them better.

What about the color and style of clothing they are wearing? Hair color or style? Makeup? Shoes? How much fun can be had just with a brightly colored umbrella?

5 Lessons I Learned by Doing Still Life Photography

A model dressed as Red Riding Hood, wearing a bright red velvet hooded cloak and faux medieval outfit. Shot at an old estate using a broken wooden gate as a prop.

These are all elements that can enhance or cause distractions in your image. What is the story you are telling? What mood are you trying to evoke? Therefore what style or color clothing is going to work best? This is something to think about and discuss with any clients in advance.

Conclusion

Before I started shooting still life photography I used to be in too much of a hurry. I would settle for the obvious shot and leave frustrated because it was boring, predictable and not different enough. Now I take time to prepare properly and give myself plenty of time to shoot. Looking for creative options and being prepared to experiment is fun and exciting.

Now I shoot a lot less, but the quality of my work has improved and I know when I have achieved a keeper shot. My ability to compose and style an image has improved. Including other elements to tell a story has added depth and nuance to my images that was previously lacking.

5 Lessons I Learned by Doing Still Life Photography

The good thing is that these benefits apply to almost any form of photography, some more than others, obviously. Do you just want a quick snap or do you want to engage your viewer fully? What is the story you are trying to tell? What emotion do you want to share? How can you connect with the viewer and make your image stand out from the Instagram or Facebook crowd? What sets your work apart from the millions of images posted online every day?

It does actually matter how much work and thought you put into crafting your image. Like any new skill, it will take time to learn. I challenge you to give it a go for a few months and then compare your new work to your older stuff and see the difference.

The post 5 Lessons I Learned by Doing Still Life Photography by Stacey Hill appeared first on Digital Photography School.


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Analysis: The Sony a7R III is still a star eater

21 Nov

We sent some files to our friend Jim Kasson for analysis, and he confirms that the Sony a7R III is definitely still a Star Eater, despite several claims to the contrary that have been published online over the past week.

Looking at Kasson’s graphs, one can clearly see the noise reduction kick in near Nyquist in Kasson’s energy plots. Indeed, in our own shots of the stars with the a7R III and latest a7R II (firmware v3.00 and above), our final files only show stars that are larger than one pixel with a few neighboring pixels: suggesting that smaller stars are indeed ‘eaten’ or dimmed due to a spatial filtering algorithm.

At a 3.2-second exposure, the ‘spacial filtering’ (Star Eater) is very mild, and won’t affect your stars.
But as soon as you hit 4-seconds, spacial filtering kicks in big time, causing the same Star Eater problems that was seen in the a7R II

This is a missed opportunity for Sony, and something dedicated astrophotographers will want to consider when deciding between the a7R III and other options that don’t have this same issue (a Nikon D850 for example). Other photographers happy with the number of stars still in their shots simply won’t care.

We’ll drop in one of our sample photos shortly for your pixel-peeping pleasure. But for now, we can say this with confidence: while a lot of stars still survive ‘Star Eater’, the a7R III continues the trend of noise reduction that dims or erases small stars at exposure longer than 3.2s.

Articles: Digital Photography Review (dpreview.com)

 
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Vixari is the world’s most portable tripod, but it can still handle DSLRs

10 Nov

A new tripod called Vixari is attempting to launch on Kickstarter, where it is billed as “the world’s most portable tripod.” Vixari has an ultra-portable foldable design that’s only a little bigger than a smartphone, but despite its ultra-compact size, Vixari is still able to handle large cameras, including DSLRs that weigh up to 2kg / 4.4lbs.

Vixari isn’t the first portable tripod, but the team behind it claims that it is the most compact. The tripod features extendable legs that fold into the unit’s body, which itself doubles as a folding case. Each of the three legs have a maximum length of 105cm / 41in, while the body has three mounting options: a slot for smartphones between 6mm and 9mm in thickness, a mount screw, and GoPro tripod mount adapter. And since it can be used to trigger smartphones, it includes a Bluetooth remote shutter that supports Android and iOS.

