Category: Uncategorized

  • New product overview videos: Sony a9 and FE lenses

    We’re always expanding our collection of product overview content, and we’ve just added videos for the Sony a9, as well as a brace of recent FE lenses – the 12-24mm F4 and 16-35mm F2.8 GM wideangles, and the 100-400mmF4.5-5.6 GM telezoom.

    Take a look at some of the key features these products offer – demonstrated in the shooting scenarios they were built to handle. For more overviews and gear tests, be sure to subscribe to our YouTube channel.

    Product overview: Sony FE 12-24mm F4 G

    Product overview: Sony FE 16-35mm F2.8 GM

    Product overview: Sony FE 100-400mm F4.5-5.6 GM


    This is sponsored content, created with the support of Amazon and Sony. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Video comparison: GoPro Hero6 ‘is what the Hero5 should have been’

    GoPro announced the all-new Hero6 last week, and while it might look identical to the Hero5 on the outside, the camera’s capabilities have been vastly improved thanks largely to a new custom-designed image processor called the GP1. But does this fancy new processor deliver on its promises for better stabilization, improved dynamic range, and improved low light performance?

    The folks at Vistek wanted to find out, so they pitted the Hero6 against its predecessor in a range of head-to-head tests that demonstrate one thing very clearly: The GoPro Hero6 definitely delivers on its promises.

    From stabilization—which is now available all the way up to 4K/24p—to dynamic range and beyond, the Hero6 soundly beat the Hero5 in every test Vistek threw its way. Of course, you’d expect this from a new model of the same action camera, but for the most part, the improvements are not simply incremental… they’re obvious.

    As with any small action camera there is still plenty of room for improvement; a small sensor is still a small sensor and there are plenty of things a tiny little action camera just doesn’t do particularly well no matter what. But as Vistek points out, GoPro seems to have listened to its consumers (and competition from companies like Yi) and built that action camera that ‘is what the Hero5 should have been.’

    The question now becomes: is it too little too late? But you’re the only one who can answer that.

    Articles: Digital Photography Review (dpreview.com)

  • Panasonic firmware debugs GH4, improves stabilization on 42.5mm and 30mm lenses

    Panasonic has released new firmware for the Lumix DMC-GH4 camera, its 42.5mm f/1.2 portrait lens and the 30mm f/2.8 macro. The firmware was introduced the same day as the V2.0 for the Lumix DC-GH5, but was rather over-shadowed by the bigger news (for obvious reasons). That doesn’t mean it’s not worth mentioning though.

    On the camera side, the update for the GH4 fixes an issue that prevented image stabilization from functioning with some third party lenses when working in the variable frame rate video mode.

    For the lenses, the update brings Dual IS 2 to both the (H-HS030) Lumix G Macro 30mm f/2.8 ASPH Mega OIS and (H-NS043) Leica DG Nocticron 42.5mm f/1.2 ASPH Power IOS lenses, with individual updates for each of the models.

    The version 2 of the stabilization system that combines in-camera sensor movement with in-lens anti-shake units is said to provide better performance for stills shooters as well as stabilization in movie mode and 4K/6K Photo modes via a new gyro system in Dual IS 2 compatible bodies. At the moment only the DC-GH5 and G80/G85 support the system, which differs from the Dual IS modes used in the GX8 and GX80/85.

    For more information visit the Panasonic website, or follow the direct links to the firmware pages for the Lumix DMC-GH4, Lumix G Macro 30mm f/2.8 ASPH Mega OIS and Leica DG Nocticron 42.5mm f/1.2 ASPH Power IOS. Panasonic also publishes a chart that shows the version of Dual IS each lens/body combination will deliver.

    Articles: Digital Photography Review (dpreview.com)

  • RevolCam adds three accessory lenses and an adjustable light to any smartphone camera

    When we reviewed the Shiftcam for the iPhone 7 Plus earlier this year we found it to be one of the most user friendly and versatile lens attachments for the iPhone. The team behind Shiftcam has now returned to Kickstarter to launch a new multi-lens smartphone attachment: the RevolCam.
    Like the Shiftcam the RevolCam adds wide angle, fisheye and macro lenses to your smartphone camera but lacks a tele option. On the plus side it adds a built-in mirror for selfies and a detachable and adjustable LED light, providing additional illumination in dim conditions. Instead of the Shiftcam’s slider mechanism it uses a revolving design to allow for lens swapping on the fly.
    In contrast to the Shiftcam, which is device-specific, the RevolCam comes with a universal design and its makers promise easy and secure attachment to any smartphone via a clamp mechanism. This should also work on the main camera of dual-camera equipped devices.

