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Our favorite gear, rewarded: DPReview Awards 2018

03 Dec

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.

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.

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.

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.

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.

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.

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.

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.

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)

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Zhong Yi Optics launches Mitakon Speedmaster 65mm F1.4 lens for Fujifilm GFX

02 Dec

Zhong Yi Optics has launched the Mitakon Speedmaster 65mm F1.4 for Fujifilm GFX cameras. This announcement makes Zhong Yi Optics the first third-party manufacturer to develop a lens for Fujifilm’s G mount and gives them the claim — for the time being — of having the fastest standard lens designed specifically for GFX medium format mirrorless camera systems.

The lens provides a 46-degree angle of view, roughly equivalent to a 50mm lens on a 35mm full-frame camera. It’s constructed of eleven elements in seven groups and has a minimum focusing distance of 70cm.

The Mitakon Speedmaster 65mm F1.4 features an aperture range of F1.4 through F16 via its nine-blade aperture diaphragm. The front filter thread measures in at 72mm and the whole lens weighs 1,050g.

Below is a collection of sample images provided by Zhong Yi Optics:

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The Mitakon Speedmaster 65mm F1.4 is currently available to purchase online for $ 799.

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: Nikon Z6 and Z7 review for video

01 Dec

Following up on their review of the Nikon Z7’s still photo capabilities, Chris and Jordan take a look at the Z7 and Z6 for video shooting. Both cameras – particularly the Z6 – represent a huge step forward for Nikon in terms of video, but Jordan doesn’t think they’re quite ready to be your primary video camera. Take a look and see what they have to say about it.

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

Introduction
Design and Handling
Stabilization
Autofocus
Manual Focus
Image Quality
Slow Motion
External Recording
Audio Quality
Timelapses
Conclusion

Articles: Digital Photography Review (dpreview.com)

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Photokina 2018: Tamron interview – “We have standard three-business-day turnaround for repairs”

01 Dec

Stacie Errera is VP of Marketing and Communications for Tamron USA.

We met with Tamron’s Stacie Errera at Photokina 2018 in Cologne, Germany where we discussed the brand’s unique identity, product development prioritization, future lens plans and the importance of user feedback.

How is Tamron different from other lens manufacturers?

Our focus on customer service at all aspects of the users’ experience makes us different. We’re very focused on education – we like keeping our customers up on the latest techniques to create great photography. So whether it’s in-person workshops, working with our local authorized dealer base to bring workshops to stores, our magazine or our newsletter, we’re very focused on education. We’re also focused on support – all of our products have a six-year warranty. We have standard three-business-day turnaround for repairs with no extra charge for every customer – it doesn’t matter who you are. If you have a lens and you need a repair, you send it in and you get it back within three days. That’s the best in the industry.

We have standard three-business-day turnaround for repairs with no extra charge for every customer

Is Tamron’s three-day repair turnaround for US customers only?

It’s worldwide. Almost all markets now have that. Any place we have a subsidiary, it’s three days and anywhere we have a distributor, it’s mostly three days. This policy actually came as a mandate from our president to increase confidence in Tamron lenses and Tamron customer service.

And our overall philosophy or feeling we want customers to have – which extends into the lens design itself – is a ‘human touch quality’. We want that to extend beyond the product. We strive really hard to work closely with our customers. We hear what they have to say and work with them on social media and in person to give them good service. So I think it sets us apart a little bit, how closely we try to listen to and help motivate and mentor our customers.

The Tamron 28-75mm F2.8 Di III RXD is the most compact F2.8 zoom available for Sony E-mount. Also important: It’s very sharp.

How do customer needs and feedback play into the design and development of new lenses?

We do a few customer surveys a year where we find out what people are looking for. Also any feedback that my tech team or sales team might get is fed to me and then it goes up through the chain. With our subsidiaries, we sit down several times a year and put together our thoughts and make recommendations – these are based off of what people are asking for, what they feel they need and what they feel might be missing from a current lens line. Sometimes people bring up technologies and maybe you’ll think the idea is crazy, but we still pass it on. So we definitely try to pass all that information up to our headquarters.

Who do you see as Tamron’s user base? Is it pros, enthusiast, or a combo of both?

