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Fujifilm X100F versus Ricoh GR III: Which is better for you?

10 Jun

Fujifilm X100F vs. Ricoh GR III: Which is better for you?

The Fujifilm X100F and Ricoh GR III are two very different cameras, but they’re broadly aimed at the same audience – camera-savvy enthusiast photographers who want a high-quality compact camera without sacrificing manual control or sensor size.

As you’d expect, the X100 and GR lineups each have a hugely loyal user base, built up over several years, and upgrades come slowly. But with the recent launch of the Ricoh GR III, and the continuing success of the X100F (with no signs of it being replaced any time soon) this seemed like a good time to compare the two models, to help you decide which one better suits your needs.

Focal length

Let’s deal with perhaps the most fundamental difference between these cameras first – the Ricoh GR III offers an equivalent focal length of 28mm, whereas the Fujifilm X100F provides a 35mm equivalent medium wideangle. Which of these focal lengths suits you better is of course down to personal taste, and your preferred style of photography.

As a very rough, casual comparison, 28mm is a loose proxy for a human being’s widest field of vision, whereas 35mm more closely matches your field of attention. As such, 28mm is great for images where you need to fit more in, or provide more context for your subject. Being slightly tighter, 35mm is more of an everyday ‘do everything’ focal length. It’s wide enough to make framing pretty easy for casual snapshots, but not so wide that your subject gets lost in the frame.

Verdict: Tie (depends on preference)

Adapters

But wait – it’s not quite as simple as all that. While the X100F and GR III offer native equivalent focal lengths of 35mm and 28mm, both can be paired with adapters to increase their lens’ versatility further. Fujifilm’s $ 349 screw-in WCL-100 II 28mm adapter is excellent, and increases field of view with very little image quality penalty. Another adapter, the TCL-100 II (also $ 349) can be used to magnify the lens’ effective focal length to 50mm. You might find that sharpness drops a little when the 50mm adapter is used (especially at close focusing distances) but if you enjoy shooting at 50mm, the added versatility might make the resolution penalty worth it.

Meanwhile, the GR III can be paired with the GW-3 wide converter ($ 149, plus adapter ring) to take its native 28mm equivalent lens all the way out to 21mm. We haven’t used the new adapter yet but performance of the older GW-2 adapter for the GR/II was excellent, which is encouraging.

The downside to adapter solutions for both cameras is that they add considerably to the size and weight of the cameras, not to mention additional cost.

Verdict: X100F wins for the added versatility of 28mm + 50mm equiv. converters.

Lens speed

Aside from their native focal lengths, another key differentiator between these two cameras is the speed of their lenses, expressed in terms of their maximum apertures. The Fujifilm X100F offers an F2 maximum aperture (equivalent to ~F3 in full-frame terms) while the GR III’s lens is slower, at F2.8 (~F4.2 equiv).

The difference in maximum aperture has a couple of important effects. For one, you’ll have more ability to blur backgrounds and isolate your subject from the faster lens of the X100F, aided also by its longer focal length. You’ll also be able to shoot at lower ISOs in lower light with the Fujifilm without resorting to a tripod. On the other hand, the wider lens of the GR III, and its stabilized sensor (more on this in a minute) mean that the low-light disadvantage is somewhat mitigated (assuming static subjects) and you may not need a tripod except in very dark conditions.

Verdict: Tie. Too many variables.

Stabilization

Ah yes – about that. Perhaps the most impactful upgrade to the GR III compared to its forebears is the addition of sensor-based image stabilization, which allows hand-held shooting down to at least 1/10sec without any trouble, assuming normal conditions (i.e., you’re not shooting from a helicopter or standing outside in a strong gale).

The addition of stabilization mitigates the limitations imposed by the GR III’s relatively slow lens when it comes to low-light shooting, and allows for creative options like creatively introducing blur (from flowing water, traffic, people walking by, asteroids striking the earth, etc.). The Fujifilm X100F has no such system, either optical or sensor-based, which is a major plus point in favor of the Ricoh.

Verdict: Ricoh GR III’s in-body stabilization means more options in low light.

Sensor

As a casual glance, the sensors in the Fujifilm X100F and Ricoh GR III look like they could be the same. And in fact, at a hardware level that might actually be the case. Both provide 24MP worth of resolution and on-sensor phase-detection autofocus pixels, and image quality is broadly comparable. Image quality is also in line with many of the best 24MP APS-C cameras on the market when it comes to Raw detail and dynamic range.

