360Photography

Category: Uncategorized

  • Officials say Apple’s claim of ‘studio quality’ portraits on iPhone X, Xs isn’t misleading

    Two challenges to Apple’s claim that its iPhone X can shoot studio quality portraits have been turned down by the UK’s Advertising Standards Authority (ASA). The complainants took issue with Apple’s advertising line that the phone could deliver ‘Studio-quality portraits […] Without the studio’ and believed consumers would misled, but after an investigation the ASA found that the statement was fair.

    The basis of the findings is that there isn’t clear definition of what ‘studio quality’ means, and that there is a wide variety of talent in the studio photography industry that meant that the term didn’t necessarily indicate that a ‘studio quality’ portrait was a good one. Rather, the ASA agreed with Apple that the Portrait Lighting effects, the depth-of-field mimicking software and the inclusion of a standard, instead of a wide, focal length meant that the characteristics of a ‘studio’ portrait could be achieved. The investigation also found that the effects shown in the Apple adverts could indeed be produced with the phone at the time of shooting or post capture.

    The ruling might seem a smack in the face to the portrait business and to undermine respect for the profession, but photographers are perhaps becoming victims of our own well-worn stock phrases such as ‘the best camera is the one you have with you’. While there is no clear measure of what ‘studio quality’ means, skill and vison are required to create a good portrait and as we all know ‘it’s the archer not the arrow’ – though Apple forgot to mention that bit.

    The fact is that smart phones are genuinely becoming better and better at taking pictures, and their developers are devising features and functions well ahead of those traditional camera makers offer. These features often exist to compensate for the physical limitations of the tiny camera units, but they also put incredible flexibility into the hands of the user. At every turn in history the advances of smaller formats have been opposed by ‘proper’ photographers, but that has done nothing to prevent the inevitable progress of the convenience and popularisation of photography. You would be mad to buy an iPhone X to start your portrait business however, as a decent interchangeable lens camera can be had for less than the same price – with change to use a pay phone.

    For more information on the complaint, the investigation and the ruling see the Advertising Standards Authority website.

    Articles: Digital Photography Review (dpreview.com)

  • Ibis Switzerland hotels offer social media pros to manage guests’ Instagram accounts

    Ibis hotels in Switzerland are offering guests a new service called Social Media Sitter. With this, customers can use “Instagram professionals” provided by the hotel to manage their Instagram profile while on vacation, enabling guests to “enjoy the city without a smartphone in front of the face,” the company explains on its website.

    The Social Media Sitter service is now available at Ibis hotels in Zurich and Geneva. The company lists several “Instagram professionals” on its site who specialize in categories that include fashion, travel, beauty, culture, art, and more.

    The Instagram sitter shares “the best posts” on the guest’s profile, though it’s unclear how the service works. Presumably the Social Media Sitter is provided with the customer’s username and password; the company’s video suggests the sitter will follow the guests to capture candid shots and will manage the account’s comments and likes on the user’s behalf.

    It’s unclear whether Ibis plans to launch its Social Media Sitter option at its other hotels. The new service appears popular, though, as Ibis’s Geneva and Zurich locations both show their Instagram professionals having been fully booked each weekend throughout November.

    Articles: Digital Photography Review (dpreview.com)

  • iPhone XS: How does the variable bokeh effect compare to a real lens?

    One of the key new features of Apple’s latest iPhones is the ability to adjust the ‘bokeh effect’ on portrait images, after they’ve been taken. But, as well as letting you adjust the intensity of the effect, the function has been enhanced to more accurately represent the bokeh characteristics of a real lens, rather than just trying to blur the background.

    Every time you shoot an image using the 56mm-equivalent F2.4 portrait camera on the iPhone XS you have the choice of editing the bokeh effect. This brings up a scale marked in F-numbers. This may sound like Apple just borrowing an interface from the real-world (a process called skeuomorphism), but it goes beyond this: the company says it’s modeled the bokeh characteristics to mimic the behavior of a Zeiss lens.

    We thought we’d put this to the test: how convincingly does the iPhone XS resemble a real-world lens? Is the F-number scale anything more than a pastiche? To find out, we shot the XS alongside the Nikkor 58mm F1.4, mounted on a full frame camera.

    iPhone XS vs Nikon 58mm at F1.4

    iPhone XS image processed as ‘F1.4’ Nikkor 58mm at F1.4

    Scaling the Nikon image down to the same width, you can see the bokeh is around the right size:

    Then, when you look at the bokeh off-center, you’ll see it develops an elongated ‘cat-eye’ effect.

    iPhone XS vs Nikon 58mm at F8

    iPhone XS image processed as ‘F8’ Nikkor 58mm at F8

    Just as with the real lens, the cat-eye effect diminishes as you ‘stop down.’ And Apple has given its bokeh a smooth, fairly gaussian look, rather than the slightly bright-edged bokeh that Nikon has produced, being constrained by the limitations of things such as glass and physics.

    Unlike the ‘real’ camera, the iPhone’s sharpness doesn’t always drop-off smoothly: for instance it’s blurred both shoulders and the subject’s scarf, despite the nearer being in a similar plane to the face.

    However, while this doesn’t always looks natural, the phone is intentionally ensuring that the subject’s face remains entirely in focus, which is usually a good thing. And, unlike the $ 1600 Nikkor lens, it doesn’t become a little soft and dreamy when set to ‘F1.4.’

    Equally, because the iPhone isn’t actually changing its aperture, you don’t find yourself with less light if you want more depth of field (the iPhone portrait camera’s actual depth of field is F15 equivalent, so there’s plenty that’s in focus in the underlying ‘native’ image), so you don’t have to worry so much about camera shake or subject movement.

    The end result isn’t going to convince anyone if they look too closely (the processing has cut-off some of the fine hairs, for instance), but for social media use, it’s hard to deny that the effect is impressive. And we have to assume this technology will only get smarter and more powerful in future generations.

    Articles: Digital Photography Review (dpreview.com)

  • Have your say! 2018 Readers’ Choice Awards open for voting

    It’s that time again! This is your opportunity to make your voice heard by voting for your favorite photography products of the year. Polls are currently open in six categories but don’t deliberate too long – they close December 17th.

