Tag: first

  • DPReview TV: Sony a6400 first impressions review

    This week, Sony introduced its newest APS-C camera, the a6400. Of course, Chris and Jordan were on hand to take it for a spin and test out all the new features. Watch to find out what they think of Sony’s newest model.

    Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

    • Opening sequence
    • Introduction
    • Shooting with tracking autofocus (beta) on the Sony a9
    • Body and handling
    • Weather sealing
    • Sensor
    • Buffer
    • Menus and customization
    • Video
    • Video: tracking AF
    • Video: time-lapse
    • Video: rolling shutter
    • Video: no record limit
    • As a vlogging camera
    • Autofocus
    • Final thoughts

    Articles: Digital Photography Review (dpreview.com)

  • Sony a6400 first impressions video

    Our intrepid team is in San Diego, for the launch of the new Sony a6400. In this short overview video, Carey, Chris and Jordan talk through the main specifications of the new camera, and what they might mean for photographers and videographers.

    Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

    Articles: Digital Photography Review (dpreview.com)

  • First samples: Nikon’s new Z 14-30mm F4 is shaping up nicely

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    Photographer Jimmy McIntyre has been working with Nikon, shooting a pre-production sample of the new Z 14-30mm F4 S lens. This compact wideangle zoom weighs just 485g (17oz) and supports screw-in (82mm) filters, making this dust and moisture-sealed lens it a potentially useful addition to Z shooters’ kitbags when it becomes available later this year.

    Jimmy took these photos using a Nikon Z7 and at Nikon’s request, we’re only showing out-of-the-camera JPEGs. Watch out for more samples from a production lens as soon as we can get our hands on one.

    If you liked his shots, be sure to check out Jimmy’s photo tutorial website.

    Articles: Digital Photography Review (dpreview.com)

  • Indemnis Nexus parachute for DJI drones is first to achieve crowd safety standard

    Indemnis has announced its Nexus parachute system designed for DJI drones is the first to be certified as compliant with the ASTM F3322-18 standard. The system is designed to prevent a faulty DJI drone from free-falling to the ground by deploying a small parachute, which slows the drone’s descent for a safer, more gentle landing.

    Both the US and UK require drone operators to get permission before operating a small UAV (sUAV) above a crowd, a limitation that intends to protect innocent bystanders from injury in the event of a drone crash. Waivers are offered on a case-by-case basis by both the US’s FAA and the UK’s CAA, but require operators to show how people below will be protected if the drone experiences a failure mid-flight.

    The FAA granted its first waiver in October 2017, when it gave CNN permission to fly a Vantage Robotics Snap drone featuring protective rotor cages over a group of people. A parachute system like the Indemnis Nexus offers a different type of protection, one that is the first ever to meet the international ASTM F3322-18 standard for small UAVs.

    The standard covers deployable sUAV parachute systems, including design, fabrication, and testing, and was designed to help drone operators get permission for flying over crowds from agencies like the FAA and CAA.

    According to Indemnis, it was required to pass a series of 45 functionality tests spread across five drone failure scenarios. Testing took place at New York’s Griffiss International Airport in a controlled airspace; the Northeast UAS Airspace Integration Research Alliance oversaw the process.

    The Indemnis Nexus system is designed to strap onto existing DJI drones, which it monitors using sensors. If the sensors detect a flight disruption, a ballistic launcher deploys a parachute at 90MPH / 144kmh. The tube containing the parachute is designed to inflate in order to protect the parachute from the drone’s rotors and body.

    The drone was validated for use with the DJI Inspire 2, but may be offered for the Matrice 200 and 600 series, as well, by the end of the year.

    Articles: Digital Photography Review (dpreview.com)

  • China shares the first photo captured on far side of the Moon

    Photo captured and shared by the China National Space Administration (CNSA).

    The China National Space Administration (CNSA) has landed its Chang’e 4 spacecraft on the far side of the moon and sent back a photo captured from the surface. This marks the first time any spacecraft has landed on the far side of the moon.

    After touching down at 9:26 p.m. US eastern time, the spacecraft sent back a color photograph of its home inside the Von Kármán lunar crater, a formation on the southern pole of the moon that measures approximately 180 km in diameter.

    Lunar Orbiter 5 image of the Von Kármán lunar crater.

    Photographs of Von Kármán and the far side of the moon have been captured before, as seen in the above image captured bye Lunar Orbiter 5, but never from the surface of the moon.

