360Photography

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  • Quick Look: Parallelism in Landscape Photography

    Part of what can make an image both visually appealing and conceptually interesting is the connection between its different parts. An image is a whole made of differentiable elements, and these elements can either be separate or have a variety of relations between them. To make an image which is indeed a whole and not just different layers on top of each other, a photographer needs to make the layers (or elements) communicate with each other. But how? One way, which I will detail here, is parallelism.

    A softly-lit iceberg resembles the contour of Mount Uummannaq, Greenland. An example of simple, low-level parallelism.

    When pre-visualizing an image, especially its composition, one needs to take into account the possible similarities, or parallelisms, that the environment offers. For example, it’s very often that there is a lack of connection between the sky and the earth in a landscape shot. But a bold red-colored flower on the ground can parallel a setting sun in the sky, thus strengthening the connection between them and bonding heaven and earth in the image, which has clear philosophical and visual implications.

    But it’s not only color – shapes, lines and textures can also parallel each other – light rays in the clouds with lines in the sand, lenticular clouds with rounded pools, the options are endless. The important thing to keep in mind is to make these parallelisms stand out, making the viewer realize our intention in including them in the image.

    Parallelism can serve its goals even better if it is of a higher level: more than two parts of the image being parallel to each other in the same way or in different ways, or the same part being parallel in more than one way.

    See for example the second image shown here. There are two parallelisms: firstly there’s the one made by the architects who chose to make the famous lighthouse of Kalfshamarsvik, Iceland resemble the basalt columns in the area it was built on. Secondly, the yellow patch in the midst of the dark: on the ground – the yellow vegetation. On top – the light coming out of the lighthouse. Both share color and both stand out of their dark, gloomy, lava-column-shaped surroundings. The choice of dark exposure made these elements stand out even more, strengthening the bond between them and the image’s integrity.

    ‘Light in the Dark’, Kalfshamarsvik, Iceland

    Another good example can be seen in the third image. The parallelism between the shadow cast by the center tree and the flare caused by the sun bonds the ground and the sky, which are in turn both bonded to the main subject – the tree – in different ways: the flare touches and intersects the tree, while the shadow is caused by the tree. The three layers of the image are thus intimately connected, and the image is more interesting and appealing because of this connection.

    ‘The Valley of the Shadow of Death’, Deadvlei, Namibia

    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.

    If you’d like to experience and shoot some of the most fascinating landscapes on earth with Erez as your guide, you’re welcome to take a look at his unique photography workshops around the world:

    Land of Ice – Southern Iceland
    Winter Paradise – Northern Iceland
    Northern Spirits – The Lofoten Islands
    Giants of the Andes and Fitz Roy Hiking Annex – Patagonia
    Tales of Arctic Nights – Greenland
    Earth, Wind and Fire – Ethiopia

    Selected articles by Erez Marom:

    • Behind the Shot: Dark Matter
    • Mountain Magic: Shooting in the Lofoten Islands
    • Behind the Shot: Nautilus
    • Behind the Shot: Lost in Space
    • Behind the Shot: Spot the Shark
    • Quick Look: The Art of the Unforeground
    • Behind the Shot: Watery Grave
    • Whatever it Doesn’t Take
    • Winds of Change: Shooting changing landscapes
    • On the Importance of Naming Images
    • Hell on Earth: Shooting in the Danakil Depression

    Articles: Digital Photography Review (dpreview.com)

  • Venus Optics launches Loawa 105mm F2 with apodization element

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    Chinese lens manufacturer Venus Optics has announced a portrait lens that uses an apodization element and dual diaphragms to produce better looking out-of-focus highlights. The company says that the apodization element in the new Laowa 105mm F2 STF acts as a radial gradient filter that becomes darker towards its outer edge. This graduation of tone is said to help produce smooth tonal transitions in out-of-focus discs. The element works in conjunction with a 14-bladed diaphragm that Venus Optics says forms a constantly circular aperture directly before the light meets the main second aperture, which still determines the f-number and the depth of field.

    This approach is very similar to the one used in the Minolta (and, more recently, Sony) 135mm STF F2.8 [T4.5] lens.

    The lens uses 11 elements arranged in eight groups and includes a single forward element that has a high refractive index and three made from low dispersion glass. The company claims that this design is ‘proven to deliver images with extreme sharpness and limit the chromatic aberrations at its lowest.’

    The all-metal lens will be available in mounts for Canon EF, Nikon F, Sony FE, Pentax K and Sony A cameras. The Loawa 105mm F2 STF will cost $ 699. For more information visit the Venus Optics website.

    Press release:

    Anhui China, Mar 10, 2016 – Venus Optics, the Chinese camera lenses manufacturer who had launched the world’s Widest 1:1 Macro lens last June, has just released another extraordinary lens, Laowa 105mm f/2 (t/3.2) Smooth Trans Focus Lens for DSLR cameras.

    The new Laowa 105mm f/2 Smooth Trans Focus Lens incorporates an unique optical design with an apodization (APD) element next to the aperture. The APD element resembles the function of an ND filter which becomes thicker towards the perimeter, gradually reducing the amount of light transmission towards the periphery to produce a soft, natural and beautifully diffused out-of-focus rendition (or called bokeh).
    The new Laowa 105mm f/2 Smooth Trans Focus Lens offers two separate diaphragms. The stepless 14-bladed perfectly circular aperture, in conjunction with the apodization element gives this lens the ability to produce smooth and pleasing bokeh. It is also useful for videographers to control the amount of light passes through the lens. The 8-bladed aperture is to determine the effective aperture opening (f-number) and the depth-of-field formed.

    The lens houses with 11 elements in 8 groups with 1 piece of High Refractive elements, 3 pieces of Low Dispersion elements and 1pc of Apodisation element. This optical design is proven to deliver images with extreme sharpness and limit the chromatic abberations at its lowest. The enclosure of the lens is made of metal to strengthen its durability. Canon EF, Nikon F, Sony FE, Sony Alpha and Pentax K mounts are available.