The difference is in the filter arrays. Ricoh uses a conventional bayer-type filter array, whereas Fujifilm uses its own proprietary X-Trans design. If you’re a JPEG shooter, there’s a definite – albeit subtle – advantage to X-Trans when it comes to critical detail retention, across most of the X100F’s ISO sensitivity range. And the X100F is well-suited to JPEG shooting, thanks to its suite of excellent Film Simulation modes, which replicate the look of classic Fuji film emulsions. We’re less enthusiastic about the JPEG output from the GR III, particularly in terms of color.

On the other hand, the more conventional design of the GR III’s sensor means that its Raw files play rather better with third-party Raw converters than those from the Fujifilm. While the difference isn’t massive, and Capture One deserves a mention as one of the software suites that actually does a great job. It might make a difference if you’re a Raw shooter with (for example) an established Adobe Raw workflow.

Verdict: Ricoh GR III’s more conventional Raw files are more flexible.

Body size

The Fujifilm X100F is styled after the classic rangefinder cameras of the 1960s and 70s, and it’s around the same size as a Canonet or Yashica rangefinder (if you’re old enough to remember either). It’s a small camera, and will fit comfortably into a jacket pocket or handbag but it won’t slip into a shirt or trouser pocket. You’ll probably need either a hand strap or conventional neck strap to keep it secure when shooting.

On the other hand (no pun intended), despite having a sensor-based stabilization system built into the body, the GR III is an impressively small camera. Compared to the X100F, the GR III is genuinely shirt-pocketable, and when turned off it takes up remarkably little space in a pocket or bag. Annoyingly, the GR III lacks proper strap lugs so it won’t accept just any conventional strap, but the slim (included) hand strap is probably all you’ll need. Obviously if you enjoy shooting with a viewfinder attached, the GR III becomes a lot less compact, which leads me on to my next point….

Verdict: Ricoh GR III is genuinely pocketable.

Viewfinder

…the GR III does not have a built-in viewfinder, whereas the X100F does. And in fact, the X100F’s viewfinder is one of its best features. Unique to Fujifilm, the X100F features a ‘hybrid’ finder which can be switched between a high-resolution electronic view, and an optical view with exposure and focus information overlaid. Personally, I use the X100F almost exclusively in EVF mode, but a lot of photographers swear by the immediacy of the optical view. Impressively, the X100F can offer a version of the classic rangefinder focus aid by overlaying a portion of the live view feed in the optical finder. It’s hard to describe in words, but works well if you’re a fan of manual focus.

With the GR III, on the other hand, you don’t have the same options. While simple optical finders can be attached (and Ricoh will sell you one, for quite a lot of money) you miss out on in-view focus or exposure information, and there’s no option to add an external EVF.

Verdict: Fujifilm X100F’s built-in hybrid optical / electronic wins by a mile.

Flash

Another thing missing from the GR III compared to the X100F (and in fact previous GR models) is a flash. Possibly for internal space reasons, possibly for battery life reasons (or a combination of both) Ricoh deleted the internal flash on the GR III, and own-brand external flashguns add considerably to the size of the camera. The Fujifilm X100F on the other hand features a small built-in flashgun. It isn’t the most powerful in the world, but is useful for low-light social photography and fill-in purposes when shooting in daylight. And both cameras have leaf shutters, allowing flash synchronization at very high shutter speeds.

Verdict: The Fujifilm X100F wins.

Touchscreen

What Ricoh’s engineers took away with one hand, they gave back with the other – in a significant upgrade compared to older GR models, the rear screen is touch-sensitive, and can be used to quickly place the AF point, and scroll through / zoom in to captured images. Some traditionalists might be tempted to disable the touchscreen (and the camera’s physical controls are there to take over if you’d prefer to go that route) but we’ve found that the addition of touch sensitivity makes a positive impact on the GR III’s handling experience.

The X100F is a more control and dial-heavy camera, and offers a conventional, non touch-sensitive screen. Whether this makes a huge difference to your purchasing decision is as much about personal preference as anything else, but with the camera held out away from your eye, it is easier to quickly position a focus point by touch on the GR III than it is with the AF joystick on the rear of the X100F. If you’re typically a viewfinder shooter, the lack of touch-sensitivity on the X100F might not bother you all that much.

Verdict: The Ricoh GR III’s touch-screen does make some key operations easier.

