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Ricoh GR III review

15 May

Introduction

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Silver Award

81%
Overall score

The Ricoh GR III is a compact 24MP APS-C format camera with a 28mm equivalent F2.8 lens. The third in a series of APS-C ‘GR’ compacts from Ricoh, the GR III has been a long time coming, but updates the GR II in some highly significant ways. Several Ricoh representatives have described the GR III to us as a ‘labor of love’ – keep reading to find out whether the work of the company’s engineers has paid off.

Key specifications:

  • 24MP APS-C sensor
  • 18.3mm (28mm equivalent) F2.8 lens
  • 3-axis in-body SR stabilization system
  • On-sensor phase detection autofocus
  • Ultrasonic sensor cleaning
  • 3″ 1.04M-dot touch-sensitive LCD screen
  • Anti-aliasing filter simulation
  • Optional 21mm equivalent GW-4 wide adapter lens
  • 1080/60p video
  • USB 3.0 (Type C) enables in-camera charging

Ricoh took its time with the GR III. The original GR was announced a full six years ago, and the intervening GR II was such a minor update that Ricoh felt compelled to reduce its MSRP by $ 100 less than a month after it was introduced.

The GR III is a major update to the GR and GR II that preceded it. The resolution increase from 16-24MP was expected (and overdue) but the addition of sensor stabilization, a touch-sensitive screen, and the removal of the built-in flash make the GR III a very different photographic tool, albeit one that should feel instantly familiar to GR / II fans.

The GR III is available now for $ 899: $ 100 more than the introductory price of the GR II in 2015 (and $ 200 more after the GR II’s rapid MSRP reduction three weeks after it launched).


What’s new and how it compares

The GR III might look very similar, but it’s a significant update over the GR and GR II. Find out more about what’s new.

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Body, handling and controls

The GR III’s control layout has been completely overhauled compared to its predecessors, with fewer external controls and the addition of a touchscreen. What difference does this make?

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Shooting experience

They say the best camera is the one you have with you – should you take the GR III on your next excursion?

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Image quality

The GR III’s 24MP APS-C sensor is at least a generation newer than the sensors in its predecessors. How does it stack up against modern competitors?

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Video and Performance

The GR III is primarily a stills camera, but we thought we should check-in on its video features and see how the autofocus behaves.

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Conclusion

For most photographers, the GR III makes a good camera even better, but there are some caveats.

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Articles: Digital Photography Review (dpreview.com)

 
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KONO! launches new 35mm Original Mirage film stock and Original Sixpack

15 May

European analog photography company KONO! has announced a new film stock called Original Mirage. This 35mm C-41 200 ISO pre-exposed color negative film offers ‘two awesome colors at once,’ according to KONO!, which has added the product to its ‘Original’ line.

Images captured on the Original Mirage film experience a distinct color shift from warm to cool; when the environment is bright, KONO! likens the color shift to ‘a warm, late summer day’ that, in the same photo, transitions toward a late day likeness in which the ‘colors get more prominent and richer.’ Below is a collection of sample images captured on the new Original Mirage film:

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In addition to the new Original Mirage product, KONO! now offers an Original film bundle containing six film products in the series: Original Sunstroke, Original Moonstruck, Original Monsoon, Original Candy, and Original Galaxy. The new Original Mirage film is included in the six-pack bundle for free.

A roll of the 24-exposure Original Mirage costs $ 14 USD; the KONO! Original Sixpack is available now for $ 67 USD.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe informs users that using old versions of CC apps could lead to lawsuits from third parties

15 May

Last week, Adobe informed Creative Cloud subscribers that programs older than the two most recent version releases would no longer be available to download. Now, Adobe has sent out an email warning subscribers that continuing to use older software could put them at risk of getting sued by third parties.