    Pricing and Availability
    The Laowa 105mm f/2 Smooth Trans Focus lens will be available at authorized resellers and at the English official website (http://www.venuslens.net). The recommended retail price without tax is USD 699. Free shipping will be provided during the promotion period.

    Pre-order starts from today and shipping for Canon EF / Nikon AI / Sony FE mounts will start from April. Delivery for Sony A / Pentax K mounts will start from May.

    Articles: Digital Photography Review (dpreview.com)

  • Kodak Alaris launches revamped Moments app

    Kodak Alaris has announced a major update to its Moments image sharing app, which allows for direct printing to Kodak Picture Kiosks and online ordering of print products. The company has added to the app what it calls visual storytelling capabilities. Read more

    Articles: Digital Photography Review (dpreview.com)

  • Accessory Review: Tenba Cooper Messenger bag

    Tenba Cooper 13 Slim and Cooper 15
    $ 229/299 | www.tenba.com | Buy Now

    Over the past few years, Tenba has built a reputation for its solid line of messenger style shoulder bags. I have regularly used one of their Mini Messenger bags for my mirrorless or small DSLR kits. It has been a surprisingly solid performer that has traveled thousands of miles with me. For the price, it is near or at the top of my camera bag ‘bargains’ list. But if I’m being honest, it has always been a bit light on features, ungraceful to use/carry and looks very much like a padded camera bag. So when Tenba asked me if I would like to check out their new Cooper line of premium messenger-style bags, I jumped at the opportunity. 

    Tenba released the Cooper line in late 2015 as unobtrusive photojournalist styled bags with luxury materials. Premium features include peach-cotton wax canvas, full grain leather accents, brushed tricot interior and hand riveted zipper pulls. There are four bags in the Cooper line, each designed to carry a specific camera kit. 

    • Cooper 8: A mirrorless camera with 2 to 3 lenses, accessories + a small tablet 
    • Cooper 13 Slim: A mirrorless camera with 3-5 lenses or a small DSLR with 2-3 prime lenses, accessories + a 13″ or smaller laptop
    • Cooper 13 DSLR: A DSLR with 2 or 3 lenses or a mirrorless camera with 4 to 5 lenses, accessories + a 13″ or smaller laptop
    • Cooper 15: Up to a pro-size DSLR with grip, 3 to 4 lenses, accessories + a 15″ or smaller laptop.

    This review focuses on the Cooper 13 Slim and the Cooper 15. They are, in my opinion, the standouts of this line. The Cooper 8 is nice, but is really suited for the smallest of mirrorless kits. The Cooper 13 DSLR is a great bag, but is just slightly bigger than the Cooper 13 Slim, with two inches of interior depth (5.5 in vs 3.5 in) being the only difference. So virtually all comments about the Cooper 13 Slim will apply to the 13 DSLR. If the 13 Slim sounds just a little tight for you, then the 13 DSLR is probably your bag.

    Specifications 

    All dimensions (W x H x D) 

    Cooper 13 Slim:

    • Exterior: 37 x 27 x 14 cm / 14.5 x 10.5 x 5.5 in 
    • Interior: 34 x 24 x 9 cm / 13.5 x 9.5 x 3.5 in
    • Laptop Compartment: 33 x 23 x 3 cm / 13 x 9 x 1 in 
    • Weight: 1.2 kg / 2.6 lbs

    Cooper 15:

    • Exterior: 41 x 29 x 20 cm / 16 x 11.5 x 8 in
    • Interior: 38 x 28 x 17 cm / 15 x 11 x 6.5 in
    • Laptop Compartment: 38 x 27 x 3 cm / 15 x 10.5 x 1 in
    • Weight: 1.6 kg / 3.6 lbs

    Design/Construction

    I’m not sure how peach-wax cotton canvas differs from standard waxed canvas, but the peach-wax-cotton canvas on the Cooper bags looks sleek and understated, as well as being quite soft to the touch. Some of that softness comes from the fact that the bags have water repellent applied to the backside of the fabric, rather than the front. This allows water to bead up, but keeps the front of the fabric soft and flexible.

    I was wary of the leather accents, as they seem like they could be useless affectations on a camera bag that is meant to be used out in the field. Much to my surprise, they not only gave the bag a professional look well above its price tag, but felt good in the hands. My only concern about the fabric and general construction is, what will these bags look like in 5 years? Mundane as it may be, my Mini Messenger looks much the same as it did when I got it. Waxed canvas and leather can age beautifully (think about your grandfather’s Filson coat), so I’m going to be cautiously optimistic.

    Overall, Tenba succeeded in making the Cooper line feel like a step up from the average bag. Comparing them to my Mini Messenger bag makes the old bag look pretty boring and shabby indeed. Perhaps more to the point, these bags don’t scream ‘camera inside!’.

    In fact, despite the higher end design and materials, one of the best parts about the Cooper bags is how quickly they fade into the background. I’ve had many bags over the years and I have no trouble saying that these bags are at or near the top of my list as far as stylishness. It may be a minor thing when we’re talking about something that is essentially a tool. But given the choice between a well designed bag that looks good and one that doesn’t, most of us will take the looks as long as functionality is equal. 

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    I’ll say this right now, the ‘quiet’ velcro on the Cooper bags is nothing short of amazing. It works just like regular velcro, but if you pull the flap down (as opposed to ‘out’), the hooks release with 98% less noise. Instead of a huge RIIIIIPPPPPPPPPP, you might just hear 2-3 little loops pulling away. Not totally silent, but quiet enough for church, which is impressive. What’s more, by choosing velcro for the flap closure instead of buckles, there is no risk of a metal buckle dinging a piece of gear as the flap is opened. And because the Cooper bags have a handy top-access zipper, I didn’t find myself opening the flap as much as you might think. Particularly with the Cooper 13 Slim, I was able to quickly access bodies and lenses easily through the top-access zipper. 

    While the leather bottom and other luxury touches get all the attention (and understandably so) there are any number of small features that are worth mentioning. Using YKK instead of generic zippers may seem like a small thing, but anyone who has been frustrated by a cheap zipper will appreciate the quality.

