Category: Uncategorized

  • Canon releases minor 1.6.0 firmware update for its EOS R full-frame mirrorless camera

    It’s been just over two months since firmware version 1.4.0 for the EOS R was released, but Canon is back at it again with a minor firmware update that adds support for a new lens and addresses a number of small bugs.

    Firmware version 1.6.0 doesn’t bring any major autofocus changes as firmware version 1.4.0 did, but it does add support for Canon’s new RF 85mm F1.2L USM DS lens and fixes a number of issues:

    • Corrects a phenomenon in which the function or setting value assigned to the control ring may change when the control ring is operated in Eco mode.
    • Corrects a phenomenon in which the camera may stop operating properly during “auto-transfer” when using Camera Connect with a Wi-Fi connection.
    • Corrects a phenomenon in which high-speed synchronization with the use of an external flash may not operate properly depending on the camera’s setting for C.Fn2 “Set shutter speed range”.

    Firmware version 1.6.0 is available to download on Canon USA’s website.

    Articles: Digital Photography Review (dpreview.com)

  • The Motorola One Hyper tosses a 64MP main cam, 32MP selfie cam inside a $400 phone

    Smartphone manufacturer Motorola has launched a new model that features a 64MP rear camera and a pop-up selfie camera with a 32MP sensor. The Motorola One Hyper comes with 128GB of internal storage, can accept microSD cards of up to 1TB to boost storage and has 4GB of RAM.

    The device will run Android 10 and uses the Qualcomm Snapdragon 675 platform with its 2GHz Kryo 460 octa-core CPU, and is powered by a 4000mAh battery that Motorola claims provides up to 38 hours of use. The phone’s screen measures 6.5in, all of which can be used to display images as the selfie camera pops up out of the top of the phone instead of shooting through the main screen as happens in smartphones with ‘teardrop’ or ‘punch hole’ selfie cameras. The 19:9-screen has a resolution of 1080×2340 pixels, which equates to 395 pixels per inch.

    The main camera offers users a choice of the 64MP sensor or a secondary 16MP sensor, both of which use a F1.9 aperture. A further 8MP rear-facing camera is fitted with a wide angle lens that has an angle of view of 118° — about 13mm on a full frame camera — and an aperture of F2.2.

    The rear camera can shoot RAW files as well as JPEGs, and offers auto modes that shoot when a smile or a wave is detected and will also suggest modes according to what its AI thinks the subject is. Video can be recorded in 4K at 30p and FHD at up to 60p, while slow-motion modes are also available.

    The Motorola One Hyper has both a USB-C port and a 3.5mm audio port, features NFC and Bluetooth 5.0, and can take on a full day’s charge in ten minutes using the optional 45W charger. It costs $ 399 in the US and will cost £269.99 in the UK later this month.
    For more information see the Motorola website.

    Articles: Digital Photography Review (dpreview.com)

  • Profoto A1X studio light and Off-Camera Kit now support Fujifilm cameras

    The Profoto A1X, a model the company says is the smallest studio light d on the market, can now be used with Fujifilm cameras. The new support covers the Profoto A1X AirTTL-F model, as well as the Off-Camera Kit featuring a button-free trigger and the Profoto Connect.

    The Profoto A1X AirTTL-F studio light connects to a camera’s hot shoe, offering up to 450 full-power flashes, a rapid full-power recycling speed at 1 second, as well as 20 wireless channels and an updated UI from the previous A1 model.

    The A1X likewise features a 6.9cm (2.75in) round tilting and rotating head with 76W of flash output via an LED modeling light, as well as auto-zoom functionality with a manual override, support for high-speed sync (HSS), shutter speeds as fast as 1/8000s, and a built-in white-on-black LCD.

    The Profoto A1X AirTTL-F studio light for Fujifilm is available from B&H Photo now for $ 1,095; the A1X Off-Camera Kit for Fujifilm is currently listed for preorder at $ 1,195.

