360Photography

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  • Ricoh Theta and Theta S apps add support for Google Cardboard

    Good news for users of Ricoh Theta and Theta S 360-degree cameras: the corresponding apps now support the use of ‘head-mounted displays’ for viewing your images and videos in their full 360-degree glory. This of course includes Google’s budget Cardboard viewer. 

    When viewing images or video in the app you can now choose between standard screen or two different virtual reality modes, single or double lens, the latter of which will work with Google cardboard. Until now, Theta users had to upload their content to a compatible service in order to view them using Cardboard. Now, thankfully this additional step is no longer necessary. The Ricoh Theta and Ricoh Theta S app can be downloaded from the Google Play Store.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma says three of its lenses are not fully compatible with the Canon EOS-1D X II

    Sigma has announced that three of its lenses, the 20mm F1.4 DG HSM Art, 35mm F1.4 DG HSM Art and the 85mm F1.4 EX DG HSM, aren’t ‘fully compatible with’ Canon’s newly released EOS-1D X Mark II. When one of these lenses is used with the camera, the resulting images may be underexposed. The company is developing firmware to correct the issue.

    According to Sigma, the issue manifests when users choose ‘Center-weighted Average Metering’ or ‘Evaluative Metering.’ In addition, the company recommends users disable lens correction settings in the camera when using one of Sigma’s interchangeable lenses. This includes Chromatic aberration correction, Peripheral illumination correction, Distortion correction and Diffraction correction.

    The latter point likely refers to an issue with the 35mm F1.4 Art lens and 1DX Mk II that surfaced last month in which images taken with the pair showed unusual banding around the edges. As SLR Lounge noted, turning off Peripheral illumination correction in-camera fixed the issue, which now appears to be Sigma’s official workaround. The camera maker also says that the Manual Override focus function isn’t available with the 1D X II when using its lenses.

    Via: Sigma

    Articles: Digital Photography Review (dpreview.com)

  • Three’s a charm: Sony RX10 III added to studio scene comparison tool

    The Sony Cyber-shot RX10 III has impressed us so far. Its new 24-600 F2.4-4 lens has impressed us on the trail and in our initial testing, but it does come at a pretty price. We put it in the studio for a more controlled lens, and image quality test. See how it stacks up against its nearest competitors.

    See the Sony RX10 III in our studio test scene comparison

    Articles: Digital Photography Review (dpreview.com)

  • DxO OpticsPro 11 brings advanced Raw noise reduction

    DxO has updated its OpticsPro software to version 11. OpticsPro 11 brings improvements to one of the last generation’s headline features – ‘PRIME’ noise reduction. DxO promises that PRIME 2016 offers improved bokeh protection and better detail retention, particularly in shadows. Processing times have decreased, and users can expect up to 4X faster performance.

    A new spot-weighted option is now offered under ‘DxO Smart Lighting’, limiting the effects of ‘Smart Lighting’ tone-mapping to local areas of the image (that you can define). This helps preserve overall contrast, particularly in detected faces. DxO demoed the feature for us, and it really helped curb the flattening effect of too high a ‘Smart Lighting’ setting.  

    The hallmark of DxO OpticsPro is the profile-based automatic corrections the software performs simply reading the metadata of your Raws. On top of that, smart algorithms like ‘Smart Lighting’ really help get you a good starting point, while remaining customizable in their effect. Do you rely on DxO OpticsPro for your images and, if so, what’s your favorite aspect of the software?

    Let us know in the comments below the Press Release.

    Press Release:

    DxO OpticsPro 11 introduces new innovations in advanced RAW image processing

    DxO PRIME 2016 noise reduction technology and automated spot weighted corrections are indispensable tools for photographers

    Special discounts on all DxO software through June 30, 2016

    PARIS & SAN FRANCISCO—June 1, 2016—DxO, a world leader in digital imaging technologies, announces the immediate availability of DxO OpticsPro 11, a major update to its award-winning photo software for Mac and PC. DxO OpticsPro 11 introduces important enhancements to DxO PRIME, the industry-standard for noise reduction, and new automated tools, such as spot weighted correction, auto microcontrast and auto red-eye that leverage face detection to help bring out the subtle nuances in images — all in just a few clicks and regardless of the original shooting conditions.