    Speaking of zippers, I love the fact that the zippers to expand the side pockets don’t unzip all the way. There’s no fiddling when you want to zip it back up again. There are also a ton of pockets and slots to organize all the extras you carry in a camera bag. There are even nylon backed leather MOLLE compatible attachment loops. Not all is perfect, but the complaints are pretty darn minor.

    One that comes to mind involves the rain cover. As nice as it is to have the raincover included, the fact that it is not built-in and takes up space in the bag is kind of a hassle. Particularly in the smaller bags, I’d opt to carry an extra prime lens than the cover. Another minor complaint? The side pockets on the smaller bags are also pretty, well, small. I’m glad they exist, but even expanded, you aren’t going to be sticking telephoto zooms or big water bottles in there. 

    A final item worth mentioning can be considered both a feature and a drawback, depending on your point of view. These bags are not designed as bombproof protective cocoons for your gear, they are designed to be unobtrusive and functional. To that end, the padding inside is not as thick or heavy as in many other shoulder bags. I measure the padding and dividers in the Cooper bags to be around 1/4 inch. By way of comparison, the padding in my old Mini Messenger ranges from 3/8 to 1/2 inch. This cuts down significantly on the bulk and stiffness of the bags. In exchange, your gear is going to be less cushioned from bumps and bonks. This is a trade that I’m personally happy to make, but others may not feel the same.

    In Use

    Cooper 13 Slim 

    While all four Cooper bags are solid, the 13 Slim might be the standout of the line. It is perfectly sized for a mirrorless kit. An Olympus OM-D E-M1 with a mix of 3-5 zoom/primes lenses fits beautifully. The gear comes in and out with ease and there is a place for everything.

    If you are looking for a bag to carry a decent sized mirrorless kit, the Cooper 13 Slim deserves your attention. That said, perhaps what was more surprising to me is that my standard full-frame ‘prime’ kit (Canon 6D, 24mm F1.8, 35mm F2, 50mm F1.8 & 85mm F1.8) also fits. And it didn’t just fit; I found that I love using the bag for that kit. There’s not a lot of extra room and the 24 & 85 are a bit less accessible, but even so the 6D hasn’t left the Cooper 13 for weeks. Now, I’m not sure that this would be practical for a DSLR with zoom lenses of any length or girth. If you want a small bag for your DSLR and plan to carry anything bigger than prime lenses, I’d encourage looking at the Cooper 13 DSLR. 

    The 13 Slim is big enough to hold a substantial amount of gear, but is also so slim that it hardly sticks out from your body and doesn’t hinder your ability to move through a crowd. This is something that is huge for me. To be honest, I’m rarely concerned that someone knows I have a camera bag, after all, I typically have a camera in my hand. But if I’m banging into people or knocking drinks off tables in a crowded bar concert, well, that’s going to get people’s attention, and not in a good way.

    Not only is the Cooper 13 Slim only 5.5 inches deep, but its lack of rigidity allows it to conform slightly to the shape of your body, allowing it to protrude even less. There is one drawback to the Cooper 13 Slim’s ‘slim’ nature, it doesn’t tend to stand upright when set down. It will balance, but I wouldn’t leave the flap open and rely on it staying that way. 

    Cooper 15

    The Cooper 15 fits a full size DSLR with multiple F2.8 zoom lenses. I used a Canon 6D, 17-35mm F2.8, 24-70mm F2.8 and a 70-200/2.8 and had room for a speedlight and accessories without using any of the outside pockets. I will say that even a large mirrorless kit is absolutely swallowed in this bag. Unless you were using it as more of a briefcase that also happened to carry your mirrorless kit (not a bad idea actually), I might encourage you to look at one of smaller Cooper bags. 

    Overall, the Cooper 15 performed the same as the its Slim/DSLR counterparts with a few small caveats. Due to the larger size of my F2.8 zooms, it wasn’t quite as easy to get them out/in through the top-access zipper. This isn’t something exclusive to the Cooper 15, some of it just comes with pro bodies and lenses.

    This brings me to another small concern worth mentioning: the Cooper 15 is a pretty darn big bag. It’s sized to carry these big zooms and bodies. I tend to encourage photographers to look at a backpack or sling if they are carrying big gear. The only time I use a shoulder bag for my pro kit is when I’m on a job where I’ll be in and out of the bag a ton – setting it down, picking it up, rushing across the reception hall and grabbing a new lens so I don’t miss the first dance, that kind of thing. Otherwise, that’s a lot of weight on my shoulder just for a street photography session through town. If you are carrying a smaller DSLR kit, you should probably look into the Cooper 13 DSLR, as the Cooper 15 is going to be overkill. 

    But I fully admit that some of that is my own personal preference as far as how I carry by gear. If you know that you like a shoulder bag for your big DSLR kit, the Cooper 15 is an outstanding choice as far as I’m concerned. While I was partially joking before, I do think there is a strong case to be made for using the Cooper 15 as a briefcase/schoolbag. It’s sized perfectly for that task, looks cooler than most anything else you’ll see at a powerpoint presentation and could still hold your ‘everyday’ camera kit. 

    What’s the bottom line?

    The Tenba Cooper bags are well designed, good looking and extremely functional. They are not particularly cheap, but I would consider them on the affordable end of the spectrum as far as high end bags are concerned. If sheer economics are your main concern, there are other cheaper bags out there. But the Cooper bags are an impressive mix of style, functionality and features. For what it’s worth, the Cooper 13 Slim/DSLR has made my list of bags that I love to use and recommend to just about anyone.

