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First look at upcoming Pentax ‘star series’ lenses and silver edition K-1

27 Oct

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Ricoh is showing off two upcoming lenses at the Photo Plus Expo show in New York this week. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame cameras, while the HD Pentax-DA* 11-18mm F2.8 is intended to be paired with the company’s APS-C DSLRs.

We weren’t able to get our hands on the new lenses, sadly – they’re still under glass – but we’re told that they’re cosmetically near-final. Click through for a closer look.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

We’ve known about the HD Pentax-D FA* 50mm F1.4 SDM AW for a while, but the last time we saw it (also under glass) it was little more than a lens-shaped lump of plastic. Things have advanced since then, and the copy on show here appears to be a working prototype.

The upcoming 50mm is one of a new generation of ‘star series’ lenses that Ricoh intends for high-resolution imaging with its flagship K-1 and (presumably) follow-up full-frame models.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

The 50mm F1.4 will come with a generously proportioned lens hood. The ‘AW’ in the designation stands for ‘All Weather’ and denotes environmental sealing, which should mean that like the K-1, it will stand up to use in harsh conditions.

A new ring-type SDM autofocus drive promises fast, quiet focusing. Pricing has yet to be announced, but the new 50mm should be available in spring of next year.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Meanwhile, the HD Pentax-DA* 11-18mm F2.8 is intended to be paired with the company’s APS-C DSLRs, and covers an effective focal length range of ~17-28mm. The fast maximum aperture of F2.8 is fixed across the zoom range, and while it hasn’t been spelled out anywhere, the sample on show appears to feature a switch for optical image stabilization, covered in black tape.

This would be a bit odd, given that Pentax’s DSLRs are stabilized in-body but could point towards hybrid stabilization. The alternative explanation (and probably more likely) is that it’s either a zoom lock or simply a vestigial bump which will be removed in shipping lenses.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Beyond the usual hyperbole (photographers should be able to ‘effortlessly capture breathtaking landscapes’ with this lens, apparently) details of the exact specification are sparse. Along with the mystery switch, the focus scale has also been obscured.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

No pricing information has been shared, but we’re told that the 11-18mm will be available next summer.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Here’s the new K-1 ‘Silver Edition’, announced in August. This special edition of Ricoh’s flagship full-frame DSLR features a special silver coating, to match the silver versions of Pentax Limited lenses.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

This is the kind of thing that often looks great in manufacturer-supplied renderings, but a bit tacky in real life. We’re pleased to see that in person, the silver K-1 looks pretty classy.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

A special silver hotshoe cover is an especially nice touch. The K-1 silver edition is limited to 2000 copies worldwide.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Alongside its conventional cameras and lenses, Ricoh is also showing off its new Theta V 360-degree camera, which improves on the original model with much better resolution and advanced video features. Learn more about the Ricoh Theta V

Articles: Digital Photography Review (dpreview.com)

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Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

27 Oct

Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

The new Tamron 100-400mm F4.5-6.3 Di VC USD is a lightweight telezoom aimed at enthusiast full-frame and APS-C DSLR users. The lightest zoom in its class (minus the optional tripod foot) the 100-400mm trades brightness for portability, weighing in at 40 ounces (roughly 1.1 kilograms).

Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

Optical construction comprises 17 elements in 11 groups, including extraordinary LD (low dispersion) elements. Minimum focus is a respectable 59 inches (1.5m) which works out at a a maximum magnification ratio of 1:3.6.

The optical Vibration Correction system offers the equivalent of 4 stops of correction, which should make a big difference to usability for telephoto shots, at and around 400mm. We’ve been impressed by the performance of Tamron’s stabilization in the past, and in theory, the new 100-400mm should be hand-holdable down to 1/60sec at 400mm.

Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

Despite being a full-frame zoom, the 100-400mm feels relatively light, and very well-balanced. In the 100mm zoom position, the lens is 7.8 inches long.

Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

Zoomed out to 400mm, the 100-400mm gets longer by roughly 50%, but still feels well-balanced. The large zoom ring moves smoothly throughout the zoom range. A smaller focus ring is positioned behind it, but separated by enough space that you probably won’t grab the wrong ring by mistake.

