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  • Hands-on with the Olympus OM-D E-M1 III

    Hands-on with the Olympus OM-D E-M1 Mark III

    The Olympus OM-D E-M1 Mark III takes the familiar design of its predecessor and inherits many features from the company’s pro-level E-M1X. Olympus positions the E-M1 III as a pro-level camera for those who want a more compact alternative to the E-M1X but don’t want to compromise build quality.

    The E-M1 Mark III is available in a number of kits. For just the body, it’s priced at $ 1799 (in the US, a trade-in program will initially knock $ 200 off of that). There are also a pair of lens bundles: you can combine the body with the 12-40mm F2.8 Pro for $ 2499 or with the 12-100mm F4 Pro for $ 2899.

    Sensor and image stabilization

    The E-M1 Mark III may use the same 20.4MP Four Thirds sensor as its predecessor, but several things around it have changed. First and foremost is the processor, which is known as the TruePic IX. Olympus says that the TruePic IX allows Handheld High Res Shot and Live ND features as well as new autofocus features to be added to the Mark III. The E-M1X can do many of those things already, but it has two processors to work with.

    The image stabilization system is more robust on the Mark III, and the Mark II was already very good, with its in-body IS able to reduce shake by 5.5 stops. The Mark III can reduce shake by up to 7 stops using its internal IS mechanism and, with select stabilized lenses, hit a whopping 7.5 stops. Olympus says that some photographers have taken 4 second exposures, though we imagine that they had hands of stone to pull that off.

    Olympus has updated the dust reduction system (officially known as the Supersonic Wave Filter) with a new coating to keep pesky dust spots out of your photos. The camera also has an all-new shutter unit that is rated to 400,000 cycles.

    Thoroughly sealed

    Olympus’s high-end cameras are well known for their build quality and weather sealing, and the E-M1 Mark III is no exception. While its magnesium alloy body gives the camera a very solid feel, it doesn’t feel heavy. Like its predecessor, the Mark III does a good job of fitting plenty of control points without the camera feeling too cramped.

    Manufacturers use the word ‘weather-sealed’ pretty loosely, and E-M1 Mark III is one of very few camera to carry an IPX1 rating (or any rating, for that matter). Olympus claims that you don’t even need to use a rain cover. The company has plenty of weather-sealed lenses available, including the new 12-45mm F4 Pro, which too has an IPX1 rating.

    Revised controls

    The most significant change to the controls on the E-M1 Mark III is the addition of an eight-way joystick, which you can use for adjusting the focus point. To make room for the joystick Olympus shuffled a few buttons around, but the same controls are there, including the rocker which lets you quickly switch between two groups of camera settings. The addition of the joystick allowed Olympus to change the AF-point selection button into one for ISO.

    There’s just a small change on the camera’s top plate: the shadow/highlight adjustment button now handles exposure compensation.

    The electronic viewfinder is, sadly, the same as before. It has 2.36 million dots and still uses an LCD panel, unlike virtually every competitor who has moved to OLED. If you wear polarized sunglasses, be prepared to have to take them off to compose photos through the EVF.

    The camera’s fully articulating 3″ touchscreen is unchanged as well. It has the usual touch features you’d expect, including the ability to move the AF point. The eye sensor that automatically switches between the LCD and EVF has improved, however: there’s an option to disable the eye sensor when the LCD is flipped out (and this option will be coming to other recent Olympus models through a forthcoming firmware update).

    Ports, storage and connectivity

    At first glance, the sockets on the left side of the E-M1 III look exactly the same as on its predecessor. You’ve got your 3.5mm mic and headphone jacks plus micro HDMI and USB 3 (with a Type C connector) ports. (There’s a flash sync connector on the front plate, as well.)

    That USB port not only supports in-camera charging: it supports up to 100W of Power Delivery. If you have a ‘powerful’ USB PD charger or power bank, it can fill up that BLH-1 battery in as little as two hours. But wait, there’s more: The camera can also be operated while connected to a USB PD compatible power bank, allowing for extended shooting while on the go. Olympus points out that you cannot charge the battery in the optional HLD-9 grip from a USB PD source.

    Over on the other side of the camera are a pair of SD card slots. Slot 1 supports UHS-II media, while slot 2 is just UHS-I.

    Lastly, there have been some connectivity upgrades. The E-M1 Mark III now supports the 802.11ac standard – which adds a 5GHz band – as well as Bluetooth.

    Battery and grip

    The OM-D E-M1 III uses Olympus’s venerable BLH-1 lithium-ion battery. Officially, the camera can take 420 shots per charge (presumably with the LCD) according to the CIPA standard, but you’ll almost certainly be able to take a lot more.

    In addition to using a USB PD compatible power bank, you can attach Olympus’s optional HLD-9 grip, which gives you approximately 840 shots per charge. Since this is a not a new grip, there’s no joystick for moving the AF point.

    New bells and whistles

    The E-M1 III inherited a large number of features from its big brother, the E-M1X, and we’ve highlighted some of the more interesting ones below.

    First up is Handheld High Res Shot. The Mark II let you produce 50 Megapixel Raws by combining 16 exposures, but you needed a tripod. You can now hand-hold the camera to get similar results, namely improvements in resolution and noise. The quality won’t be as quite as high as using a tripod, but there’s still a definite improvement. The camera attempts to correct for moving subjects in the scene, though no camera with this does that perfectly.

    Next is Live ND, which combines multiple exposures to replicate the effects of up to a 5EV neutral density filter. There’s also an improvement in noise for non-moving areas in the frame, since the camera is combining multiple shots.

    Astrophotographers will be pleased to learn about the Starry Sky AF mode. The camera offers two flavors of Starry Sky AF: accuracy priority and speed priority. The former takes multiple ‘focus scans’ to locate stars and distinguish them from noise. The speed priority mode does as its name implies, with Olympus claiming that you can even hand-hold the camera and take star photos.