    Articles: Digital Photography Review (dpreview.com)

  • On assignment: the Leica Q at a Portland wedding

    Introduction

    The fixed 28mm focal length you get with the Leica Q can be versatile and creative, but it can also allow for basic images like this to help set the scene. Photo by Carey Rose, processed to taste from Raw. F8 | 1/125 | ISO 320

    Between the timber industry and a reputation for organized crime and racketeering, early Portland, OR is a town that, like a number of other Pacific Northwest settlements, started off a little rough. But today, Portland has grown into and is known for being one of the most progressive cities in the country. This rise from rags to prominence is at least vaguely reminiscent of the rise of mirrorless technology in cameras, though the latter has happened much more rapidly. What were once laggy, poor-focusing and incredibly power-hungry devices have evolved into technological powerhouses, playing host to some of the latest and greatest innovations in camera technology. The Leica Q is, unarguably, one such mirrorless camera.

    Portland has also been nicknamed ‘Bridgetown,’ for its many crisscrossing bridges slicing through the urban landscape. Rather appropriately, then, the Leica Q is a bridge of sorts for me. It is the first mirrorless camera I’ve brought with me to shoot a wedding alongside my usual full-frame DSLRs, and the first mirrorless camera I’ve used that performs very nearly at a level I expect from my well-worn and bulky workhorses.

    Keep in mind: the Leica Q was used in conjunction with two additional cameras for this wedding, but all images in this post are from the Q. The 28mm focal length it offers can be versatile, but definitely has a ‘look’ and it can’t replace a good normal or telephoto lens for some variety in the full final take.

    Fitting in the kit

    I will normally shoot an entire wedding on two full-frame DSLRs, and trade between 35mm, 50mm and 85mm lenses (with an 80-200mm F2.8 coming out for the ceremony only). Adding the Leica Q to the mix added a little extra bulk, sure, as I was now carrying three cameras instead of two. But it meant almost no lens swapping, as I could have the 35mm focal length covered more or less by the Q’s excellent 28mm F1.7 Summilux lens, and keep the 50mm and 85mm glued to the other cameras. The result was that I probably looked a little ridiculous to most of the guests, but having three F1.7-and-wider lenses at my disposal allowed me to make the most of any situation I found myself in.

    The Q managed to nail focus on the subject’s head despite dim backlighting and fairly low contrast. Why can’t all CDAF systems work this well? Photo by Carey Rose, processed to taste from Raw. F1.7 | 1/125 | ISO 2500

    I set up the Q to shoot in aperture priority with auto ISO, and a minimum shutter speed varying from 1/60 to 1/250 depending on the situation. I kept it in Single-AF and recorded RAW+JPEG for the whole shebang.

    What worked, what didn’t

    The Q’s autofocus system is not only accurate, but it is close to phase-detect fast (even though it’s a contrast-detect system). I kept it in Single-AF for the day because it just worked so well. The four-way controller on the rear made it a breeze to quickly change the focus point position, and with the 28mm focal length, focus-and-recompose shooting didn’t make too much of a difference in critical sharpness. The few times I wanted to use Face Detection (such as handing the camera off to somebody else to take a shot), I found it was a bit of a pain to dive into the menus to change it. This could be mitigated if you could assign something autofocus-related to either of the customizable function buttons on the rear, but you can’t. At least the menus are fairly well-sorted.

    Though its DNG files may have less post-processing latitude than other camera systems, the Q can hold its own in low light as long as you pay careful attention to your exposure. F1.7 | 1/125 | ISO 5000

    Speaking of buttons, the buttons, controls and dials are all easy to feel with your eye to the finder, and with enough positive action that there’s never any question of whether or not you hit something. So that’s a good start. However, for a camera focused so heavily on stills, it would be nice to at least have the option to reassign the ‘Movie Record’ button to something else. Also, when you are shooting in Auto-ISO, you can twiddle the shutter speed dial to override the minimum shutter speed you’ve selected, but then the rear control dial switches from controlling exposure compensation to controlling the shutter speed in 1/3 stops. You can mitigate this by assigning the ‘FN’ button on the back to ‘exposure compensation,’ but it would be nice if the control dial operation was more consistent or customizable. Also, the LCD and EVF will give you an accurate preview if you skew to under-exposure, but in low light, dialing in some intentional over-exposure would not adjust the preview at all, which was more a minor irritation than an impactful problem.

    Skin tones (and color in general) are great on the Q in Raw mode, and the 28mm lens is well corrected to avoid tons of distortion at the edges. Even if it wasn’t, these two gents would be too distracted by their matching suit jackets to notice wide angle distortion anyway. Photo by Carey Rose, processed to taste in Raw. F1.7 | 1/125 | ISO 2000

    If you prefer not to use buttons, you can use the touchscreen for a good number of functions, including swiping and zooming in playback, and touch-to-focus and shoot options. However, touch-to-focus only focuses once, where you touched. Half-pressing the shutter does not refocus, and you can’t now use the four-way controller to move the point around if you then want to shoot from the EVF. You’ll have to go back into the menus and enable another focus mode. And if you just don’t want to mess with the touchscreen (I had more than a few accidental swipes trying to enter playback mode to show images to people), there is no menu option to completely disable it.

    The lens may be fairly wide-angle, but the macro functionality allows you to get up close and personal with some detail shots and still get rid of most of a distracting background. Photo by Carey Rose, processed to taste from Raw. F2.8 | 1/500 | ISO 640

    Now, it may sound like I’m being hard on the camera, but in the real world, these were fairly small problems (and all could conceivably be fixed with a firmware update – hint hint, Leica). In fact, there was only one real issue that seriously plagued my experience with the Q. Although the Q’s battery life is great for a mirrorless camera, it’s not so good that I felt like I could just leave the camera on constantly. But that wasn’t the real problem because the start-up time is so fast. No, the problem was that, after shooting a burst and moving on, I would instinctively twiddle the power dial to ‘Off.’ The camera screen and live view stays on until the buffer is cleared, and only then will the camera fully shut off.

    Would AF tracking have worked better than Single-AF for this shot? Maybe, but I didn’t want to dig into the menus to change it. Photo by Carey Rose, processed and cropped to taste from Raw. F2 | 1/125 | ISO 2500

    However, if I wanted to resume taking photos, I would turn the switch back on, but the camera would be locked and ignore any and all inputs until it had finished the previous burst to the card. Then it would turn off, then turn itself back on. This process, despite using the fastest SD card money can buy, would take as long as 20-30 seconds.