    One of the major hurdles of landing a spacecraft on the far side of the moon is communications. Normally, with the moon in the way, there’s no way for direct communication for the spacecraft. To get around this limitation, the CNSA is using the Queqiao satellite as a relay point about 65,000 km above the surface of the moon.

    With the spacecraft now safely on the far side of the moon, it can begin its mission to take measurements in an effort to better determine the age and makeup of the Von Kármán lunar crater and southern pole of the moon.

    Articles: Digital Photography Review (dpreview.com)

  • DPReview 20th Anniversary: Founder Phil Askey on the first ten years

    As DPReview enters its 20th year of publishing, we spoke to the site’s founder, Phil Askey – DPReview employee #1. In this interview, Phil remembers the first ten years of DPReview’s development from its original conception, through a period of massive growth, to the site’s acquisition by Amazon.


    Pre-DPReview, what were you doing?

    Before starting DPReview I was the lead developer for a software company based in Singapore, working on a web based business-to-business hospitality marketplace. The “world wide web” was still very new in 1998 but I had already established a sort of tech blog (before they were called that), mostly at that time discussing the Palm Pilot and similar electronic PDAs. The rough design for the PDA site ended up being the foundation for DPReview (including the love / hate black background).

    How was the idea for DPReview born?

    My passion for photography began with my first proper camera, a gift from my parents, an Olympus OM-10 with a 50mm F1.8. At the end of 1998 digital cameras were just starting to appear. I took an interest immediately, being a bit of a geek, loving my tech toys and being into photography.

    I created a new sub-domain on my “blog” called photo.askey.net (props to anyone who can remember that) and began writing news articles about digital cameras, at that time quite a lot of my news leads came from Japanese digital camera sites like dcwatch. My first camera review covered the Canon Pro70 (at that time a groundbreaking product), supplied to me by the marketing department at Canon Singapore and the first proper DPReview review was born.

    When you first started DPReview, what did the setup look like?

    In the very early days, in our Singapore flat it was a very makeshift setup: a few fixed tables, tape marks on the floor, items arranged in a certain way, home printed charts, etc. Nobody was really trying to test digital cameras in a repeatable way, and that was my aim, to have tests we could apply over and over and get the same results (within a margin of error). When we returned to live in London in early 2000 we had a more permanent setup with a cove for product photography, permanently mounted professionally printed charts, studio lights and so on.

    The DPReview homepage complete with its ‘love it or hate it’ black background, in November 1999 – just under a year after the site was launched.

    From 1998 to 2008 all of the backend software (i.e., the site code), the testing, news, reviews, forums management was my job. My wife, Joanna, handled the growing load of actually running a business (paperwork, bills, invoicing) as well as being a fantastic photographer and model for the reviews. Many of the better gallery photographs from those days were taken by her. Simon Joinson joined us in mid-2004 contributing news and reviews (click here to check out Simon’s first review). At the beginning of 2008, after the Amazon acquisition, we established a larger office in London and grew the team out.

    What was your ‘mission’ for DPReview?

    Initially I had no particular expectations but as traffic grew I knew we must have been doing something right, and in hindsight I would pick out these four key values.

    First, always be honest. Write a review truthfully as though you’re writing it for a family member. If a product has an issue, talk about it. Manufacturers may not like to hear it but it’s the right thing for the buyer and in the long term for the manufacturer. I also had a strict no-advertorial policy.

    Second, try to be first, and most in-depth. Despite the massive amount of work involved in producing a review I always aimed to be the first to publish and to have the most detailed reviews. This became a little easier later as manufacturers provided us with pre-production units before launch.

    Despite the massive amount of work involved in producing a review I always aimed to be the first to publish and to have the most detailed reviews

    Third, always listen to your community – I spent hours and hours analyzing logs and trying to understand how people used the site. I scrapped many an idea when it didn’t work, and added lots of features based on user requests. We always had an open “feedback” system which I believe to be invaluable.

    Finally, build a strong relationship with the manufacturers through mutual respect. This might seem slightly counterintuitive for an independent review site but as long as your testing is rigorous and your writing is honest you will earn respect on all sides.

    What were the biggest challenges, running DPReview in the early days?

    The single biggest issue back in those days was simply technical; scaling the servers to cope with the massive growth in visitors. A good 30% of my time was developing, optimizing and maintaining the site code and the servers. There weren’t many “small businesses” running servers out of hosting facilities dealing with the amount of traffic we had, and cloud services had yet to be invented.