    Speaking of autofocus, the E-M1 III has new and improved face and eye detection algorithms which, based on our initial testing, is quicker and stickier than on previous Olympus cameras. Switching between faces is also easier.

    One feature that didn’t come over from the E-M1X is its ability to detect planes, trains and automobiles, though we can’t imagine that feature is in terribly in high demand.

    Video

    The E-M1 Mark II already had pretty good video specs, and not a lot has changed on its successor. It continues to offer both DCI and UHD 4K, with bit rates of 237 and 120Mbps, respectively. There’s also a Full HD 120 fps mode that can be replayed in slow motion.

    The camera continues to offer the OM-Log400 profile for more flexibility when color grading, and 4:2:2 output to an external recorder.

    New to the Mark III is the ability to control the ‘strength’ of image stabilization in video. Exposure settings and white balance for video can be completely different from those for stills.

    Audio capture has been improved, with 96 kHz / 24-bit recording when using a compatible external mic. When you’re using an external mic there should be less white noise, according to Olympus. If you’re using the company’s LS-P4 PCM recorder you receive the higher quality audio capture as well as test and slate tone functions.

    Wrap up

    Although it has some useful new features, such as a ‘live’ ND filter and a much-appreciated joystick, the Olympus OM-D E-M1 Mark III isn’t a huge leap over its predecessor.

    And that’s not necessarily a bad thing, as the E-M1 Mark II was a very well-designed camera, with excellent build quality, a broad feature set and effective in-body image stabilization. Olympus has improved the weather sealing even further on the Mark III, to the point where it can claim an IPX1 rating, and its Image stabilizer can reduce shake by an amazing 7.5 stops with certain lenses. We do wish that the EVF used an OLED panel, rather than an LCD, however.

    The camera’s new features, such as Handheld High Res Shot and Live ND, are fun to use and produce great results, and the Mark III’s autofocus improvements seem to live up to their billing. Photographers who are out shooting for a long period of time will appreciate the E-M1 III’s support for USB PD compatible power bricks. And if you capture a lot of video, the improved audio quality when using an external mic (and especially Olympus’s PCM recorder) is a pretty big deal.

    Would we recommend that E-M1 II users rush out and trade in their camera for an E-M1 III? Probably not, unless you think you’ll be frequently using the new features mentioned above. The E-M1 II is more than adequate for most photographers and will save you hundreds, at least until they’re no longer available.

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: Olympus E-M1 Mark III hands-on preview

    Chris and Jordan traveled to Costa Rica to test the new Olympus E-M1 Mark III. Will Chris survive the crocodiles? Will Jordan’s audition tape for the next reboot of Baywatch make your head spin? Watch to get answers to these and other important questions.

    Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    • Introduction
    • River photography + crocodile photos
    • Design and handling
    • Image stabilization
    • Monkeys!!!
    • Starry sky AF mode
    • Pro Capture mode
    • Displays
    • Video features
    • Autofocus
    • Live ND filter
    • Conclusion

    Olympus OM-D E-M1 III sample gallery

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    Articles: Digital Photography Review (dpreview.com)

  • Olympus OM-D E-M1 Mark III initial review

    Introduction

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    The Olympus OM-D E-M1 Mark III is the third iteration of the company’s sports and action-oriented Micro Four Thirds model. It uses a 20MP Four Thirds sensor and inherits many of the capabilities of the larger E-M1X, including its multi-shot handheld High Res mode.

    The company says the Mark III is designed with portability and agile shooting prioritized over the better handling and operability of the larger ‘X’ model. And, while it doesn’t have the E-M1X’s transport-recognition AF modes, the E-M1 III has the latest TruePic IX processor, which brings a couple of features of its own.

    Key Specifications

    • 20MP Four Thirds sensor
    • 121-point autofocus system with deep learning-based subject recognition
    • Handheld high-res shot mode
    • Up to 60 fps Raw + JPEG capture (up to 18 fps with autofocus)
    • Pro Capture mode records frames before you hit the shutter
    • Image stabilization rated at 7.0 (CIPA standard), up to 7.5EV with ‘Sync IS’ lenses
    • ‘Live ND’ multi-shot mode simulates ND filters
    • Large 2.36M-dot LCD viewfinder able to work at up to 120 fps
    • 420 shots per charge (CIPA) battery life rating
    • Dual SD card slots (1x UHS-I, 1x UHS-II)
    • Extensive direct control, dual AF joysticks, articulating touchscreen
    • UHD 4K/30p video and DCI 24p at up to 237Mbps
    • Extensive, IPX1-rated weather sealing
    • USB charging (using USB PD standard)

    The Olympus OM-D E-M1 Mark III will be available from the end of February 2020 at a price of $ 1800 ($ 2400 CAD). It will also be sold with the 12-40mm F2.8 Pro lens for $ 2500 ($ 3300 CAD) or the 12-100mm F4.0 IS Pro for $ 2900 ($ 3800 CAD).

    What’s new and how it compares

    The E-M1 Mark II gains a series of features from the E-M1X as well as improved eye-detection AF. We look at what’s been updated.

    Read more

    Body and controls

    There’s an AF joystick and some interface updates on the Mark III. But we were perhaps most stuck by the flexible way the camera’s Custom modes now work.

    Read more

    Initial impressions

    The E-M1 Mark III sits more comfortably alongside the E-M5 III than its predecessor did. And we think the balance of features and capabilities remains competitive.

    Read more

    Sample gallery

    The DPR editorial staff and the DPRTV team have been shooting with the E-M1 III for a while and we’ve shot a gallery that gives you a taste of what it can do.

    View the gallery

    Articles: Digital Photography Review (dpreview.com)

  • The Nikon D6: Here are the official specifications and image samples

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    At long last, Nikon has released details of its newest flagship DSLR, the D6. As a camera that will find its way into the hands of sports and action photographers around the globe, it needs to live up to the speed, durability and quality of its predecessors – and though it doesn’t appear to break significant new ground, we expect the D6 will continue to serve the needs of demanding photographers very well indeed.

