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  • Canon PowerShot G1 X Mark III review

    Introduction

    The Canon PowerShot G1 X III is a high-end compact camera with a 24MP APS-C sized sensor, Dual Pixel autofocus and a 24-72mm equivalent F2.8-5.6 zoom lens. It’s Canon’s new flagship for the PowerShot G-series, and the sensor is the largest they’ve ever fitted to a fixed-lens camera. It also has the company’s latest DIGIC 7 processor, Wi-Fi with Bluetooth connectivity, and promises a degree of dust and water resistance.

    While sales of compact cameras at the low end continue to evaporate, manufacturers are still churning out premium, high-end models in an attempt to lure enthusiasts and amateurs with deep pockets. The G1 X III is certainly an interesting proposition in this segment – indeed, it’s the only compact on the market with an APS-C sensor and a lens that zooms, and is designed to be weather sealed to boot.

    Key Features

    • 24MP APS-C CMOS sensor
    • Dual Pixel autofocus for stills and video
    • DIGIC 7 processor
    • 2.36M-dot electronic viewfinder
    • 3″ fully-articulating LCD
    • 9fps burst shooting (7fps with continuous AF)
    • 1080/60p video recording
    • Wi-Fi and NFC with Bluetooth
    • 200 shot-per-charge battery life (CIPA standard testing)
    Processed and cropped to taste in Adobe Camera Raw.
    24mm equiv | ISO 125 | F2.8 | 1/1000 sec
    Photo by Carey Rose

    There are, of course, sacrifices to be made when shoehorning such a large sensor into such a small body. First, the MSRP is pretty high, even for this market segment. Though the lens has a respectable range, its maximum aperture range isn’t exactly impressive, and battery life is just plain bad. Regardless, as an overall package, the G1 X III is likely to attract the interest of a wide variety of photographers.

    Compared to…

    That the G1 X III is a unique offering makes it difficult to really draw comparisons to other models; regardless, those shopping for a fixed-lens pocketable compact at this price are likely to stumble across the RX100 V and the older RX100 IV. They offer much smaller sensors, but come with similar zoom ranges and brighter maximum apertures for their lenses.

    Canon G1 X
    Mark III    		 Sony RX100 V Sony RX100 IV
    MSRP $ 1299 $ 999 $ 899
    Sensor 24MP APS-C CMOS 20MP 1″-type
    stacked BSI CMOS    		 20MP 1″-type
    BSI CMOS
    Lens 24-72mm equiv. F2.8-5.6 24-70mm equiv. F1.8-2.8 24-70mm equiv. F1.8-2.8
    ISO range
    (native)    		 100-25600 125-12800 125-12800
    AF system Dual Pixel on-sensor phase detect On-sensor phase detect Contrast detect
    EVF 2.36M-dot 2.36M-dot 2.36M-dot
    LCD 3″ 1.04M-dot fully articulating
    (720 x 480 RGB)    		 3″ 1.28M-dot tilting
    (640 x 480 RGBW)    		 3″ 1.28M-dot tilting
    (640 x 480 RGBW)
    Touchscreen Yes No No
    Burst rate with AF 7fps 24fps 5.5fps
    Video 1080/60p 4K/30p 4K/30p
    Wireless WiFi w/NFC + Bluetooth WiFi w/ NFC WiFi w/ NFC
    Battery life (CIPA 200 shots 220 shots 280 shots
    Dimensions 115 x 78 x 51 mm 102 x 58 x 41 mm 102 x 58 x 41 mm
    Weight 399 g 299 g 298 g

    It’s worth noting that there are older options (in some cases, discontinued) that may be of interest. The Panasonic LX100 comes with a 4/3-type sensor and similar zoom range, but only offers 12MP of resolution. Fujifilm’s X70 and Ricoh’s GR II both have 16MP APS-C sensors and are even smaller than the Canon, but both have fixed 28mm-equivalent prime lenses.

    In terms of other current cameras that aim to strike a balance between being pocketable and taking decent photos, Panasonic’s LX10 comes with a 24-72mm equiv. F1.4-2.8 lens in front of its 1″-type sensor, and Canon’s own G7 X Mark II has a 24-100mm equiv. F1.8-2.8 lens in front of its 1″-type sensor. And they’re all much cheaper than the G1 X III.

    The lens

    What’s likely to cause the most consternation for serious photographers considering the G1 X III is the lens. The camera is impressively compact, but as noted earlier, at the expense of its maximum aperture range. This limits the usefulness of the larger sensor, particularly in terms of depth of field control (blurry backgrounds) and low light capability – though you should retain a dynamic range advantage in bright light.

    Let’s see how it compares to some of the other zoom-equipped models we’ve mentioned here.