    Also as a small business there is also a lot of pressure to keep the site up. My phone would always be with me and there were many instances of early morning panic getting the servers back up and running.

    Phil (left) and his son Kai.

    Has anything surprised you about how the digital photography industry has evolved over DPR’s lifespan?

    I was pleasantly surprised by how receptive the camera manufacturers were / are to our often critical feedback, this I believe has had a direct influence on the development of certain models. I can think of a few cameras that I can say “it’s that way because we pointed out X, Y and Z on the previous version” or “that’s the camera we always talked about”.

    I remember one factory tour trip in particular to Tokyo where we labelled “VIP” which took me by surprise

    When did you realize that DPReview had the potential to be very influential?

    When we moved back to London in early 2000 and begun working full time on the site, we had already surpassed any other digital camera site in terms of visitor numbers and were being taken seriously by the manufacturers, I remember one factory tour trip in particular to Tokyo where we labelled “VIP” which took me by surprise as we were sharing the trip with many industry veterans. It was I think at that time I realized we had earned enough respect to be taken seriously.

    What were those first years of growth like?

    Crazy is probably the correct adjective. We went from around 40,000 visitors per month in January 1999 to 600,000 by January 2000, to over 3 million per month by January 2002. By January 2006 we were seeing almost 20 million visitors per month. All this though simply drove us to keep doing more and building the site out.

    How did Amazon approach you and how did the acquisition affect DPReview?

    Amazon simply emailed me and a long, long conversation began, it wasn’t the first M&A approach we’d had but it was the most attractive, in terms of Amazon’s track record of helping sites at that tipping point (and we were definitely there) to grow without spoiling them. Amazon was by far the best fit for DPReview and we knew their assurances about editorial neutrality and supportive site development were invaluable to growing the site.

    After the acquisition we opened an office in London and grew out the staff, creating a whole new studio space and introducing a host of new site and review features.

    Announcement of Amazon acquisition (May 2007)

    What are you most proud of from those early years?

    This question took me the longest to answer, I guess I’m proud that we built up such a loyal and strong community, I put a lot of effort into the forums and I still believe it’s the backbone of the site (remember, back then discussion “boards” were far less feature-rich). I guess today I’m still very proud that we made the right choices at the right time and that Amazon are giving the site everything it needs to continue to be the leading voice for everything photography related.

    What are you up to these days, post-DPReview?

    These days I’m likely to be found at the side of a race track somewhere in Europe (mostly Italy) supporting my son’s racing career.


    Keep an eye on the site tomorrow, when Simon Joinson, DPReview’s general manager during the period when the team moved from London, UK, to Seattle, USA, will share his memories.

    Articles: Digital Photography Review (dpreview.com)

  • ON1 Photo RAW 2019 gets its first free update with tool enhancements and more

    Photo software company ON1 has released its first free update for ON1 Photo RAW 2019. The new 2019.1 version features enhanced Focus Stacking, masking and portrait features, as well as improvements to the Lightroom plug-in and enhancements suggested by users.

    The enhanced Focus Stacking feature offers more accurate image alignment and less speckling. Users now have the option output as layers with layer masks, as well, for additional manual adjustments. The Focus Stacking dialog and HDR window previews now include panning and zooming.

    Other enhancements include better masking results when copying, pasting, and inverting, plus increased face auto-detection accuracy for portraits. The update adds the option to delete face selections, the Crop tool now remembers its preset across images, there’s the ability to import/export the keyword list, and other minor enhancements.

    In addition to feature changes, Photo RAW 2019.1 adds support for the following cameras:

    • Nikon z6
    • Nikon D3500
    • Sony XH99
    • Pentax K-1 II
    • Fujifilm GFX 50R
    • Leica C-Lux

    According to ON1, it is wrapping up work on its upcoming AI Quick Mask Tool, which will replace the original Quick Mask Tool. The feature wasn’t included with this update due to ‘some fine tuning’ that is still needed, but it will likely be released in a late January free update.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon Z6 First Impressions Review

    The Nikon Z6 is one of two full-frame mirrorless cameras that Nikon introduced in August of 2018. It’s very similar to its big brother, the Z7, with the main differences being the sensor (24MP vs 46MP) and the decrease in resolution that comes along with it. The Z6 also has fewer phase-detect autofocus points (273 vs 493) due to the lower-res sensor. Otherwise, you’re getting the same rugged body, the same (mostly) familiar controls and access to a small but soon-to-grow collection of Z-mount lenses.