    Articles: Digital Photography Review (dpreview.com)

  • Dual-screen Vivo NEX 2 expected to ditch front camera

    Chinese smartphone manufacturer Vivo has been teasing its upcoming Vivo NEX 2 flagship model on its own website and Youtube and it looks like the new model will introduce an interesting new concept that – if widely adopted – could make smartphone front cameras a thing of the past: Dual screens.

    The teasers are in line with previous rumors and indicate that the NEX 2 will come with a smaller secondary display on the rear of the device. From a camera point of view this means that the need for a front camera has been eliminated as the rear main camera can be used to capture selfie portraits or video, and record footage for video calls.

    No front camera likely also means no display “notch”, allowing the main display to occupy the entire front of the device. Other rumored specs include an option with 10GB RAM and 128 GB storage, Snapdragon 845 chipset and AMOLED display technology.

    Judging by one of the teaser animations, the main camera will likely combine three sensors and lenses in a circular module that is surrounded by a circle of flash LEDs.

    We’ll know more on December 11 when the new model is expected to officially launch but if rumors and teasers are anything to go by it already looks like the Vivo NEX 2 could be one of the most innovative new smartphones of 2018.

    Articles: Digital Photography Review (dpreview.com)

  • Samsung Malaysia caught using DSLR image to advertise Galaxy A8 Star ‘Portrait Mode’ feature

    Samsung has again been caught using an image captured with a DSLR to advertise its mobile camera capabilities. The discovery was recently detailed on DIY Photography by writer and photographer Dunja Djudjic, who took the image and made it available for sale on EyeEm.

    After receiving an alert that the image had been sold, Djudjic used a reverse image search and found the image on Samsung Malaysia’s website, where it features a different background and is used to advertise the Galaxy A8 Star’s Portrait Mode feature.

    Samsung Malaysia displays two iterations of the image on its website, one with a sharp background replacing the original, another with a blurred background supposedly demonstrating the handset’s Portrait Mode capabilities.

    Djudjic contacted EyeEm in an attempt to confirm whether Samsung purchased the image, but the company hadn’t yet received the sales data and was unable to confirm the buyer. Getty, which is partnered with EyeEm, was also contacted to determine whether the sale took place through its platform, but didn’t respond to the inquiry.

    Djudjic attempted to contact Samsung Malaysia and Samsung Global, but was unable to get a response about the image’s use.

    This isn’t the first time Samsung has been caught passing off stock images to advertise its mobile camera capabilities. In August, Samsung Brazil’s Twitter account tweeted two stock images advertising its Galaxy A8 camera capabilities, but later removed them after being called out.

    Competitor Huawei was also previously caught using images captured with a DSLR to advertise its mobile camera capabilities. In 2016, the company used an image captured with a Canon 5D Mark III to advertise its P9 smartphone’s camera. Later in August 2018, the company published a video with images seemingly taken by the nova 3 and nova 3i, but that were later revealed to have been captured with a Canon DSLR.

    In addition to EyeEm, Djudjic’s work can be found on Flickr and Behance.

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2019 gets postponed, will become an annual event starting May 2020

    In 2017, Photokina’s organizers announced the world’s largest trade fair would ‘reposition’ itself an annual event starting in 2018 and subsequently announced that after this year’s Photokina, which took place in September, the event would be moved to the month of May going forward.

    Naturally, it was expected the next Photokina event would take place in May 2019, but plans have changed. According to the German Photo Industry Association (PIV), conceptual sponsor of the trade fair, and Koelnmesse, the event’s organizer, the 2019 Photokina event has been postponed a year, meaning the next Photokina event will take place from Wednesday May 27th, 2020 through May 30th, 2020.

    ‘The decision to postpone the start of the announced annual cycle by one year is intended to give all participants the opportunity to further develop the new concept for Photokina and to tap into new target groups among exhibitors and visitors in order to heighten the status of the trade fair as a global platform for the photography and imaging industry,’ reads the announcement press release.

    From left to right: Gerald Böse, President and Chief Executive Officer Koelnmesse GmbH, Rainer Führes, CEO of Canon Deutschland GmbH and Chairman of the Photoindustrie-Verband – The Imaging Association, Jürgen Roters, Mayor of Cologne

    PIV CEO Rainer Führes is quoted in the press release saying Photokina 2018 ‘clearly exceeded our already optimistic expectations with groundbreaking innovations and 180,000 visitors from 127 countries.’ He goes on to say that Photokina 2018 ‘set the bar very high for the next event.’

    “It is therefore unlikely that, in May 2019 after just over seven months, we will once again be able to create the same enthusiastic atmosphere that characterized Photokina 2018 […] This is why we have decided to start the planned annual cycle in 2020.’

    Considering the quick turn-around time from the last Photokina — not to mention its proximity to CP+ in March and NAB in April — it was a big ask of Photokina and its organizers to expect exhibitors, media, and attendees to bounce back with enough updates, products, and cash to fill the floors.

    Articles: Digital Photography Review (dpreview.com)

  • Lensrentals breaks down the numbers behind the most popular cameras and lenses of the year

    Image provided by Lensrentals

    As it does every year, Lensrentals has released the numbers behind the most popular gear it saw rented out through 2018. In a blog post on its website, Lensrentals details nearly every category and subcategory imaginable, showing what cameras, lenses, and formats reign supreme in the world of online rentals.

    In Lensrental’s own words, ‘This barometer of equipment rental patterns is useful for the industry to gauge trends in adoption of new technology, camera and lens formats and change in brand share of the market.’

    Starting with cameras, Canon still leads, with Sony and Nikon trailing, respectively. Year-over-year though, Canon is down from 44.90% in 2017 to 41.57% in 2018, while Sony and Nikon both increased from 24.67% to 26.31% and 15.06% to 15.28%, respectively. Although the data for this analysis was gathered before the general availability of both Canon and Nikon’s full-frame mirrorless offerings, Lensrentals says early data suggests Canon’s EOS R system is roughly twice as popular as Nikon’s Z6 and Z7 cameras.

    The top ILC camera brands, based on percentage of total rentals, according to Lensrentals.

    The Canon 5D Mark IV and 5D Mark III take the top two spots, respectively, with the Sony a7s II, Sony a7 III, and Panasonic GH5 rounding out the top five. The Sony a7 III is the only new camera (released in 2018) to make it into the top five.