    LensEquivalentApertures([“Equivalent focal length (mm)”,”Canon G1 X II”,”Panasonic LX100″,”Canon G7 X II”,”Panasonic LX10″,”Sony RX100 V”,”Canon G1 X III”], [[24,3.84,”Canon G1 X II at 24mm: F3.8″,3.7434,”Panasonic LX100 at 24mm: F3.7″,4.90909090909091,”Canon G7 X II at 24mm: F4.9″,3.8181818181818183,”Panasonic LX10 at 24mm: F3.8″,4.90909090909091,”Sony RX100 V at 24mm: F4.9″,4.5170606663860564,”Canon G1 X III at 24mm: F4.5″],[25,4.224,”Canon G1 X II at 25mm: F4.2″,3.9636,”Panasonic LX100 at 25mm: F4.0″,null,””,4.0909090909090917,”Panasonic LX10 at 25mm: F4.1″,5.454545454545455,”Sony RX100 V at 25mm: F5.5″,null,””],[26,4.8,”Canon G1 X II at 26mm: F4.8″,4.1838,”Panasonic LX100 at 26mm: F4.2″,null,””,4.90909090909091,”Panasonic LX10 at 26mm: F4.9″,6.0000000000000009,”Sony RX100 V at 26mm: F6.0″,5.1623550472983508,”Canon G1 X III at 26mm: F5.2″],[27,5.3759999999999994,”Canon G1 X II at 27mm: F5.4″,4.404,”Panasonic LX100 at 27mm: F4.4″,null,””,5.454545454545455,”Panasonic LX10 at 27mm: F5.5″,null,””,null,””],[28,null,””,4.6242,”Panasonic LX100 at 28mm: F4.6″,null,””,6.0000000000000009,”Panasonic LX10 at 28mm: F6.0″,6.8181818181818183,”Sony RX100 V at 28mm: F6.8″,null,””],[29,null,””,null,””,null,””,6.8181818181818183,”Panasonic LX10 at 29mm: F6.8″,null,””,5.646325832982571,”Canon G1 X III at 29mm: F5.6″],[30,6.144,”Canon G1 X II at 30mm: F6.1″,4.8444,”Panasonic LX100 at 30mm: F4.8″,null,””,null,””,null,””,null,””],[31,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 31mm: F7.6″,null,””,null,””],[32,null,””,null,””,6.0000000000000009,”Canon G7 X II at 32mm: F6.0″,null,””,7.6363636363636367,”Sony RX100 V at 32mm: F7.6″,6.4529438091229379,”Canon G1 X III at 32mm: F6.5″],[34,null,””,5.0645999999999995,”Panasonic LX100 at 34mm: F5.1″,null,””,null,””,null,””,null,””],[37,null,””,5.2848,”Panasonic LX100 at 37mm: F5.3″,null,””,null,””,null,””,7.2595617852633048,”Canon G1 X III at 37mm: F7.3″],[39,null,””,null,””,6.8181818181818183,”Canon G7 X II at 39mm: F6.8″,null,””,null,””,null,””],[40,6.72,”Canon G1 X II at 40mm: F6.7″,null,””,null,””,null,””,null,””,null,””],[41,null,””,5.505,”Panasonic LX100 at 41mm: F5.5″,null,””,null,””,null,””,null,””],[44,null,””,5.7252,”Panasonic LX100 at 44mm: F5.7″,null,””,null,””,null,””,null,””],[45,null,””,null,””,null,””,null,””,null,””,8.0661797614036725,”Canon G1 X III at 45mm: F8.1″],[52,null,””,6.1655999999999995,”Panasonic LX100 at 52mm: F6.2″,null,””,null,””,null,””,null,””],[54,null,””,null,””,7.6363636363636367,”Canon G7 X II at 54mm: F7.6″,null,””,null,””,null,””],[57,null,””,null,””,null,””,null,””,null,””,9.0341213327721128,”Canon G1 X III at 57mm: F9.0″],[70,null,””,null,””,null,””,null,””,7.6363636363636367,”Sony RX100 V at 70mm: F7.6″,9.0341213327721128,”Canon G1 X III at 70mm: F9.0″],[72,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 72mm: F7.6″,null,””,null,””],[75,7.4879999999999995,”Canon G1 X II at 75mm: F7.5″,6.1655999999999995,”Panasonic LX100 at 75mm: F6.2″,null,””,null,””,null,””,null,””],[100,null,””,null,””,7.6363636363636367,”Canon G7 X II at 100mm: F7.6″,null,””,null,””,null,””],[120,7.4879999999999995,”Canon G1 X II at 120mm: F7.5″,null,””,null,””,null,””,null,””,null,””]], {“isMobile”:false})

    As you can see, both Panasonic models offer larger aperture diameters at the widest end of their zooms, meaning greater scope for low-light work. Meanwhile, the Canon G7 X II offers more subject isolation and potential for low light image quality once you pass 29mm – all of this is in spite of the fact that the G1 X Mark III’s sensor is the largest, by a fair margin. It speaks volumes to the trade-offs that have been made in getting the G1 X III to fit in your coat pocket.