Control interface

The Fujifilm X100F is the fourth in a line of X100-series cameras which really set a template for the X and G-series mirrorless cameras that came later. A key part of the appeal of the original X100 was its (for the time) novel ‘retro’ styling, and every subsequent model in the lineup has shared a consciously old-fashioned hands-on design philosophy, with physical dials for key exposure settings, alongside the usual modal buttons and rear controls.

Arguably, you don’t really need all those dials, and personally I think the X100F is over-endowed with control input points. I haven’t used a physical shutter speed dial since the Nikon F4, so when I shoot with the X100F, mine stays locked to ‘A’, but some people swear by it. And they look great, which I suspect is part of the point. The downside to the X100-series’ distinctive styling is that the cameras do tend to attract attention. Be prepared to be asked, ‘is that a Leica?’.

Control interface (con’t)

The GR III on the other hand offers a simpler, more subtle, less cluttered control interface which arguably better suits its specifications. A simple exposure compensation toggle on the rear doubles as a modal control for quick access to key shooting settings, and a dial on the upper right of the top-plate serves as the main input for exposure settings. Meanwhile, a lockable exposure mode dial provides a simple (and visually clear) means of moving between PASM and automatic exposure modes. As as already been mentioned, the touch-screen on the rear of the GR III helps to simplify some actions, like setting the AF point and navigating through captured images.

In the end, the choice comes down to two things – how you like your cameras to work, but also how you like them to look.

Verdict: Personal preference (but the Ricoh GR III is more streamlined).

Battery life

This one is pretty straightforward – while neither offer spectacular stamina, battery life from the X100F is pretty ok, whereas battery life from the GR III is decidedly less ok. Both cameras will probably get you through a day of shooting without any issues, but we’d be much less confident about leaving the house without a spare battery for the GR III. One of the most welcome upgrades in the X100F over its predecessors was a more powerful battery, and its CIPA rating compared to the GR III speaks for itself (390-330 shots compared to 200).

In reality, in a single shooting session with minimal image review, both cameras should be able to capture a lot more shots per charge than the CIPA figures suggest, but there’s no escaping the fact that the GR III’s battery is on the skinny side.

Verdict: The Fujifilm X100F wins with roughly twice the battery life of the GR III.

Movie mode

Arguably, neither of these cameras is really suited to serious movie shooting, but of the two, the X100F is a far more convincing video camera. While not spectacular, its maximum video resolution of 1080/60p is fine, with a good degree of control over exposure. Focus is AF-C or manual only, but it’s still usable, and there is a socket for an external mic.

The GR III on the other hand offers a very thin video feature set. Although it also boasts 1080/60p resolution, exposure is locked to ‘P’ and there is no option for adding an external microphone.

Verdict: The Fujifilm X100F is the better of the two (but neither are great).

Summing up

So which of these two cameras is best for you? Aaaaaaall together now: It depends.

Obviously that’s the answer – that’s always the answer! You know how this works by now. If you value compact size over the convenience of a viewfinder, go for the GR III. If you’re one of those people that just doesn’t ‘get’ 28mm for some reason, go for the X100F. If you like to shoot a lot in low light but you don’t carry a tripod, the GR III is a better choice. If you want the camera to shoot video, frankly I think you’d be mad to consider either of them, but in a pinch the X100F is the less terrible of the two. Etc., and so on.

At the end of the day, both are excellent cameras with their own strengths and relatively few serious weaknesses. They’re just different. If you have the money, there’s actually a pretty good argument to made for buying both the X100F and the GR III, and using them alongside one another. Both cameras together will still take up less space in your bag than most mirrorless ILCs with a zoom lens.

Ultimately, you’re a grownup. You know what you like, and you know what you need. You’ve got this! Feel free, as always, to share your thoughts in the comments and let me know if I missed anything!

Articles: Digital Photography Review (dpreview.com)

 
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Sigma issues product advisory for its 60-600mm F4.5-6.3 and 70-200mm F2.8 Sports lenses

10 Jun

Sigma has issued a lens product advisory for its 60-600mm F4.5-6.3 DG OS HSM and 70-200mm F2.8 DG OS HSM lenses.

According to the advisory, posted below in its entirety, Sigma has ‘found a phenomenon whereby when pressing the shutter button on the camera body, it may occasionally stop operating and not respond to the reoperation.’