    Articles: Digital Photography Review (dpreview.com)

  • This Chrome extension makes Instagram ‘likes’ visible again

    Over the past several months, Instagram has steadily removed publicly visible ‘likes’ from content posted on its platform, a decision that has polarized users. As the company explained earlier this year, hiding ‘likes’ removes the competitive feel from the platform, encouraging users to focus on the content, not how many people are engaging with it. A new Web browser extension changes that.

    Called ‘The Return of Likes,’ this new Chrome extension enables users to view like and comment counts on images when browsing Instagram using a Web browser. ‘Instagram has stopped displaying the number of likes and comments in some areas,’ developer Socialinsider explains, ‘[and] that makes the life of a Social Media person very complicated so we thought about lending a hand.’

    ‘The Return of Likes’ extension is available in the Chrome Web Store now; it doesn’t appear to be available for any other Web browsers at this time.

    Articles: Digital Photography Review (dpreview.com)

  • Down in Nuawluns: Nikon Z50 sample gallery

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    We received a reviewable Nikon Z50 a couple of days before the Thanksgiving national holiday. This gave us a chance to take the camera, and the recently-announced Nikkor Z 24mm F1.8 S lens to New Orleans, Louisiana. It’s a city renowned for its music, its food and the unique character of its French Quarter. We took the Z50 out onto the streets of ‘Nuawluns’ to try to capture a little of its flavor.

    Articles: Digital Photography Review (dpreview.com)

  • Gear of the Year – Barney’s choice part 1: Ricoh GR III

    Photo: Dan Bracaglia

    I’m of the opinion that if you use a phrase like ‘shut up and take my money’ in the title of an article about a camera, you’d damned well better buy it. It’s not about gear acquisition (honest it isn’t) it’s about reader trust.

    Yeah, right. But either way, I was serious. It wasn’t long after writing our review of the Ricoh GR III that I bought my own, right before a trip to Japan this summer. I’ve been to Japan a few times for work, but this was to be a proper vacation for once. Just me, a couple of guidebooks, some depressing podcasts and a sturdy pair of hiking boots. And the GR III.

    In the end, it didn’t end up being all vacation (one of those “Hey, so we’re planning a video project in Japan, and since you’re going to be there anyway…” things) but I did get in a decent amount of hiking, and the GR III was with me every step of the way.

    ISO 200 | 1/400 sec | F5.6

    The GR III wasn’t the only personal camera I took to Japan (I also grabbed my Nikon Z7 with a 24-70mm F2.8 lens, just to be on the safe side) but it was the one I ended up using most. Partly that’s because it’s a great camera and I love the images that come out of it, but that’s equally true of the Z7. Mostly it’s because the GR III is small enough to fit into a shirt pocket.

    In terms of image quality, the new sensor in the GR III offers a useful resolution boost over its predecessors, but more important to me is the addition of stabilization and a major increase in usable Raw dynamic range.

    ISO 160 | 1/400 sec | F7.1

    There’s no doubt that 28mm equiv. is a limiting focal length, but it also turns out to be perfect for trail landscapes and for quick grab shots walking around cities. Considering that the GR III is barely any bigger than my phone (albeit thicker) it’s hard to imagine a better traveling companion, provided of course that you don’t need to shoot video.

    Downsides? Naturally there are a few. The aforementioned uninspiring video mode, for one, but aside from that, the GR III’s maximum aperture of F2.8 means there’s very little scope for creative depth of field control, and while built-in stabilization helps, low light shooting often ends up meaning high ISO shooting.

    ISO 640 | 1/40 sec | F4

    There’s no built-in flash, which I know some GR/II fans will sincerely miss, the battery is tiny (but offers more stamina than you might expect in normal use) and there’s no EVF. Outside on a sunny day it’s not always easy to get an accurate idea of composition on the shiny rear screen, and it’s hard even to make out the horizon level indicator when shooting in especially bright conditions.

    It’s a pocketable and silent camera with a very sharp lens, which can get you pictures that larger, louder cameras simply cannot.

    Of course you can boost the screen brightness, and you can also add an optical finder. Neither are a perfect solution though. Bumping up the brightness kills battery life, and with a finder, framing becomes approximate, there’s no shooting data in your eye-line (obviously) and the GR III suddenly gets less pocketable.