    While on the topic of CaNikon, Lensrentals data shows Canon’s overall camera usage has decreased slightly, going from 44.90% to 41.57% year-over-year, as Nikon’s increased from 15.06% to 15.28% year over year. Lensrentals notes this is possibly due to the release of the D850 late in 2017, which gave Nikon momentum going into the new year. Other camera brands saw growth as well in 2018, filling the void left behind by Canon.

    Below is a list of the top ten cameras rented out by Lensrental users:

    1. Canon 5D Mark IV
    2. Canon 5D Mark III
    3. Sony Alpha a7S II
    4. Sony Alpha a7 III
    5. Panasonic GH5
    6. Sony Alpha a7R III
    7. Nikon D750
    8. Canon 6D Mark II
    9. Nikon D850
    10. Canon 6D

    On the lens front, not much has changed at the top. Canon, Sony, Sigma, and Nikon take the top four spots, with 37.17%, 14.58%, 12.96%, and 9.62% of rentals, respectively. After that, the numbers drop dramatically, as seen in the below chart.

    The top lens brands, based on percentage of total rentals, according to Lensrentals. Other includes: Metabones, Olympus, Rokinon, Voigtlander, Leica, Tokina, Fujinon, Pentax, Veydra, Lensbaby, Venus Optics, Hasselblad, Angenieux, Wooden Camera, SLR Magic and Schneider.

    Canon’s second-generation 24-70mm F2.8 and 70-200mm F2.8 have proven to be the most popular lenses yet again. However, Sony has found its way into the top three with its own 24-70mm F2.8 and Sony lens rentals have increased approximately 60%, growth mostly driven from new lens releases. Lensrentals says the following lenses ‘drove the most growth’ for Sony:

    • Sony FE 24-105mm f/4 OSS
    • Sony FE 16-35mm f/2.8 GM
    • Sony FE 100-400mm f/4.5-5.6 GM OSS

    Panasonic also saw growth, driven exclusively by three lenses as well:

    • Panasonic 12-35mm f/2.8 X Power OIS II
    • Panasonic 35-100mm f/2.8 X Power OIS II
    • Panasonic/Leica 8-18mm f/2.8-4 ASPH

    Both Sigma and Tamron saw a slow, but steady increase in popularity, as both have been rolling out new and improved lenses across their respective lineups. Below is a list of the top ten lenses, according to Lensrentals:

    1. Canon 24-70mm f/2.8L II
    2. Canon 70-200mm f/2.8L IS II
    3. Sony FE 24-70mm f/2.8 GM
    4. Canon 35mm f/1.4L II
    5. Canon 50mm f/1.2L
    6. Sony FE 70-200mm f/2.8 GM OSS
    7. Canon 70-200mm f/2.8L
    8. Canon 100mm f/2.8L IS Macro
    9. Canon 16-35mm f/2.8L III
    10. Canon 100-400mm f/4.5-5.6L IS II

    Overall, there isn’t too much change across the board, aside from a few notable exceptions mentioned above. Again though, this data was pulled before Canon and Nikon’s respective full-frame mirrorless cameras became available to the general public. With the cameras now available leading into the next year, there could be dramatic changes, both in the DSLR and mirrorless market as manufacturers battle it out for the top spot.

    To see a more detailed analysis of the gear rented out and numbers behind the scenes, head over to Lensrentals’ blog post.

    Articles: Digital Photography Review (dpreview.com)

  • Guide: How to get the most out of Sony’s autofocus technologies

    Getting the most out of Sony’s autofocus technologies

    After years of development, Sony’s mirrorless interchangeable lens cameras offer among the most advanced autofocus technologies on the market, allowing photographers to create pictures that simply wouldn’t be possible with other systems.

    Sony was among the first manufacturers to add phase-detection autofocus pixels onto a camera’s main imaging sensor, which allows for ultra-precise focus. A wide spread of AF points and intelligent scene recognition algorithms are standard in Sony’s market-leading a6000-series, a7-series and a9 cameras, allowing for powerful and accurate subject tracking. While these technologies are obviously useful for shooting fast-paced sports and action, features like face detection, Eye-AF and Direct Manual Focus (DMF) can also be employed for portraiture, landscape photography and video work.

    In this article, we’ll be outlining some key use-cases and recommending how to set up your Sony camera’s autofocus system to get the best results.

    Sports and action

    Because, unlike a DSLR, there’s no mirror in the way, the millions of pixels-worth of data from the image sensors in mirrorless cameras can be used to feed the cameras’ autofocus and metering systems in real time. This allows for sophisticated object recognition and tracking. Autofocus data is also taken from the main imaging sensor itself, which means that AF is inherently more accurate than conventional DSLR systems.

    The flagship sports-oriented Sony a9 for example features 693 phase detection autofocus points offering 93% coverage across the image area (illustrated above). Having so many AF points – and such a wide spread – makes it possible for the camera to accurately track action right out to the edges of the frame – something that isn’t always possible with other full-frame cameras. Here are our recommended settings for shooting sports and action:

    Recommended AF settings for sports and action:

    • Focus Mode: AF-C
    • Focus Area: Lock-on AF: Flexible Spot M

    How to use: Frame your composition so the AF point is over your subject, then half-depress the shutter to start tracking it. At this point you can recompose the scene however you want, and your subject will continue to be tracked. To switch subjects, simply release the shutter, reframe to place the AF point over your new subject, and half-depress the shutter again.

    Notes / Tips: This AF setup is also useful for more general photography: if you identify your subject by placing the AF point over it and engaging AF, the camera will keep track of it for you, making sure it’s perfectly focused when you take your shot.

    For some types of fast-action photography, like birds-in-flight, air shows, or any situation where your subject is the nearest object in the scene or well isolated against distant objects, you can often trust the camera to automatically identify the subject and focus on it. This avoids the need for you to reframe and place the AF point over your subject before initiating AF, saving you time and helping you capture the moment faster. To try this way of working, switch the camera’s Focus Area to ‘Wide’, or use ‘Recall Custom Hold’* to assign a custom button to this focus mode so you can instantly activate it in fast-paced situations.

    *Only available on A9, a7R III and a7III Alpha cameras.