Due to this ‘phenomenon’ (someone’s been looking at Canon’s product advisories), Sigma says it will offer free lens firmware updates free of charge to customers with affected products within the following serial number ranges:

Sigma 60-600mm F4.5-6.3 DG OS HSM | Sports for Sigma, Canon EF and Nikon F Mount

Serial No.53824160 or earlier

Sigma 70-200mm F2.8 DG OS HSM | Sports for Sigma, Canon EF and Nikon F Mount

Serial No.53846990 or earlier

Sigma notes its USB Dock can’t be used for this firmware update ‘as it requires an adjustment to optimize each lens individually.’ So, if you’re noticing your lens having this issue and it falls within the serial numbers, Sigma requests you contact an authorized Sigma subsidiary/distributor who will then direct you to take the proper steps to get the issue fixed. You can find a full list on Sigma’s World Network webpage.

We spoke with a technician at Sigma America who said lenses that aren’t experiencing the issue don’t need to be sent in at the time and in the event a lens still under warranty does have the issue occur down the road, Sigma will still provide the firmware update free of charge.

Sigma has also noted that some products within the serial number ranges provided have already had their firmware updated. As shown in the above graphic, units with a black dot sticker above the barcode of the box have already been updated.

Articles: Digital Photography Review (dpreview.com)

 
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Sony World Photography Awards adds new 2020 category, reveals grant recipients

10 Jun

The Sony World Photography Awards has a new ‘Environment’ category under its Professional competition, the World Photography Organization has announced. Under this category, photographers are challenged to ‘address environmental concerns affecting the world today.’ Additionally, the 2020 Awards will also feature a new Youth competition that allows photographers ages 12 to 19 to submit up to three images per months through December 2019.

The 2020 Sony World Photography Awards kicked off its Youth competition this month; its deadlines are the last day of each month from June to December. Under the competition, photographers as young as 12 and as old as 19 can submit up to three single images each month. Every month has its own theme and will result in one winner and a shortlist.

In addition to the new Youth competition, the 2020 Awards will feature a new ‘Environment’ category in the Professional competition, which has a January 11, 2020 deadline. According to the organization, winning and shortlisted photographers will get a ‘global platform’ for showcasing their work.

The 2020 Awards will also include the Open competition with a January 7, 2020, deadline and the Student competition with a November 29 deadline.

In addition to revealing the new Environment category and Youth competition details, the organization has announced the 2019 Sony Grant recipients. In the Professional competition, 2019 Sony Grant recipients get $ 7,000 each alongside Sony photography gear. Recipients of the Student grant receive $ 3,500 each and will work together as a team to provide commissioned images.

The 2019 Sony Grant recipients are:

Professional category:

– Yan Wang Preston (UK)
– Ed Thompson (UK)
– Kohei Ueno (Japan)
– Thomas Uusheimo (Finland)

Student category:

– Joel Davies (Central St Martins, UK)
– Sam Delaware (Pacific Union College, USA)
– Tobias Kristensen (Danish School of Media & Journalism, Denmark)

You can find a gallery of the 2018 Sony World Photography Awards competition in our previous coverage.

Press Release:

Sony World Photography Awards reveals new categories for 2020 and latest Sony Grant recipients

?Photography’s power to capture environmental issues recognized in new dedicated category
?Sony Grants awarded to four exceptional professional artists and three student talents
?Youth competition restructured to give young photographers more opportunity
?Exhibition tours to Japan, Italy, Germany and beyond in 2019

June 4, 2019, London: Submissions for the 13th edition of the internationally acclaimed Sony World Photography Awards are now open and free for all to enter at www.worldphoto.org.

The 2020 Awards are marked by the introduction of an Environment category to its Professional competition, recognizing the importance of the subject for contemporary artists, and a new format for the Youth competition, to engage and reward young photographers working worldwide.

The Awards also announced today the recipients of the 2019 Sony Grant. Chosen from the winners and shortlist of the 2019 Sony World Photography Awards, the Sony Grant give artists the freedom to create new bodies of work or develop long-term projects. In clear demonstration of this, a new film by 2018 Photographer of the Year Alys Tomlinson funded by her Sony Grant will be premiered at Rencontres d’Arles, France, this summer. The film is an extension of the artist’s 2018 award-winning series Ex-Voto.

Having been seen by 25,000 people in London, the exhibition of winning and shortlisted works from across the 2019 Awards will now tour internationally. Opening in Japan on June 1, the exhibition will travel to Germany, Italy, India, and Mexico giving audiences worldwide the opportunity to see the very best in contemporary photography from the past year.