    DxO PRIME 2016, better and faster

    DxO OpticsPro 11 features DxO’s proprietary DxO PRIME 2016 noise reduction, which enables photographers to salvage noisy photos thought previously unusable. With DxO OpticsPro 11, photographers can capture new images at an even higher ISO by using a new version of PRIME that is better and faster than ever. DxO PRIME 2016 better preserves bokehs and smooth transitions, retains more details, and more faithfully preserves colors in dark areas, and it does this all automatically by reading each camera’s precise calibration data. And through an intense effort to adapt and optimize this technology, DxO PRIME 2016 is now able to process RAW files up to 4x faster than before — in fact, the higher the ISO, the bigger the benefit of processing time.

    “The new DxO PRIME noise reduction is nothing short of amazing,” said professional photographer Mike Mezeul, “it gives me the ability to capture images at incredibly high ISOs and still render out incredibly rich, detailed, and noise-free images.”

    Automated Spot Weighted Corrections

    The image scientists at DxO have designed a new enhancement to DxO OpticsPro’s Smart Lighting tool that uses face detection to apply an intelligent tone map on the entire image, to better extend the dynamic range, add fill light, and improve contrast while optimizing illumination on faces. The result is genuine spot processing—after capture—with the very same results as spot metering typically provides in camera, but with the added benefit of fine-tuning flexibility.

    “The image scientists at DxO have done it again,” said Camilla Ferrari, professional photographer and DxO ambassador, “by using face detection, the new spot weighted correction is able to apply even a very strong level of Smart Lighting, while keeping the people in my images looking much more natural and pleasing to my eye.”

    Other enhanced tools, including new full screen mode

    DxO OpticsPro 11 also adds a number of other useful tools for photographers, including an auto microcontrast mode that enhances image content while taking care to preserve faces and keep noise under control. The selective tone control produces more natural results, efficiently recovering information in shadows and highlights while avoiding flattening midtones, and there’s also a new tool that uses face and eye detection to automatically apply red eye correction, even as a batch process on multiple photos. In addition, a brand new full screen viewer removes distracting clutter so you can focus more on selecting, rejecting and rating your images, while using new shortcuts designed to help speed up the culling process.

    Even more cameras supported

    Without any user intervention (apart from simply viewing your image) DxO OpticsPro will read the metadata in your photo, and prompt you to download the appropriate camera/lens module. With that module, OpticsPro automatically and intelligently applies corrections such as distortion, chromatic aberration, vignetting, and lens softness. And with this latest release, DxO OpticsPro 11 adds support for a number of new cameras, including Nikon’s new flagship D5, bringing the total number of supported camera/lens combinations to well over 28,000!

    Pricing & Availability

    The ESSENTIAL and ELITE editions of DxO OpticsPro 11 for Mac and Windows are immediately available in the DxO online store (shop.dxo.com) and at photo resellers at a special discount through June 30, 2016:

    GBP:

    • DxO OpticsPro 11 ESSENTIAL Edition : £79 instead of £99
    • DxO OpticsPro 11 ELITE Edition : £119 instead of £159

    (Suggested retail prices, including VAT)

    Photographers who acquired or upgraded a DxO OpticsPro license on or after April 1, 2016, are entitled to a free upgrade to version 11.

    A fully-functional trial version of DxO OpticsPro 11, good for one month, is available on the DxO website: http://www.dxo.com/en/photography/download

    About DxO

    DxO develops the world’s most advanced image processing technologies, which have enabled over 300 million devices to capture the highest quality images achievable. DxO’s award-winning OpticsPro software lets serious photographers quickly and easily make their best photos look even better, and the DxO ONE miniaturized camera has redefined mobile photography with a design that pairs perfectly with iPhone and iPad to capture DSLR quality images that are instantly available to share with family, friends and followers.

    Articles: Digital Photography Review (dpreview.com)

  • OmniVision announces 1.55-Micron sensor for high-end smartphones

    Image sensor maker OmniVision has announced its latest product, the OV12890, a 1/2.3-inch 12MP sensor with a 1.55-micron pixel-size that has been designed with implementation in high-end smartphones in mind. OmniVision claims the new chip delivers improved sensitivity and signal-to-noise ratio compared to previous generations. It also offers a 12-bit architecture that allows for faster readout speeds.