Below is a transcription of the text sent to a number of Creative Cloud subscribers:

Dear Valued Creative Cloud Customer,

We have an update to share with you regarding Creative Cloud version download availability. For customers who have not yet updated to the latest version of Creative Cloud, please note that you are no longer licensed to use certain older versions of the applications or deploy packages containing these older versions. We ask that your organization discontinues all usage of the unauthorized products listed in the table below, and instead update to the authorized versions provided. You will continue to receive all the value that Creative Cloud has to offer, but with more advanced features, capabilities and security. Please be aware that if you continue to use or deploy the older, unauthorized versions of Creative Cloud, you will not have third-party claim coverage pursuant to your contract with Adobe. Should you continue to use or deploy these unauthorized versions, you may be at risk of potential claims of infringement by third parties.

Here’s what to do next:

• If your users have self-service access to Creative Cloud via the CC Desktop App, you should encourage them to upgrade their software.
• If you package and deploy products to your users, then you should go to the Adobe Admin Console and create new packages from the versions available
• If you are still licensing with a serial number, you should continue to create packages using Creative Cloud Packager
• Finally, we advise that you un-install unauthorized versions and delete pre-existing packages to prevent future accidental deployments.

Adobe’s Customer Support organization is available to answer any questions about upgrading your Creative Cloud software. Please contact them directly should you have any questions. We apologize for any inconvenience that this may cause and thank you in advance for your cooperation.

Sincerely,
The Adobe Team

Below is a list of the unauthorized versions of software addressed in the message:

Photoshop: CC 18.1.6 and prior, CC 17, CC 16, CC 15, CC 14, 13
InDesign: CC 9, 8
Premiere Pro: CC 11, CC 10, CC 9, CC 8, CC 7, 6
Media Encoder: CC 11, CC 10, CC 9, CC 8, CC 7, 6
After Effects: CC 14, CC 13, CC 12, CC 11
Animate: CC 16, CC 15, CC 14, CC 13, 12
Audition: CC 6, CC 5, CC 4
Lightroom Classic: CC 6, CC 5, CC 4
Bridge: CC 7, CC 6
Prelude: CC 6, CC 5, CC4, CC 3, CC 2, 1
SpeedGrade (has been discontinued): CC 9, CC 8, CC 7, 6
Captivate: Captivate 2017 (10.0.0)

Based on the information provided in the email, as well as previous complaints filed by third parties, it sounds as though the licensing agreement Adobe had for technologies inside select Creative Cloud programs has run out with whatever entities it was licensing it from.

It’s unknown at this time what specific technologies were licensed and who they were licensed from, but as Apple Insider has noted, Dolby may very well be one of the companies, as it sued Adobe last year for copyright infringement. Specifically, Dolby’s complaint claimed Adobe was under-reporting how many Creative Cloud subscribers it had, which affected revenue from the licensing fee it negotiated and agreed upon with Adobe for its audio encoders and other software technologies.

DPReview contacted Adobe for comment on the message that was sent out as well as more details on the matter and below is the response we received:

Adobe recently discontinued certain older versions of Creative Cloud applications. Customers using those versions have been notified that they are no longer licensed to use them and were provided guidance on how to upgrade to the latest authorized versions. Unfortunately, customers who continue to use or deploy older, unauthorized versions of Creative Cloud may face potential claims of infringement by third parties.

Articles: Digital Photography Review (dpreview.com)

 
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New York Times Lens photo blog will enter ‘temporary hiatus’ starting in late May

15 May

The New York Times photo blog Lens will go on a temporary hiatus starting later this month, the publication’s Director of Photography Meaghan Looram announced to staff in a note that has been shared on Facebook. Looram praised the photo blog, saying it ‘set out to showcase work that risked getting lost in the digital blizzard.’ However, Looram notes, ‘Lens was founded during a different era,’ and it seems it is time for the photo blog to evolve.

Looram’s note explains:

‘Lens was founded during a different era. Digital platforms were presenting new challenges to the industry, and Lens provided one of the few dedicated showcases for photography. But since then, the means of consuming photography have changed and expanded. We believe that this is the perfect time to take stock of and celebrate what Lens has achieved and to give serious thought to how to better position Lens for the future.’