Environmental issues highlighted in new Professional category

The Professional competition seeks serious bodies of work across ten diverse categories by artists working across fine art photography and photojournalism, and rewards those pushing the boundaries of what photography can do. The new Environment category will challenge artists to address environmental concerns affecting the world today and winning and shortlisted photographers are given a global platform upon which to showcase their work.

Speaking about the direct results of winning, Italian artist Federico Borella states: “Winning the 2019 Photographer of the Year title is one of the most important things for my career and my life. This kind of visibility is amazing because it allows me and my work to reach a global audience. My phone started ringing straight after the announcement and it hasn’t stopped ringing since! People want to listen to the story I want to tell. How can I ask for more?”S

Judges selected Borella as the overall winner in 2019 for a powerful photographic essay on the human effects of climate change in Tamil Nadu, India.A

New opportunity for young emerging photographers

The new Youth competition will give young photographers aged 12-19 the opportunity to enter up to three single images per month from June – December 2019. Each month will have a different theme and judges will select one winner and a shortlist per month. The seven monthly winners will then compete to be named Youth Photographer of the Year.

The monthly structure has been implemented to give emerging photographic talent more opportunity to be discovered and will be accompanied by expert advice on the monthly theme to help those entering.

In addition to the Professional and Youth competitions, the 2020 Awards includes the Open competition, rewarding outstanding single images across ten categories and the Student competition, for photography students worldwide. The National Awards program also runs in 60+ countries and celebrate local photographic talent.

The Awards are judged anonymously, giving all photographers across the world equal opportunity to be seen by juries of industry leading experts and win.

A total prize fund of $ 60,000 (USD) plus Sony digital imaging equipment is shared between winning photographers, with many also being flown to London to attend the annual awards ceremony. All shortlisted photographers are given exposure via the Sony World Photography Awards Exhibition which opens in London before touring globally. The 2019 Awards saw 327,000 entries from 195 countries. For more details about all the competitions and categories please go to www.worldphoto.org/swpa

2019 Sony Grant recipients
The World Photography Organisation and Sony are committed to supporting contemporary photographers and contributing to the further development of photographic culture worldwide.

The Sony Grants program, introduced in 2016, is open to winning and shortlisted photographers of the Awards’ Professional and Student competition. Recipients of the 2019 Professional grant are Yan Wang Preston (UK), Ed Thompson (UK), Kohei Ueno (Japan) and Thomas Uusheimo (Finland). Each receive $ 7,000 (USD) and Sony digital imaging equipment to create work of their choice.

The 2019 Student grant was awarded to Joel Davies (Central St Martins, UK), Sam Delaware (Pacific Union College, USA) and Tobias Kristensen (Danish School of Media & Journalism, Denmark). Each receive $ 3.500 (USD) and have been commissioned to create a new body of images, working as a team.

The results of all grant recipients work will be shown at the 2020 Sony World Photography Awards Exhibition. Find out more about the Sony Grant at www.worldphoto.org/sony-grant

2020 Competition deadlines
?Youth competition: Last day of each month from June – December, 2019
?Student competition: November 29, 2019
?Open competition / National Awards: January 7, 2020
?Professional competition: January 11, 2020

About World Photography Organisation
The World Photography Organisation is a global platform for photography initiatives. Working across up to 180 countries, our aim is to raise the level of conversation around photography by celebrating the best imagery and photographers on the planet. We pride ourselves on building lasting relationships with both individual photographers as well as our industry-leading partners around the world. The World Photography Organisation hosts a year-round portfolio of events including the Sony World Photography Awards, one of the world’s leading photography competitions, and PHOTOFAIRS, leading international art fairs dedicated to photography. For more details see www.worldphoto.org

Articles: Digital Photography Review (dpreview.com)

 
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DJI teases new release for June 11th with new video posted to social channels

09 Jun

DJI released a 21-second teaser video ahead of their latest product release titled ‘Learn to Win.’ An official announcement will be made this Tuesday, June 11th. The world’s top drone manufacturer released the Osmo Action camera less than a month ago.

Naturally, the Internet has offered up numerous theories on the next move for DJI, who hasn’t released a consumer-grade drone since the Mavic 2 Pro and Zoom at the end of August last year. One possibility is their official entry into the lucrative and growing FPV racing market with a compact, agile drone. Another potential release could be a Software Development Kit (SDK) aimed at developers and tinkerers for custom applications.

The caption on the video, first posted to YouTube, hints at the latter SDK possibility as it reads ‘DJI was built by tiredless engineers who never stopped looking for answers and pushing boundaries. Now, get ready to push yours. If you’re ready to win, be prepared to learn.’