    The OV12890 comes with on-sensor phase detection and built-in HDR capabilities. It can capture 12MP still images at 45 fps, 4K video at 60 frames per second and Full-HD 1080p video at 240 fps, allowing for smooth high-resolution slow-motion footage. It fits into 10 x 10mm camera modules with a z-height of 6mm. 

    ‘As cameras for premium smartphones continue to improve, we see the resolution race slowing down and increasing emphasis placed on pixel performance and image sensor size as key to ever-higher quality mobile images and video,” said James Liu, senior technical marketing manager at OmniVision.’

    The sensor is currently available for sampling and is expected to enter volume production in Q4 2016. We were quite impressed with the performance of of OmniVision’s 1/2.4-inch 16MP sensor OV16860 in our recent Lenovo Moto G Plus quick review, so looking at the impressive specifications of the new chip we are really looking forward to its implementation in production devices.

    Press release:

    TAIPEI, Taiwan, May 30, 2016 /PRNewswire/ — OmniVision Technologies, Inc., a leading developer of advanced digital imaging solutions, today announced the OV12890, a new 1.55-micron big-pixel sensor for flagship smartphones. Built on OmniVision’s PureCel®Plus-S stacked die technology, the OV12890 delivers improved sensitivity and signal-to-noise ratio (SNR) with faster 12-bit readout architecture when compared with previous-generation big-pixel sensors. These performance enhancements enable the 1/2.3-inch OV12890 to capture ultra-high resolution, high frame rate images and video with support for phase detection autofocus (PDAF), making it an attractive camera solution for premium smartphones.

    “As cameras for premium smartphones continue to improve, we see the resolution race slowing down and increasing emphasis placed on pixel performance and image sensor size as key to ever-higher quality mobile images and video,” said James Liu, senior technical marketing manager at OmniVision. “The OV12890 is our newest big-pixel stacked die image sensor for the mobile market, and represents one of our strongest offerings for premium smartphones. The feature-rich OV12890 captures exceptional images and video in a compact package, making it a top-flightimaging solution for flagship mobile devices.”

    The OV12890 leverages OmniVision’s PureCelPlus-S pixel technology to capture full resolution 12-megapixel images and video at 45 FPS, ultra-high resolution 4K2K video at 60 FPS, and 1080p full HD definition video at 240 FPS via high speed D-PHY and C-PHY interfaces. The OV12890 also supports advanced features such as high dynamic range (HDR).

    The OV12890 can fit into 10 x10 mm modules with a z-height of 6 mm. The sensor is currently available for sampling and is expected to enter volume production in the fourth quarter of 2016.

    About OmniVision
    OmniVision Technologies is a leading developer of advanced digital imaging solutions. Its award-winning CMOS imaging technology enables superior image quality in many of today’s consumer and commercial applications, including mobile phones, notebooks, tablets and webcams, digital still and video cameras, security and surveillance, entertainment devices, automotive and medical imaging systems. Find out more at www.ovt.com.

    OmniVision® and the OmniVision logo are registered trademarks of OmniVision Technologies, Inc. PureCel®Plus-S is a trademark of OmniVision Technologies, Inc. All other trademarks are the property of their respective owners.

    Articles: Digital Photography Review (dpreview.com)

  • Setting new standards: Nikon D5 Review

    Introduction

    The Nikon D5 is the company’s flagship action-oriented DSLR, sporting a 20.8MP full-frame sensor, 153-point autofocus system and a full-size, double-grip chassis that is both tough as nails and exceedingly comfortable to use. Though the core build of this camera remains very similar to the D4S, the sensor and autofocus system are entirely new and – as we’d expect – designed with speed and reliability in mind.

    Nikon D5 Key Specifications

    • All new Nikon-designed 20.8MP full-frame image sensor
    • Expeed 5 processor
    • All new 153-point phase detection autofocus system with 99 cross-sensors
    • Automated autofocus fine tune
    • Native ISO range now stretches from 100-102,400
    • 12fps continuous shooting with full autofocus and autoexposure
    • 4K video recording
    • Offered in dual CF and dual XQD memory card configurations
    • Touchscreen functionality during both stills and video shooting
    • CIPA rating of 3,780 shots per charge using the same EN-EL18a battery as D4S

    Due to its large size and tip-top placement in Nikon’s lineup, the D5 originally struck me as a somewhat intimidating camera to put through a thorough review. But really, with a little bit of work to get it set up the way I like and the development of some muscle memory as to where all the proper buttons are, the D5 has proven to be one of the most reliable, and as such, one of the least stressful cameras I’ve ever had the pleasure of using. Of course, that doesn’t mean that it isn’t meant to be put through stressful situations. Quite the opposite.