    Articles: Digital Photography Review (dpreview.com)

  • Houston neighborhood removes photography ban after sidewalk compromise

    Historic Broadacres neighborhood of Houston, Texas. Photo by Ed Uthman, used under CC 3.0 license.

    Broadacres, a wealthy Houston neighborhood, has reversed its ban on photography following a previous attempt to prevent photographers from holding photo shoots in the area. The issue, according to the Broadacres Homeowners Association (BHA), was that commercial photographers were blocking public sidewalks. “It’s the abusive commercial photographers that have ruined it for everyone,” BHA president Cece Fowler said in a statement to the Houston Chronicle.

    The neighborhood has attracted an increasing number of photographers who use it as a picturesque backdrop for wedding photos and more. This has resulted in 50 or more photo shoots every week, according to residents, which at times are said to include large props and groups. Fowler claims that some of these shoots have even caused damage, such as when a Jeep was reportedly driven onto the neighborhood’s esplanade.

    Some of these shoots have even caused damage, such as when a Jeep was reportedly driven onto the neighborhood’s esplanade

    Frustrated by this, Broadacres put up signs that read, “Welcome to Broadacres; No Photo Shoots.” That resulted in quick backlash on social media, however, and the signs have since been removed. Photography is again permitted in the neighborhood, but with one exception: photo shoots can’t take place on the sidewalks due to city ordinances. Residents have been advised to call the city’s 311 line if such obstructions appear in the future.

    According to the Chronicle, Houston Public Works public information officer Alanna Reed said, “We hope the community will be respectful of the neighborhood. Remember the Golden Rule — would you want somebody coming into your neighborhood doing the same thing?”

    Via: Fstoppers

    Articles: Digital Photography Review (dpreview.com)

  • Tether Tools reveals it used an image without permission, issues public statement and apology

    Tether Tools CEO Josh Simons has preemptively apologized for the company’s use of an image without the permission of the photographer who took it. In a letter published on December 14, Simons explained that an image used as a placeholder in concept mockups for the company’s redesigned website accidentally went live on the final site.

    Explaining the process that led to this image’s accidental use, Simmons wrote in his letter:

    One concept used behind-the-scenes candid images of photographers using Tether Tools’ gear. Behind the Scene Instagram images, similar to what you would see here @tethertools were added For Placement Only (FPO) during the design phase, to show an example of the type of photos that could be rotating regularly on an embedded Instagram API feed. This API mock-up, which included a customer’s Instagram BTS photo, was placed near the footer of one page in the proposed layout.

    Over the course of time, through various layouts and edits the design was approved but embedding the Instagram API on this page was overlooked by the web design team. At launch the new website had close to 1,400 pages and finalizing this element on this page was missed. The use of the image was accidental and simply an oversight. The photo was never used in any other way, not in advertising campaigns or print materials, nor to promote any specific product.

    Simons says Tether Tools was alerted to the image’s presence by a third-party, and that the company has since removed the image and contacted the photographer. The photographer, who is said to be a Tether Tools customer, has been compensated for the image’s use and was given an apology for the mistake.

    In a statement to Fstoppers, Tether Tools said, “Both parties are satisfied and most of all we are gratified by the nature in which everything was handled.”

    Via: Fstoppers

    Articles: Digital Photography Review (dpreview.com)

  • Panono’s new owner offers camera to original backers at production cost

    Despite raising about $ 1.25 million in a crowdfunding campaign, now-defunct company Panono GmbH went bankrupt after failing to deliver its 360-degree camera to many of the people who had backed the product. The company was bought by the Swiss-based private equity investor Bryanston Group, which acquired most of its assets but none of its obligation to Indiegogo backers.

    Bryanston Group AG has brought back the Panono camera under a new holding company called Professional GmbH. Despite stressing that it doesn’t have any “liability or obligation” resulting from its assets acquisition, the company has said that it feels it has “a moral obligation to compensate the project’s early supporters.” For that reason, the company is offering the project’s original backers the opportunity to purchase the resurrected Panono camera at production cost.

    The production cost is about half-off
    the camera’s retail price

    About 2,000 Indiegogo backers who received neither refund or camera have been sent this offer, according to the company, which says the production cost is about half-off the camera’s retail price. In addition, these former backers are also offered unrestricted access to Panono’s cloud features, which is said to have about a $ 600 value.