    At the heart of the D6 is a 20.8MP sensor, offering the same resolution as the D5, but it’s now coupled with a new Expeed 6 processor and offers up to 14fps burst shooting with ‘E-type’ lenses (those with electromagnetically controlled diaphragms). Switch into live view, and the D6 will shoot silently at up to 10.5fps at full resolution – users can also opt for 30fps for 8MP files and 60fps for 2MP files if needed. The native ISO range covers values of 100 to 102,400, with an expansion up to 3.2 million.

    The result is AF coverage that is 1.6x denser than that of the D5, and each point uses a ‘triple-sensor arrangement’

    Perhaps the biggest change for end users, though, is an all-new autofocus system. Though the total number of points has gone down from 153 to 105, now all of those points are selectable and cross-type, and each uses a ‘triple-sensor arrangement,’ which we’ll be asking for more details about. The result is AF coverage that is ‘1.6x denser than that of the D5.’ Fifteen of the central points are F8 compatible, and the center point can focus down to -4.5EV. All other points are good down to -4EV. Nikon is also promising that the detection area for single points and groups is expanded, so focus can still be achieved even if the subject moves slightly outside the zone in use.

    In terms of video, the D6 continues to offer 4K/30p recording, but now comes with focus peaking and an option for MP4 recording.

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    The D6 makes do without any Compact Flash option, with Nikon offering a single version of the camera with dual XQD / CFExpress card slots. There have been some other tweaks as well, including a maximum shutter length of 30 minutes, the option to shoot different quality or sizes of JPEGs to different cards (basically a JPEG + JPEG shooting option), and Wi-Fi with Bluetooth as well as GPS capability are now built-in. The D6 has gigabit ethernet like the D5, but Nikon is promising 15% faster transfer speeds. Weight has gone up just slightly, from 1405g to 1440g including battery and memory cards.

    Expect to see quite a few of these at the 2020 Tokyo Olympic Games! The Nikon D6 will be available April of 2020 with a suggested retail price of $ 6499.95 USD. Let us know what you think of Nikon’s newest DSLR in the comments.

    Press release:

    DECISIVE POWER. FASTER WORKFLOW. ABSOLUTE RELIABILITY: THE NEW NIKON D6 GIVES PROFESSIONALS THE EDGE WHEN IT MATTERS MOST

    The New Nikon D6 Offers the Most Powerful AF System in Nikon’s History, and Continues the Brand Legacy of Professional Cameras That Deliver Connectivity, Dependability and Streamlined Workflow

    MELVILLE, NY (February 11, 2020) –?Today, Nikon Inc. has unveiled the D6, a new professional-grade DSLR built for those in need of extreme reliability and ultimate performance. The D6 addresses the needs of professionals and press agencies and is faster and more powerful than ever before. Offering the most powerful AF system in Nikon’s history, this flagship DSLR camera delivers crucial improvements to modern workflow while also accelerating file transfer capabilities. Promising unparalleled low-light performance, powerful agility, advanced 4K UHD multimedia capabilities and a mechanical shutter frame rate boosted to a staggering 14fps, the D6 will redefine the way pros work.

    “The D6 is purpose-built and inspired by the valuable feedback of professional users,” said Jay Vannatter, Executive Vice President of Nikon Inc. “The world relies on photojournalists and professionals to document every corner of the globe through impactful images; Nikon cameras are trusted to stand up to any job and help photographers capture the shot, time and time again.”

    The Most Powerful AF in Nikon’s History: The D6 leaves nothing to chance. To maximize hit rate, it is equipped with a newly developed, densely packed 105-point AF system in which all the focus points utilize cross-type sensors and all points are selectable. Through the new focus point layout and the use of a triple-sensor arrangement for each focus point, the D6 achieves AF coverage that is approximately 1.6x denser than that of the D5. The D6 also sports an expanded focus detection range which increases the detection area for single point AF and dynamic area AF, making it easier to achieve focus on a subject even when slightly outside the focus point.

    Improving upon Nikon’s popular Group AF mode, this function has evolved with support for 17 custom arrangements from which users can choose according to the scene or subject movement. The D6 also demonstrates superior low-light AF performance. The center focus point works down to -4.5 EV1 and the others to -4 EV, making autofocus possible even in dark situations or with low-contrast subjects.

    Unparalleled Performance: The new EXPEED 6 engine’s superior image-processing capabilities combined with the vast amount of information provided by the new dedicated AF engine drives high-level performance in any situation. To help capture the decisive moment consistently, the D6 boasts a 14fps2 mechanical shutter with full AF and AE. The D6 can also shoot completely silent for sensitive situations, capturing full resolution at 10.5 fps. For faster frame rates, the Nikon D6 is able to take 2-megapixel images at approx. 60 fps and 8-megapixel images at 30 fps in Live View mode.

    The D6 leverages a 20.8-megapixel FX-Format CMOS sensor, creating images that pop with stunning detail and true colors and exhibit incredible dynamic range. The ISO ranges from 100 to 102,400, which helps to preserve sharpness and subtle details in even the most challenging light. Additionally, ISO is expandable up to 3.2 million, giving photographers the ability to truly conquer the dark.

    Concentration on Workflow: Building on Nikon’s history of serving professionals, the D6 is the most customizable Nikon DSLR yet, designed to speed up the workflow of any user during and after capture.