The photo blog isn’t ending, but will instead return as an updated offering that better suits present needs. ‘We want Lens to evolve into an unrivalled source for those who want to read about and think about photography,’ Looram said. The team plans to solicit ideas from readers regarding ways to reinvent the brand as ‘a dynamic space to highlight more of the incredible photography that all of you produce on a daily basis.’

Looram concluded her note, stating:

‘There will be time to celebrate Lens and its wonderful run. In the meantime, a final nod to the creators, producers and caretakers of Lens: What an extraordinary thing you created and produced for a decade. You have our deepest admiration and gratitude. Onward.’

Though Lens is temporarily ending, Looram notes that The NYT is still accepting pitches and the annual New York Portfolio Review that Lens helped launch will continue in the blog’s absence.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe is sending out beta signups for its upcoming Photoshop for iPad

14 May

At Adobe MAX in October 2018, Adobe teased Adobe Photoshop CC for iPad, a full-fledged version of Photoshop specifically designed to be used on the iPad’s multi-touch screen. Now, Adobe is apparently sending out emails to certain Creative Cloud subscribers inviting them to sign up for a beta version of the program.

Adobe routes signups through a Google Forms page, which asks for just three pieces of information: your email, your full name and the reason you want to try Photoshop CC for iPad. What isn’t clear is when invitations will actually be sent out and what all the first beta versions will include.

Adobe Photoshop CC for iPad will be the most thorough and powerful photo editing application Adobe has ever brought to iOS, complete with full multi-layer PSD support, a full Photoshop toolbar, filters, masking, adjustments and Creative Cloud sync so everything stays organized across devices.

We have contacted Adobe for more details regarding the beta invites and beta versions of Photoshop CC for iPad and will update the article accordingly when we hear back.

Articles: Digital Photography Review (dpreview.com)

 
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One month with the Huawei P30 Pro

14 May

Huawei’s latest flagship smartphone, the P30 Pro was launched just over a month ago and has since then received a lot of praise, especially for its camera. I’ve been using the device since launch day and thought now would be a good time to summarize my experience and determine if the hype around the P30 Pro camera is justified.

Focal length flexibility

A lot of that hype stems from its periscope-style 5x tele lens and the resulting zoom performance. We’ve already had a close look at the system and my early impressions have been confirmed since those first days of using the device.

The P30 Pro is by far the best current smartphone for zooming. While the focal length of ‘traditional’ single-lens smartphone cameras (typically somewhere between 25 and 28mm equivalent) is great for street and landscape photography and similar genres, it’s not ideal for any photographic situations that require wider or more narrow angles of view.

16mm equivalent, ISO 400

The super-wide-angle allows me to squeeze more of this cathedral ceiling into my frame than would be possible with a more conventional smartphone camera.

16mm equivalent, ISO 50

Playing around with the ultra-wide-angle and looking for suitable scenes is a lot of fun.

125mm equivalent, ISO 160

At the other end of the zoom spectrum the 5x tele allowed me to capture the detail in this stained glass window.

125mm equivalent, ISO 50

This type of cityscape would not have been possible to capture with the same levels of image detail on most other smartphones.

The P30 Pro’s camera setup covers equivalent focal lengths from an ultra-wide 16mm to a 125mm tele, allowing for much more flexibility in your framing and more creative freedom. If you’re happy to accept some loss of image quality, you can zoom in even further but everybody’s tolerance threshold is different in that respect.

Image quality is best at the individual cameras’ native focal lengths

While there’s no doubt that the P30 Pro beats the current competition in terms of zooming, there’s still some obvious room for improvement, however. The hybrid-zoom technology processes captured image data from one or more lenses, then uses computational imaging methods to achieve a seamless zoom experience for the user. This means that image quality is best at the individual cameras’ native focal lengths.