    According to the Verge, this discounted rate means backers who take up the offer will pay around $ 1,120 to $ 1,240 for the production-cost camera bundles available. This is on top of the $ 500 or more these backers already spent on the camera (they never received) as a pledge during the original Indiegogo campaign.

    Professional GmbH is limiting discounted Panono camera sales to 50 units per month; customers are limited to one discounted camera each. The Panono website lists the Panono camera set, which includes a case, stick, tripod adapter, and messenger bag, at 1899€ / $ 2,250. Cheaper alternatives exist, though not necessarily with comparable specs, such as the Ricoh Theta V.

    Articles: Digital Photography Review (dpreview.com)

  • Have Your Say: Best Gear of 2017

    Have Your Say: Best Gear of 2017

    For the past few weeks we’ve been running a series of polls to find out what you – our readers – think of the major product releases of 2017. For the first round of voting we made six initial polls covering lenses, compact cameras and interchangeable lens cameras (ILCs). Now that those polls have closed, we’re pleased to announce the winners. Thanks to everyone that voted!

    But the voting isn’t (quite) over yet. You don’t get away that easily…

    In this slideshow we’re announcing the winners and runners-up in each category, and kicking off a final poll, to determine which of the twelve individual winners from the first round should be crowned as your choice for overall best gear of 2017.

    Best smartphone camera – Runner-up: Google Pixel 2

    In terms of ‘pure’ photography (if that’s even a thing, anymore, in the age of smartphones) the Pixel 2 turns out some of the best images you’ll find from any curren smartphone, and at the moment holds the top spot in DxO’s Mobile rankings. Stills and video (up to 4K/30p) footage looks great, and future firmware updates promise further enhancements.

    The Google Pixel 2 just edged out the Samsung Galaxy Note 8 to take the runner-up spot in this year’s readers’ choice poll for best smartphone camera.

    Best smartphone camera – winner: Apple iPhone X

    All screen, all the time (well, apart from that awkward notch). The Apple iPhone X is the company’s flagship handset and the most significant redesign of the iPhone’s 10-year history. As a photography device, the X delivers excellent still images, a useful Portrait mode, some fun lighting effects, and truly stunning 4K video. It’s not cheap, but it’s your pick for the best smartphone camera of 2017.

    Best prime lens – Runner-up: Sigma 14mm F1.8 Art

    One of the first new lenses we used in 2017 turned out to be one of the best. It’s a big piece of glass, but the Sigma 14mm F1.8 Art is a stunning lens, equally as useful for landscapes and cityscapes as it is for more specialist applications like astrophotography.

    Clearly this fast, wide prime has impressed you too, earning (we think) a well-deserved runner-up spot in this year’s readers’ poll for best prime lens of 2017, just beating Sony’s FE 85mm F1.8.

    Best prime lens – Winner: Sigma 135mm F1.8 Art

    Sigma really cleaned up this year, taking both winner and runner-up spots in our readers’ poll for best prime lens. Just edging out the 14mm F1.8, Sigma’s 135mm F1.8 was your overall pick, and deservedly so. The combination of speed, sharpness and handling is hard to beat. We rate this lens very highly, and clearly so do you.

    Best zoom lens – Runner-up: Tamron SP 70-200mm F2.8 G2

    Plenty of great zoom lenses were released in 2017 from all of the major manufacturers, but Tamron’s two F2.8 G2 lenses were a hit with our readers. Taking the runner-up spot (just) is the 70-200mm F2.8 G2. We love this lens for its combination of compact build, excellent handling and effective image stabilization. Great image quality and a low price compared to big name competitors doesn’t hurt either.

    Best zoom lens – Winner: Tamron SP 24-70mm F2.8 G2

    And the winner, beating out some outstanding competition (including Sony’s pair of excellent wideangle zooms) is Tamron’s G2 24-70mm F2.8. An affordable alternative to offerings from Canon and Nikon, the Tamron 24-70mm F2.8 G2 performs well, handles well, and delivers solid image quality.

    Third-party lenses are always popular with DPReview readers, and for good reason. The Tamron 24-70mm F2.8 G2 has clearly proven a hit with you this year.

    Best high-end compact camera – Runner-up: Sony Cyber-shot RX10 IV

    Yes, we know that the Sony Cyber-shot RX10 IV isn’t exactly ‘compact’ (thanks to the many people that pointed that out in the comments on these polls and the DPReview awards article) but technically, fixed-lens cameras of this type are classed as such, and we’re not very good at coming up with new names for things.

    Sony are pretty good at naming things, but when all you have to do is just count upwards, it’s probably pretty easy. The fourth model in the company’s RX10-series, the Mark IV improves on the Mark III (which also came second, in last year’s DPReview readers’ poll for best compact) with the addition of phase-detection autofocus to its already very impressive feature set.