    • Recall shooting functions create combinations of settings that can be assigned to a specific button to get the perfect shot in a pinch
    • The D6 excels in connectivity and supports the same 1000BASE-T Ethernet standard as the D5, with an approximate 15% increase in transmission speed. The camera also supports a number of options for wireless networking, offering built-in 2.4- and 5-GHz*3 Wi-Fi®4 or traditional wireless transfer using the WT-6 Wireless Transmitter (optional)
    • Includes 14 customizable buttons, assignable to any of 46 unique function choices and a new intuitive menu system
    • Priority Image Transfer gives the ability to move an important image to the front of the queue when speed is of paramount priority, which can easily be done by swiping the touch LCD during playback
    • Security Lock compatibility supports connection of anti-theft cables to provide maximum security for remote applications or when the camera is unattended
    • Built in GPS5 gives accurate time, date and location information for just about anywhere on the planet
    • Dual CFexpress6 slots offer blazing fast read/write times and have the ability to overflow, copy or separate file types
    • JPEG functions allow for the simultaneous recording of two JPEG images with different image size and quality settings, which is convenient for separating images that will be transmitted from those that will be edited
    • Creativity options for multimedia creators including a new interval timer mode to retain the best resolution and enable in-camera time-lapse movie file recording providing professionals the ability to create exceptionally sharp 16:9 4K Ultra HD video

    Absolute Reliability: Nikon’s flagship cameras remain trusted in the industry and have been proven on the sidelines, in the studio and even in outer space. With a magnesium alloy camera body and extensively weather-sealed design, the D6 is as tough as the professionals who use it, ready to take on the harshest shooting conditions. The camera offers long-lasting battery life, delivering the safety net and energy-saving performance that pros need on daylong outings. The D6 also employs a USB-Type C connector for faster direct-to-PC file transfer rates than previously possible with the D5.

    Endless Lens Choices: By pairing the D6 with Nikon’s extremely diverse selection of F-Mount NIKKOR telephoto lenses, professionals have the most advanced imaging solution in Nikon’s history. No matter the job, the client or the location, there’s a NIKKOR lens, from the ultra-wide to the super-telephoto. The D6 is also compatible with Nikon’s line of creative Speedlights, offering extra creative freedom to enhance natural light and add artistry and drama to any scene.

    Pricing and Availability

    The new Nikon D6 will be available in April 2020 for a suggested retail price (SRP) of $ 6,499.95* for the body only configuration. For more information on the latest Nikon products, please visit www.nikonusa.com.

    ###

    1. At ISO 100, 20°C/68°F.
    2. With continuous-servo AF (AF-C), manual (M) or shutter-priority auto exposure (S), a shutter speed of 1/250 s or faster, and other settings at default values are trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation and its Affiliates is under license.
    3. Available in station mode; not available in some countries or regions.
    4. Wi-Fi® and the Wi-Fi® logo are trademarks or registered trademarks of the Wi-Fi Alliance.
    5. GPS function is not available in some countries or regions.
    6. CFexpress is a trademark of the CompactFlash Association in the United States and other countries.
    *SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
    Specifications, equipment and release dates are subject to change without any notice or obligation on the part of the manufacturer.
    All Nikon products include Nikon Inc. limited warranty. Images are for illustrative purposes only. All Nikon trademarks are trademarks of Nikon Corporation. Nikon Authorized Dealers set their own selling prices, which may vary. Nikon is not responsible for typographical errors.
    All other trade names mentioned in this document are trademarks or registered trademarks of their respective holders.

    Articles: Digital Photography Review (dpreview.com)

  • Samsung announces S20, S20+ and S20 Ultra smartphones offering up to 108 megapixels, 100X zoom and 8K video

    Samsung took the stage at its Galaxy Unpacked 2020 event to unveil its latest Galaxy smartphone lineup, which includes the Galaxy Z Flip, Galaxy S20, S20+ and S20 Ultra. The new S20 range offers some pretty incredible pixel-counts, topping out at an eye-popping 108MP, plus 8K video. Meanwhile, you can probably guess at the defining feature of the ‘Galaxy Z Flip’.

    Let’s talk about the headline features up front:

    • 1/1.33″ main camera sensor (S20 Ultra)
    • 108MP capture (S20 Ultra)
    • ‘Lossless’ digital zoom thanks to high resolution sensors
    • 100x zoom thanks to 4x optical zoom, 48MP sensor and super-resolution (S20 Ultra)
    • 120Hz refresh rate displays
    • 240Hz touch input for responsive touch interface
    • Capture all camera zooms and modes with one shutter press, choose later

    Let’s start by talking about the new S20 lineup.

    Galaxy S20, S20+ and S20 Ultra

    Samsung’s S20, S20+ and S20 Ultra smartphones all vary in size and specifications, with increasing screen sizes and capabilities, respectively.

    Before diving into the differences though, let’s take a look at what all of the devices share. The first thing you’ll notice is the familiar design, with the S20 lineup constructed of glass on the front and back with an aluminum alloy metal band around the edges. Aside from a slight bump up in weight and height compared to the S10 lineup, the only major visual difference from the device’s respective predecessors is a new camera bump that’s now rectangular in design.

    Each of the new devices features a 120Hz OLED display, currently putting them at the front of the pack in terms of refresh rates (for OLEDs, at least). The S20, S20+ and S20 Ultra all have the same resolution (3200×1440 pixels), but the screen sizes across the devices do differ: 6.2-inches, 6.7-inches and 6.92-inches, respectively.

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    Moving onto the cameras, the S20 devices drop the dual-front-facing camera the S10 series had and opts for a single 10-megapixel camera on the S20 and S20+, while the S20 Ultra gets a ridiculous 40-megapixel front-facing camera. On the back of the devices, you’ll notice each model features increasingly-larger camera units, with more modules available on the larger models. The S20 has a 12-megapixel main sensor, a 12-megapixel ultra-wide, and a 64-megapixel 3x telephoto camera.

    Below is a video breakdown from Android Central showing how the new camera systems work on the S20 lineup:

    The S20+ has all of those cameras as well as a time-of-flight (ToF) camera for depth data. As you might expect, the S20 Ultra takes the entire setup to a whole other level; it offers a 108-megapixel main camera with a whopping 1/1.33″ sensor, the second largest sensor size we’ve ever seen in a phone (right behind the 1/1.2″ sensor in the well-respected Nokia 808 41MP camera). The extra pixels allow for ‘lossless’ digital zoom, which is further aided using super-resolution techniques. Also on-board: a 12-megapixel ultra-wide, and a 48-megapixel 4x telephoto (with 10x ‘lossless’ digital zoom and 100x ‘Space Zoom’ thanks to a unique combination of optical and digital zoom and super-resolution), as well as a ToF camera. All of the phones feature 8K video recording.