The tripod body is made from polycarbonate, while the legs are made from aluminum alloy, the combination of which makes it durable and lightweight. The tripod will be offered in black, white, and dark blue colors, assuming it successfully makes it to market. Overall, Vixari measures 19cm x 6.5cm x 3.4cm / 7.4in x 2.5in x 1.33in and weighs 600g / 1.32lbs.

Kickstarter backers are offered the tripod, plus mount screw, mount adapter, remote shutter, and charging cable for pledges of at least £49 / $ 65. Shipping to these early bird backers is expected to start in February 2018.

To learn more or put down a pledge, head over to the Kickstarter campaign.

Articles: Digital Photography Review (dpreview.com)

 
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Throwback Thursday: the Samsung NX1 is still impressive three years later

20 Oct

We usually dig a bit further into the past for Throwback Thursday, but decided to make an exception for the Samsung NX1. Announced just three years ago, the NX1 is the camera that still leaves us wondering what might have been had Samsung decided to remain in the camera market. Alas, we’ll never know.

On paper, the NX1 had impressive specifications; the camera that landed in our laps still felt rough around the edges and a bit, well… unfinished when it arrived. Samsung diligently improved the camera through a series of firmware updates over the following months, and the NX1 ultimately became a much more refined, responsive machine.

On paper, the NX1 had impressive specifications; the camera that landed in our laps still felt rough around the edges and a bit, well… unfinished when it arrived.

The ‘post-multiple-firmware-updates’ version of the camera delivered technical innovation, pro-level performance, and a fantastic user experience all in a single package, earning it one of the highest scores we had ever awarded to a camera at the time, and winning the 2015 DPReview Innovation Award.

In addition to impressive performance, the NX1 held up well in extreme conditions. When shooting in 0ºF (-18ºC) conditions the camera kept going as long as I did.

We highlighted this innovation in our review of the NX1, writing “One can almost imagine a group of Samsung engineers sitting in a conference room and having the spec sheets of every leading APS-C and four thirds camera dropped in front of them, along with a directive to outperform the whole lot. And here’s the crazy thing – to a certain extent they seem to have pulled it off.”

The NX1 was a mirrorless camera that looked and performed like a high-end DSLR. It included a hybrid AF system with 205 phase detect autofocus points covering 90% of the frame, and in burst mode could shoot up to 15fps. Impressively, in our testing the AF system was able to keep up.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

The AF system on the NX1 was very quick to keep up, even when shooting fast moving subjects at close range at 15fps in burst mode. In this example, the camera tracked Richard with a cloud of AF points that covered his body and the bike and kept him in focus, though there are minor differences in terms of where the camera focused on him between frames. Manually selecting an single AF point would have given us more precision. (Samsung 50-150mm F2.8 S at F2.8)

It also delivered the goods when it came to image quality. Built around a 28MP BSI sensor, it held its own against the best APS-C cameras of its day. The ISO-invariant sensor also made it possible to push shadows 5EV in post without paying any additional noise cost (when shooting at base ISO).

Even the ergonomics and shooting experience were excellent. It was comfortable in the hand, with most dials and buttons in easy to reach places. The bright and crisp OLED EVF had no perceptible lag (a common challenge back then), and was the first electronic viewfinder I really fell in love with. In our review I commented, “Once I started shooting with NX1 it was easy to forget that I was using an EVF and I just got on with taking photos.”

The NX1’s OLED electronic viewfinder impressed us with its bright, crisp image and fast performance. Its layout was also well-designed and easy to use.

The NX1 also excelled at video. Unlike many cameras – even some the ones we encounter today – there was no sense that video was wedged in to fulfill a spec sheet requirement. On the contrary, the NX1 was clearly designed with video in mind. The interface was excellent, included tools such as peaking and zebras, and the oversampled footage exceeded the quality of the Panasonic GH4, our reference camera for video at the time.