    Portraits

    For the serious portrait photographer, Eye AF is fantastic, letting you focus more on posing and expression and leaving the camera to do the rest. With Eye AF enabled, a Sony camera will continue to track your subject’s eye, even when firing away at fast frame rates, which makes it a great option for catching just the right expression.

    Sony’s Eye AF system is very ‘sticky’ in that once it’s been set to track a subject it rarely jumps off to someone else in the scene, even if your subject moves or momentarily turns away from the camera. And because of the wide AF area coverage, Eye AF will track your subject right out to the edges of the frame – this is useful for off-center compositions or erratic subjects like kids.

    Recommended AF settings for portraits:

    • Focus Mode: AF-C
    • Focus Area: Flexible Spot M (or L)
    • Button Assignment: Assign Eye AF to AF-ON

    How to use: If you have multiple people in the frame and are using any AF area other than ‘Wide,’ you can place that AF area over one of your subjects, and when you initiate Eye AF, it will track that person’s eye. To switch subjects, release the Eye AF button, place your AF area over the other person, and re-initiate. If you simply want to focus on a person yourself, just place your AF point over the desired portion of your subject, and half-press the shutter to focus.

    Notes / Tips: If you only have a single person in the scene, or you’re happy to let the camera choose a face to focus on on its own (usually the nearest), switch Focus Area to ‘Wide’, then just press the Eye AF button.

    Note that while we recommend assigning Eye AF to AF-ON for ease of use, you may wish to assign it to the AEL button if you prefer to use the AF-ON button for back-button focus.

    Travel and general photography

    As well as offering powerful autofocus features designed for portraiture and capturing fast-moving sports and action, Sony cameras are incredibly versatile when it comes to day-to-day photography. For general everyday and travel photography with Sony’s mirrorless cameras , we recommend the following autofocus settings:

    Recommended AF settings for general photography:

    • Focus Mode: AF-S
    • Focus Area: Wide (Face Priority in AF: On)

    How to use: For general photography, we recommend you simply let the camera choose what to focus on. It will focus on faces in the scene, and prioritize nearer subjects over further ones.

    Notes / Tips: If you wish to take control, just assign a button – like a central press of the AF joystick – to ‘Recall Custom Hold’* and set its options to activate AF-S Focus Mode and Center Focus Area, with AF activation. That will allow you to quickly revert to the tried-and-true ‘focus and recompose’ method if necessary.

    *Only available on A9, a7R III and a7III Alpha cameras.

    Landscape photography

    Traditionally, landscape photography has been the domain of manual focus, but even with static subjects, autofocus can be a huge time-saver. Here’s how we recommend you set your Sony camera’s AF for shooting landscapes.

    Recommended AF settings for landscape photography:

    • Focus Mode: DMF
    • Focus Area: Flexible Spot: M (or L)
    • Button Assignment: Assign a custom button to focus magnifier

    How to use: Compose your scene, then place the AF point over a portion of the scene you want focused. Use the focus magnifier to zoom into that region, then half-press the shutter to focus. While the shutter button remains half-pressed, you can turn the focus ring on the lens to fine-tune focus, then take your shot.

    Notes / Tips: Using this technique, autofocus quickly gets you close to where you need to be, then it can be fine-tuned to achieve the correct balance of foreground and background sharpness for expansive scenes.

    Video

    Advanced HD and, more recently, 4K video features have been included in Sony’s E-mount mirrorless cameras from the very beginning, and Sony’s E-mount lenses are optimized for movie autofocus requirements as well as stills photography. Traditionally, a lot of filmmakers would rely on manual focus when shooting video, but Sony’s mirrorless cameras’ hybrid on-sensor autofocus systems function just as well (and in exactly the same way) when shooting stills and video, making AF useful and practical for videography.

    Here are our recommended settings for video:

    Recommended AF settings for video:

    • Focus Mode: AF-C
    • Focus Area: Wide (Face Priority in AF: On)
    • Center Lock-on AF: On

    How to use: On their own, Sony cameras are capable of intelligently focusing in video, prioritizing faces and nearer objects, and smoothly racking focus when switching between subjects to focus on. If you turn ‘Center Lock-on AF’ on in the menus, you can choose which subject the camera should track (even if it moves around the frame) by simply tapping on it on the LCD. If your camera has a touch-sensitive screen, to switch to a different subject, you can just tap on it.

    Notes / Tips: You can even customize how quickly the camera refocuses on your subject. In the menu, ‘AF Track Sensitivity’ tells the camera how responsive it should be subject movement, with the ‘Responsive’ setting best used for constantly and rapidly moving subjects. ‘AF Drive Speed’ controls how quickly the camera drives the lens focus element: ‘Slow’ yields the smoothest results, but ‘Fast’ is great for rapidly moving subjects and run-and-gun videography.

    Note: Remember to turn Center Lock-on AF ‘Off’ before returning to stills shooting, or set up a separate Memory Bank for video shooting so its settings don’t interfere with your stills settings.

    This is sponsored content, presented by Sony. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Our favorite gear, rewarded: DPReview Awards 2018

    DPReview Awards 2018

    This year was a busy one for DPReview and the camera industry as a whole. 2018 saw the launch of two new full frame mirrorless systems from Canon and Nikon, a brace of excellent lenses, and the development announcement of even more goodies due to be released in early 2019.

    With so many great products to choose from, there’s never been a better time to be a photo enthusiast, but the amount of gear out there can be overwhelming. Every year in December we get together as a team to recognize the standout products of the past 12 months in our annual DPReview Awards. Click through the slides above to find out which products made our list of the best gear of 2018!

    Best photography accessory

    Shortlist:

    • Adobe Lightroom CC 2.0
    • Canon Speedlite 470EX-AI
    • Wandrd Prvke 21L Backpack
    • Western Digital My Passport Wireless SSD

    Runner up: Western Digital My Passport Wireless SSD

    Photography accessories come in all shapes and sizes and this year’s shortlist includes four products that are as different as can be. But something they all share is the potential to help streamline the photographic process, whether that means improving the experience of transporting gear from A to B, or simply creating a better way to back up files on the go.