It’s a combo of both. We do several professional tradeshows a year and have very busy booths and a lot of customers there. As we put together our VIP program we’re seeing all the customers who own multiple lenses, so we do have a lot of pros out there. I’d say we’re maybe 60% enthusiast, 40% pro.

We want to make it affordable so [photographers] can have four, five, or six lenses in their bag without going broke

Our enthusiasts, they run the gamut from first entry-level DSLR / ILC users up to serious enthusiast that have been using cameras for 20+ years, many of whom came out of the film days. We really have a wide range of users. And again, just looking at our database with the VIP program – how many people own multiple lenses – we know our users really are gear-intensive customers. They’re into getting new lenses; many update their cameras, then get new lenses to match.

Tell me more about Tamron’s VIP program.

Any customer that registers their Tamron USA lenses purchased after 2011 are eligible for Tamron USA’s VIP program. If they have four lenses, five lenses or six+ lenses there’s silver, gold and platinum VIP.

We just had all our platinum members out at a VIP summit in Santa Fe for four days of seminars and field workshops. They brought their lenses and it’s amazing to see these customers that have lots of gear but continue to get new lenses to make sure they have the right tool for the job. We want to make it affordable for them so they can have four, five, or six lenses in their bag without going broke.

The new Tamron SP 15-30mm F2.8 Di VC USD G2 is the only stabilized F2.8 wide zoom for full-frame DSLRs. It’s also, you guessed it, very sharp.

How important is affordability to your long-term growth and vision for Tamron?

It’s definitely high up there. Our goal is to number one, make sure the lens is high quality. The second goal for us, depending on the category of the lens, is definitely size and weight. So looking at the Sony FE and E-mount, for example, we’re definitely looking at compactness and lightweight designs as key features of those products.

But we also do look to keep the price in an affordable range for the customer. One of the philosophies of the company is we want to make photography accessible for everyone. By having tools that can be more affordable for the photographer, we can expand their bag and make sure they have the right tool for the types of photography they like to do.

One of the philosophies of the company is we want to make photography accessible for everyone

What about for DSLRs, is size and weight still a high consideration?

For both mirrorless and DSLR size and weight are a consideration. For example, the 17-35mm F2.8-4 for DSLRs, it is the lightest and most compact in its class of lenses that are F4 or faster. If you look at the 15-30 F2.8 for DSLR, while it’s definitely a large lens with it’s constant 2.8 aperture, it is still the only lens in the category with stabilization. So it’s not compact, but within the category it still has advantages.

How important a consideration is video when Tamron develops lenses?

It’s a high consideration. We are trying to make sure the motors in our lenses are as silent as they can be. However, depending on who the videographer is and what they’re filming, they may be using manual focus anyway. The new 28-75 F2.8 for Sony FE has a rapid extra-silent drive (RXD) and it is definitely geared toward video because we know people are using Sony full-frame to shoot video more so than on some other systems.

A sample photo shot with the Tamron SP 15-30mm F2.8 Di VC USD G2.

The 28-75 F2.8 for Sony FE is one of our favorite lens available for full-frame E-mount. How this lens been received by customers and will we see other full-frame Sony E-mount lenses soon?

That lens has definitely been very well-accepted by Sony shooters worldwide. Right now we’re still in a very heavy demand situation. Supply is catching up, though. I think it’s really the first lens that seems to fit the form factor of the camera itself. That balance and that lightweight design without compromising performance, everything about it fits the form factor and goal for what that system is all about. So definitely, with the acceptance of this, we’ll see more from Tamron for Sony mirrorless cameras.

We’ll see more from Tamron for Sony mirrorless cameras

Tamron now makes lenses for Sony FE, E, A, Nikon F, Canon EF, M, Micro Four Thirds, Pentax K-mounts. With all these mounts, how does Tamron prioritize what lenses they are going to make?

We look at the market and see where there are gaps – what’s moving, what’s not moving.

Really the past few years have been dedicated to analyzing the mirrorless portion of the market. With all the recent introductions to mirrorless I think it’s very evident that the market is swiftly moving toward mirrorless dominance. But that’s not to say full-frame DSLRs are not still strong. My opinion is that people will continue, for at least the next few years, using multiple formats. I have my DSLR I use for some situations and I have my mirrorless I use for other situations – I have my smartphone that I use still for others. So I think we’re in a place where each consumer is a multi-format user. Obviously there are people that are mirrorless-only, DSLR-only. And obviously there are pros not ready to make the jump to mirrorless yet. But overall, it’s a fun time to be making lenses.