    None of this happens if you leave the camera on after you take a burst – you can resume taking photos or explore the menu system as the camera does its writing (but you can’t immediately enter playback mode when the buffer fills, as you can on many DSLRs). In the end, it’s a strange behavior that can be avoided, but was still upsetting since I’d developed this ‘switch off between shots’ habit based on the battery life of other mirrorless cameras.

    The results

    Despite all the little issues I discovered above, the Leica Q is a fantastic camera. The only reason I experienced all those little issues to begin with is that I gave this camera no leeway. I used it just like an established full-frame DSLR system, and expected it to perform like one. For the most part, it did. Hell, if Leica made another Q with a fixed 50mm or 85mm lens, I’d have a hard time not selling off most of my DSLR gear and switching over. If only my DSLRs were worth their weight in gold. Or maybe little red dots.

    It may not be an ‘action camera’ per se, but the burst modes on the Q give it some caught-moment chops. Photo by Carey Rose, processed and cropped to taste from Raw. F2.8 | 1/500 | ISO 500

    There are numerous reports to the contrary, but I found the camera quite comfortable to hold (even without the optional grip). My hands didn’t get sweaty, and the camera didn’t get too slippery. The lens is stunningly sharp, and the out-of-focus renderings are gorgeous. The sensor may not be up to Sony standards of dynamic range, but noise performance is great if you don’t mind a little grain (I don’t) and you nail your exposure. I managed almost 900 shots on the equivalent of just over one battery (I did one battery swap after a bar disappeared, out of old habits). The camera is built incredibly well, and is dense but light enough that I didn’t have a neck cramp after hours of shooting. It may not be weather-sealed, but it feels like it can take a beating.

    I should also call your attention to the fact that every single image in this write-up is processed from Raw. Of course, I always shoot Raw for paying gigs, but out of curiosity, I shot Raw + JPEG (and there’s no option to shoot Raw only anyway) on the Q. I found the JPEG engine, particularly the colors and skin tones that resulted from it, to be pretty unpleasant (especially next to an adjusted Raw file). So if you’re a JPEG shooter, be prepared to start a new Raw habit. Also, using the ’embedded’ DNG profile versus the Adobe Standard profile in Adobe Camera Raw does something weird to your white balance settings – I had to boost mine about 1500-kelvin over normal when using the embedded profile.

    Out-of-camera JPEG Processed to taste from Adobe Camera Raw

    For the out-of-camera JPEG image above, the Q was set to sRGB color space, with contrast, saturation and sharpness all set to standard. That’s the extent of JPEG adjustment parameters in-camera. For the processed image, I used Adobe Camera Raw with the Adobe Standard color profile, making fairly controlled adjustments to the white balance, highlights, shadows, whites, blacks, clarity and vibrance. The exposure was F1.7, 1/250, ISO 320.

    As far as performance, with the exception of the strange buffer / power switch issue I highlighted above, I never found myself waiting for the camera. Whether I’m shooting weddings, events, street or environmental portraits, that responsiveness in and of itself is an absolutely paramount requirement. And if you consider the cost of a pro-level (not enthusiast) full-frame DSLR and accompanying fast-wide lens of a similar caliber to this 28mm F1.7 Summilux, the Q isn’t too terrible a value proposition, either.

    Party on: if you like the focal length, the Q can handle just about anything you throw at it. Except maybe a bucket of water, or a beer. Photo by Carey Rose, processed and cropped to taste from Raw. F1.7 | 1/250 | ISO 400

    In short, the Q is the fixed-lens digital camera I’ve been waiting for. If you work with this focal length and can look past some of its smaller issues, you owe it to yourself to give the Q a try. 

    Articles: Digital Photography Review (dpreview.com)

  • Crowd pleaser: Sony FE 24-70mm F2.8 GM real world images

    Sony’s new FE 24-70mm F2.8 G Master is as pro-level as pro-level lenses come. Dust and moisture-sealed, it offers impressively fast AF speeds due to Direct Drive SSM, especially when paired with the Sony a7R II (which we used to shoot this gallery). Though we only spent about 24 waking hours with it, images shot throughout the focal range show the lens is sharp, even wide open. Note that chromatic aberration was turned on in-camera and is therefore applied even to the Raws. Please note, we’ve included Raw files for download for a selection of the images, and you can look at CA performance in a non-profile aware Raw converter (like RawDigger).

    See our Sony FE 24-70mm F2.8 GM real world samples gallery

    Note: This sample gallery was shot while on a Sony-sponsored shooting event in Miami. Part of the excursion included photographing models in scenes that call back to famous Miami-based TV shows and movies including Scarface, Miami Vice and CSI Miami. No actual gangsters or cops were photographed during the making of this gallery.

    Articles: Digital Photography Review (dpreview.com)

  • DxO ONE update enables framing assist via the camera’s OLED monitor

    A recent update for the DxO ONE has introduced framing assistance via the camera’s built-in OLED when the device is used in standalone shooting mode. A monochrome live image preview is displayed on the camera’s small, rear screen to improve the experience of using the camera without connection to an iPhone. The camera is also offered at a lower $ 499 price point, without software bundled. 

    Firmware 1.3 also introduces a motion blur alert feature, as well as a modified interface for selecting white balance, metering and focus mode. When sharing photos, you’ll now see a visual confirmation of a successful upload, and JPEG compression level can be specified. 

    The app update is available now for free through the App Store, and camera firmware can be updated through the camera itself. The DxO ONE is available now for $ 499.