    If you can live without a tele-attachment the RevolCam looks like an interesting accessory for mobile photographers who like to expand the camera feature set using attachment lenses. You can currently secure one by pledging $ 29 plus shipping on the RevolCam Kickstarter page which also makes it an affordable option. Delivery is planned for November 2017.

    Articles: Digital Photography Review (dpreview.com)

  • OnePlus 5 camera review

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    The OnePlus 5 is the Chinese manufacturer’s flagship smartphone, replacing last year’s OnePlus 3T. The new model is the first OnePlus to feature a dual-camera setup and offers some enticing imaging specifications: a main camera with a 1/2.8″ 16MP Sony IMX 398 sensor and fast F1.7 aperture is supported by a 2x tele-module featuring a 20MP 1/2.8″ Sony IMX 350 sensor and F2.6 aperture.

    The dual-camera design allows for an iPhone 8 Plus-like background-blurring portrait mode and the Smart Capture feature combines optical zoom with multi-
    frame technology for improved zoom quality. The OnePlus 5 camera also comes with 4K video, a 720p/120 fps slow-motion mode and a dual-LED flash. The camera app’s new Pro mode provides manual control over the most important shooting parameters and DNG Raw capture.

    The OnePlus 5 uses Qualcomm’s latest Snapdragon 835 flagship chipset. Offering 8GB RAM/128GB or 6GB RAM/64GB memory options and a 3300mAh battery that supports the OnePlus Dash Charge quick charging system, the rest of the device’s specifications are firmly top-shelf as well.

    Key Photographic / Video Specifications

    • Dual-camera
    • 16MP 1/2.8″ Sony IMX 398 sensor and F1.7 lens
    • 20MP 1/2.8″ Sony IMX 350 sensor and F2.6 lens
    • Dual-LED flash
    • 4K video
    • 720p/120fps slow-motion
    • Portrait Mode
    • Manual controls
    • DNG-Raw support
    • 16MP / F2.0 front camera

    Other Specifications

    • 5.5″ AMOLED 1080p display
    • Qualcomm Snapdragon 835 chipset
    • 6GB RAM/64GB storage or 8GB RAM/128GB storage
    • USB Type-C
    • Fingerprint reader
    • 3.5mm audio jack
    • 3300 mAh battery with Dash Charge

    DPReview smartphone reviews are written with the needs of photographers in mind. We focus on camera features, performance, and image quality.

    Articles: Digital Photography Review (dpreview.com)

  • Not quite as good? Nikon D850 versus Nikon D5 subject tracking

    Video: D850 versus D5 subject tracking

    Photographer Matt Granger’s YouTube channel is chock-full of videos that run the gamut from fairly technical testing to fun challenges and prize giveaways. But we took particular notice when, last weekend, he pitted his new Nikon D850 against his Nikon D5 in terms of autofocus tracking. (What can we say; we’re nerds.)

    But why even bother? After all, the D850 and D5 purportedly have the exact same autofocus hardware—performance should be virtually identical. In fact, in our conversations with Nikon, we were told that the D850 includes an additional processor to handle autofocus calculations, just like the D5; they also claimed this processor was omitted from the D500.

    More importantly, we were told flat out to expect ‘D5 levels of performance’ from the D850.

    So why is it that, during an early shoot with the D850, Granger said, “I felt like I was getting more [images] well-tracked with the D5 than I did with the D850.” Cue the tests in the video below:

    Granger performed both low-light and daylight tests. In the former, his subject moved primarily in the X axis (read: across the frame); in the latter, his subject moved in all three dimensions. Both cameras were set to shoot at 7fps (the D850’s max), and shared all other settings as well.

    In both instances, Granger concludes that the D850 is simply not as good at tracking moving subjects as the D5.