    The Western Digital My Passport Wireless SSD falls into the later category. It’s a solid state version of the company’s already popular wireless drive with a shock resistant construction. Core features include a built-in SD 3.0 card reader, USB 3.0 connectivity, Wi-Fi connectivity for reviewing media on a device, a built-in 6,700mAh battery for charging other devices over USB (and to power Wi-Fi), and preview support for Raw files. It’s available in 250gb, 500gb, 1Tb and 2TB capacities.

    Read more about the WD MyPassport Wireless SSD

    Winner: Wandrd Prvke 21L Backpack

    The right camera backpack is a frustratingly elusive thing to find. No bag is going to be perfect for every photographer. But wouldn’t be nice if one came close? Meet the Wandrd Prvke 21L. It might have a weird name (it’s pronounced ‘wandered provoke’), but it’s awesome to use. So awesome, in fact, that it’s our favorite camera backpack on the market and our pick for photographic accessory of the year.

    The Wandrd Prvke 21 provides an impressive balance of intelligent, rugged design with outstanding weight distribution and comfort. It’s also incredibly versatile: a roll-top provides an additional 4L of storage and the internal ‘Camera Cube’ can be completely removed. There’s also plenty of external storage pockets and even loops to attach bulky gear, like a sleeping bag, to the bottom of the pack. In short, this bag looks good, handles well, is super versatile and can carry a ton of gear. As such, it’s a worthy winner of our award this year for best photo accessory.

    Read our review of the Wandrd Prvke 21L camera backpack

    Best video accessory

    Shortlist:

    • Atomos Ninja V
    • Blackmagic DaVinci Resolve 15
    • DJI Ronin-S
    • Sigma Cine 28mm / 40mm / 105mm T1.5 FF

    Runner up: Atomos Ninja V

    Video capabilities continue to improve every year, and it’s common these days to find advanced features such as oversampled 4K, 10-bit recording, and Log gamma profiles on many cameras. While it’s possible to shoot amazing footage with just a camera and a lens, specialized video accessories can make your shoot easier or take your production quality up a notch or two.

    The Atomos Ninja V is a tool that lets you take complete advantage of your camera’s video capabilities, some of which may only be fully realized when using an off-camera recorder. With features such as 4K/60p recording, support for Apple ProRes and Avid DNxHR, a 5″ daylight viewable screen, anamorphic de-squeeze, and HDR monitoring there’s a lot to like, and it does so in a compact size that’s a perfect match for DSLR or mirrorless cameras. If you want to squeeze every bit of quality out of your camera’s video, or just have a more enjoyable shooting experience, this is an easy way to do it.

    Read more about the Atomos Ninja V

    Winner: DJI Ronin-S

    It’s easy to get stable video when using a tripod, or even when shooting a relatively simple shot using a camera’s image stabilization, but sometimes the key to great video is camera movement. Unfortunately, that’s where many in-camera or in-lens stabilization systems just aren’t quite good enough for things like run-and-gun documentary or narrative filmmaking.

    Enter the DJI Ronin-S. It’s not the first one-handed camera gimbal, but it’s our current favorite thanks to its effective operation and ease of use. Setup is a breeze, thanks to its auto-tune feature for gimbal calibration, and the 3-axis motorized gimbal has some of the strongest motors DJI has ever put in a gimbal, allowing the Ronin-S to compensate for slight changes in balance when using zoom lenses. It’s also possible to save three distinct groups of settings and toggle between them at the press of a button – ideal for filmmakers who need to quickly react to changing conditions.

    Other great features include an offset roll axis that’s cleverly designed to avoid blocking the screen while shooting, configuration using a smartphone app, and a 12-hour battery that will outlast your arm. It even supports remote camera operation including remote start/stop and a very precise remote follow focus knob.

    Read our DJI Ronin-S review

    Best smartphone camera

    Shortlist:

    • Apple iPhone XS
    • Google Pixel 3
    • Huawei Mate 20 Pro
    • Samsung Galaxy S9+
    • Sony Xperia XZ3

    Runner up: Google Pixel 3

    The Pixel 3 is the first smartphone camera to truly rival traditional dedicated cameras, surpassing 1″-type and rivaling cameras with Four Thirds sensors in ‘Night Sight’ mode.* It does this by improving upon the Pixel 2’s already class-leading HDR+ multi-frame fusion technique, now capturing even more frames and merging them using a super resolution algorithm to extract more detail, reduce noise, and remove the need for demosaicing. A new learning-based white balance approach in this mode also renders pleasing colors even in challenging light.

    Portrait Mode has been improved using machine learning to understand a variety of depth cues, rendering the most pleasing subject isolation and blur of any smartphone we’ve tested. ‘Synthetic fill flash’ uses learning-based segmentation to identify and re-light faces. ‘Top Shot’ captures perfect moments you may have missed before hitting the shutter button. The Pixel 3 outputs Raw, but these Raw files have image quality that far surpasses what you’d expect from such a small sensor, since they’re the result of stacking and merging up to 15 rapidly captured frames. To sum up: it’s the best smartphone camera for stills we’ve ever seen.

    Read more about the Google Pixel 3

    *Despite the name, you can use Night Sight mode any time of day to get its benefits, with the only downside being a positive shutter lag.

    Winner: Apple iPhone XS

    The iPhone XS faced fierce competition from the Google Pixel 3 this year, and from a pure still image quality standpoint the Pixel 3 wins hands down. But the iPhone XS takes the top spot overall thanks to a more rounded feature set that includes class-leading video, reliable AF, wide color capture and HDR display of imagery, plus a range of improvements over the original iPhone X.

    New in the XS is a larger image sensor in the main camera for better dynamic range and low light performance, and a refined Portrait Mode. In a snub to traditional cameras, the XS allows you to choose your aperture after you shoot – all the way from F1.4 to F16. Cleverly, Apple has modeled the optical properties of real full-frame portrait lenses to accurately – and attractively – simulate ‘real’ bokeh.

    Perhaps the biggest improvement though is Apple’s new ‘Smart HDR’ feature, which takes advantage of the faster processing capabilities of the phone to capture wider dynamic scenes in stills, panoramas, and even in video up to 4K/30p, making the HEVC 4K footage the best we’ve seen from a smartphone. Pair all this with improved contrast on one of the best displays on the market, with accurate color management under the hood so you get the benefits of the wide gamut display without a loss in color accuracy, and you have one of the best smartphones available today.