Really the past few years have been dedicated to analyzing the mirrorless portion of the market

Do you have any prediction for how much of your business will be represented by mirrorless lenses rather than SLR lenses?

Right now we have a couple of mirrorless lenses plus the recent introduction of the full-frame Sony mirrorless. I think we’ll move along with the market. The US market is swiftly catching up to some other markets in the world. And I think we’ll see some changes worldwide for Tamron over the next few years. But it’s hard for me to attach a number or percentage to that at this point. But we’re definitely moving with the market.

All-in-one zooms for DSLRs are still a crucial part of Tamron’s portfolio. The Tamron 100-400mm F4.5-6.3 Di VC USD for APS-C – which this photo was shot with – offers a good balance of quality and affordability.

We now have two new full frame mounts, Canon R and Nikon Z, as well as the announcement of the Panasonic/Leica/Sigma L-mount alliance. Is there talk about making lenses for these mounts?

I think we need to get those cameras into our engineers’ hands and analyze them and see what they’re all about and make determinations from there. I think that we’re keenly looking at all these different mounts and I think it’s an important part of the market today. I’m not involved in the talks over in Japan, but I would assume there is definitely a strong interest in these.

I think we’ll see some changes worldwide for Tamron over the next few years

Sigma, Panasonic and Leica announced their L-mount partnership at Photokina. Has Tamron considered making partnerships with other brands in similar fashion?

At this point in time, there’s none I’m aware of. That doesn’t mean there won’t be partnerships in the future.

What’s the immediate future hold for Tamron?

I think we’ll continue expanding our lineup. We’ll be continuing our G2-series, the 15-30 F2.8 G2 now completes the SP (Superior Performance) trio of fast, image-stabilized zooms. It was very important for us to complete that trio. We’ll also be filling in the full-frame arena and raising the bar for all-in-ones, an area of the market where we are the leader. It’s just a progression of filling and finding areas of need as the market changes.

Editors’ note: Dan Bracaglia

Tamron is a brand increasingly putting out lenses I want to get my hands on, from their outstanding, stabilized SP 15-30mm F2.8 Di G2 to their perfectly sized 28-75mm F2.8 Di III RXD – my favorite lens for Sony FE without question. Both of these lenses represent unique designs within their chosen mounts.

2018 is an exciting time for third-party lens brands

2018 is an exciting time for third-party lens brands, but with the number of mirrorless mounts growing, it’s as important as ever for these companies to carefully consider what they prioritize. Tamron seems to understand this though – lens development boils down to a careful mix of user feedback and market analysis.

Though all-in-one zooms for DSLRs have long been the brand’s bread-and-butter, here’s hoping we’ll even see other well-sized, constant-aperture mirrorless zooms in the near future given the market success of the 28-75mm F2.8 Di III RXD and Stacie’s mention of ‘changes worldwide for Tamron over the next few years.’

…with Tamron’s new commitment to three-day repair turnarounds, their lenses are looking more desirable than ever

Speaking of mirrorless, Stacie wouldn’t give me any indication what plans the company has for the new Nikon Z and Canon RF-mounts. This isn’t terribly surprising given how new they are, but it will be interesting to see whether existing mirrorless models eventually become available for these new mirrorless mounts.

At the end of the day, I’m thankful that brands like Tamron and Sigma exist. Though they take very different approaches to lens development, both are going to great lengths to ensure that there are a lot of cool lens choices on the market. And with Tamron’s new commitment to three-day repair turnarounds, their lenses are looking more desirable than ever.

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Sony a7/R III firmware 2.0 unlocks all AF modes with adapted lenses

01 Dec

Sony has released a significant firmware update for its a7 III (Mac | Windows) and a7R III (Mac | Windows) cameras that brings new features, updated support and improved performance to the full-frame mirrorless cameras.