This shot was captured at a zoom setting of around 3.5x. It is softer than the 5x image, especially close to the edges of the frame, ISO 50

If you shoot at intermediate zoom factors, images can look soft. Between 1x and 3x, the P30 Pro uses its 1x main camera and progressively crops in, using a multi-frame based super resolution algorithm to improve results. For 3x to 5x zoom factors, the tele camera is used for the central portions of the image, with crops from the 1x camera upscaled (again using super-resolution) to fill in the outer portions of the image. This means that image edges at these intermediate zoom factors are noticeably softer than central areas of the frame.

This isn’t much of an issue if you post your images on Instagram, of course, but it will be noticeable when viewing at larger magnifications.

The zoom is also limited by its AF system. So while you might be able to nicely frame a soccer player in the game, don’t expect the autofocus to lock on, at least not before the subject has moved out of the frame. You can get good results with some practice and trial and error, but expect a lot of out-of-focus-results with moving subjects as well.

Out-of-focus, 125mm equivalent, ISO 50 In-focus, 125mm equivalent, ISO 50

Night shots are a breeze

Moving away from zoom, the P30 Pro is also a great smartphone for photography in low light, especially for static scenes and when using the built-in multi-frame night mode. It’s pretty amazing that a smartphone is now capable of capturing hand-held night shots which not too long ago would have required long exposures, manual settings, probably some manual frame stacking in Photoshop, and definitely a tripod.

Night mode, 27mm equivalent
Night mode, 27mm equivalent

Night mode can record usable results in near darkness, even capturing starry skies, and is capable of nicely balancing bright and dark parts of the frame. It can be used with all three cameras but the results are by far the best on the primary unit. If night shots are your thing, this is pretty much a must-have feature. Just don’t expect a consistent color response when shooting in near darkness. As you can see, the camera’s auto white balance system produced quite different results for the two samples above.

The P30 Pro also performs well in low light in its standard camera mode but the results are much more in line with what you’d expect from other high-end smartphone cameras.

27mm equivalent, ISO 250

Low light image quality in standard mode is in line with other high-end smartphones.

125mm equivalent, ISO 3200

Zooming, low light and moving subjects are not a good combination.

Low light image quality is best on the primary camera, however. Both the super-wide-angle and tele lag behind in terms of detail, exposure and dynamic range. The tele is definitely taken beyond its limits when you try and capture moving scenes in low light, so don’t expect tack-sharp concert close-ups or action shots in a dimly-lit gym from the P30 Pro.

Video stabilization for steady-cam-like footage

When shooting video on the P30 Pro, I generally found the footage to show pleasantly warm colors and decent dynamic range, capturing good detail in bright skies and high-contrast scenes. Noise reduction can be a bit aggressive, though. Distant foliage and other low-contrast textures can appear a little mushy. I was particularly impressed by the image stabilization, which allows for super-steady shooting even when hand-holding the device.

However, stabilization is not without its artifacts. It can lead to blurring in-sync with your steps, visible in the fence behind the subject near the end of this clip. There can also be a judder effect – where the video skips ahead for a brief instant. This can range from subtle (my panning clip below) to fairly distracting. These artifacts are either absent or more subtle on the latest iPhone and Pixel phones.

Overall, with some careful consideration to shooting technique – bending your knees and walking softly, and panning slowly – the Huawei can be a great device for mobile video capture without the need for any additional equipment, such as gimbals or other external stabilizers.

The best smartphone for imaging right now? Probably.

The P30 Pro isn’t just a very good camera phone, however. It’s also very nice to use as a general device. The body design with its rounded display edges and smooth lines looks and feels premium. Thanks to the high-end chipset there are no performance lags whatsoever and Huawei’s EMUI user interface is much less cluttered than it used to be on previous device generations, making for an overall very pleasant user experience.

No other smartphone camera offers as much flexibility in terms of focal length and framing

The camera is this device’s unique selling proposition, though, and it does deliver. No other smartphone camera offers as much flexibility in terms of focal length and framing. That doesn’t mean that the zoom system is perfect, but it is the best you can get on a smartphone right now.

The P30 Pro captures pleasantly natural colors in most situations, 27mm equivalent, ISO 50

The P30 Pro performs well in most other photographic respects as well, delivering very good still image and video quality across the board. Night mode is excellent and the camera is capable of capturing a decent simulated-bokeh shot.