    Read more about the Apple iPhone XS

    Best prosumer camera drone

    Shortlist:

    • DJI Mavic 2 Pro
    • DJI Mavic Air
    • Parrot ANAFI
    • Skydio R1

    Runner-up: DJI Mavic Air

    Drones have quickly become one of the most exciting new areas of photography, allowing anyone to capture stunning photos or video that previously required a helicopter or cable-cam.

    The DJI Mavic Air is an ultra-compact, foldable quadcopter that’s small enough to be a true ‘take anywhere’ drone. Its 1/2.3″ CMOS sensor records 4K/30p or 1080/120p video at up to 100 Mbps, captures 12MP Raw photos, and ‘QuickShots’ modes make it easy to get cinematic looking footage even if you’re a beginner. It even includes DJI’s Advanced Pilot Assistance System (APAS), which uses numerous sensors to detect and go around obstacles so you can continue following your subject.

    Read more about the DJI Mavic Air

    Winner: DJI Mavic 2 Pro

    The Mavic 2 Pro is the model that drone enthusiasts had been asking DJI to create, and in 2018 DJI delivered. It has all the great features of the original Mavic Pro, including a small, foldable form factor, but adds a camera built around a larger 1″-type sensor with Hasselblad branding. It’s the perfect match for the person who values exceptional photo and video quality in a compact package.

    The Mavic 2 Pro’s standout features don’t stop with the larger camera, however. It’s capable of recording 4K/30p at up to 100 Mbps, supports both H.264 and H.265 codecs, offers 10-bit recording with DJI’s DLog-M gamma profile, and uses DJI’s OcuSync 2.0 video transmission system for reliable transmission over long distances. It also includes APAS for obstacle avoidance using 10 sensors that provide omnidirectional coverage around the aircraft and numerous intelligent flight modes for cinematic shots.

    Read more about the DJI Mavic 2 Pro

    Best zoom lens

    Shortlist:

    • Canon RF 28-70mm F2
    • Canon RF 24-105mm F4
    • Tamron 28-75mm F2.8 Di III RXD
    • Tamron 70-210mm F4 Di VC USD

    Runner-up: Canon RF 28-70mm F2

    A lot of lenses get released every year, and it’s always a challenge to whittle the year’s releases down to a shortlist – let alone to pick a winner. That said, this year several lenses stood out from the pack.

    Canon’s impressive RF 28-70mm F2L is perhaps the clearest indication that despite the mid-level positioning of the EOS R, the RF system should be taken seriously by professionals. This durable, weather-sealed lens features super-advanced glass and coatings designed to keep aberrations to a minimum despite its ambitious continuous maximum aperture. The result is a fast zoom that offers stunning image quality throughout its range.

    Arguably falling into the category of ‘stunt lens’, the 28-70mm F2 is almost comically large and unbalanced on the R, but it’s clearly designed for a future – more professional – camera. We can’t wait.

    See some samples from the
    Canon RF 28-70mm F2

    Winner: Tamron 28-75mm F2.8 Di III RXD

    At the other end of the scale from Canon’s behemoth is the Tamron 28-75mm F2.8 Di III RXD. It might not be the widest or fastest (thanks to our runner-up), standard zoom of its kind, but it’s the smallest and lightest, and one of the best nonetheless.

    The Tamron 28-75mm F2.8 Di III RXD has the distinction of being the first third-party zoom lens designed from scratch to be compatible with Sony’s full-frame mirrorless cameras. It has seriously impressed us with its optical quality, close-up ability, relatively fast (and silent) autofocus, pleasant handling and excellent value for money. A perfect companion to Sony’s a7 III, we hope that the 28-75mm F2.8 Di III RXD is the first of many future mirrorless-oriented lenses from Tamron, which has really impressed us in the past couple of years with its range of high-quality Di prime and zoom.

    See our sample gallery shot with the
    Tamron 28-75mm F2.8 Di III RXD

    Best prime lens

    Shortlist:

    • Canon RF 50mm F1.2L USM
    • Sony FE 24mm F1.4 GM
    • Sony FE 400mm F2.8 GM
    • Sigma 56mm F1.4 DC DN

    Runner-up: Sigma 56mm F1.4 DC DN Contemporary

    The launch of several new mirrorless systems has helped 2018 become a bumper year for interesting prime lenses. The fact that after a lot of discussion, Canon’s ambitious (and super-sharp) RF 50mm F1.2L just missed out on an award gives a hint of how hotly-contested this category was.

    One of the lenses that really caught our eye this year was the Sigma 56mm F1.4 DC DN Contemporary. The 56mm F1.4 is the third in a set of affordable Sigma F1.4 lenses for Sony’s E-mount and the Micro Four Thirds system, and like the existing 30mm and 16mm lenses, the 56mm makes most sense on the APS-C format, where it’s equivalent to a classic 85mm portrait lens.

    The 56mm F1.4 DC DN is small, light and, with an MSRP under $ 500, very sensibly priced. More than this, though, it’s sharp, fast to focus and exhibits pleasant bokeh, as a portrait lens should. In our view this makes it a great addition to the otherwise slightly under-served Sony APS-C E-mount lineup. We only wish it were available for other mirrorless APS-C mounts.

    See our Sigma 56mm F1.4 DC DN
    sample gallery

    Winner: Sony FE 24mm F1.4 GM

    We’ve seen a lot of small, OK lenses this year, and a lot of very large, very good lenses, but it’s really nice when we see a manufacturer make a small excellent lens. The Sony FE 24mm F1.4 GM is exactly that.

    This medium-wide prime lens for Sony’s a7-series and a9 mirrorless cameras (it’s also a useful 36mm F2.1 equivalent on APS-C) is a great example of the lens-maker’s art. Superbly suited to landscape and astrophotography, the 24mm F1.4 is equally useful for low-light candid photography and portraiture. It’s uncannily sharp edge-to-edge wide open with little to no coma, bokeh is smooth, and longitudinal chromatic aberration – that purple and green fringing we loathe on many fast wide primes – is well controlled. Our decision this year was unanimous – the Sony FE 24mm F1.4 GM takes the well-deserved top spot in our award for best prime lens of 2018.