Automatic focusing is powered by twin processors, and judging from a very quick test on the show floor (with a Nikon D500) AF seems fast and positive, at least in single-shot mode.

Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

Although the sample we tried out didn’t display any ‘zoom creep’ there is a lock on the barrel to prevent the lens extending when carried.

Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

The tripod ring is optional, but recommended. Although it makes the 100-400mm slightly heavier, it offers a very solid platform for tripod use. Although you can’t tell from this image, the base of the foot is Arca-SWISS compatible.

Hands-on with new Tamron 100-400mm F4.5-6.3 Di VC USD

The Tamron 100-400mm F4.5-6.3 Di VC USD is fully compatible with Canon and Nikon DSLRs, both full-frame and APS-C. We had the chance to use it (briefly) on a Nikon D500 and it balances well, both at 100 and 400mm positions. This view gives a sense of the relatively small size of the lens. Despite its telephoto reach, it’s about the same size and weight as a typical 70-200mm F4.

As we’d expect, the Tamron 100-400mm F4.5-6.3 Di VC USD is compatible with Tamron’s TAP-in Console and 1.4X and 2X teleconverters (although don’t expect stellar AF performance at the long end of the zoom with either!). It will be available starting November 16th for $ 800.

Articles: Digital Photography Review (dpreview.com)

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Adobe will release the last update to Lightroom 6 ‘towards the end of the year’

27 Oct

The countdown to the end of Lightroom as a standalone product is officially ticking, and the deadline is drawing near. Earlier today, Adobe released a fresh compatibility update for Lightroom 6, but in addition to adding support for cameras like the Nikon D850 and Fuji X-E3, Adobe also answered a burning question in the release notes: Is this the last upgrade of Lightroom perpetual product?

The answer, it seems, is no… but that last upgrade will arrive “towards the end of the year.” Here is Adobe’s answer in full:

As we align our investments in the direction of supporting our subscription-based products, the last version of Lightroom 6 will be coming out towards the end of the year. If there is a camera not supported in Lightroom 6, you can use the DNG converter before importing your images into Lightroom 6.

Once that final upgrade goes live, Lightroom 6 will become an ‘unsupported’ product, and if you intend to keep using Adobe Photoshop Lightroom you’ll either have to subscribe to CC or deal with the less-than-ideal workflow described above… while you can. It might not take too many operating system upgrades before unsupported LR6 breaks entirely.

Not everybody is happy about this state of affairs… as Senior Reviewer Richard Butler pointed out last week:

RIP Lightroom 6: Death by Subscription Model

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Report: Snapchat has hundreds of thousands of unsold Spectacles sitting in storage

27 Oct

In late 2016, Snap launched Spectacles: a wearable camera embedded into a pair of sunglasses. At first, Spectacles could only be purchased from a special yellow vending machine, making the availability very limited. Long lines and high eBay resale prices seemed to indicate high consumer demand, and eventually Snap decided to start selling the glasses through major retailers.

But a new report indicates that initial demand had more to do with novelty than actual desire… and now Snap is in trouble.

Since first launching Spectacles, including the wider Amazon launch this past summer, Snap has sold more than 150,000 units; however, a new report by The Information claims that “hundreds of thousands” of Spectacles units sit unsold in warehouses, eclipsing the number Snap has already sold. Snap misinterpreted the initial demand, and now they’re stuck with a lot of unsold (and possibly unsellable) camera glasses.

To make matters worse, The Information’s sources also claim that Snap has abandoned plans to launch its own drone. Pair this news with mediocre stock performance since going public, and the rising popularity of Instagram Stories, and things don’t look good for Snap Inc. … not at all.

Articles: Digital Photography Review (dpreview.com)

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Announcing the Winners of the Corel “Colors of Fall” Contest

27 Oct

A huge thank you to everyone who entered our recent contest to win a $ 500 Amazon™ Gift Card and a Corel Software Package. The second-place winner wins a full Corel software package and the third-place winner wins a copy of PaintShop Pro 2018 Ultimate. The software package includes PaintShop Pro 2018 Ultimate, AfterShot Pro 3, VideoStudio Ultimate X10 and ParticleShop.