Portrait mode, 27mm equivalent, ISO 50

As always, there is still room for improvement but a couple of software updates have already been provided since launch. We can be sure that Huawei and other manufacturers will be working hard to make the next device generation even better, with improved image quality and more intelligent features.

In the fast-paced smartphone world it will likely only take a few months for a better option to come along, but until then the Huawei P30 Pro is my undisputed go-to smartphone camera.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Hasselblad H6D-100C medium-format camera paired with DIY anamorphic lens system

14 May

Through his YouTube channel GxAce, cinematographer Casey Cavanaugh has published a new video showcasing his homemade ‘GX-Pan’ anamorphic lens adapter used with the $ 32k Hasselblad H6D-100C medium-format digital camera.

According to Cavanaugh, Hasselblad saw the video in which he unveiled his DIY anamorphic lens adapter setup and offered to let him test it with the medium-format model. ‘I was absolutely blown away by how much my little anamorphic lens resolved on that 100MP sensor,’ Cavanaugh says in his video. ‘I was honestly worried that it wasn’t going to hold up to that scrutiny of 100MP.’

Cavanaugh explains that in addition to being an anamorphic lens created for a Super 16 projection, the unit also has a persistent fungus problem that has proven difficult to eliminate. In light of that, says Cavanaugh, the ‘insanely sharp’ images produced by the setup were ‘honestly very surprising.’ The demonstration also includes short video clips shot with the system.

Cavanaugh’s previous content includes tips on purchasing a film camera and a short award-winning film on the risks of photo obsession. A selection of his anamorphic still images are available on his website.

Articles: Digital Photography Review (dpreview.com)

 
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Rokinon announces pricing, availability of its new 45mm F1.8 lens for Sony full-frame cameras

13 May

Rokinon, known in other markets as Samyang and Bowers, has announced the pricing and availability of its new AF 45mm F1.8 lens for Sony full-frame camera systems.

The lens, which Rokinon calls ‘tiny but premium’ is the latest in its ‘Tiny Series’ lens lineup. The optical construction consists of seven elements in six groups, including two aspherical elements and one extra-low dispersion element. Certain elements inside the design also feature Rokinon’s ‘Ultra Multi-Coating,’ which is said to reduct flaring and ghosting.

Inside, it features an autofocus motor for Sony camera systems, a nine-blade aperture diaphragm and an aperture range between F1.8 and F22.

While the lens was designed for full-frame Sony mirrorless cameras, it can also be used with Sony APS-C models where it ends up being a 67.5mm equivalent focal length lens. The lens measures in at 61.8mm (2.43in) by 56.1mm (2.21in) and weighs just 162g (5.7oz).

The Rokinon AF 45mm F1.8 lens is available to pre-order for $ 399 on B&H and has a suggested retail price of £349.99 in the UK. Orders are expected to ship at the end of May 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Leica Q2 sample gallery updated

13 May

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We’re wrapping up our full analysis of the Leica Q2, and in the process of testing we have (naturally) taken lots and lots of photos with the camera. Take a look at what we’ve been shooting, and keep an eye out for our full review in the near future.

See our updated Leica Q2 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Olympus celebrates its 100th birthday with a short documentary on its imaging division

13 May

To celebrate its 100th anniversary, Olympus has shared a trio of short documentary videos showing the history and subsequent evolution of its three primary business divisions: medical, scientific solutions and imaging.

The above video, officially titled ‘Olympus 100th Anniversary Documentary: A Great Moment,’ shares not only the history of Olympus’ imaging division, but also interviews with Olympus research and development executives, camera store technicians and Pulitzer Prize-winning National Geographic photographer and Olympic visionary Jay Dickman.

Olympus has also created a dedicated website for its centennial celebration, which includes a timeline of the history of Olympus products, from the first microscope it produced to the launch of its mirrorless camera system and beyond.

Articles: Digital Photography Review (dpreview.com)

 
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