    Being such a small camera, the GR III’s controls are also rather cramped in general, but that comes with the territory.

    Like many cameras of its type, the GR III is arguably at its best when used as a point and shoot, but that doesn’t mean you can’t (or shouldn’t) take full control. The GR III offers full manual exposure control and retains the top control dial from previous generations, which for an aperture-priority photographer such as myself is probably the most important single control point. A large, responsive touchscreen takes care of almost everything else.

    ISO 1600 | 1/40 sec | F2.8

    Although some GR/II fans will miss those cameras’ dedicated +/- rocker switch for exposure compensation, the rear jog switch on the GR III can be set up to do the exact same thing, and users of previous generations will be reassured to know that it’s just as easy to accidentally hit.

    That was sarcasm. For the most part, the GR III does exactly what I want it to, when I want it to, and it’s exactly in line with what Ricoh has aimed to provide from the very beginning of the GR series way back in the 1990s. The GR III is a pocketable and silent camera with a very sharp lens, which precisely for those reasons can get me pictures that larger, louder cameras simply cannot.

    Like all cameras, it has some limitations. Many of these are inherent to the design and form factor, but all are forgivable and in my opinion none devalue its main selling points.

    For all of these reasons, my first choice for Gear of the Year is a camera that I’ve carried with me more than any other in 2019, not including my phone: the Ricoh GR III.

    Watch out for Part 2 of my personal ‘Gear of the Year’ in a few days.


    Ricoh GR III sample gallery

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    Articles: Digital Photography Review (dpreview.com)

  • Capture One 20 photo editing software arrives with new and enhanced tools

    Phase One has announced the launch of Capture One 20, the latest version of its photo editing software. Additions and enhancements brought in Capture One 20 are based on user feedback, according to Phase One, which says the latest version of its software brings a ‘highly intuitive and functional’ UI that is easier for new users to learn and use.

    Capture One 20 brings both updated and new features, including a redesigned Basic Color Editor that now works on Layers, a new Crop tool that Phase One says is Capture One’s ‘most advanced’ crop tool to date, a new HDR tool that adds White and Black point sliders, a ‘re-engineered’ Noise Reduction tool, and new scrolling tools.

    In addition, Capture One users can expect enhanced versions of the software’s appearance, interface, DNG support, copy and apply functions in Layers, and an entirely new ‘Select Next When’ option that makes it possible to automatically switch to the next image once a certain action has been performed (adding a color tag, etc).

    Other enhancements include new toolbar text and icons, enhanced browser thumbnail resolution, improvements to the adjustments clipboard, and an enhanced White Balance Picker tool that has been re-engineered for what Phase One says is ‘much higher consistency.’ As expected, the updated software also brings new lens and camera support for models that include the Canon EOS 90D and M6 II, the Ricoh GR III, Nikon Z 50, and more.

    Below is a feature overview of the newly-released Capture One 20:

    Capture One 20 is available starting today with versions that limit support to camera models from Fujifilm and Sony (Capture One Pro Fujifilm 20 and Capture One Pro 20 for Sony, respectively). Customers have the choice to purchase Capture One 20 for $ 299 ($ 159 to upgrade from a previous version) or to sign up for a subscription to receive access to it for rates starting at $ 15/month. The Fujifilm and Sony versions of the software are slightly cheaper at $ 129 per license or $ 8/month.

    Articles: Digital Photography Review (dpreview.com)

  • DJI and SkyPixel launch contest to celebrate 5th anniversary

    SkyPixel, which can be accessed in DJI’s consumer apps, as well as online, has attracted over 18 million aerial photographers and content creators from 140 countries to its platform since launching in 2014. To celebrate their 5th anniversary, they’ve partnered with DJI, Nikon, and Western Digital Corp to award 56 category winners and finalists prize packages worth over $ 117,000 combined. The SkyPixel 5th Anniversary Aerial Photo & Video Contest launched on Tuesday, December 3rd, and concludes on February 3rd.