This was a “Colors of Fall” themed competition, and so many of you shared your beautiful photographs, that we encourage everyone to go back and scroll through the comments section to view these wonderful images.

As a bonus to the entire dPS Readership, Corel is offering a 10% discount on their PaintShop Pro 2018 Ultimate leading Photo Editing Software through November 10, 2018, and as a bonus, you will receive ParticleShop Plugin FREE, a $ 39.99 value. Just click here.

Yet again, the response was absolutely wonderful! But now, onto the winners! Drum roll please, and the winners of the Corel PaintShop Pro 2018 Ultimate Editing Software and the $ 500 Amazon Gift Card are:

Grand Prize Winner: Rick K

I love the new PaintShop Pro 2018’s improved navigation and bigger icons. It allows me to better express my creativity with Editing the RAW image. The reason for submitting an IR image edited with PaintShop Pro 2018 is to show that PaintShop Pro 2018 can easily handle editing RAW IR images. Editing RAW IR images is a multistep process involving a red/blue color swap and precise color saturation and white balance settings. Using PaintShop Pro 2018 the editing process is very easy and the steps can be saved allowing for fast repeatable editing of several RAW images quickly. The picture I am submitting for the contest was taken on the first full day of Fall 2017 using a Canon T1i converted specifically to take IR images. This image was taken using a 665nm IR filter on the Canon T1i. The camera was positioned on the Doyle road covered bridge in Jefferson, OH and pointed at Mill Creek.

Second Place Winner: Kristin G

I’m new to digital photography post-processing, but I downloaded the free trial from Corel and used it to edit this photo that I took back in October 2011 in Acadia National Park in Maine. I watched many of the tutorials on the Corel site and they are a good way to feel ones way around the program and get a taste of the possibilities. The program is powerful yet does not seem overly complicated to learn. I definitely am excited to use Corel to take my photos to the next level. Thank You!

Third Place Winner: Charlie Hoffman

Colors of Fall ~ Wow….Having used Corel products for years the new PaintShop Pro 2018 Ultimate makes my work output a snap. This photo was taken overlooking the Lackawaxen River in the Pocono Mts. of Pennsylvania.

We were all very happy with the entries. You made us smile, but most importantly, you made us want to do more of what we do; provide you quality information and guidance to become a better photographer. We were so pleased to see that you came from every part of the world. Thank you all for your entries!

Again, for those of you that didn’t win, Corel is offering a 10% discount off their PaintShop Pro 2018 Ultimate leading Photo Editing Software, and as a bonus, you will receive ParticleShop Plugin FREE, a $ 39.99 value. Just click here.

The Winners will be emailed with details of how to collect their prize. Please make sure to look for our email. Thank you again for all the wonderful submissions and to Corel for sponsoring this competition.

Learn more about PaintShop Pro 2018 Ultimate HERE.

Disclaimer: Corel is a paid partner of dPS.

The post Announcing the Winners of the Corel “Colors of Fall” Contest by Darlene Hildebrandt appeared first on Digital Photography School.

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Ricoh announces new lenses for both APS-C and full-frame Pentax cameras

27 Oct

The two lenses Ricoh has announced today are part of the company’s Star-series line of high-performance lenses, being designed from the ground up for use with higher megapixel DSLR camera bodies.

Let’s start with the HD Pentax-DA* 11-18mm F2.8. Designed for crop-sensor cameras such as the Pentax KP, K70 and K-3 II, it offers an equivalent focal range of 17-27.5mm with a constant F2.8 aperture. Pricing has yet to be disclosed, and you have a bit of a wait if you’re interested in this lens; availability is scheduled for the summer of 2018.