    In the first low-light test, he notes some hesitation: the AF point occasionally lagged behind the subject before catching up (though at 3:00, where he says the D5 does not exhibit this behavior, it looks like the D5 also hesitates a bit, but perhaps not as severely).

    We’ve been told to expect ‘D5 levels of performance’ from the D850’s autofocus system.

    In the second test, the D850 really struggled to track the subject as she moved between shade and direct sun, seemingly performing better if the subject was initially acquired in bright light.

    Of course, Granger concludes that this disparity isn’t really a reason to ignore the D850 or cancel that pre-order. In fact, there have been similar claims across the interwebz of autofocus performance disparities between previous Nikon cameras that are supposed to share the same AF system (the D810 and D4S for example—although we haven’t dug into those). But it’s definitely something worth testing further.

    So, given our recent coverage and in-progress full-review, what does the DPReview staff make of all this?

    Our experience so far

    For white water kayaking, we found the D850’s 3D Tracking to perform very well indeed.

    We’ve been shooting a lot with the Nikon D850 over the past couple of weeks, and as with just about any recent high-end Nikon camera, we find subject tracking to work very well. Even though the D850 comes with that excellent AF selection joystick, sometimes we find it preferable to let the camera do some of the work for us.

    In particular, when shooting white water kayaking in Oregon, 3D Tracking performed admirably. That shouldn’t be too much of a surprise, though, considering these are fairly distinct subjects, particularly in terms of color, when compared with their surroundings.

    As with Matt Granger, though, we’ve been surprised by some of our own experiences while shooting with the D850. With both the D5 and even the D500, we’ve become accustomed to being able to initiate 3D Tracking on a subject’s eye for a tight headshot, and have the camera track it remarkably well as either the camera or subject moves.

    This sort of candid kid shot is a situation in which accurate 3D Tracking or Sony’s Eye AF both come in very handy.

    With the D850 though, we’ve noticed it is more apt to be ‘jumpy,’ in that it will jump from our subject’s eye to another portion of their face. Further complicating our assessment of this sort of behavior is that it seems to be inconsistent—sometimes the D850 will track perfectly, other times it gets distracted by something else in the scene.

    We also noticed some inconsistency in a situation where we’ve historically been able to rely solely on 3D Tracking, namely: motocross. With the D850, we were able to get a ton of keepers using 3D Tracking, but sometimes, when we looked through our bursts and found that one perfect moment, it would be slightly out of focus because the AF point had jumped from one part of the rider or motorcycle to another.

    When we switched to a type of zone focusing called D25, we came away with a better hit rate, so long as we kept the zone over our subject (Note: you would expect this result from just about any camera with advanced autofocus).

    3D Tracking on the left nailed focus in this instance, but D25 on the right nailed focus more reliably, more often.

    So what’s next?

    More photos. Lots more photos.

    We’ll be doing our standard autofocus treatment on the D850, including our bicycle tests and our close-range, low-light autofocus evaluation. We’ll also be seeking out sporting events in the Seattle area to see if we can draw some parallels between our usual evaluations and real-world shooting situation performance.

    We should also note that, in both Granger’s testing and our own experience, we haven’t yet been able to use Nikon’s new battery grip for the D850. For it to be as even a comparison as possible, we’ll be looking to add the grip and the much more powerful EN-EL18a battery if at all possible.

    Only more time and more testing will tell if the D850 can truly stand up to the D5’s autofocus performance, though we should reinforce that D5-level subject tracking is an awfully lofty benchmark to reach for. In our experience, it’s a benchmark that has remained out of reach of any camera to date, and whether or not the D850 measures up will be revealed in our full review.

    Articles: Digital Photography Review (dpreview.com)

  • Leica M10 added to the studio comparison tool

    Released early this year, the M10 is Leica’s latest digital rangefinder, offering a slimmer design and refined controls. We’ve just been given a reviewable sample unit, and set it up in front of our studio scene to see what it can do.