The big deal here is that firmware 2.0 unlocks all autofocus modes for adapted lenses adapted with the Sony LA-EA3 mount adapter. This includes the subject-tracking Lock-on AF modes on the a7 III and a7R III, as well as Zone and Expand Flexible Spot. Sony specifically mentions its Sony Alpha A-mount lenses in its press release, but we’ve tested it with adapted Canon mount lenses as well and can confirm it works with EF lenses via a Sigma or Metabones adapter. Since Eye AF also works with adapted lenses, we’re really starting to see less and less of a downside to using third-party lenses on Sony cameras, save for a drop in performance at longer telephoto focal lengths.

Another stand-out feature added in the updated firmware is ‘Aperture Drive in AF’. This offers two options for aperture behavior during focusing in AF-S: ‘Standard’ opens the aperture up (up to F2) for focus acquisition, while ‘Silent Priority’ always forces the camera to focus at your shooting aperture to minimize the sound of the aperture opening during focus acquisition.

Sony warns though that ‘Auto Focus may become slower when Silent Priority is selected’ – precisely the reason why we’ve been asking Sony to add a mode where the camera always focuses wide open in AF-C, at the very least until shutter actuation. This new setting adds the option to do the exact opposite in AF-S, and doesn’t change behavior in AF-C (where newer Sony cameras always focus at the shooting aperture). We urge Sony to add a ‘Focus Priority’ mode that always forces the camera to focus wide open in AF-C, as DSLRs do.

Firmware version 2.0 for the Sony a7 III and a7R III also improves the overall performance and stability of the cameras, fixes exposure issues when using flash alongside flickering light sources, and better handles continuously shot photos as groups when browsing in playback.

Articles: Digital Photography Review (dpreview.com)

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Clever “Sketches” video shows objects being edited in the real world

01 Dec

A newly published video called “Sketches” from Russian motion graphics designer Vladimir Tomin shows the world around him being edited using video editing tools. The experimental work presents a variety of scenes in which cursors appear to cut and paste birds, type text created from twisted crane pieces, and scrape the painted line off a road.

Clips from the video, which was published on Vimeo, can also be found on Tomin’s Instagram account alongside other videos of clever reality edits. Tomin also offers content on YouTube and through his personal website.

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Sigma 40mm F1.4 Art sample gallery

30 Nov

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Sigma holds its Art series lenses to a high standard, so our interest was piqued when the company’s CEO Kazuto Yamaki described the 40mm F1.4 as a ‘reference’ lens for the entire Global Vision range. While we had a chance to shoot with a pre-production model at Photokina, we were eager to really put the 40mm to work when a full production lens rolled into the office. Take a look at how it performed.

See our Sigma 40mm F1.4 Art
sample gallery

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Instagram announces new features for visually impaired users

30 Nov

Instagram has announced it’s making changes to its platform in order to make it more accessible to the more than 285 million people in the world who have visual impairments.

The first new feature is automatic alternative text. This will allow visually impaired users to hear image descriptions through their readers while using Instagram’s Feed, Explore and Profile sections.

Automatic alternative text uses object recognition to automatically generate photo descriptions for screen readers, so users can hear a list of items that photos may contain while navigating the app.

Given Instagram’s parent company Facebook has already developed an AI-powered object recognition system (trained using Instagram images) this new feature is likely using the same technology, although this hasn’t been confirmed.

Custom alternative text is the second new feature designed to make things easier for visually impaired users. Uploaders can now provide a more detailed description of images while posting. This description will be read out to users of screen readers.

Instagram says these are only first steps, so we’ll likely see more accessibility features in the near future.

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Phase One releases Capture One 12 with new interface, third-party plug-in support

30 Nov

Phase One has released Capture One 12, the latest edition of its image editing software. The updated product features a redesigned interface, revamped menu aligned between the Mac and Windows versions, linear and gradient masks via the new Parametric Masking Engine, luminosity masking and a new plug-in ecosystem.

Capture One 12’s new plug-in ecosystem supports third-party extensions and will soon have access to plug-ins for sharing and editing, as well as connecting the software to “specialized editing tools,” according to the company. Phase One’s Capture One Plugin SDK enables developers to create their own plug-ins for the software.

The updated product also adds new Fujifilm Film Simulation, lens, and camera support, expands AppleScript support for macOS users, and features a redesigned keyboard shortcut manager. Capture One 12 supports more than 500 camera models across all major brands.