Ironically, the only major complaint we had about the NX1’s video was that it was a bit too forward looking.

Ironically, the only major complaint we had about the NX1’s video was that it was a bit too forward looking: it relied on the advanced H.265 codec, something that many computers and editing systems are just now beginning to handle well.

Samsung also gets a nod for having the first (and still one of the best) Wi-Fi + Bluetooth implementations we’ve seen.

Video on the NX1 was outstanding, exceeding the quality of the Panasonic GH4, our reference camera for video at the time. The user interface for shooting video was also good, taking advantage of touchscreen controls for many functions.

There seemed to be a lot of commitment from Samsung to getting the NX1 right, including numerous firmware updates that improved performance and added functionality over time. (A bit ironic when you consider the fate of the camera.) Let me share one behind-the-scenes anecdote about how all those updates impacted our review of the camera.

I actually wrote two entire reviews of the NX1. The first review was less than a week from publication when Samsung released a big firmware update; it included so many performance improvements and feature updates that I had to scrap the entire review, go back and re-test the camera, then write another one. The review you read on the site was actually the second one I wrote.

Despite its age, the NX1 is still remarkably competitive with today’s top APS-C cameras, and Samsung seemed to be investing a lot to develop a strong line of pro quality lenses as well. It’s interesting to think of what the camera market might look like today had Samsung not exited the business.

Samsung NX1 Sample Gallery

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Articles: Digital Photography Review (dpreview.com)

 
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UltraPod II: Saving Space and Holding Cameras Still

26 Sep

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Apple’s auto-generated Memories videos are still kind of weird in iOS 11

23 Sep

Starting with iOS 10, Apple has been scanning iPhone users’ photo libraries and automatically creating nostalgic videos it calls Memories. They’re basically slideshows of what it deems to be meaningful photos and videos from your collection, set to music, and arranged around a theme. You’ll laugh, you’ll cry, and sometimes you’ll remember that time you took a picture of the frozen pizza baking directions.

iOS 11, released to the general public yesterday, brought some updates to Memories. They’re now portrait-format friendly, and more Memories will be automatically created around a wider range of subjects and themes. But if my first Memory video after downloading iOS 11 is any indication, Apple hasn’t gotten much smarter about what photos to include.

An interesting photo for Instagram, but not a moment I wanted to reminisce about months later. It’s hard for a computer to know the difference.

Though it does a few things well – it generally picks up on the fact that I like nice photos of my boyfriend and me – Apple’s algorithm makes some pretty weird choices. My latest Memory, titled “Best of the last 2 months,” opens on an image of a discarded Craisins box on a bed of grass. I thought it was an interesting photo for Instagram, but not a moment I wanted to reminisce about months later. It’s hard for a computer to know the difference.

The misses are all much funnier because of the slightly dramatic treatment: panning, gentle transitions and music give the impression of something that’s been carefully curated to invoke nostalgia. It’s all very serious, and works very well for a post-hike selfie with a majestic backdrop. It’s downright laughable when it’s a photo of some acne-treating serum I took a picture of to send to my sister.

Ah, how I cherished this moment.

To be completely fair, Memories videos are meant to be customized and edited by the human viewing them. The algorithm gets you to a starting point, and it’s up to you to take out the shots that don’t work. And it’s a little bit narcissistic, but it’s kind of fun to watch a slideshow of your best moments over the past few months.

With new iterations, Apple’s subject recognition and photo-picking algorithm will no doubt get smarter, and the automatic videos will get better. Hopefully it’ll learn to ignore the kind of shots that are taken for utilitarian purposes, but it’s already pretty good with some stuff – it correctly identified photos of my boyfriend and put together a slideshow of images of him from baseball games and vacations. More of that please, Apple, and less reminders of my life with acne-prone skin.

Articles: Digital Photography Review (dpreview.com)

 
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