‘DJI was built by tiredless engineers who never stopped looking for answers and pushing boundaries. Now, get ready to push yours. If you’re ready to win, be prepared to learn.’

Rumors of a Spark 2 drone, slated for summer, have also circulated and are covered in detail by DroneDJ. The Phantom 4 series is still out of stock at DJI’s official online store, though representatives for the company have gone on record stating that a logical Phantom 5 follow-up is either on hold or, alternately, there was nothing to cancel in the first place.

Articles: Digital Photography Review (dpreview.com)

 
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Sony Xperia 1 sample gallery

09 Jun

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Sony’s flagship mobile device packs some powerful imaging features, including a rear triple-cam, Eye AF and 4K HDR video recording. It seems like a natural place to find sophisticated autofocus and video capture features given its pedigree, and we were eager to take it for a spin when it arrived in the office. Take a look at how we got along.

See our Sony Xperia 1 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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The FAA devises a new strategy for Remote ID

09 Jun

Remote identification (Remote ID) is the concept that drones need to be equipped with a digital license plate. Knowing who is flying an unmanned aerial system (UAS) where, and when, is imperative for increasing safety and security. Two senators on opposite sides of the political spectrum even urged U.S. Transportation Secretary Elaine Chao to take action recently.

This Thursday, the Federal Aviation Administration (FAA) informed its Drone Advisory Committee (DAC) that a final rule on remote identification of drones could take up to two years to implement. This latest development also finds them looking to the committee for alternate strategies including how to get operators to voluntarily use remote ID.

‘We realize that there’s no schedule I can give you or anyone else can give you that will be quick enough to get to remote ID, from a regulatory standpoint,’ said Jay Merkle, executive director of the FAA’s drone integration office. ‘So we think working with industry to get early adoption of [technical] standards and voluntary compliance is a good way to start enabling and unlocking’ flights over people and beyond line of sight.

Remote ID for UAS has been a long time in the making. The process was introduced over two years ago. Rulemaking was supposed to begin on May 1st but was pushed back to July 21st. The newly-formed DAC hasn’t been neglecting it, however. ‘The reason for delay is not because people haven’t been working on it,’ Merkle said, describing the rulemaking as ‘very complex.’

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Panasonic DFD vs. Canon dual-pixel autofocus

08 Jun

To DFD or not to DFD, that is the question.

Panasonic’s proprietary DFD (Depth from Defocus) autofocus system has both critics and fans, but Chris and Jordan think the system might have received a bad rap. In this episode they compare DFD to Canon’s Dual-Pixel autofocus system. Might the results surprise you?

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • How the autofocus systems work
  • Face detect C-AF
  • Single point C-AF
  • Tracking C-AF
  • Video C-AF
  • Shooting experience
  • Panasonic GH5 comparison
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Best smartphone cameras of 2019

08 Jun

There are plenty of factors to consider when choosing your next smartphone, and it’s not a decision that should be made based solely on any individual feature. But we hear from a lot of folks that camera performance is right at the top of the list of considerations when it’s time to upgrade, and we’re often asked which smartphone camera is the best.

While we rank the Google Pixel 3 as the best all-around smartphone camera, it’s important to consider your unique photographic needs. Here are the smartphone cameras we think are worth consideration for a range of use-cases.

If you’re well-versed in smartphone imaging terminology, skip right ahead. But if you’d like a quick primer, here are some of the terms you’ll see referred to frequently in this guide:

Computational photography: Image capture and processing techniques that replace traditional optical processes with digital, or computational, ones.

Portrait mode: A photo mode that mimics the blurry-background effect known as bokeh. It’s used commonly for portraits, but isn’t necessarily limited to that use case.

Night Sight: Specifically, a proprietary Google camera mode that captures multiple frames and combines them to create a final image with more detail and less noise in dark situations. Other manufacturers offer their own, similar, modes but the Pixel 3’s is especially impressive, thanks to its use of super resolution that makes the mode useful even for daytime shooting.

Hybrid zoom: A method for zooming that combines traditional optical zoom with computational techniques, allowing for better detail rendering at intermediary focal lengths than digital zoom alone.

Best all-around: Google Pixel 3

It’s certainly not flawless, but if there’s one mobile device to recommend above all others for pure imaging prowess, it’s gotta be the Pixel. Sure, you’ll have just one main camera lens at your disposal, but Google’s clever multi-frame image processing brings capabilities to a single camera that are downright spooky.