Up next will be of particular interest to Pentax K-1 users. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame image sensors, and is the first new prime lens Ricoh’s announced for the K-1 since that camera was released. To go with the K-1’s rugged design, the FA* 50mm F1.4 comes with all-weather construction, and also a newly developed supersonic direct-drive autofocus motor for both faster and quieter AF operation. The FA* 50mm F1.4’s pricing is also unavailable, though it’s scheduled to be released a little sooner in the spring of 2018.

Press Release

RICOH ANNOUNCES NEXT-GENERATION, HIGH-PERFORMANCE PENTAX STAR-SERIES LENS LINE

Optimized for super-high-resolution photography with high-megapixel digital SLRs, new Star-series lenses on display at Photo Plus Expo 2017 and Salon de la PHOTO 2017

NEW YORK (Photo Plus Expo 2017, Booth #845), October 26, 2017 — Ricoh Imaging Americas Corporation today announced a new generation of high-performance Star-series lenses optimized for super high-resolution photography and high megapixel digital single-lens reflex (D-SLR) cameras. The first two lenses developed for the new-generation of Star-series quality—the HD PENTAX-D FA^? 50mm F1.4 SDM AW and the HD PENTAX-DA^? 11-18mm F2.8—will be on display as reference products at Photo Plus Expo 2017 at the Javits Convention Center in New York (October 26-28) and SALON de la PHOTO 2017 in Paris (November 9-13).

Premium-quality Star-series lenses deliver the highest performance among the PENTAX K-mount interchangeable lens series, and have been highly regarded by PENTAX K-Mount users since the days of film. In addition to the initial design concepts of optimum image quality and large apertures for maximum light transmission, the series has embraced the additional concepts of exceptional toughness and outstanding operability, achieved through the development of a dustproof, weather-resistant construction. The resulting lenses provide superior dependability in a wide range of shooting conditions, and are the perfect companion to PENTAX SLR camera bodies.

Although final names, specs and pricing will not be released until 2018, here are preliminary key features of the two lenses:

HD PENTAX-D FA^? 50mm F1.4 SDM AW

PENTAX K-mount covering the image circle of a 35mm-format full-frame image sensor
Newly developed ring-shaped SDM (Supersonic Direct-drive Motor) for faster, quieter AF operation
AW (All-Weather) construction to prevent intrusion of dust and rain and ideal for use in demanding shooting conditions
Minimum shooting distance of 0.4 meters
Note: this is an updated version of the reference product shown at CP+ 2017
Availability: Scheduled for the spring of 2018

HD PENTAX-DA^? 11-18mm F2.8

PENTAX K-mount covering the image circle of an APS-C-format image sensor
High-performance Star-series model providing excellent resolution even at open aperture
Large-aperture, ultra-wide-angle zoom lens with a maximum aperture of F2.8 (fixed) and an angle of view between 17mm and 27.5mm (in the 35mm format)
Availability: Scheduled for the summer of 2018

| About Ricoh Imaging Americas Corporation|

Ricoh Imaging Americas Corporation is a subsidiary of Ricoh Company Ltd., a global technology company specializing in office imaging equipment, production print solutions, document management systems and IT services. Headquartered in Tokyo, Ricoh Group operates in about 200 countries and regions.

The company now known as Ricoh Imaging Americas Corporation was originally founded in 1919, under the name Asahi Optical Joint Stock Co. and launched its first SLR camera in the 1950s under the PENTAX name. Today, Ricoh Imaging Americas Corporation continues to produce the heritage-rich, award-winning line of PENTAX DSLR cameras, lenses and sport optics equipment as well as Ricoh’s offering of stylish and compact digital cameras, known for their wide-ranging, rich set of features.

For further information, please visit www.us.ricoh-imaging.com

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Hands-on with new Canon L-series primes

27 Oct

Hands-on with new Canon L-series primes

Two months ago Canon announced four new L-series prime lenses: the TS-E 50mm, 90mm and 135mm F2.8L Macro and the 85mm F1.4L. We’re at the Photo Plus Expo in New York, and we just got our hands on them. Click-through for some images and first impressions.

Hands-on with new Canon L-series primes

All of the new TS-E lenses are (like all tilt-shift designs) manual focus, and all feature broad, well-damped focus rings. The TS-E 90mm F2.8L Macro (shown above) covers a classic portraiture focal length and should be useful for both portraiture and product photography.