    Best high-end compact camera – Winner: Fujifilm X100F

    OK, now you have to admit that this one is pretty compact. The Fujifilm X100F is another fourth-generation camera, but compared to the Sony RX10 IV it’s a very different beast. There’s the larger, APS-C format sensor for one thing, and a fixed, fast 35mm equiv., prime lens, as well as a hybrid optical / electronic viewfinder.

    Beyond the core specifications, the Fujifilm X100F offers an entirely different handling experience. More refined, more discreet, more traditional. And slightly more popular with you, our readers, apparently. The award for best high-end compact of 2017 goes to the Fujifilm X100F.

    Best entry-level ILC – Runner-up: Panasonic Lumix DC-GX850

    Designed to be as small as possible, the DC-GX850 comes kitted with a slimline collapsible lens and a stripped-down control interface which makes heavy use of a tilting touch-sensitive LCD screen. There are better cameras out there for beginners wanting to learn about the practice of adjusting exposure, but few which can fit as comfortably into a handbag or jacket pocket.

    The DC-GX850 is evidently a hit with our readers, earning the runner-up spot in our poll to find the best entry-level ILC of 2017.

    Best entry-level ILC – Winner: Olympus OM-D E-M10 III

    We’ve really enjoyed testing and using the Olympus OM-D E-M10 III since it was released this summer. Despite being absolutely tiny, it offers full manual control, in-depth custom options and a great feature set. Yes, this is an entry-level camera, but features like 5-axis in-body stabilization, a high-quality electronic viewfinder and 4K video make it one of the most versatile models in its class.

    We selected the OM-D E-M10 III as our choice for the best entry-level ILC of 2017 recently, and it’s obvious that you agree.

    Best midrange ILC – Runner-up: Fujifilm X-E3

    We loved the X-E2/S but with the launch of the X-T10 and X-T20, we didn’t really expect to see it superseded. We were pleasantly surprised, therefore, when the X-E3 arrived on the scene. The X-E3’s combination of classic handling and excellent image quality is hard to argue with, and clearly it’s popular with you, our readers too. The X-E3 took the runner-up spot in this year’s midrange ILC poll, with 14.8% of the total vote.

    Best midrange ILC – Joint-winner: Fujifilm X-T20

    There were a lot of tight polls this year, but none was tighter, for longer, than the contest for best midrange ILC. In the end, with only 0.2% of the total vote separating the two front-runners, it’s only fair that we call them joint winners.

    First up is the Fujifilm X-T20 – one of Fujifilm’s new generation of mirrorless ILCs, featuring a 24MP sensor and DSLR-style ergonomics, plus a high-resolution, tilting touch-screen. The X-T20 is a fantastic performer, and in our opinion, one of the most likable cameras in its class. Obviously you agree.

    Best midrange ILC – Joint-winner: Nikon D7500

    Joint-winner of our 2017 Readers’ choice award for best midrange ILC is a very different, but still very likable camera. The Nikon D7500 is a powerful DSLR that inherits a lot of its core features from the professional D500.

    Capable of shooting at up to 8 fps with a 51-point AF system borrowed from Nikon’s previous-generation flagship DSLRs, the D7500 is a fast and capable camera. Since its release earlier this year we’ve been hugely impressed by the D7500, and apparently so have you.

    Best high-end / professional ILC – Runner-up: Sony a9

    This poll was so tight that we issued a last-minute request for more votes to break a tie between four cameras – two runners-up and two front-runners. A handful of last-minute votes just (and we do mean just) nudged the Sony a9 ahead of the Fujifilm GFX 50S to claim the runner-up spot in our readers’ choice poll for best high-end ILC of 2017.

    The Sony a9 is one of the most technologically advanced cameras we’ve ever seen, capable of reliable high-speed capture in the kind of demanding environments that professionals need to work in. It impressed us in our full review, and obviously it has impressed you too.

    Best high-end / professional ILC – Joint-winner: Nikon D850

    With 0.4% of the total vote separating the two front-runners, this was another extremely tight poll and one in which (again) we’ve opted to award two cameras the winning position. The Nikon D850 is one of our favorite DSLRs of recent years, and was joint-winner (with the Sony a7R III) of our DPReview Award for best high-end camera, and runner-up for product of the year when DPReview staff voted internally earlier this month.

    Clearly, some of our readers are having the same arguments that we did, because the results of this poll basically match our own opinions after testing this year’s crop of high-end ILCs. With 27.3% of the total vote, the Nikon D850 is joint winner of this year’s readers poll for best high-end ILC, alongside… you guessed it…

    Best high-end / professional ILC – Joint-winner: Nikon D850

    The Hasselblad Lunar! Just kidding, that would be ridiculous. There was only really one more contender for best high-end ILC of 2017, and that was the Sony a7R III. Announced towards the end of the year, the a7R III rewrote the rules for mirrorless interchangeable lens cameras, providing high resolution capture without compromising on speed, and a solid hybrid stills/video feature set.