Night Sight does an impressive job of rendering very dark scenes, and can even be used to bring out even more detail in well-lit scenes (provided your subject isn’t moving too much). It even uses machine learning to provide more pleasing colors. Portrait mode handles tricky subjects like hair convincingly, videos are well-stabilized, and it’s all integrated with Google’s powerful Photos app.

So who shouldn’t buy a Pixel 3? If any of the following use-cases are your primary goal for your smartphone photography, then you should consider our picks in those categories. And of course, if you’re deeply entrenched in iOS and/or you can’t stand Android, you’ll probably be happier with the iPhone XS.

Best for video: iPhone XS

The iPhone not only offers 4K/60p standard video recording (a notch above the Pixel’s 4K/30p) but it also offers HDR video capture at 4K/30p. This mode uses multiple frames for impressive dynamic range, and is simply some of the best footage we’ve seen from a smartphone.

The XS is a fantastic all-around camera in its own right, going so far as to even simulate optical properties of lenses like mechanical vignetting, so if you plan on consistently shooting a mix of stills and video it’s worth considering over the Pixel.

On the stills side, we’re particularly impressed by Apple’s decision to capture a wider (P3) color gamut and display high dynamic range photos in a manner that takes advantage of the HDR capabilities of the display – something no other phone (or camera) on the market does to-date. Not to mention that we’re partial to Apple’s color rendition over Google’s – the latter tends toward cooler white balance and less saturation.

We give the Pixel 3 an edge in our recommendations thanks to features like Night Sight and computational Raw (read up on all of that here) but the XS isn’t far behind.

Best portrait mode: Google Pixel 3

Oh, portrait mode: sometimes it’s pretty good, sometimes it’s okay, and sometimes it’s downright terrible. It’s a feature that’s very much a work-in-progress on every phone, but we think the best implementation currently is on the Pixel 3. Google uses its dual-pixel sensor as well as machine learning to identify subjects and backgrounds, giving a slightly more realistic, progressive blur. While others use similar approaches, Google’s additional use of machine learning to help the camera understand depth cues makes it stand out from the rest. It’s good enough for Instagram.

Best for zoom: Huawei P30 Pro

Huawei is the first manufacturer to bring folded optics to the smartphone market, packing a 5x telephoto lens into its P30 Pro alongside standard and wide-angle camera units. Other phones offer 5x digital zoom, but this tends to degrade image quality and the P30 Pro’s 5x optical zoom image quality is significantly better. Furthermore, it utilizes hybrid zoom to fill in the gaps between its standard and tele lenses for improved image quality compared to simple digital zoom.

Though it lacks the impressive optical telephoto reach, the Samsung Galaxy S10 and S10+ are also worth considering for more focal length flexibility. They each provide 2x telephoto and ultra-wide lenses in addition to a standard wide-angle unit. If the P30 Pro isn’t available in your area and you’re one of the Android faithful, the S10-series are also good all-rounders.

Best budget smartphone camera: Google Pixel 3a

Flagship phones have packed in more and more impressive features in recent years and likewise, MSRPs have ballooned right along with them – up to and beyond the $ 1000 mark. In this context, Google’s Pixel 3a is bargain for $ 400.

You can easily spend less on a phone by opting for a device that’s a generation or two old, but you’ll be missing out on the significant camera tech improvements available on current models. That’s why the Pixel 3a is sort of groundbreaking. By sacrificing a few features reserved for the flagship (the 3a lacks wireless charging, water resistance and uses a slower processor) and some nice-to-have imaging features (no wide-angle selfies) you’ll still get the latest camera tech and save a bunch of money.

Should I wait for the next round of flagship phones?

You don’t have to be James Holzhauer (YES RICHARD I KNOW THAT NOBODY OUTSIDE OF THE US WATCHES JEOPARDY JUST GIVE ME THIS ONE THING) to know that betting on new flagship smartphones debuting in the fall is a safe wager. Should you wait a few more months for the latest and greatest? That depends.

The next crop of phones will likely rely on machine learning for smarter algorithms to process images, isolate Portrait Mode subjects and offer more focal lengths and zoom ratios. Screens will get bigger and nicer, bezels will continue to shrink and the Battle of the Notch wages on.

With smartphone sales down there’s more motivation to make the next generation even more enticing

Things get interesting on the camera hardware side. Rumors point to Google adding another rear camera, and murmurings of a triple-camera iPhone are looking increasingly plausible. That’s good news for anyone with an eye on a budget model too: if the XS successor adds a wide-angle camera to the mix, then the XR successor may adopt the dual-lens module currently used by the flagship.