    Read more about the
    Sony FE 24mm F1.4 GM

    Best compact/fixed lens camera

    Shortlist:

    • Fujifilm XF10
    • Nikon Coolpix P1000
    • Panasonic Lumix DC-LX100 II
    • Sony Cyber-shot DSC-RX100 VI

    Runner up: Nikon Coolpix P1000

    This year was another relatively slow one for compact cameras, but the models in our shortlist all have something special to offer.

    Taking the runner-up spot this year is the Nikon Coolpix P1000, distinguished by its wonderfully bonkers lens, which covers an equivalent focal length range of 24-3000mm. This kind of zoom would be useless if the pictures were terrible, but the P1000’s lens is very impressive given its extraordinary range, and capable of everything from sweeping landscapes to sharp lunarscapes, thanks in part to a very effective effective image stabilization system. The bulky Coolpix P1000 might not be the ideal camera for everyone, but it has some unique tricks up its (very long) sleeve.

    Read our review of the
    Nikon Coolpix P1000

    Winner: Sony Cyber-shot DSC-RX100 VI

    Another year, another Sony Cyber-shot RX100-series compact camera. What will it be this time – a faster lens? Better 4K video? Boosted continuous shooting? Well, in fact the RX100 VI offers none of those things compared to its predecessor the RX100 V/A, but instead adds a more versatile 24-200mm zoom to the lineup, which trades brightness (and a built-in ND filter) for extra telephoto reach.

    The RX100 VI doesn’t replace the older RX100 V/A, but it does fill a gap in the established RX100-series lineup for a true ‘travel zoom’ camera, offering advanced video and stills features in a compact package, with a versatile zoom lens. Photographers have been asking Sony for a longer zoom in the RX100-series for a long time, and with the RX100 VI, Sony delivered, without compromising too much of what we love about the series as a whole. As such the Sony Cyber-shot RX100 VI takes our award for best compact / fixed-lens camera of 2018.

    Read our review of the
    Sony Cyber-shot RX100 VI

    Best consumer stills/video camera

    Shortlist:

    • Fujifilm X-H1
    • Fujifilm X-T3
    • Nikon Z6
    • Sony Alpha a7 III

    Runner up: Nikon Z6

    Once the shape of things to come, ‘hybrid’ cameras that offer high-quality video modes alongside stills photography features are now the norm. The new video standard of course is 4K, and all of this year’s shortlisted cameras offer excellent 4K video features alongside 24MP+ stills capture.

    Taking the runner-up spot this year is the Nikon Z6 – the companion model to the flagship Z7 in Nikon’s new Z-system lineup. The Z6 offers lower-resolution 24MP stills capture than the 46MP Z7, but cleaner, distortion-free 4K video, and slightly better autofocus sensitivity in low light, too. Coupled with effective in-body stabilization and a supremely adaptable lensmount, the Z6 is a highly attractive camera for hybrid stills and video shooting, and Nikon’s most convincing video camera yet.

    Learn more about the
    Nikon Z6

    Winner: Fujifilm X-T3

    Every year, there’s at least one DPReview Awards category where we struggle to reach a unanimous decision. After a lot of discussion we awarded first prize in this category to the Fujifilm X-T3.

    At first glance very similar to its direct predecessor the X-T2, this year’s model is in fact a major upgrade, offering a substantially improved set of video and stills features. In fact, despite its lack of IBIS, the 4K/60-capable X-T3 is arguably a better 4K video platform than the nominal video flagship of the X-series, the X-H1. Its ability to capture 4K/60p footage in 10-bit even puts it ahead of the latest models in Panasonic’s video-centric GH series.

    All of this is made more impressive by the fact that until quite recently, Fujifilm’s X-series lagged seriously behind its competition in terms of video. The X-T3 is the clearest indication yet that Fujifilm has well and truly joined the game.

    Read our review of the Fujifilm X-T3

    Best entry-level ILC

    Shortlist:

    • Canon EOS M50
    • Fujifilm X-T100
    • Nikon D3500
    • Olympus PEN E-PL9

    Runner-up: Nikon D3500

    Entry-level cameras are among the most important products in every manufacturer’s lineup. Once a new photographer has invested in a system, the hope is that they’ll stay loyal, growing their investment in lenses, accessories and – in the future – more advanced cameras.

    The Nikon D3500 is a modest upgrade to the last-generation D3400, but it still offers the excellent 24MP sensor of its predecessor, and despite its entry-level positioning the D3500 handles very nicely, thanks in part to a redesigned, deeper grip. For anyone looking for an inexpensive first camera to grow and learn with, the D3500 fits the bill nicely. As such, it takes the runner-up spot in this year’s DPReview Award for best entry-level ILC.

    Read more about the Nikon D3500

    Winner: Canon EOS M50

    Canon’s EF-M range occupies an awkward spot in Canon’s current product portfolio – based around the APS-C sensor format, but incompatible with the lenses from Canon’s newer, full-frame RF mirrorless mount. Nevertheless, the best EOS M cameras are really nice to use, and have a lot to offer the beginner and enthusiast photographer alike.

    The DSLR-styled EOS M50 is one of the standout cameras in the EF-M lineup, offering an attractive combination of pleasant handling, solid stills photography features, and usable 4K video in a small, lightweight package. As a beginners’ ILC, the M50 is easy to use, powerful, and un-intimidating. As such, it takes the winning spot in our award category this year for best entry-level ILC.

    Read our review of the
    Canon EOS M50

    Best midrange ILC

    Shortlist:

    • Canon EOS R
    • Fujifilm X-T3
    • Nikon Z6>
    • Sony Alpha a7 III

    Runner-up: Fujifilm X-T3

    This year, the mid-range interchangeable lens camera segment saw a lot of action. All of our shortlisted models are capable of excellent still image quality, and feature a range of powerful features. Three of the four are also capable of superb 4K video capture, making them true ‘hybrid’ cameras of the sort unthinkable just a few years ago.

    Runner-up in this competitive category is the Fujifilm X-T3, one of the most impressive cameras released in 2018. Despite its APS-C sensor, the X-T3’s image quality at low and medium ISO sensitivities gives a lot of full-frame cameras a run for their money, and its 4k video features are very competitive. The X-T3 is one of those rare cameras that is better than it probably needed to be, and this is reflected in the fact that it beat out several full-frame models to the runner-up spot in this years’ award for best midrange ILC.