    It seems like there’s not much that the a7R III can’t do. Some people will still prefer an optical viewfinder and more conventional DSLR ergonomics (clearly – since the D850 was joint-winner in this poll) but the a7R III closes the gap between DSLR and mirrorless technology more convincingly than any previous camera in its class. After a nail-biting poll, the a7R III is a well-deserved joint winner of this years’ readers’ choice award for best high-end ILC.

    Have Your Say

    You’ve seen the results from our six polls, so now’s the time to pick an overall winner. You can vote for up to three of the products in this poll, and voting closes at midnight (PT) on January 4th, 2018. We’ll announce the overall winner and runner-up early in the new year. And before you know it, it’ll be time to round up the best product of 2018! How time flies…

    As always, thanks for voting, and for contributing to DPReview over the past year. We couldn’t do any of this without you and we don’t take it for granted. Happy holidays from all of us, to all of you.

    .

    Have your say

    $ (document).ready(function() { Poll({“pollId”:”9228925404″,”openForVoting”:true,”mainElementId”:”poll0″,”slot”:null,”isSingleChoicePoll”:false,”minNumberOfChoices”:1,”maxNumberOfChoices”:3}); })

    Have your say: Best product of 2017
    Your answers
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    Apple iPhone X

    Fujifilm X100F

    Fujifilm X-E3

    Fujifilm X-T20

    Google Pixel 2

    Nikon D850

    Nikon D7500

    Olympus OM-D E-M10 III

    Panasonic Lumix DC-GX850

    Sigma 14mm F1.8 Art

    Sigma 135mm F1.8 Art

    Sony a9

    Sony a7R III

    Sony Cyber-shot RX10 IV

    Tamron SP 70-200mm F2.8 G2

    Tamron SP 24-70mm F2.8 G2

    Voting is easy – you pick your favorite products by dragging and dropping. You can pick up to three, and rank them in order of priority.

    Articles: Digital Photography Review (dpreview.com)

  • 2017 in review: a look back at March

    Among the many things reported on in March of 2017 was this probably-not-delicious, plump-breasted pigeon. With a camera. The pigeon is probably not named Speckled Jim.

    We’re looking back on the photographic world in 2017, and we kicked off March with a look at the CP+ trade show that had taken place the previous month in Yokohama, Japan. One of my favorite snippets of show coverage was a cameo made by the Michel Pigeon Camera. Yes, it is exactly what it sounds like, and no, it (and the pigeon) thankfully wasn’t included in a late-February roundup of things we’d found at CP+ that had been cut in half.

    Overall camera news was a little on the slow side, as we’d expect for the month following a major photography trade show. Olympus finally drove the nails into the coffin of the legacy Four Thirds system, and CIPA – the standards organization behind claims that your camera’s battery doesn’t last long enough – reported that compact digital camera sales were lower than ever before.

    The industry said a solemn goodbye to Popular Photography magazine and PopPhoto.com

    And of course, the industry also said a solemn goodbye to Popular Photography magazine and PopPhoto.com, an institution that was shuttered after eighty years in the business. One of our own, Dan Bracagalia, got his career started at the publication, so the announcement hit very close to home for all of us at DPReview.

    On the lighter side, we had our first chance to shoot with the Fujifilm GFX 50S since it was announced at Photokina the previous autumn, and by-and-large, we were very impressed with what it’s capable of. We tagged along with a couple of photojournalists with the Seattle Post-Intelligencer, and we also went into some detail on the concept of subject tracking with autofocus systems, why it matters to us, and why it should matter to you.

    Last, and almost certainly least, there was the announcement of a miniature drone called the AirSelfie. Because you can do absolutely spectacular, breathtaking, magnificent things with drones, and of course, that should include taking selfies.

    Tune in tomorrow to see how April of 2017 shaped up.

    Click here to see all March 2017 content

    Photo Gear News tells you how to pronounce ‘Bokeh’

    Finally, we know.

    Farewell to Popular Photography

    Popular Photography magazine will be very sorely missed. The magazine was heavily focused on photographic technique, and helped make the craft more accessible to the public. Our own Dan Bracaglia got his start there, and we deeply lament the loss of another publication in our industry.

    Read the full article here

    Walking the streets of Japan with the Fujifilm GFX 50S

    Dan was fortunate enough to get access to a Fujifilm GFX 50S and accompanying 63mm F2.8 lens after the conclusion of the CP+ show. He shared some of his first impressions, as well as some really lovely images.

    Click to read our writeup

    Go behind the scenes with Seattle photojournalists

    Get a glimpse into the world of professional local photojournalism with the Seattle Post-Intelligencer’s Grant Hindsley and Genna Martin.