    Press release:

    DxO ONE now features a dramatically enhanced stand-alone experience

    DxO unbundles desktop software to make the camera available at a new low price of just $ 499

    Press release:

    PARIS, March 2, 2016 /PRNewswire/ — DxO announced today the immediate availability of yet another ground-breaking update to the award-winning DxO ONE professional quality connected camera for iPhone® and iPad®. The version 1.3 update, available for free via the iTunes App Store, introduces several new features that further extend the use of the DxO ONE, including the ability to use the OLED display as a novel framing assistant to help quickly compose while operating the camera with one hand. Additionally, DxO has unbundled their desktop software from the package (DxO FilmPack and DxO OpticsPro now sold separately), enabling even more photographers to get their hands on the revolutionary DxO ONE camera at a new low price of just $ 499.

    “That is one trippy amazing viewfinder — love it!” said award-winning photographer, John Stanmeyer. “Even more wonderful, in very low light, the ONE handled all the complexities of ISO, focus, etc., instantly. Amazing. Perfectly fine for those rapid moments when you want to make an image, a RAW high res file, in any lighting conditions we’re placed in.”

    Version 1.3, the second major upgrade to date, enables the DxO ONE to be used as a miniaturized pro-quality camera that is smaller, easier, and faster to shoot than any other camera on the market. To quickly capture life’s fleeting moments, simply pull the DxO ONE out of your pocket or purse, and in one movement, slide the lens cover open, compose the scene using the OLED display as a framing assistant, then depress the two-stage physical shutter button to lock focus and grab the shot. In stand-alone mode, the DxO ONE provides a fun, retro-style of photographing without “chimping,” and makes browsing newly captured images a surprising and delightful experience.

    Best of all, when using the DxO ONE in stand-alone mode, all of your preferred camera settings for aperture, shutter speed, ISO, metering, white balance, etc. are preserved, exactly as you set them in the iOS app. For example, if you prefer to capture portraits at f/1.8, the camera will always be ready at f/1.8 when you pull it out of your pocket. And because the DxO ONE has a physical shutter button, it works even if you’re wearing gloves. So when you’re on the slopes, set the camera to 1/4000s (or higher), then when you pull the camera out of your ski jacket the DxO ONE is immediately ready to freeze fast action.

    “During an assignment for Rolls-Royce Motor Cars I had the misfortune of seriously injuring myself during a biking accident,” said Robert Leslie, professional photographer and amateur cyclist. “Much to my client’s surprise I was able to complete the studio session and capture some incredible images while using the DxO ONE in the new stand-alone mode. Now what other camera in the world lets you do a professional shoot whilst your arm is in a sling with a broken collar bone?”

    Version 1.3 also introduces a host of other features including motion blur alert, and an elegant new way to dial in white balance, metering and focus modes, which can also be viewed as overlays in the viewfinder along with your iPhone battery level. Browsing photos is faster than ever, with the gallery now sorted in the same order as in iOS Photos. You can be sure your images were successfully shared thanks to a new visual confirmation message, and you can set a preferred JPEG compression level for photos, and bitrate for videos. Of note, an innovative Message Center now provides a direct connection to DxO, with in-app access to current information designed to help you get the most out of your DxO ONE.

    DxO ONE owners are invited to download and install version 1.3, which is available as a free update via the iTunes App Store. New firmware, also immediately available, can be downloaded to the iPhone and installed on the DxO ONE with a simple tap.

    Pricing & Availability

    The DxO ONE Miniaturized Pro Quality Camera™ for iPhone® and iPad® is available for purchase at dxo.com, Amazon, Apple online and select Apple stores in the US, B&H and other respected photo retailers for the new low price of $ 499.

    The DxO ONE iOS app and companion Apple Watch app are both available for free via the iTunes App Store. Every purchase of a DxO ONE camera also includes free access to simple, but powerful desktop processing software — DxO Connect for Mac and PC, and the new DxO OpticsPro for OS X Photos. DxO FilmPack and DxO OpticsPro are available for purchase separately.

    Articles: Digital Photography Review (dpreview.com)

  • Seriously sharp: Sony FE 85mm F1.4 GM samples

    We knew Sony’s FE 85mm F1.4 G Master lens was sharp. After all, we had the chance to shoot with it briefly back in February at the Sony a6300 launch event in New York City. But last week we got better acquainted with the lens, putting it through its paces in different shooting scenarios throughout Miami. And simply put, this lens is seriously sharp. All of the samples in the gallery were shot using the Sony a7R II. Please note, we’ve included Raw files for download for a selection of the images.

    See our Sony FE 85mm F1.4 GM real world samples gallery

    Note: This sample gallery was shot while on a Sony-sponsored shooting event in Miami. Part of the excursion included photographing models in scenes that call back to famous Miami-based TV shows and movies including Scarface, Miami Vice and CSI Miami. No actual gangsters or cops were photographed during the making of this gallery.

    Articles: Digital Photography Review (dpreview.com)

  • Canon announces budget-friendly EOS Rebel T6 (1300D)

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    Canon has announced its latest entry-level DSLR, the Rebel T6, which is known as the EOS 1300D in most regions. The T6 is a relatively minor update to the Rebel T5 (EOS 1200D) and adds a faster Digic 4+ processor, higher resolution LCD, ‘white priority’ WB mode (which produces more neutral color in tungsten lighting), a food scene mode and Wi-Fi with NFC.

    The T6 retains the same 18MP APS-C CMOS sensor, 9-point AF system, Full HD video capture and numerous scene and creative modes as its predecessor.

    The Rebel T6 will ship in the US next month at a price of $ 549, which includes the 18-55mm F3.5-5.6 IS II lens.

    Press release:

    Share moments on-the-go with the new Canon EOS Rebel T6 DSLR Camera

    Become the next Internet sensation with built-in Wi-Fi®and NFC connectivity*

    MELVILLE, N.Y., March 10, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced its newest entry-level DSLR camera, the EOS Rebel T6. The Canon EOS Rebel T6 camera offers easy sharing of high quality photos and videos to popular social media sites via compatible smartphones and other mobile devices* as well as Canon’s Connect Station CS100. 

    “Smartphone users passionate about photography and ready to take that next step to creating their best images and videos ever will appreciate the ease-of-use and affordability of the new EOS Rebel T6 camera,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “With the latest addition of the EOS Rebel T6 camera, the Canon EOS Rebel series continues to be one of the most popular DSLR camera lines on the market.”