    Read our review of the Fujifilm X-T3

    Winner: Sony Alpha a7 III

    One of the full-frame cameras that the X-T3 has to compete against is one of our favorite cameras released all year – the Sony Alpha a7 III, which takes the winning spot in this year’s DPR Awards category for best mid-range ILC. The a7 III won out thanks to its stabilized full-frame sensor, powerful autofocus system and excellent 4K video features. For anyone looking for a ‘do it all’ camera without spending a lot more money, the a7 III is hard to beat. For these reasons, it takes the top spot in this years’ DPReview award for best midrange ILC.

    Read our review of the Sony Alpha a7 III

    Best high-end ILC

    Shortlist:

    • Fujifilm GFX 50R
    • Nikon Z7
    • Panasonic Lumix DC-GH5S
    • Panasonic Lumix DC-G9

    Runner-up: Fujifilm GFX 50R

    The high-end ILC category saw some serious innovation this year, from Fujifilm’s slimmed-down medium format GFX 50R to Nikon’s all-new Z7. At the other end of the sensor size scale was the video-centric Panasonic Lumix DC-G9 and the ultra-rugged G9.

    This year’s runner-up spot is taken by the camera with the biggest sensor of all – the Fujifilm GFX 50R. Designed for active photographers, the 50R takes the best bits of the more costly 50S – including its most important feature – the excellent 50MP CMOS sensor – and packages them in a smaller, more affordable, rangefinder-style body. Medium-format has never looked more attractive.

    Read more about the Fujifilm GFX 50R

    Winner: Nikon Z7

    The Nikon Z7 marks the beginning of a new era for the stalwart Japanese camera manufacturer, debuting the new full-frame mirrorless Z mount. With a wider diameter than the 1950s-era F-mount and a shorter flange-back, the Z mount is designed to be futureproof, and the enthusiast-oriented Z7 is an appropriately bold camera to kick things off.

    In many respects akin to a mirrorless D850, the Z7 offers a proven 46MP sensor, traditional Nikon handling, deep customization and a powerful 4K video feature set with impressive video AF. While stills autofocus could be improved, the Z7 is a formidable camera signaling Nikon’s dedication to the future, and as such it takes the top spot in this year’s DPReview Award for best high-end ILC.

    Read our review of the Nikon Z7

    DPReview innovation award

    Shortlist:

    • Canon RF 28-70mm F2
    • Canon Speedlite 470EX-AI
    • DJI Mavic 2 Pro
    • Google Pixel 3

    Runner-up: Canon Speedlite 470EX-AI

    Innovations come in all shapes and sizes, but sometimes the simplest innovation can have the biggest impact on how you make photographs. Take for example the Canon Speedlite 470EX-AI, an on-camera flash that uses a simple technique to demystify the art of bouncing light.

    For years, hot shoe flashes have been able to measure distance to subject. Canon’s Speedlite 470EX-AI takes this simple action several steps further. By first measuring the distance to subject, followed by the distance to ceiling, the 470EX-AI can predict the optimal bounce angle and set itself there, automatically. Even cooler, it re-positions itself when switching from portrait to landscape orientation.

    Learn more about the Canon Speedlite 470EX-AI

    Winner: Google Pixel 3

    Every year brings new innovation in the camera industry, and this year was particularly busy with new entrants in the mirrorless and full-frame camera markets, and stellar new optics. Despite this competitive landscape, we unanimously picked the Google Pixel 3 for our ‘Innovation of the Year’ award.

    The Pixel 3 is the first smartphone camera to truly challenge traditional cameras from an image quality standpoint, surpassing 1″-type and rivaling cameras with Four Thirds sensors in ‘Night Sight’ mode. It does this by improving upon the Pixel 2’s already class-leading HDR+ multi-frame fusion technique, now capturing up to 15 frames and merging them using a super resolution algorithm to extract more detail, reduce noise, and remove the need for demosaicing altogether. That allows its image quality to rival higher resolution dedicated cameras with Bayer filter arrays, and allows for digital zoom that rivals modest optical zoom modules.

    Google is also at the forefront of applying machine learning to photography. This pays off in more accurate white balance, sharper images, as well as ‘real’-looking background blur and subject isolation for the best portraits we’ve seen outside of a dedicated camera. The list goes on, but importantly: these techniques are bringing high quality photography – and videography – to the masses, on unprecedentedly small and convenient devices. This democratization of the art using technology is what garners the Google Pixel 3 our Innovation of the Year award.

    Read more about the Google Pixel 3

    DPReview product of the year, 2018

    Shortlist:

    • Fujifilm X-T3
    • Nikon Z7
    • Sony Alpha a7 III
    • Tamron 28-75mm F2.8 Di III RXD

    Runner-up: Fujifilm X-T3

    Picking the single best product of the year is always a difficult task, and if we’re being honest, it’s impossible. Everyone’s needs are different. There has never been a better time to be a photographer, and in 2018 there are fantastic cameras, lenses and accessories out there for everyone.

    But pick we must. This year’s shortlist is comprised of those products that represent, in our collective opinion, four of the best bits of gear released in 2018. Two of them really stood out, though. Runner-up is the Fujifilm X-T3 which – in case you didn’t already get the message – we really like. Fujifilm didn’t need to make the X-T3 as good as it is – hell, Fujifilm didn’t even need to replace the X-T2 yet – but they did, and they did. And the resulting camera is one of the best APS-C format ILCs money can buy, even rivaling some full-frame models.

    Read our review of the Fujifilm X-T3

    Winner: Sony Alpha a7 III

    And the winning spot this year is taken by the Sony a7 III. Arguably the best-value full-frame ILC available right now, the a7 III is a superbly versatile camera for both stills and video imaging, at a great price. Other cameras in Sony’s lineup offer higher stills resolution and some nice extras, but the a7 III takes most of the essentials, and packages them inside an attractive, very usable and affordable body. As such, the a7 III is a worthy winner of our most important award – the best product of 2018.

    Click here to read our Sony Alpha a7 III

    Articles: Digital Photography Review (dpreview.com)