    Here’s a quick comparison of the key specs of the D4S, D5 and 1D-X II.

      Nikon D4S   Nikon D5  Canon 1D-X II
    MSRP $ 6499 $ 6499 $ 5999
    Sensor 16.2MP CMOS 20.8MP CMOS 20.2MP CMOS
    ISO range
    (native)    		 100-25,600 100-102,400 100-51,200
    AF points 51 153 61
    RGB metering sensor resolution 91k pixel 180k pixel 360k pixel
    LCD 3.2″ 920k-dot 3.2″ 2.36M-dot touch-enabled 3.2″ 1.62M-dot touch-enabled
    Burst rate 11 fps 12 fps 14 fps
    Video 1080/60p 4K/30p 4K/60p
    Battery life (CIPA) 3020 shots 3780 shots 1210 shots
    Dimensions 160 x 157 x 91mm 160 x 159 x 92mm 158 x 168 x 83mm
    Weight 1350 g 1405 g (XQD) 1530 g

    Clearly, there are some exciting innovations hidden beneath the D5’s skin, but in the end, it’s likely not the most exciting camera to the average consumer. So in an age of decreasing camera sales, why does Nikon bother to continue producing such machines? Well, in the most extreme of situations, phones and lesser digital cameras will simply be unable to capture the same sorts of moments that flagship cameras like the D5 are, from the get-go, built to capture. 

    2016 is an Olympic year, and it’s not a coincidence that this year has seen new flagship DSLRs from from both Canon and Nikon.

    Of course, the D5 isn’t just for shooting the Olympics. Processed to taste from Raw. Photo by Carey Rose. Nikon 135mm F2D | F4 | 1/200 sec | ISO 400

    Here is the beef

    There’s no denying that the Nikon D5 is one beefy camera. Without a lens, it weighs 1405g, or just over three pounds. But there’s a good reason for that. The D5 is over-engineered on purpose – it’s built to take a knock, a drop or a flying rock kicked up from a dirt-bike. It might even take a bullet, but we’re not really allowed to test that. And with a properly sealed lens attached, the D5 should also stand up to a downpour and freezing conditions with ease. This camera comes with a tough magnesium-alloy shell, one that feels like you could pound nails with (we didn’t try).

    The D5’s robustness means I can focus more on the action and less on whether or not I’m going to hurt the camera. Processed and cropped to taste in Adobe Camera Raw. Photo by Carey Rose. Nikon AF-S 300mm F4 PF | F4 | 1/2000 sec | ISO 200

    Another contributor to the D5’s beefiness is its battery. It’s CIPA-rated to 3,780 shots, which not only promises an absurd amount of shooting between charges, but is also a sign of increased efficiencies within the camera. Despite more megapixels, a faster burst rate and a more computationally intensive autofocus system, the rating has increased compared to its predecessor, which uses the same battery pack. (Fun fact: to save you the trouble of opening your calculator app, the CIPA rating of 3,780 shots actually only translates to five minutes and fifteen seconds of shooting at its burst rate of 12fps.)

    The Evolution

    I’m a long-time Nikon shooter, but not one that’s personally invested in pro-level bodies from the Dx series. At first, if you’ve used even a semi-pro body from Nikon’s recent past, you’ll feel familiar with the D5. But when you get more familiar with the camera (and as we cover in detail on our ‘Body & Design’ page), Nikon’s made some changes to the button layout of the D5 that will have some users scratching their heads, and others praising the ergonomic improvements from the added level of button customization.