If nothing else, with smartphone sales down there’s more motivation to make the next generation even more enticing (and the ‘affordable’ versions more affordable). If you’re an early adopter or hoping for a few more features on a budget model, you might want to hold off. But if you’re upgrading from a phone that’s more than a generation old, you’ll probably be satisfied with the advancements present in the current crop of flagships for some time.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GFX 100 review in progress

08 Jun
Our coverage so far is based on a camera running non-final firmware, so is focused on the handling and features, rather than the camera’s performance.

The Fujifilm GFX 100 is the 100 Megapixel medium format camera the company had previously promised. It’s a dual-grip mirrorless camera that uses the GF lens mount. The addition of on-sensor phase detection for faster focus and in-body image stabilization significantly expands the range of photography it can apply itself to.

This combination of high resolution, image stabilization and on-sensor phase detection looks to not only drive home its large-sensor advantage over full-frame, but also expand the types of photography to which medium format can be easily applied, making it potentially the most flexible bigger-than-full-frame camera ever.

  • 102MP BSI-CMOS 44 x 33mm sensor
  • On-sensor Phase Detection
  • 5-axis image stabilization
  • Continuous shooting at up to 5 fps
  • 4K video with 4:2:2 10-bit HDMI output
  • 5.76M-dot removable OLED viewfinder
  • 16 or 14-bit Raw capture

The Fujifilm GFX 100 will be available at the end of June with a recommended price of $ 10,000, including the viewfinder.

What’s new and how it compares

The camera’s 102 Megapixels are what attracts the attention, but the GFX 100 brings a lot more than that.

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Body and handling

The GFX 100 uses a twin-grip design, and no dedicated dials which radically changes the way the camera handles. The duplication of control isn’t always successful.

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Operations and controls

The GFX 100 brings the well-polished interface from the Fujifilm X-T3 but adds an even greater degree of customization.

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Sample gallery

We’ve been shooting the GFX 100 in a range of circumstances, to see how adaptable it is.

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Articles: Digital Photography Review (dpreview.com)

 
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Astropad 3.2 update shows it isn’t going away anytime soon—and teases a Windows version

08 Jun

Astropad may have been ‘Sherlocked’ with Apple’s announcement that the ability to use an iPad as a secondary display will be baked into macOS 10.15 Catalina as a feature called Sidecar, but that hasn’t stopped Astropad from updating its third-party solution.

Yesterday, Astropad 3.2 was released with a few new updates and a note from its founders saying they have no plans to stop Astropad development, even amidst Apple’s Sidecar announcement.

Astropad 3.2 brings along your normal bug fixes and under-the-hood fixes as well as a fix to minimize pixelation. According to the update notes, the development team re-engineered the data flow from Mac devices to iPads ‘in order to push data more efficiently between devices.’ This fix should mean pixelation is ‘significantly reduced’ when your iPad is connected to a Mac device over strong Wi-Fi networks or USB. Astropad notes the changes should especially be noticeable when scrolling through text documents and websites.

On iOS, Astropad Studio 3.2, Astropad Standard 3.2 and Astropad Mini 3.2 should all be available to update in the iOS App Store if you currently have the apps on your device. The macOS app should automatically update to the latest version, but if not, Astropad has a dedicated download page where you can manually download the updated version.

As for future plans, Astropad’s founders have written up a blog post explaining that Astropad isn’t going anywhere anytime soon. Under the headline ‘We’re not going anywhere,’ the note reads:

We’ve spent the last five years building innovative products like Astropad and Luna Display that cater to true creative professionals. Our team has always doubled-down on delivering rich features, deep customization, and low-latency input. Why? Because that’s user-driven and that’s what we do.

So while Apple’s Sidecar merely scratches the surface of a Mac-iPad workspace, we went all in on the bells and whistles. What does this mean for you? If you have basic needs, Apple’s Sidecar may do the trick. But if you’re a pro, we’ve built Astropad to cater to your creative workflow.

Oh, and one more thing: the message from the founders also hints that a Windows version of Astropad is in the future. ‘We see a bright future in that exciting new space and we hope you’ll join us along for the ride,’ reads the message. ‘So while we may be the underdogs, we’re ready to charge head-on because we’re just as committed to creative pros as we’ve always been — whether that’s via Mac, PC, or beyond.’

Articles: Digital Photography Review (dpreview.com)

 
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