Phase One is offering Capture One 12 with a perpetual license to new customers for $ 299 USD, but existing customers can purchase the update starting at $ 149 USD. Alternatively, the company offers Capture One Pro Sony 12 and Capture One Pro Fujifilm 12 for $ 219 USD. Buyers also have a subscription option starting at $ 15/month for Capture One Pro 12 and $ 14/month for the Fuji and Sony editions.

Redesigned and reimagined for the needs of today’s creatives, expanding for tomorrow’s solutions

COPENHAGEN, November 29, 2018: Phase One, the world’s leading manufacturer of high-end digital camera systems, today released Capture One 12, the next major milestone in the evolution of the industry’s premier RAW conversion, image editing, and asset management software. This release takes a top-down approach to streamline, modernizing, and improving the user interface to continue the program’s tradition of providing powerful features in a customizable, uniquely-configurable interface.

New masking tools and improved workflow features continue Capture One’s tradition of providing the most powerful image editing tools available, while a new plug-in ecosystem will allow third-party developers to connect their services and applications to Capture One.

Capture One 12 furthers Phase One’s commitment to providing unparalleled RAW editing, with unmatched tethering, color handling and precise editing on images captured with any of more than 500 different camera models.

Capture One 11.3 introduced support for all Fujifilm cameras and their unique sensors. Capture One 12 now enhances that support with the ability to correctly read and interpret Fujifilm’s legendary Film Simulations.

“Capture One has long been recognized as the industry standard for RAW image editing and image management,” says Jan Hyldebrandt-Larsen, VP Software Business at Phase One. “With this update, we focused on creative control — updating and improving the user interface, adding powerful new masking tools, and extending the Capture One ecosystem through plug-in support. These updates further our commitment to ensuring that Capture One continues to be the industry’s recognized leader in accuracy, performance, and customizability.”

Download Capture One 12, as well as find resources and tutorials at: www.captureone.com/12

New features and tools in Capture One 12

Powerful, refined interface

Capture One 12 introduces a newly re-designed, contemporary interface, designed to make Capture One easier to use during long editing sessions and to make discovery, experimentation, and customizability easier than ever. New iconography better conveys tool functionality, and the new slider design, the spacing of the tools, and font size increase improves both the look and the usability of the program.

The result is a new environment that feels more welcoming for new users while being more customizable for power-users.

Revamped menu system

Every menu item in Capture One 12 has been evaluated, categorized, and organized according to its logical function and grouped along with associated tasks, which makes it easier to find the desired controls and settings, and brings the Mac and Windows menu options into alignment.

Luminosity masking

One of a trio of new masking tools, Luma Range allows users to quickly create masks based on the brightness of pixels in an image and is the most powerful luminance masking tool of its kind.

This masking technique is particularly powerful in landscapes and high-key portraits, as it allows for nearly-instantaneous masks in complex scenes based on brightness—eliminating the need to tediously paint complex masks. Once a luminance range is created and adjusted using the precision mask-adjustment tools, nearly any editing tool can be applied to the mask.

The masks created with the Luma Range tool are dynamic and can easily be tweaked and modified at any point in the workflow. Unlike a hand-drawn mask, Luma Range adjustments can be applied from one image to another, and the effect will be based on the luminance of each image. This functionality is a huge time-saver as it eliminates the need to create precision masks for each frame in a shoot.

The new Luma Range selection masks open up an incredible range of editing possibilities, from selective noise reduction to precise color grading.

Linear Gradient Mask

Capture One 12 takes gradient masks to the next level, allowing for editable, moveable, rotatable—and best of all—asymmetric gradient masks. Using a brand-new Parametric Masking Engine, Capture One allows for adjustments in the size, shape, and symmetry of the masks with simple mouse clicks and key presses, truly redefining the possibilities of linear gradients in Capture One. Rotate, feather and adjust a mask with a precision never before possible.

Radial Gradient Mask

The new Radial Gradient mask tool enables quick, flexible radial masks, useful for vignette and other adjustments with a desired falloff effect. Using the same Parametric Masking Engine as the Linear Gradient mask tool, radial masks can be adjusted, rotated and moved after creation for extreme control over desired effects.

Redesigned Keyboard Shortcut manager

Capture One is known for its ability to custom-assign and custom-configure virtually every task to a keyboard shortcut. With more than 500 individually-assignable and customizable commands, it’s essential to be able to find the exact shortcut, without having to hunt through hundreds of choices.