    The S20 models are all IP68 water-resistant, include wireless charging and feature an in-screen ultrasonic fingerprint reader. Oh, and the headphone jack is gone.

    The S20, S20+ and S20 Ultra are set to ship in the United States for $ 1000, $ 1,200 and $ 1,400, respectively.

    Galaxy Z Flip

    The Galaxy Z Flip is a second-generation folding phone from Samsung. Unlike the Galaxy Fold, which opened up side-to-side like a book, the Galaxy Z Flip opens up vertically, similar to clamshell-style phones of yesteryear.

    However, instead of a keyboard at the bottom and a screen at the top as was standard nearly a decade ago, the Galaxy Z Flip features a 6.7-inch AMOLED display, which folds along the hinge of the phone. What’s interesting is that instead of the plastic being used for the screen, Samsung is instead using an ultra-thin glass—this should help to make the screen much more durable than its predecessor, which quickly gained a bad reputation for scratching easily.

    The outside of the device also features a 1.06-inch secondary display that can display the current time, show the battery status, show notifications and even be used as a screen for taking selfies using the exterior camera.

    Beneath the screen is an array of components that, as noted by Android Authority, are almost identical to those found inside the Galaxy S10e. Specifically, the phoen is powered by a Snapdragon 855 Plus SoC, 8GB of RAM, 256GB UFS 3.0 storage and a 3,300mAh battery (2,000mAh more than the S10e).

    The pair of cameras on the rear of the device include a standard 12-megapixel camera and an ultra-wide 12-megapixel camera, while the front-facing selfie camera is 10-megapixels. The device also features 15W wired charging, 9W wireless charging and a side-mounted fingerprint sensor.

    The Galaxy Z Flip will be available in Mirror Purple, Mirror Black and Mirror Gold (in select countries) starting February 14, 2020 for $ 1,380.

    Articles: Digital Photography Review (dpreview.com)

  • Adobe releases February update for its suite of photography-centric applications

    Adobe has announced the release of its February updates for its collection of photography programs, including Adobe Camera Raw, Lightroom Classic and Lightroom for macOS, Windows, iOS, iPadOS, Android and ChromeOS.

    Adobe Camera Raw and Lightroom Classic

    Starting with Adobe Camera Raw and Lightroom Classic, Adobe has improved the Raw Default setting. Specifically, Adobe has made it easier to configure the default develop settings within the ‘Preferences -> Presets’ submenu. The default options can be applied universally or customized based on the camera model and serial number.

    In a similar vein, Adobe has made it easier to use the picture styles or profile settings within your camera when editing images, rather than using the Adobe Color profile that was previously standard. Adobe says ‘With the new raw default settings, you can now use Camera Settings as the default to preserve the “as shot” look and reduce your edit time.’

    Both Adobe Camera Raw and Lightroom Classic have also received performance improvements. Now, both programs have full GPU acceleration for Lens Correction and Transform adjustments, and Enhance Details can now make use of external GPUs (eGPUs) on macOS 10.15 ‘Catalina.’

    Lightroom Classic has also added support for PSB files. Starting with this update, you can import, catalog and edit Large Document Format (.psb) files within Lightroom Classic. Other improvements specific to Lightroom Classic include improved secondary display selection tools, auto-sync improvements and the ability to import Photoshop Elements 2020 catalogs into Lightroom Classic.

    Lightroom for Mac, Windows, Android, iOS, iPadOS, and ChromeOS

    Moving onto Lightroom for Mac, Windows, Android, iOS, iPadOS, and ChromeOS, Adobe has brought a number of features to various platforms and overall improved the performance across nearly all devices.

    Now, on Lightroom for Mac and Windows, you can export images in the DNG format. Previously, this functionality was limited to Lightroom on Android and iOS. Lightroom for Mac and Windows also receives improved Shared Albums support, which allows you to control what metadata is shared when uploading photos to other shared albums and allows you to export photos from other contributors who have uploaded photos to a specific shared album.

    Other changes to Lightroom for Mac and Windows include dedicated shortcuts for creating HDR (Ctrl + Shift + H) and Panorama (Ctrl + Shift + M) images via Photo Merge and improve importing options that include the ability to import to a specific album using drag-and-drop functionality.

    Moving onto mobile, Lightroom for Android and iOS have an improved ‘Learn and Discover Content’ views that make it easier to browse through various artwork. Lightroom for Android has also gained the ability to import presets and profiles; Adobe says Lightroom for iOS will gain this functionality ‘soon.’

    Lightroom for iPadOS has also gained support for split-screen view that makes it possible to browse, sort, edit and export photos while also having another application open on the screen of your iPad.

    You can read more about all of the updates on Adobe’s blog post. The updates should be available through the Creative Cloud desktop app and the respective app stores for Android and iOS.

    Articles: Digital Photography Review (dpreview.com)

  • Samsung announces Galaxy Z Flip, S20, S20+ and S20 Ultra smartphones

    Samsung took the stage at its Galaxy Unpacked 2020 event to unveil its latest Galaxy smartphone lineup, which includes the Galaxy Z Flip, Galaxy S20, S20+ and S20 Ultra.

    Galaxy Z Flip

    Before diving into the more standard S20 lineup from Samsung, let’s first take a look at the Galaxy Z Flip, a second-generation folding phone from Samsung. Unlike the Galaxy Fold, which opened up side-to-side like a book, the Galaxy Z Flip opens up vertically, similar to clamshell-style phones of yesteryear.