    The Canon EOS Rebel T6 DSLR camera offers a wide range of features including: 

    • 18.0 Megapixel Canon CMOS (APS-C) image sensor and high-performance DIGIC 4+ Image Processor for excellent image quality and speedy operation. 
    • ISO 100–6400 (expandable to H: 12800) for shooting from bright light to low light.
    • Built-in Wi-Fi® and NFC connectivity* for easy sharing to smart devices, social media sites and the Canon Connect Station CS100 device. 
    • 9?point AF system (including one center cross?type AF point) and AI Servo AF provide impressive autofocus performance with accurate results.
    • High-performance Optical Viewfinder helps facilitate quick and accurate focusing by firmly framing and capturing the subject at hand.
    • Large, 3.0-inch LCD monitor with 920,000 dots for easy viewing and reviewing.
    • Full HD video mode for high quality, easy-to-use video capture.

    Missed Photo Ops a Thing of the Past 

    The Canon EOS Rebel T6 camera provides a wide ISO range of 100-6400 (expandable to ISO 12800), making it ideal for shooting both still and moving subjects in a wide variety of lighting conditions ranging from low light to bright sunny days. In addition, the camera is capable of shooting high-resolution 18 megapixel still photos continuously up-to-three frames per second (fps), with predictive autofocus to help keep every image sharp and clear, even with moving subjects.

    The Scene Intelligent Auto mode in the Canon  EOS Rebel T6 camera analyzes the image, accounting for faces, colors, brightness, moving objects, contrast and whether the camera is handheld or on a tripod. Scene Intelligent Auto mode then chooses the exposure and enhancements that can bring out the beauty in virtually any scene or situation. Simplifying DSLR image capture, Scene Intelligent Auto mode lets you concentrate on composing images without puzzling over settings.

    Another exciting addition to the Canon EOS Rebel T6 camera is a new ‘Food Mode’ on the mode dial for the foodie or blogger to easily capture stunning images of the food they love. This mode enhances the color and brightness of the food images while at the same time making the images ready to share. Other fully automatic exposure modes include portrait, night portrait, landscape, sports, and close-up. Additionally, the easy-to-use Full HD video mode captures sharp, high-definition video up to 1080p resolution with the choice of automatic or manual focusing. Creative filters such as Fisheye, Toy Camera, Miniature, and Soft Focus give users additional ways to create fun and imaginative images to enjoy, print and share.  The camera’s new “white priority” Auto White Balance setting enables users to create images with a more neutral tone when shooting under incandescent lighting. In addition to all the automatic modes, the new Canon EOS Rebel T6 camera provides complete manual exposure and focus controls plus RAW image output for advanced amateur photographers and photography students. 

    The Canon EOS Rebel T6 camera is compatible with the entire Canon EF and EF-S lens system including over 60 current models enabling users to capture their world in different perspectives ranging from Fisheye to Super-Telephoto. Scheduled for availability in April 2016, the estimated retail price of the Canon EOS Rebel T6 camera will be $ 549.99** when bundled with the EF-S 18-55mm f/3.5-5.6 IS II standard zoom lens.

    * Compatible with iOS® versions 7.1/8.4/9.0, AndroidTM smartphone and tablet versions 4.0/4.1/4.2/4.3/4.4/5.0/5.1.  Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

    **Availability, prices, and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

    Canon EOS Rebel T6 / EOS 1300D specifications

    Price
    MSRP $ 549.99 (with 18-55mm F3.5-5.6 IS II lens)
    Body type
    Body type Compact SLR
    Body material Composite
    Sensor
    Max resolution 5184 x 3456
    Other resolutions 3456 x 2304, 2592 x 1728, 1920 x 1080, 720 x 480
    Image ratio w:h 1:1, 4:3, 3:2, 16:9
    Effective pixels 18 megapixels
    Sensor photo detectors 19 megapixels
    Sensor size APS-C (22.3 x 14.9 mm)
    Sensor type CMOS
    Processor Digic 4+
    Color space sRGB, AdobeRGB
    Color filter array Primary color filter
    Image
    ISO Auto, ISO 100-6400, expandable to 12800
    Boosted ISO (maximum) 12800
    White balance presets 6
    Custom white balance Yes
    Image stabilization No
    Uncompressed format RAW
    JPEG quality levels Fine, Normal
    File format
    • JPEG
    • RAW (Canon CR2, 14-bit)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Face Detection
    • Live View
    Autofocus assist lamp Yes (flash)
    Digital zoom No
    Manual focus Yes
    Number of focus points 9
    Lens mount Canon EF/EF-S
    Focal length multiplier 1.6×
    Screen / viewfinder
    Articulated LCD Fixed
    Screen size 3″
    Screen dots 920,000
    Touch screen No
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Optical (pentamirror)
    Viewfinder coverage 95%
    Viewfinder magnification 0.8×
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/4000 sec
    Exposure modes
    • Scene Intelligent Auto
    • Program
    • Shutter Priority
    • Aperture Priority
    • Manual
    Scene modes
    • Landscape
    • Close-up
    • Sports
    • Food
    • Night Portrait
    Built-in flash Yes (Pop-up)
    Flash range 9.20 m (at ISO 100)
    External flash Yes (via hot shoe)
    Flash modes Auto, On, Off, Red-eye
    Flash X sync speed 1/200 sec
    Drive modes
    • Single
    • Continuous
    • Self-timer
    • Continuous w/self-timer
    Continuous drive 3.0 fps
    Self-timer Yes (2 or 10 sec)
    Metering modes
    • Multi
    • Center-weighted
    • Partial
    Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
    AE Bracketing ±2 (3 frames at 1/3 EV, 1/2 EV steps)
    WB Bracketing Yes
    Videography features
    Resolutions 1920 x 1080 (30p, 24p), 1280 x 720 (60p), 640 x 480 (30p)
    Format MPEG-4, H.264
    Microphone Mono
    Speaker Mono
    Storage
    Storage types SD/SDHC/SDXC card
    Connectivity
    USB USB 2.0 (480 Mbit/sec)
    HDMI Yes (mini-HDMI)
    Microphone port No
    Headphone port No
    Wireless Built-In
    Wireless notes 802.11b/g/n with NFC
    Remote control Yes (wired or wireless)
    Physical
    Environmentally sealed No
    Battery Battery Pack
    Battery description Lithium-Ion LP-E10 rechargeable battery & charger
    Battery Life (CIPA) 500
    Weight (inc. batteries) 485 g (1.07 lb / 17.11 oz)
    Dimensions 129 x 101 x 78 mm (5.08 x 3.98 x 3.07″)
    Other features
    Orientation sensor Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • Great Eight: Panasonic Lumix DMC-GX8 review