    Of particular note is a newly developed 24MP full-frame sensor. It’s claimed to be unique to the M10, and has not been developed by Sony, as with many of its 24MP competitors. In our own shooting and preliminary testing, we can see that the M10 is a good performer: with the right lens and proper focus, it is capable of incredibly sharp results when shooting Raw. Be aware that when paired with a sharp lens, the M10’s combination of a fairly modest (for full frame) pixel count and no AA filter can lead to moiré in your images.

    Also, particularly enthusiastic viewers will note a slight reduction in sharpness with shutter speeds of 1/60 – 1/125 sec., indicating a smidgen of shutter shock. But due to the inherent tolerances of rangefinder focusing mechanisms among other factors, this is unlikely to ever be the most significant source of softness in real world images.

    In terms of JPEG quality, we continue to find that colors (skin tones in particular) could use some attention, with yellowish greens and blue-tinged reds. Sharpening could be more sophisticated too, considering the crispness of the Raw output. In terms of high ISO quality, the M10 performs very well indeed, but it is still slightly outmatched by the best of the competition above ISO 6400.

    But don’t just take our words for all this – check out the M10 in our studio comparison tool for yourself.

    Check out the Leica M10 in our studio comparison tool

    Articles: Digital Photography Review (dpreview.com)

  • GoPro’s 5.2K 360-degree Fusion camera officially launched, costs $700

    The GoPro Hero6 was the big news to come out of GoPro’s launch event yesterday, but it’s not the only thing the company revealed. CEO Nick Woodman also officially launched the previously-announced and still somewhat-mysterious GoPro Fusion—the company’s 360° 5.2K action camera.

    The GoPro Fusion was first teased at CES in 2016 and revealed in April of this year, but other than its ability to shoot 5.2K spherical video at 30fps, we really didn’t know much about it. Official release date was set for “Fall” and people mostly forgot about it… until yesterday, that is. We found out a lot more about Fusion the launch event.

    In addition to that video spec, the Fusion uses its two lenses to shoot 18MP spherical photos, captures 360° sound, is waterproof to 16feet (5 meters) without any external case, and features ‘gimbal-like stabilization’ that is achieved using the built-in accelerometer, gyroscope, and compass. Additional features include time lapse video and photo modes, night lapse and burst modes, voice control in 10 languages, and built-in GPS, WiFi and Bluetooth.

    Here are a few video breakdowns of the different features built into the camera, like that gimbal-like stabilization and something called ‘OverCapture’:

    The GoPro Fusion is already up for pre-order on the GoPro website. It will cost you $ 700 and GoPro plans to ship the Fusion later this month. Click here to find out more or pre-order yours now.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-A10 sample gallery

    At $ 500 with a kit lens, the Fujifilm X-A10 represents the least expensive entry point to the company’s X-system. Like its fellow A-series siblings it uses a traditional bayer filter rather than X-Trans, and though it lacks a touch screen or option for optical viewfinder, it does provide an impressive 410-shot battery life.

    While it may be overlooked by Fujifilm fans seeking a robust body or better tracking autofocus, it looks plenty tempting if you’re on a budget and swayed by Fujifilm’s lovely JPEGs. We brought it along on a recent trip to Jackson Hole, Wyoming – take a look at how this light and compact ILC performed.

    See our Fujifilm X-A10 sample gallery

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    Articles: Digital Photography Review (dpreview.com)

  • Photo of the week: Colors of the Arctic

    This image was taken while spending 2 nights in a remote island camp in Ataa Fjord, at the north of Disko Bay, Greenland. The camp was quite basic, especially compared to our luxurious hotel back in town, but the photographic opportunities were incredible. We basically had a huge island to ourselves, with a lake, kayaks, hills and huge icebergs floating all around.

    In the 1-2 hours between sunset and sunrise, the colors were incredible. We set out on foot to climb a 130m hill close to camp, where we’d get a good vantage point of the icebergs, and indeed, we witnessed some incredible sights.

    One of them was this beautiful iceberg, floating gracefully in the fjord’s clam, reflective waters, with an incredible colors gradient surrounding it.

    The photograph was captured with my Canon 5D Mark III and Canon 70-300mm F4-5.6L IS lens.


    Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram, Facebook and 500px, and subscribe to his mailing list for updates. Erez offers photo workshops worldwide.

    Articles: Digital Photography Review (dpreview.com)