    However, instead of a keyboard at the bottom and a screen at the top as was standard nearly a decade ago, the Galaxy Z Flip features a 6.7-inch AMOLED display, which folds along the hinge of the phone. What’s interesting is that instead of the plastic being used for the screen, Samsung is instead using an ultra-thin glass—this should help to make the screen much more durable than its predecessor, which quickly gained a bad reputation for scratching easily. The outside of the device also features a 1.06-inch secondary display that can display the current time, show the battery status, show notifications and even be used as a screen for taking selfies using the exterior camera.

    Beneath the screen is an array of components that, as noted by Android Authority, are almost identical to those found inside the Galaxy S10e. Specifically, the phoen is powered by a Snapdragon 855 Plus SoC, 8GB of RAM, 256GB UFS 3.0 storage and a 3,300mAh battery (2,000mAh more than the S10e).

    The pair of cameras on the rear of the device include a standard 12-megapixel camera and an ultra-wide 12-megapixel camera, while the front-facing selfie camera is 10-megapixels. The device also features 15W wired charging, 9W wireless charging and a side-mounted fingerprint sensor.

    The Galaxy Z Flip will be available in Mirror Purple, Mirror Black and Mirror Gold (in select countries) starting February 14, 2020 for $ 1,380.

    Galaxy S20, S20+ and S20 Ultra

    With the flagship flip phone out of the way, let’s talk about the new S20 lineup. Similar to in the past, Samsung’s S20, S20+ and S20 Ultra smartphones all vary in size and specifications, with increasing screen sizes and capabilities, respectively.

    Before diving into the differences though, let’s take a look at what all of the devices share. The first thing you’ll notice is the familiar design, with the S20 lineup constructed of glass on the front and back with an aluminum alloy metal band around the edges. Aside from a slight bump up in weight and height compared to the S10 lineup, the only major visual difference from the device’s respective predecessors is a new camera bump that’s now rectangular in design.

    Each of the new devices features a 120Hz OLED display, currently putting them at the front of the pack in terms of refresh rates (for OLEDs, at least). The S20, S20+ and S20 Ultra all have the same resolution (3200×1440 pixels), but the screen sizes across the devices do differ: 6.2-inches, 6.7-inches and 6.92-inches, respectively.

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    Moving onto the cameras, the S20 devices drop the dual-front-facing camera the S10 series had and opts for a single 10-megapixel camera on the S20 and S20+, while the S20 Ultra gets a ridiculous 40-megapixel front-facing camera. On the back of the devices, you’ll notice each model features increasingly-larger camera units, with more modules available on the larger models. The S20 has a 12-megapixel main sensor, a 12-megapixel ultra-wide, and a 64-megapixel 3x telephoto camera.

    Below is a video breakdown from Android Central showing how the new camera systems work on the S20 lineup:

    The S20+ has all of those cameras as well as a time-of-flight (ToF) camera for depth data. As you might expect, the S20 Ultra takes the entire setup to a whole other level; it offers a 108-megapixel main camera, a 12-megapixel ultra-wide, a 48-megapixel 10x telephoto (which is being marketed as a 100x ‘Space Zoom’ camera thanks to a unique combination of optical and digital zoom with a little AI magic tossed in there for good measure) and a ToF camera. All of the phones feature 8K video recording.

    The S20 models are all IP68 water-resistant, include wireless charging and feature an in-screen ultrasonic fingerprint reader. Oh, and the headphone jack is gone.

    The S20, S20+ and S20 Ultra are set to ship in the United States for $ 1000, $ 1,200 and $ 1,400, respectively.

    Articles: Digital Photography Review (dpreview.com)

  • Video: Photographer Alan Schaller offers seven tips for black and white street photography

    Cooperative of Photography (COOPH) has published a new video featuring London-based photographer Alan Schaller, who introduces viewers to seven tips for shooting black and white street photography. The video packs the seven tips into five quick minutes.

    Schaller’s tips are relatively straightforward, including the recommendation that photographers should go out and shoot in black and white on purpose, should focus on what makes black and white photography interesting and that they should change their perspective.

    As well, Schaller recommends that budding black and white street photographers learn to adjust to the lightning situation, ‘make good use of’ their environment, shoot images with a ‘good range of contrast’ and, finally’ to ‘edit wisely.’

    Articles: Digital Photography Review (dpreview.com)

  • Sony releases Software Development Kit (SDK) for remote camera access

    Sony has released a new software development kit (SDK) that allows third-party developers to control some selected Sony cameras. The SDK will offer remote access to key camera controls and still image data, including adjustment of shooting parameters, shutter release and a live view image.

    The company says the decision to offer an SDK was made after ‘extensive interest in their camera lineup from commercial customers.’ Sony also believes this kind of camera control capabilities should appeal to companies from a variety of sectors, including security and entertainment.

    ‘The customer’s voice is absolutely critical to all aspects of our business,” said Neal Manowitz, Deputy President of Sony Imaging Products and Solutions Americas. “After receiving many requests, we’re excited to finally be able to open our platform in this manner. Companies will now be able to custom develop applications to control our cameras remotely, allowing them to take full advantage of the many innovations in Sony’s lineup including industry-leading autofocus, shooting speeds and much more. Ultimately, this gives professional clients the ability to create new and different imaging experiences unlike anything that’s been done before.’

    Telemetrics Inc. is a company that specializes in robotics and camera control systems and one of the first to use the new SDK. One of its products is a weather-resistant camera housing unit on a remotely controlled pan/tilt head that is compatible with some of Sony’s full-frame mirrorless cameras. Customers include users in broadcast, production, sports and education companies.

    To start with the SDK supports Sony’s Alpha 7R iV and Alpha 9 II high-end camera bodies but the company says it is planning to expand support in the future. Users of the current Camera Remote API will have to switch to the new SDK or look for other alternatives as Sony will close it down.

    Press release:

    Sony Electronics Announces New Camera Software Development Kit (SDK) for Third Party Developers and Integrators

    New SDK Enables Remote Control of Sony Cameras for a Variety of Professional and Commercial Application

    SAN DIEGO – Feb 11, 2020 – Sony today has announced the release of a new software development kit (SDK) that enables third party developers and integrators to access control of Sony cameras.