    Read the full article

    Articles: Digital Photography Review (dpreview.com)

  • 2017 in review: a look back at January

    Perhaps the biggest product to be launched in January was the Panasonic Lumix DC-GH5, which offered amazing 4K video capabilities and a solid stills photography feature set.

    A lot of things happened this year, both in the photography industry and the world in general. And like every year, 2017 seems to have flown by. As December draws to a close, we wanted to take stock. Over the next 12 days, we’ll be looking back at the major product launches and photography events which took place in each month of the year, starting today with January.

    2017 kicked off with the annual Consumer Electronics Show (CES) in Las Vegas. Traditionally a showcase for new consumer audio/visual technologies, in recent years CES has also seen the launch of several major cameras. This year, the biggest announcements were the Fujifilm X100F and Panasonic’s flagship ‘hybrid’ camera, the Lumix DC-GH5.

    Meanwhile, Ricoh released the Pentax KP, which inherited a lot of features from the flagship K-1, in a smaller-format body. Leica’s M10 – also released in January – was a flagship of a very different kind.

    The USA got a new president in January and Pete Souza, the outgoing White House photographer, was there to capture Obama’s last day

    In local news, the USA got a new president in January (not sure if you heard). Pete Souza, the outgoing White House photographer, was there to capture Obama’s last day. Cue much wailing and gnashing of hashtags. On the other side of the (same) country, a bunch of Canadian filmmakers pleaded guilty to trampling all over Grand Prismatic spring in the Yellowstone National Park. Silly billies.

    In even more local news, and speaking of silly billies, our writer Carey Rose took one of our favorite lenses of 2016, the Olympus M.Zuiko 25mm F1.2 Pro to Thailand, to see what it would be like to shoot his entire trip at a single focal length.

    Tomorrow – February! Because that’s how this is going to work.

    See all January 2017 content

    CES 2017: Full show coverage

    The CES show in Las Vegas back in January was the usual combination of the weird and wonderful, showcasing everything from a fish-finding underwater drone to Panasonic’s flagship DC-GH5. DPReview was all over it.

    Complete CES 2017 show report content

    Ultimate travel kit – Thailand with Olympus’ E-M1 II & 25mm prime lens

    Thailand has incredible landscapes, delicious food and warm and friendly locals. DPR staffer Carey Rose came to realize that documenting a trip like this equipped with only a 50mm equivalent lens was a lot more difficult than he anticipated.

    Read the full article

    Filmmakers who walked on Grand Prismatic in Yellowstone get jail time and fines

    Last year, four Canadian filmmakers were arrested after photos and a video were published showing them walking on off-limits geothermal features in Yellowstone National Park. Three of them pleaded guilty and will receive fines, community service and a little jail time.

    Read the full article

    Pete Souza captures Obama’s last day in the White House

    Pete Souza, the official photographer for President Obama, posted a series of photos on his Instagram account showing the Obamas’ final departure from The White House.

    Read the full article

    Articles: Digital Photography Review (dpreview.com)

  • Hasselblad unveils XPan lens adapter for the mirrorless medium format X1D

    Hasselblad has announced an adapter that will allow owners of its XPan film camera to mount their old lenses onto the mirrorless medium format Hasselblad X1D. The new adapter’s launch coincides with yesterday’s v1.2 firmware update for the X1D, which introduced an XPan crop mode to the viewfinder and rear LCD.

    The adapter is purely mechanical and transfers no data to the camera. It is designed to accept Hasselblad’s 30mm, 45mm and 90mm XPan lenses, but will of course also take the lenses of the Fujifilm TX-1 and TX-2. All lenses in use will need to have apertures manually adjusted; focus is manual too, of course.

    Interestingly, the company that manufactured the XPan lenses also manufactures the lens for the X1D, and the covering circle of the XPan models is slightly wider than those designed for the X1D, as the film the XPan lenses had to cover was wider than the sensor of the X1D.

    The adapter will go on sale mid-January and will cost €180 / US $ 180 / £160 including VAT. The company says it also plans to make an adapter that will allow V system lenses to be used on the X1D, but hasn’t revealed when that adapter might see the light of day.

    For more information, visit the Hasselblad website.

    Press Release

    Hasselblad Launches XPan Lens Adapter for the X System

    Hasselblad expands its range of accessories for the X System with the new XPan Lens Adapter, allowing photographers to use their legacy XPan lenses on the award-winning X System

    The Hasselblad XPan lens series was released in 1998 and the new adapter bridges the iconic optics with the latest imaging capabilities from the mirrorless X1D system, just recently benchmarking the highest score by DxO Mark. The sleek new adapter is lightweight, compact, and works seamlessly into the setup.