    Specs aside, the Z6 is for a very different audience than the Z7. The latter is for those seeking ultra-high resolution and would also be considering cameras like the Sony a7R III and Nikon D850. The Z6, on the other hand, is intended to be be more appealing to those looking to upgrade from crop-sensor cameras or previous-generation full-frame DSLRs.

    The Z6 will ultimately be compared to its DSLR sibling, the D750 (which is getting on in years, but still very capable). While the two cameras have different designs, they operate similarly, with autofocus modes and video being the the most significant differences.

    Key specifications:

    • 24.5MP full-frame BSI-CMOS sensor
    • Hybrid autofocus system w/273 phase-detect points
    • Up to 12 fps burst shooting (Raw + JPEG)
    • 3.69M-dot OLED viewfinder
    • 2.1M-dot tilting touch LCD
    • OLED top plate display
    • Single XQD card slot
    • UHD 4K capture up to 30p
    • 10-bit 4:2:2 N-Log output over HDMI
    • Up to 100Mbps H.264 8-bit internal video capture
    • SnapBridge Wi-Fi system with Bluetooth
    Out of camera JPEG | ISO 7200 | 1/250 sec | F1.8 | Nikkor Z 50mm lens
    Photo by Dan Bracaglia

    If those specs look familiar, it’s because they’re almost identical to that of the Z7, with resolution and the number of AF points being the main differences. You do reap the benefits of the lower resolution sensor when shooting bursts, with a top frame rate of 12 fps (versus 9) and the ability to capture more photos per burst. Otherwise, you’re getting the same design and innovations found the Z6’s big brother, which is significantly more expensive.

    The Z6 is sold body-only for $ 1999 or with the Nikkor Z 24-70mm F4 S lens for $ 2599. If you buy the $ 249 FTZ (F-to-Z mount) adapter at the same time, Nikon will knock $ 100 off of the price.


    What’s new and how it compares

    The Z6 uses the all-new Z-mount along with a full-frame 24MP sensor with 5-axis image stabilization built in, along with a hybrid AF system and oversampled 4K video.

    Read more

    Body and handling

    The Z6 has excellent build quality, familiar controls and a lot of customizability, though some favorites from Nikon DSLRs didn’t make the cut.

    Read more

    Operation and controls

    The Z6 can be customized in numerous ways, and we appreciate its ability to have separate settings for stills and video.

    Read more

    Image quality

    The Z6’s 24MP sensor has excellent resolution and high ISO performance, though on rare occasions you may see banding if shadow areas are brightened.

    Read more

    Sample Gallery

    See how the Z6’s photos look in our extensive sample gallery.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • Colorado Tripod Company introduces ‘world’s first titanium tripod system’

    The Colorado Tripod Company has introduced what it claims is the world’s first titanium tripod system, with a crowdfunding campaign on Kickstarter. Not only does the use of titanium make the ball heads lightweight and strong, but the design of the heads also allows the camera to drop to the side below the usual 90 degrees seen in other heads.

    The Highline ballhead will be available in either titanium or aluminum. The titanium model will feature a hollow ball to reduce weight. Both versions will have a locking force of 54lb and will offer left-handed controls that allow users to hold the camera and shoot with the right hand. The titanium model will weigh less than 340g (12oz), while in aluminium the same unit weighs 510g (18oz).

    To accompany these heads a new line of titanium and carbon fibre legs have also been introduced. The company says that by CNC machining from a solid block of titanium it can make its metal parts stronger than manufacturers that use metal casting. Milling also means the company can make its parts more precisely, and it says it can cut the amount of material used to help reduce weight. The carbon fibre used in the Centennial legs is ten-layered, and comes from Japan.

    An additional ball head called the Aspen comes only in aluminium but offers a much wider range of camera positions, as it has no housing around the ball. This allows the camera to drop well below 90 degrees, while making the head quite lightweight at only 454g (16oz).

    The Highline ball head in aluminium starts at $ 79 on Kickstarter, while the titanium version can be had for $ 399. The Aspen head costs $ 179 and the Centennial tripod is $ 249 in aluminium and $ 399 in titanium. Various kits combing these products are also available. Shipping is planned to start in March.

    For more information see the Colorado Tripod Company’s Kickstarter campaign page.


    Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

    Articles: Digital Photography Review (dpreview.com)

  • First look: Skylum Luminar 3 adds support for photo libraries, Digital Asset Manager to follow

    Skylum Luminar 3’s layout.

    Luminar’s library is set to open soon, but expect construction to continue through at least next year.

    The long-awaited update to Skylum Software’s photo editor adds in-app photo library management, which the company says is the first step toward building out a complete Digital Asset Manager (DAM). Called ‘Luminar with Libraries’, this version more directly competes with applications that organize your photos, such as Adobe Lightroom Classic CC and Lightroom CC. Luminar 3 arrives December 18, runs on macOS and Windows, and is a free update for owners of Luminar 2018.

    This version more directly competes with applications that organize your photos, such as Adobe Lightroom

    That’s mixed news for photographers contemplating a switch from Adobe’s applications, especially since Skylum has been teasing a Luminar DAM for well over a year (and just barely hitting their promise to ship it in 2018). Acknowledging the situation, Skylum is making further updates to Luminar free throughout 2019.

    Luminar 3 is a free update for current owners of Luminar 2018. Owners of Aurora HDR, Photolemur, and legacy products can upgrade for $ 49 until December 18. New preorders cost $ 59 until that date, and $ 69 thereafter. There’s no subscription pricing model.

    Library vs Digital Asset Manager

    Here’s what Luminar with Libraries offers:

    • The Library component is integrated into the application, not existing as a separate app. It keeps track of all the images you throw at it in a browsable image gallery. Photos can be imported from cameras or memory cards, or you can point Luminar at existing folders on your hard disk. Unlike apps such as Apple Photos or Lightroom CC, Luminar doesn’t squirrel the images away to its own folder or container. It creates a central catalog file to track file locations and edits, but the originals remain wherever you put them in the first place.
    • In the Library, you can rate photos from zero to five stars, mark them as flagged or rejected, or apply any of five color labels.
    • You can create albums and populate them with photos.
    • A few shortcuts act like smart albums, revealing photos based on their capture dates, import dates, and recently edited dates.
    • In the Info panel, a limited set of EXIF data is shown, such as the camera, lens, focal length, ISO, aperture, shutter speed, and exposure compensation.
    • You can filter the library based on any of those attributes.
    Filter images based on the criteria the Library offers.

    Luminar with Libraries covers the basics of wrangling files and making them easily available for editing, but a full DAM provides a deeper level of interacting with one’s photos. Not included in this release is the ability to apply keywords or IPTC metadata, any kind of text-based search, a way to expose and take advantage of location data, or synchronization of images between computers or devices. The interface for importing photos relies on traditional Open dialogs instead of a way to preview the shots.

    Editing Changes

    Luminar 3 is still the same editor as it was before, with a few enhancements. Presets are now ‘Luminar Looks,’ which sounds like just a rebranding attempt, but actually rolls presets, LUTs, and some AI-enhanced operations into one-click actions.

    “Luminar Looks” isn’t simply advantageous alliteration, but a merging of presets, LUTs, and some AI processing.

    More significantly, the inclusion of the library into Luminar makes it possible to apply edits to one image and sync them among many other similar photos.

    Sync edits from one image to several similar shots.

    The Windows version includes improvements to Luminar’s color management to get consistent color among displays and devices, plus a host of bug fixes and performance boosts.

    What’s Next

    Skylum plans to release frequent updates throughout 2019 to add features and expand the library’s features. In its Luminar Roadmap, the company lists targets for the first half of the year that include:

    • Improved handling of Raw + JPEG image pairs (instead of treating each part separately).
    • The ability to create virtual copies of photos.
    • A Smart Search feature for locating shots “using keywords, EXIF information, and file names” (suggesting keyword support will be forthcoming).
    • IPTC core data editing and syncing among images.
    • Features that use AI technology “when editing skin on portraits, architecture, removing objects or simply applying masks on your images.”
    • A Lightroom migration tool.

    Although Luminar 3 won’t arrive with a fully-formed DAM, as many photographers were hoping, incorporating the photo library into the application is still a big deal. Melding the library and the editing tools in the same environment streamlines the overall workflow. It allows you to work on a range of images quickly, without the hassle of opening and saving individual images (and deciding where the edited versions live). It’s a big reason why people stick with Lightroom or use alternatives such as Capture One, Alien Skin Exposure, or ON1 Photo Raw.

    Articles: Digital Photography Review (dpreview.com)