    Key Features

    • 20MP Four Thirds MOS sensor
    • Dual IS capability
    • Depth from Defocus AF system
    • 2.36M-dot tilting OLED EVF
    • 1.04M-dot, vari-angle OLED touchscreen display
    • 4K video / photo
    • Weatherproof magnesium alloy body
    • Wi-Fi with NFC

    The Panasonic Lumix DMC-GX8 is the company’s flagship Micro Four Thirds interchangeable lens camera, and the followup to the popular GX7. While sharing some similarities with its predecessor, such as a tilting electronic viewfinder and rangefinder-styled body, the majority of the specs and features are dramatically improved.

    The GX8 was the first Micro Four Thirds camera to leave the world of 16 Megapixel sensors behind, moving to 20MP. This increase in resolution allows the GX8 to appear to be closer in spec to other ILCs, many of which have 24MP sensors. When combined with Panasonic’s latest Venus Engine processor, the GX8 is capable of 4K video capture, 10 fps burst shooting (8 with the mechanical shutter), and a top ISO of 51200. 

    The camera has also received a big upgrade in the autofocus department. While we’ll explain how Panasonic’s Depth from Defocus technology works later, it impressed us with its speed and subject tracking abilities when we reviewed the DMC-G7.

    Another very useful new feature on the GX8 is ‘Dual IS’. The camera already has built-in sensor-shift IS and, when selected stabilized lenses are attached, can combine the two systems for even better shake reduction. Panasonic claims a 3.5x improvement at wide-angle and 1.5x at telephoto compared to the GX7 (which relied solely on its less advanced in-body IS system). 

    The GX8 has also gained 4K (UHD) video capture support that surpasses the DMC-G7 in terms of features, though it’s not as robust as the GH4. 4K support also extends to stills, via the camera’s 4K Photo mode, a tool which helps capture moments that you might otherwise miss.

    One last thing to mention in this introduction is the design of the DMC-GX8. The camera is considerably bulkier than its predecessor, closer in size and weight to Fujifilm’s X-Pro2. That’s good, though, as build quality has increased and the camera is now splash and dust resistant. The tilting EVF remains but now it’s larger and uses OLED rather than LCD technology. The tilting rear LCD on the GX7 has made way for a fully articulating OLED screen on the GX8. A few dials have moved around as well, and there’s now direct control for exposure compensation on the camera’s top plate.

    The Lumix GX8’s feature set comparable to both mirrorless cameras like the Olympus PEN-F and Fujifilm X-Pro2, but also DSLRs such as the Canon 80D and Nikon D7200. As you’ll see throughout the review, the GX8 offers some features that none of those cameras can compete with.

    Spec comparison

       Panasonic GX7  Panasonic GX8  Olympus PEN-F
     Sensor  16.0MP MOS   20.3MP MOS  20.3MP MOS 
     Image stabilization  Sensor-shift (2-axis)  Sensor (4-axis) + lens shift*  Sensor-shift (5-axis)
     AF system  23-pt CDAF  49-pt CDAF  81-pt CDAF
     Max shutter speed  1/8000 (mechanical)  1/8000 (mechanical)
     1/16000 (electronic)     		 1/8000 sec
    1/16000 sec
     Flash x-sync  1/320 sec  1/250 sec 1/250 sec
     Burst rate
     (mech./elect.)    		  5 / 40 fps  8 / 10 fps 10 / 20 fps 
     EVF resolution  2.8M-dot equiv.  2.36M-dot 2.36M-dot
     EVF type/mag  Tilting LCD / 0.7x  Tilting OLED / 0.77x  Fixed OLED / 0.62x
     LCD type/res  3″ tilting touch
     1.04M-dot LCD    		  3″ vari-angle touch
     1.04M-dot OLED    		 3″ vari-angle touch
    1.04M-dot LCD
     Built-in flash  Yes (GN 7 @ ISO 200) No No**
     Video  1080/60p @ 28MBps 2160/30p @ 100MBps 1080/60p @ 77Mbps 
     Mic/headphone sockets  No / No Yes / No No / No
     Wi-Fi  Yes, with NFC Yes, with NFC Yes
     Weather-sealing  No Yes No 
     Battery life   320 shots*** 330 shots*** 330 shots
     Dimensions  123 x 71 x 55mm 133 x 78 x 63mm 125 x 72 x 37mm
     Weight (CIPA)  402 g  487 g 427 g 
    * When using lenses with built-in image stabilization
    ** External flash included
    *** With 14-42mm kit zoom

    As you can see, the GX8 is a pretty big leap forward from its predecessor. It is very close in spec to the Olympus PEN-F, though it’s weather-sealed, supports 4K video, and has a considerably larger EVF. One could argue that the GX8 is targeted more toward the video crowd, while the PEN-F is for those looking for a classic ‘camera-loving’ audience.

    Pricing

    The DMC-GX8 is sold in a body-only configuration for $ 1199 / £919 / €1099. The camera may be bundled with a lens in certain regions.

    If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

    Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.

    We recommend to make the most of this review you should be able to see the difference (at least) between X, Y, and Z and ideally A, B, and C.

    This article is Copyright 1998 – 2016 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.

    Articles: Digital Photography Review (dpreview.com)