    Streetlight-and-strobe-lit. Processed to taste from Raw. Photo by Carey Rose. Tamron 85mm F1.8 SP VC | F1.8 | 1/125 sec | ISO 12800

    In summary, the D5 is a camera that will be lusted over by a lot of enthusiasts, but largely abused by its intended customer base – working professionals. These photographers will simply pick it up, do their best to re-assign all their buttons the way they had re-assigned them on their D4S’s, and get to work. For long-time sports shooters and wedding photographers, a more comprehensive rethink and redesign of cameras like this would probably not go over well.

    Instead, the evolving Dx line continually provides meaningful updates that will make it easier for established pros to capture images that they already know how to take. In this vein, the D5 is indeed a worthy upgrade and successor to the D4S for a number of reasons. So without further ado, let’s take a closer look to find out why.

    Articles: Digital Photography Review (dpreview.com)

  • Pentax K-1 Pixel Shift: An update

    Yesterday we published an article examining the performance of the Pentax K-1’s Pixel Shift mode when shooting waterfalls – a common landscape photography subject. We found various issues, including movement artifacts and false colors. It has become clear that some of these issues (and others related to Motion Correction) are unique to Adobe Camera Raw. When this became clear, we pledged to update our article with a more detailed look at performance in other Raw converters, including the bundled Raw converter, SilkyPix.

    However, given that this is a rather time-consuming job, we’ve decided to temporarily pull our original article instead of updating it piecemeal. We’ll be publishing an updated analysis as soon as possible. We’d like to apologize for any confusion that the original article may have caused.

    Articles: Digital Photography Review (dpreview.com)

  • Instagram introduces business profiles with insights, promoted posts and contact button

    Instagram has introduced business profiles as a free feature for businesses using the service. Business profiles differ from regular profiles in a few ways, allowing companies or individuals operating as a business to add contact details, promote posts and view insights related to their account. 

    The new tools are designed to better aid businesses — including individuals operating as a business, such as independent photographers — in managing their Instagram presence while using it to attract new clients. The insights tool shows users how popular individual posts are and provides information on followers, including their demographics and behavior. High-performing posts can now be turned into ads within the Instagram mobile app, as well, and account owners will be able to target specific audiences.

    Business profiles also have a contact button that can be connected with a business number or email address, enabling prospective clients to directly contact the company rather than having to seek contact details elsewhere. Instagram plans to rollout business profiles ‘in the coming months’ for users in the United States, Australia and New Zealand. By the end of 2016, business profiles should be available to all users across the globe.

    Via: Instagram

    Articles: Digital Photography Review (dpreview.com)

  • Sweet Spot: Panasonic Lumix DMC-GX85 Real World Samples

    The Panasonic Lumix DMC-GX85 has the makings of one sweet camera. It uses a well-regarded 16MP Four Thirds sensor (with no AA filter), is 4K capable and features Panasonic’s depth from defocus AF system.

    Packed inside a sleek, customizable body, the GX85 features a new shutter mechanism that appears to solve the thorny issue of shutter shock, a problem that plagued its big brother, the GX8. The GX85 also features a 3-axis stabilized sensor, that when combined with a Panasonic stabilized lens, offers 5-axis of stabilization, making it the most steady Panasonic Four Thirds camera to date.

    DPReview writer Dan Bracaglia has been using the GX85 for a while, and as well as various locations around Seattle he also took it on a recent trip to New Jersey.

    Panasonic Lumix DMC-GX85 Real World Samples

    Articles: Digital Photography Review (dpreview.com)

  • Vitrima lens aims to bring low-cost 3D video capture to GoPro action cameras

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    Looking to bring more excitement to your POV snowboarding videos? A new case called Vitrima is in the works, which would enable GoPro action cameras to record 3D video. The lens attachment uses mirrors to deliver two images to the GoPro camera’s own lens. The resulting resulting stereoscopic videos appear to be 3D when viewed through a VR viewer like Google Cardboard or the Gear VR.

    The Vitrima lens is waterproof and will ship already attached to a standard GoPro camera housing, and can also be used with various mounts. Because the lens is simply composed of carefully arranged mirrors, it works out of the box without any software. Though the resulting videos won’t feature 3D audio, the lens – which will cost $ 50 when the product launches – presents a low-cost way for someone to record 3D videos without purchasing a dedicated 3D camera like the $ 799 Vuze VR camera.

    The website lists Vitrima as ‘launching soon.’

    Articles: Digital Photography Review (dpreview.com)