    This year’s contest features 9 storytelling categories spanning two disciplines, videography and photography. In honor of the competition’s 5th anniversary, an additional category, Aerial Story, which invites users to share their journeys from a drone’s perspective, has been added. Here are more details for each category:

    Videography

    • Nature: Capture footage of natural scenery, wildlife, and landscapes
    • City: Showcase the beauty of urban landscapes and man-made architecture
    • Sport: Document moments in movement the power and energy of humans doing sports
    • Travel: Stories about humanity, culture, or an unforgettable adventure (people should be included in these videos)

    Entires should not exceed 5 minutes and must contain at least 30 seconds of aerial footage.

    Photography

    • Portrait: Capture a person’s expression, actions or passion in the beauty of their surroundings
    • Nature: Reveal the natural beauty of the world
    • Architecture: Show off impressive structures from a new perspective
    • Sport: Capture the energy and excitement of an athlete in action
    • Aerial Story: Consisting of 5 images, they should document adventures from a drone’s perspective.

    Photos must be captured by a drone. Although DJI is a major sponsor, entries captured by any brand of drone are eligible. Each image must be at least 3 MB with a resolution of 300 dpi (in this case, pixels per inch).

    All winners will be featured as SkyPixel recommended photographers and be considered for the role of a DJI Creator. SkyPixel claims that entries from winners and finalists have received over 1 million views in past competitions. Winning entries will also be showcased at exhibits in DJI Flagship stores around the globe in Spring, 2020. Entries will be judged by a panel of award-winning experts including Jamie Hancock, Jarred Seng, Chris McLennan, and Thomas Chu. Results for this year’s winners and finalists will be announced on March 3rd. To enter, visit SkyPixel’s official contest site.

    Articles: Digital Photography Review (dpreview.com)

  • John Wick, Deadpool 2 director shot Apple’s new ‘Snowbrawl’ ad with iPhone 11 Pro

    Apple tapped Deadpool 2 and John Wick director David Leitch to direct a 90-second iPhone advertisement called ‘Snowbrawl.’ As its name suggests, the video features high-action footage of a snowball fight filmed in cinematic style using the iPhone 11 Pro.

    It’s not uncommon for Apple to publish video and image ads shot using its latest iPhone models. The company has increasingly embraced short-form storytelling as part of its ads and ‘Snowbrawl’ is no different. The commercial shows off the iPhone 11 Pro’s camera capabilities while telling the brief story of children engaged in an epic snowball fight to save a kidnapped teddy bear.

    Creatives have been producing works shot using the iPhone for years. The 2018 movie Unsane was shot entirely using the iPhone 7 Plus, for example, though it should be noted that a variety of gear, including stabilizers and external lenses, are often used as part of these projects.

    Articles: Digital Photography Review (dpreview.com)

  • Modded ‘Ribcage’ Sony RX0 II features passive MFT mount for interchangeable lenses

    Canadian retailer Back-Bone Gear is offering the new Ribcage RX0 II, a modified version of the tiny and rugged Sony RX0 II camera that features a passive MFT mount for use with manual lenses, as well as a C mount (via a mounting ring) ideally intended for use with 1″ and 1.1″ format lenses.

    The Sony RX0 II features a 1″ stacked Exmor RS CMOS sensor, removable IR-cut filter, support for capturing video at up to 4K resolutions, slow-motion capture at up to 1,000fps, and much more. Joining the camera’s robust features is an ‘extra-super-duralumin’ rugged body and 180-degree tilting LCD.

    The modified Ribcage version of the RX0 II enables users to attach their existing lenses using an adapter, to use the tiny camera for niche applications involving telescopes and microscopes, or to use unique lenses with the camera, such as vintage models. Back-Bone Gear notes that its modified MFT mount doesn’t supply power for the lenses, hence why it must be used only with manual lenses.

    The Ribcage model features CNC-machined aluminum components and includes a removable mounting plate with 1/4″-20 and 3/8″-16 mounts. The Ribcage RX0 II modified camera is available now for $ 1,299; it ships with a replacement IR-cut filter, charging cable, wrist strap, and more.

    Articles: Digital Photography Review (dpreview.com)