Users can now search by the specific menu command, or by the assigned keyboard shortcut, making it easy to find and manage shortcuts. To unify the interface between the Mac and Windows versions the new menu system has been moved to the same location on both platforms, making it easier for workgroups to stay in sync.

New plug-in ecosystem

To address the needs of photographers and creatives looking to share, edit and collaborate on their images, the new Capture One plug-in ecosystem will allow for powerful third-party extensions. The new Capture One SDK will allow any developer to create custom solutions to expand Capture One, and to transform Capture One into an open ecosystem.

Users of Capture One will be able to extend the platform with the upcoming addition of plug-ins that allow for sharing, editing, and that can connect Capture One to a variety of specialized editing tools.

For developers, the Capture One Plugin SDK—available as a free download—will provide access to the broad base of passionate professional and enthusiast photographers that use Capture One. Developers are now able to create solutions that leverage the image-editing and organizational prowess of Capture One, and the added capabilities of third-party resources.

The initial Capture One Plugin SDK allows for plugin development, and can be leveraged for common tasks like sharing, sending files to external editors, and allowing images to be opened in other applications, and more.

Fujifilm Film Simulation support

Fujifilm X-Series and GFX-series cameras feature Film Simulations, which are in-camera tonal adjustments that faithfully reproduce the color and tonality of classic Fujifilm photographic films. Sixteen Film Simulations are available, ranging from color stocks like Provia and Velvia to black and white film like Acros. These simulations give Fujifilm users the ability to digitally capture images with the feel of beloved photographic films.

Thanks to the collaboration between Capture One and Fujifilm, photographer’s using Fujifilm’s renowned X-Series and GFX-series cameras will be able to edit photos complete with Fujifilm Film Simulations. These in-camera settings have been faithfully reproduced in Capture One, to provide an identical experience when working with files, resulting in images that appear the same as if the Film Simulation picture profiles were applied in-camera.

Extended AppleScript support

Users of Capture One on Mac OS can take advantage of extended AppleScript support for automation and workflow streamlining. More than a dozen of Capture One 12’s areas and properties can now be directly modified with AppleScript, adding to the existing, robust AppleScript support in previous versions of Capture One.

New camera and lens support

Capture One provides users with the most accurate and powerful image editing available, and the wide-ranging support of cameras and lenses is a hallmark of the software. For enthusiasts and professionals alike, Capture One continually evolves to handle the newest cameras and lenses.

Phase One carefully evaluates and interprets each camera’s RAW formats, allowing Capture One to present images with the utmost fidelity, often bringing out nuances that other programs can’t even perceive.

In addition to the RAW support for more than 500 cameras, Capture One also provides profiling and image correction support for more than 500 lenses. Like with the RAW file interpretation, Phase One carefully measures the optical characteristics of each supported lens and builds correction algorithms that compensate for the various optical imperfections of various designs. As a result, Capture One can correct for numerous common optical issues such as vignette, and chromatic aberration as needed for each of the supported lenses.

New camera support:

Nikon Z7
Nikon Z6
Fujifilm GFX 50R
Canon EOS R
Canon EOS M50

For a complete list of supported cameras, please go to: www.phaseone.com/supported-cameras

Availability and pricing

Capture One is available in several versions. Capture One Pro 12 supports more than 500 cameras from all major camera brands, while Capture One Pro Sony 12 and Capture One Pro Fujifilm 12 supports cameras from those brands, respectively.

Phase One is committed to providing customers a choice when it comes to how they acquire their software, so Capture One Pro 12 is available for purchase, or via subscription. The perpetual license for Capture One Pro 12 is available for $ 299, with upgrade pricing from previous versions starting at $ 149. Capture One Pro Sony and Capture One Pro Fujifilm are available for $ 219

For those that prefer subscription models, Capture One Pro 12 is available for plans as low as $ 15 per month, and Capture One Pro Sony and Capture One Pro Fujifilm subscription plans start at $ 14 a month.

For a complete list of all products and licensing options, please visit: www.phaseone.com/store to learn more.

A 30-day fully-featured free trial of Capture One 12 is available. Download the trial here: www.captureone.com/download

Via: PDN

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