    “The original XPan lenses inspired us when we introduced the current X1D lenses,” said Ove Bengtsson – Product Manager. “The new XPan Lens Adapter speaks to two major aspects of Hasselblad, our drive to innovate and push medium format technology such as the X1D and also to our respect for the legacy equipment that many photographers still rely on to this day. This adapter is the merger of those ideas and that’s what makes this announcement so exciting.”

    Customers utilizing the new XPan Lens Adapter first are advised to update their X1D to Firmware 1.20, launched on December 19, 2017. This update also includes a new Selectable Crop Mode that features the classic proportions of the XPan system. Hasselblad will continue to support its legacy and new products alike with plans to create a V to X system adapter and a dual battery charger for the X1D.

    The XPan Adapter will be available in mid-January and will retail at €179 / US $ 179 / £159 / RMB ¥ 1,580 / JPY ¥ 21,999 incl. VAT.

    Supported XPan lenses:

    • 30mm f5.6
    • 45mm f4
    • 90mm f4

    XPan Lens Adapter:

    • Diameter: 73mm
    • Height: 21.4mm
    • Weight: 112g

    *XPan lenses are no longer manufactured nor sold by Hasselblad.

    Articles: Digital Photography Review (dpreview.com)

  • German publisher Steidl ordered to pay $77k after losing photographer’s prints

    German publisher Steidl has been ordered to pay photographer Lawrence Schwartzwald €65,000 / $ 77,000 after losing his portfolio prints. According to Artnet News, Schwartzwald sent the prints to Steidl in September of 2014 for inclusion in a book project. The photographer was reportedly told in June of 2015 that the project wouldn’t proceed, and that he’d get his photos back… but that never happened.

    Despite repeated requests, Schwartzwald never did receive his portfolio. And so, after a year of waiting, he filed a lawsuit in a German court against Steidl for the return of his prints, which he valued at $ 1,200 each. That lawsuit has now culminated in a ruling that Steidl must pay Schwartzwald €65,000 in compensation for the lost prints, plus legal fees.

    Gerhard Steidl, the company’s founder, gave Artnet News a different version of events, claiming that Schwartzwald’s photos had been selected for print publication, but the photographer grew impatient with the duration of the process and requested that his prints be returned.

    Regardless of which version of events is true, however, the outcome is the same: Schwartzwald’s portfolio went missing.

    Steidl acknowledged this in his statement to Artnet, explaining that it was an accident and that the portfolio couldn’t be located. “Someone probably packed it incorrectly and it ended up somewhere else, but it’s not there anymore,” said Steidl. “It just happened, in my opinion I don’t deserve the death penalty.”

    Articles: Digital Photography Review (dpreview.com)

  • Calgary police catch suspected Camera Store thieves, recover most of the stolen gear

    Photo: The Camera Store

    Earlier this week, we reported on a high-profile burglary at Calgary’s well-known camera shop “The Camera Store”—best known for its popular YouTube channel. Well, thanks to sharp-eyed tipsters and the fast-acting Calgary police, it only took 48 hours from when the store was robbed to catch two suspects and recover most of the stolen gear.

    As we reported on Monday, the thieves made away with over $ 27,000 worth of cameras and lenses, including a Hassleblad X1D, three Hasselblad X lenses, and a limited edition Leica M-P Edition Safari. This is the first time The Camera Store has experienced a break-in in over 20 years of business, and owner Julian Ferreira was both upset and determined: offering a $ 3,800 shopping spree “for any information that leads to a conviction.”

    Fortunately for Ferreira, he need not have worried too much about the break-in. The same day that the story was spreading like wildfire across the blogosphere, the police were already tracking down the majority of the stolen gear.

    Photo: The Camera Store

    According to The Calgary Sun and The Camera Store’s own website, once the story went live on local news last weekend, tipsters alerted Calgary police of a Hasselblad X1D and three Hasselblad X lenses that had just been put up for sale on the website Kijiji. Undercover officers responded to the listing, meeting with two men—60-year-old Tan Bui and 36-year-old Justin Ross—at a Calgary mall on Monday afternoon, and taking them both into custody after it was confirmed the camera and lenses ‘for sale’ were the same ones stolen from The Camera Store.

    Both men have been charged with possession and trafficking in stolen property, although it is unknown if police believe Bui and Ross are also responsible for the break-in. The $ 10,000 special-edition Leica M-P Edition Safari has not been recovered… at least not yet.

    As for that promised shopping spree, The Camera Store writes:

    Multiple tips from the public lead Calgary police to the Kijiji listing that helped them recover our equipment and to arrest the two suspects. Once convictions are made, we will contact the person who was first to provide the information to CPS that allowed them to take action quickly, to collect their $ 5000 [CAD] shopping spree reward.

    Articles: Digital Photography Review (dpreview.com)