    Sony, the industry leader in both full-frame and mirrorless cameras, is releasing the SDK based on extensive interest in their camera lineup from commercial customers.

    “The customer’s voice is absolutely critical to all aspects of our business,” said Neal Manowitz, Deputy President of Sony Imaging Products and Solutions Americas. “After receiving many requests, we’re excited to finally be able to open our platform in this manner. Companies will now be able to custom develop applications to control our cameras remotely, allowing them to take full advantage of the many innovations in Sony’s lineup including industry-leading autofocus, shooting speeds and much more. Ultimately, this gives professional clients the ability to create new and different imaging experiences unlike anything that’s been done before.”

    With the new SDK, key camera controls and still image data captured will be available for remote access, including adjustment of camera settings, shutter release and live view monitoring. These control capabilities are appealing to the workflow of a wide variety of industries including security, entertainment and many others.

    One of the companies that have a high expectation of Sony’s SDK is Telemetrics Inc., a company that specializes in robotics and camera control systems, selling complete packages including a weather resistant housing unit on a remotely controlled pan/tilt head compatible with select Sony full-frame mirrorless cameras. Telemetrics, Inc. sells to a wide variety of clients including broadcast, production, sports and education companies.

    “Combining our expertise in robotics and camera control with the impressive capabilities of Sony’s Alpha camera technology will allow us to create some especially unique solutions for capturing live sports entertainment, which include the newly introduced PT-CP-S5 Compact Pan/Tilt Head and the WP-HOU-A9 Camera Housing unit,” said Michael Cuomo, Vice President of Telemetrics, Inc. “We’ve been thrilled with the results and are extremely excited at the potential for future integration with our systems.”

    Initially, the Camera Remote SDK will support Alpha 7R IV and Alpha 9 II bodies, with plans to gradually expand the lineup of supported cameras hereafter[i]. The Camera Remote SDK is available now and can be downloaded from https://support.d-imaging.sony.co.jp/app/sdk/en/index.html on Sony’s website.

    The current Camera Remote API’s provision will be closed following this new release of the new Camera Remote SDK and its support will be terminated[ii].

    Articles: Digital Photography Review (dpreview.com)

  • Which is best for you: the Fujifilm X-T200 or X-T30?

    Fujifilm X-T200 vs X-T30

    Prior to January 23rd, 2020, choosing between Fujifilm’s entry-level X-T100 and its step-up model, the X-T30, was easy. The X-T100 was sluggish, its autofocus sub-par and 4K ‘video’ was limited to 15 fps.

    Fujifilm really raised the bar with the X-T200 , which offers dramatically improved performance and autofocus, a massive LCD with a clever touch interface and proper 4K video.

    With the X-T200 priced at $ 799 and the X-T30 at $ 999 (both with a 15-45mm kit lens, as of February 2020), potential buyers will want to know if it’s worth spending the extra dollars on the more advanced model.

    In this article we’ll break down the similarities and differences between the two cameras – but your decision should come down to the type of photographer you are, and where you are on your photographic journey. The X-T200 is, after all, billed as the more user-friendly model, while the X-T30 gives hands-on photographers more control at their fingertips. Let’s take a closer look.

    Sensor

    One of the upgrades on the X-T200 is its 24MP sensor. The former had aluminum wiring, while the latter uses copper. Fujifilm says that the new sensor can be read out 3.5x faster than its predecessor, which should reduce rolling shutter. Since we’ve yet to test a production-level X-T200 we can’t comment on its image quality, but we expect it to be better than its predecessor.

    The X-T30, on the other hand, uses the same 26MP X-Trans CMOS sensor found on X-T3. Fujifilm’s X-Trans color filter both reduces moiré and exhibits less color noise at high ISOs. The sensor is excellent, with low noise levels at high ISOs and Raw files with plenty of room for brightening shadows and other adjustments. We didn’t find rolling shutter to be a major problem.

    Autofocus

    The X-T200 has essentially the same AF system as the X-T30, though how you operate them is a bit different. Their shared hybrid AF system has 425 phase-detect points that cover 100% of the frame and offer single-point, zone and wide/tracking AF area modes.

    Both cameras offer face and eye detection, and Fujifilm says that the X-T200 has the company’s latest algorithms. It’s too early to draw conclusions about AF performance, but it seems competitive with the X-T30 at first glance.

    When it comes to selecting subjects on which to focus, the X-T200 is more touchscreen-based, which isn’t surprising given its target audience. The more experienced users that the X-T30 leans toward will spend more time with the joystick and may want to fine-tune settings more than a beginner.

    The X-T30 can shoot bursts quite a bit faster than its less-expensive sibling: 20 fps vs 8 fps

    For example, the X-T30 lets you choose how the camera functions when using continuous AF, either by selecting a preset option or tweaking the settings yourself. This is important when the default AF settings aren’t the right fit for shooting things like sports.

    Speaking of action photography, the X-T30 can shoot bursts quite a bit faster than its less-expensive sibling: 20 fps vs 8 fps. It also lets you access playback mode and the menus while the camera is writing to the card, unlike the X-T200.

    One very frustrating thing about the AF system on both cameras is that you cannot set the focus point whenever the camera detects a face in the scene, though this could change with firmware sometime down the line (but don’t count on it).

    Design

    When viewed from the front, the X-T200 and X-T30 look quite similar. The X-T30 has a control dial and AF mode switch on the front, while the X-T200’s control dials are all on the top plate, and there’s no AF mode switch.

    The X-T30 is all about dedicated dials, which isn’t surprising, given that it leans in the enthusiast direction. Some may say that it has too many dials, but that’s purely subjective. There are dedicated dials that allow you to adjust exposure compensation, shutter speed and drive mode without ever entering a menu. It offers an 8-way joystick for setting the focus point, which is poorly placed and a bit fiddly, in our opinion (the X-T200 has the same issue).