Hands-on with new Canon L-series primes

While people tend to associate tilt-shift lenses with landscape photography, short and medium-telephoto designs are very handy for portraits, where it can be difficult to maintain sharp focus on a subject’s eyes (both of them) at wide apertures.

Similarly, close-up product images and macro photography where it isn’t always practical or desirable to stop down too much for increased depth of field. Using a tilt-shift lens, sharpness can be maintained across the depth of a subject, without sacrificing background blur.

Hands-on with new Canon L-series primes

This is the 135mm F2.8L Macro – unsurprisingly, a larger and heavier lens than the 90mm pictured in the previous slide. All three of Canon’s new TS-E primes feature the same basic tilt-shift mechanism, offering a wider range of adjustments compared to Canon’s older lenses, and updated coatings. In the 135mm F4L, SubWaveLength Structure Coating (SWC) helps reduce flare and ghosting.

Hands-on with new Canon L-series primes

Unlike Canon’s more conventional L-series lenses, the TS-E range is not (and has never been) weather-sealed. As such, they lack the rubber gasket around the lens mount that you’d expect to see on other L-series primes and zooms. According to Canon, the complexity of the tilt-shift mechanism makes weather-sealing impractical.

Hands-on with new Canon L-series primes

All three of the new TS-E primes offer the same magnification ratio of 1:2. This isn’t quite ‘true’ macro but for many purposes it should prove adequate for close-focus work, even with relatively small subjects. As you can see in this view, the tilt and shift knobs on the new primes are large, and easily distinguishable from one-another.

Every aspect of the new TS-E lenses feels extremely well-machined. Canon has long experience of designing tilt-shift primes and everything from build quality to the feel of the zoom rings oozes quality. With the lenses locked in a tilt/shift position, there is no give in the mechanisms at all (which is exactly what you want in a lens of this kind).

Hands-on with new Canon L-series primes

The shortest and lightest of the TS-E trio is the TS-E 50mm F2.8L Macro. Like the 135mm F4, the 50mm also benefits from SWC coating, and a new Air Sphere Coating (ASC) which Canon claims ‘provides amazingly high, anti-reflective performance, particularly when alleviating incidental light that can enter a lens’.

Hands-on with new Canon L-series primes

The new Canon TS-E 50mm F2.8L Macro, TS-E 90mm F2.8L Macro and TS-E 135mm F4L Macro lenses are all scheduled to be available November 2017 for an estimated retail price of $ 2199.

Read more about Canon’s new TS-E lenses

Hands-on with new Canon L-series primes

Announced alongside the TS-E primes in August was the 85mm F1.4L. A classic portrait prime, the 85mm updates the venerable 85mm F1.2L II in many respects, while not offering quite the same brightness.

Apart from the minimum aperture, the most obvious update compared to the older 85mm designs is image stabilization, up to a claimed 4 stops. In theory, this means that you should be able to hand-hold the new lens at shutter speeds as low as 1/15 sec, but of course this assumes no subject movement.

Hands-on with new Canon L-series primes

A nine-bladed aperture is designed to deliver attractive bokeh for portraiture and as we’d expect from Canon’s L-series lenses (except the TS-E models) the new 85mm F1.4L is dust and weather-sealed. At 950g (roughly 2lb) the lens isn’t exactly lightweight, but doesn’t feel heavy and remains well-balanced on the EOS-1DX Mark II that we used at the show.

Optical construction of the EF 85mm comprises 14 elements in 10 groups, with one large diameter, high-precision molded glass aspherical element. Like the 135mm and 50mm TS-E primes, the 85mm F1.4L features an Air Sphere Coating. It will be available next month, for $ 1600.

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4 Tips for Beginners to Food Photography

27 Oct

Food photography is everywhere – restaurants, bars, advertisements, shop windows, billboards, blogs, menus, books – the list is endless. Interestingly enough, when done right these images not only catch your attention but may have an impact long after you’ve seen them.

4 Tips for Approaching Food Photography

The work that goes into food photography is no small feat and usually starts with a story. Is it something you are trying to sell? Is it food you created and want to convey that it is your best recipe yet? Does your food story have a cultural side or is it a moody, artistic piece? Food photography is a vast intricate topic, but if you are just starting out, here are a few things to keep in mind:

1) Light to accent the food’s character

Controlling light can elevate your food photography easily as it helps you take charge of your end result. A good starting place to set up is near a window with lots of natural light – a look that is often simulated when shooting food in a studio – with light skimming across at an angle.

4 Tips for Approaching Food Photography

This scene evokes feelings of food just made and laid out, waiting to be consumed. No matter what light source you use, keep the subject in mind and modify the light if needed. Modifications can be as simple as changing color temperatures to be more flattering or diffusing your light.

Back or side lighting usually works well for food, so try them both and see what works best for your subject.

2) Textures and Layers

While textures and layers are two different aspects of food photography, they sometimes have a symbiotic relationship.

Textures are an easy way to add personality and character to your image and layering helps you tell the story. Textures range from using your work surfaces, contrasts in the food itself or even by bringing in a prop or two.

4 Tips for Approaching Food Photography

Your composition can benefit from layering elements in the photo that portrays your food – props and ingredients for example. Further, introduce textures and layers by using contrasting backgrounds on your work surfaces, e.g., a metal baking tray on a tiled counter top or wooden table.

By building up layers you give the final image interest and depth. You want the food to look delicious and interesting, not lifeless or unappetizing.

4 Tips for Approaching Food Photography

A nice rule is to keep layering and styling your subject until you want to eat it.

3) The power of neutral backgrounds

Keeping the previous tips in mind, a good starting place is a neutral background to build on. It can be plain or even textured, but when you start neutral you can create many different looks with a few simple changes.

Use the food and layers to introduce color, shapes, lines and more texture. The background is not intended to be the main focus but is used to add interest and enhance your final image.

4 Tips for Approaching Food Photography

If you are creating food image for stock photography, you will see many images done on solid white or black backgrounds. This is done intentionally so that the food is the focus and not the storytelling element.

4 Tips for Approaching Food Photography

4) All about the angles

The most recommended angles for food photography are directly above, straight on, or at a forty-five degree/three-quarter angle (can vary slightly). Determine how close you want to get to the food. Do you want to show something specific or an entire scene?

Keep the subject in mind – some food looks very good close-up, while others benefit from the environment and story.

4 Tips for Approaching Food Photography

Bonus Tip

When you start doing food photography, it will not take you long to realize that it is not as easy as it looks. Many food photographers use a food stylist to help them materialize their vision, as styling is a skill in its own right.

If you are just starting out, by all means, experiment. But if you can use a food stylist, there is a great deal you can learn from the way they work and develop your own style and technique.

Conclusion

4 Tips for Approaching Food Photography

Food photography is an extremely satisfying genre because of all the attention to detail it requires. It is an expansive topic with many tips and tricks needed to create that perfect delectable shot. These are just a few to consider as you start your journey. Feel free to share any tips you have come across or used in this delicious genre in the comments below.

Check out some of our food photography video tutorials tips as well.

The post 4 Tips for Beginners to Food Photography by Nisha Ramroop appeared first on Digital Photography School.

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InVisage reportedly acquired by Apple

27 Oct

Image Sensors World reports Apple has acquired or at least hired some engineers away from InVisage, the technology company which developed a new image sensor architecture featuring a QuantumFilm layer for increased light capturing capability.

According to unnamed sources the acquisition was closed in July of this year and Image Sensors World also points out that InVisage is no longer listed as a current investment in the portfolios of venture capital firms Nokia Growth Partners and InterWest Partners.

The company also simplified its website by removing employee profiles and the news section, which, according to the report, is a common move for companies acquired by Apple. In addition LinkedIn lists at least six Apple employees who previously worked at InVisage. That said, only two of those joined the company during 2017.