    Being the entry-level model, the X-T200 has a limited number of direct controls and leans heavily on a well-designed touch interface via its enormous fully articulating LCD. The camera still offers dual control dials and some customization, though not nearly to the extent of the X-T30.

    Given the price difference, it shouldn’t come as a huge surprise that the build quality of the X-T30 feels superior in your hand, with more metal and less plastic. The X-T30 isn’t weather-sealed, though: you need to go up another step to the X-T3 for that.

    Both cameras offer USB Type-C ports (with USB 3.1 speeds) and support in-camera charging. They also use the NP-W126S battery, which you’ll find on many other Fujifilm cameras. While battery life is a reasonable 380 shots per charge on the X-T30 using the LCD, the X-T200 will last for only 270 shots (according to CIPA methodology). In reality you’ll get more life out of both cameras, but the X-T30 should still come out on top.

    LCD and EVF

    Let’s not beat around the bush: the X-T200’s touchscreen display is fantastic and competitive with modern smartphones – this camera’s target audience. It’s 3.5″ in size (diagonally) and has 2.76 million dots worth of resolution. It’s fully articulating, making it good for ground-level photos as well as vlogging. The display’s 16:9 aspect ratio makes it ideal for video, though a lot of its real estate is wasted when shooting 3:2 stills.

    Fujifilm put an easy-to-use touch interface on the X-T200, which makes it operate more like a smartphone than a camera. If you’re a beginner, you can adjust a ‘depth control’ slider to blur the background. If you’re more experienced, the camera has the usual manual exposure options and two control dials to adjust settings. Customization options are limited, but then again, this is an entry-level camera.

    The X-T30’s 3″ display is more conventional. It has 1.04 million dots and can tilt upward by a little over 90° and downward by 45°. While it has the usual tap-to-focus and image playback touch functions, there’s no simple interface and only the Q.Menu can be navigated by touch (the X-T200 can do that as well as the main menu).

    The two cameras have the exact same electronic viewfinder. They’re both OLED and have 2.36 million dots and a magnification of 0.62x, which is a bit on the small side.

    Fun with Film Simulation modes

    A feature that makes Fujifilm cameras stand out from the pack are its Film Simulation modes. These aren’t ‘pop color’ filters; most are recreations of film stocks that were available in the days of analog photography.

    The Film Simulation modes on the two cameras are largely the same, though the cheaper X-T200 does miss out on a few favorites: Acros and Eterna. Eterna is popular with video shooters, as it produces pleasing footage with low saturation that’s easier to grade in post-production. The X-T30 also has the ability to add a film grain effect. We think it’s a (very) safe bet that the X-T200 lacks these features for product segmentation.

    Fujifilm came up with a clever way of selecting a Film Simulation mode on the X-T200. When you turn the left-most dial on the top plate, it opens up a screen with the current Film Sim mode on one side and the other options on the right. A slider lets you expand or contract the viewing area of the before or after sides. This feature is much easier to show rather than explain, so have a look at the video below (from the X-A7) to see how it works.

    Video

    The X-T200 is no slouch when it comes to video, but if you’re a serious videophile who wants to take more control over their camera, then the X-T30 is the better choice.

    First, here’s what the X-T200 offers. It can capture UHD 4K footage at 30p, 24p and 23.98p, as well as their PAL equivalents. The footage is oversampled and uncropped, though there is a 15 minute recording time limit. The X-T200 offers a ‘Digital Gimbal’ feature for reducing large mounts of shake, plus an HDR video mode. It doesn’t offer F-Log support like the X-T30, but that’s not exactly a point-and-shoot kind of feature. It has both 3.5mm mic and headphone sockets (the latter requires an included adapter) and a good number of controls over audio levels.

    The X-T30 also records 4K/30p video, but supports the wider DCI 4K format in addition to UHD. It offers selectable bit rates of up to 200Mbps, while the X-T200 is fixed at 100Mbps. The 4K recording limit is less than that of the X-T200: 10 minutes.

    There are considerably more video capture aids on the X-T30 if you’re getting more hands-on. It offers zebra stripes, time code support and tools for making focusing easier. The camera supports F-Log and can also output 10-bit 4:2:2 video to an external recorder while saving 4:2:0 8-bit footage to its memory card. A ‘movie silent control’ option allows you to use the touchscreen to adjust exposure while recording, so sound from the control dials is not picked up.

    Like the X-T200, the X-T30 has an input for an external mic, but it’s 2.5mm and will require an adapter. Speaking of which, you can attach headphones via the USB port with an adapter that’s not included.

    Wrap-up

    The two most significant factors which differentiate the X-T200 and X-T30 the most are their physical controls and video capture tools. Thus, whether it’s worth spending the extra $ 200 on the X-T30 comes down to how much control you want over the camera, and how hardcore of a video shooter you are.

    If you want a simpler, more smartphone-like shooting experience, then the X-T200 is the smarter choice. The 3.5″ display is the best in this price range (and above it), and the touch-based interface is easy to use. The X-T200’s updated sensor and autofocus system should perform well, and we expect that its oversampled, un-cropped 4K video will look very good. The built-in mic and headphone (via USB-C) connectors are a big plus. The camera’s main downside is its battery life, which is below average.

    For those who want to take more control over their camera, the X-T30 is the better of the two. It has several dials for controlling exposure and is highly customizable. It also uses Fujifilm’s newest sensor, which we’ve found to be excellent. Like the X-T200, it captures un-cropped 4K video, and offers the wider DCI aspect ratio, F-Log, zebra stripes, and 10-bit 4:2:2 output with simultaneous internal recording. Its battery life is quite a bit better than the X-T200’s, as well.

    Overall, we think that the X-T200 is a great option for more novice users, and they can put that $ 200 savings into a lens like the new XC 35mm F2. But if you’re already a photographer and looking to get a new camera, the level of control the X-T30 gives you really does make a difference, and you’ll enjoy the camera that much more for it.

    Articles: Digital Photography Review (dpreview.com)