Despite the lack of an official confirmation, all the evidence seems to suggest that the QuantumFilm technology is now in the hands of Apple. We’re hoping to see at least elements of it in upcoming iPhone cameras. In the meantime you can find out more about QuantumFilm in the video below or in our own report from November 2015.

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Hands-on with the impressively small Canon PowerShot G1 X Mark III

26 Oct

Hands-on with new Canon PowerShot G1 X Mark III

Canon’s new PowerShot G1 X Mark III combines a 24MP APS-C sensor and hybrid autofocus system in a pricey but impressively compact body. Canon has been showing it to us at the Photo Plus Expo show in New York, and we’ve compiled some first impressions of how it handles.

Hands-on with new Canon PowerShot G1 X Mark III

As should be obvious from this photograph, the G1 X Mark III is very small indeed, for an APS-C format camera. Despite being barely larger than the 1″ format PowerShot G5 X, the G1 X Mark III’s sensor and Dual Pixel autofocus system are lifted directly from the company’s latest APS-C DSLRs.

Unlike the G5 X or Canon’s Rebel-series DSLRs though, the G1 X Mark III offers weather-sealing. We didn’t get the chance to soak it with water yet, but just from initial impressions of this late pre-production sample, build quality seems excellent (which it should, for a compact camera at this price).

Hands-on with new Canon PowerShot G1 X Mark III

A front control dial isn’t in quite the same position as it is in Canon’s DSLRs, but it works in exactly the same way. Our model for these shots has pretty small hands, but even with my big banana fingers, the G1 X Mark III is comfortable to hold and the manual controls are (by and large) easy to find by touch.

The 24-72mm F2.8-5.6 sacrifices brightness and zoom range for size, but covers a useful range for everyday photography. Despite the relatively slow aperture at 70mm, autofocus is fast and impressively positive, even in the very dim conditions of a show floor meeting room. Obviously this is highly anecdotal, and we’re keen to put the autofocus system to the test properly as soon as possible.

Hands-on with new Canon PowerShot G1 X Mark III

The G1 X Mark III handles more or less exactly like the G5 X, which in turn handles more or less like a miniaturized Canon DSLR (witness the exposure mode dial on the upper left and EOS Speedlite-compatible hotshoe), but with some differences. There’s no top-plate mounted LCD screen obviously, and the triple dial arrangement (one around the lens, one on the front grip, and one on the rear) is different, but for a user of any recent Rebel-series DSLR, the G1 X Mark III should be pretty easy to get to grips with.

The dedicated +/- 3EV exposure compensation dial on the upper right of the top-plate will be familiar to users of other recent PowerShots.

Hands-on with new Canon PowerShot G1 X Mark III

From the rear, the G1 X Mark III is dominated by a 3″ fully-articulating touch-screen, with all the bells and whistles that we’d expect: generous on-screen informational icons, live histogram, and an electronic level, as well as menu access and touch-to-focus. Overall performance seems very snappy, with no noticeable delays in menu or touch operations. The one exception to the generally nicely-sized control points, by the way, is the rather fiddly rear dial (just to the right of the screen).

Hands-on with new Canon PowerShot G1 X Mark III

The G1 X Mark III’s screen is fully-articulating, and supplemented by a high-quality OLED 2.36 million-dot electronic viewfinder. As well as stills, the G1 X Mark III can shoot full HD video at up to 60p. Still no 4K, though. Maybe next year.

In terms of continuous stills shooting performance, the G1 X Mark III maxes out at a creditable 7 fps.

Hands-on with new Canon PowerShot G1 X Mark III

Obviously, to make the G1 X Mark III as compact as it is, Canon has had to make some compromises. As well as the relatively restricted 24-70mm lens range, the battery is pretty anaemic, offering a CIPA rated life of around 200 shots. We’d expect better endurance in normal use, shooting more stills than video and with limited use of flash, but regardless – best to budget for at least one spare battery.

The PowerShot G1 X Mark III will be available next month for $ 1299. Optional accessories include a dedicated lens hood ($ 59), underwater housing ($ 499) and leather case ($ 99).

Articles: Digital Photography Review (dpreview.com)

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