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Posts Tagged ‘Gallery’

Olympus E-M1X Sample Gallery

25 Jan

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Olympus has released the ultimate Micro Four Thirds sports camera in the E-M1X and we’ve been busy pointing it at as many fast-moving subjects as humanly possible. Note: Many of these images are from an E-M1X running pre-production firmware, but rest assured we’ll be updating with more final firmware samples soon.

See our Olympus E-M1X pre-production sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sigma 28mm F1.4 DG HSM Art sample gallery

23 Jan

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We first met the 28mm F1.4 Art at Photokina, where Sigma promised it would produce “best in class” performance. Now that we’ve shot with a full-production lens for a little while, we’re starting to understand where Sigma is coming from – this lens is very sharp indeed. Take a look through our sample gallery and see for yourself.

See our Sigma 28mm F1.4 Art
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Sony a9 with beta firmware 5.0

19 Jan

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This week Sony announced new firmware updates coming soon for the a9. Firmware version 5.0 officially arrives in March and adds some powerful autofocus improvements to the camera’s already impressive AF toolkit. Quite simply, it makes the a9 an industry leader in AF tracking ability. There’s much more analysis to come, but for now here’s a selection of the images captured with a beta version of the new firmware, and exclusively using the new Real-Time Tracking autofocus mode.

See our Sony a9 firmware 5.0 beta
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Lens sample gallery: Tamron 17-35mm F2.8-4 Di OSD

18 Jan

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The Tamron 17-35mm F2.8-4 Di OSD is a compact and light-weight lens for full-frame Canon and Nikon DSLRs. This wide angle zoom features a nearly-silent AF motor and coatings to repel water and grime. We took it on a grand tour of Seattle’s best tourists destinations and found it makes a pleasant, albeit wide, walking around lens.

See our Tamron 17-35mm F2.8-4 Di OSD lens gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sony a6400 sample gallery

17 Jan

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Yesterday Sony unveiled the a6400, an APS-C mirrorless camera that wraps up a 24MP sensor, impressive autofocus capabilities and a vlogging-friendly flip-up touchscreen in a compact package. We’ve been putting it to work on environmental portraits and some fast-moving subjects – check out our initial sample gallery.

See our Sony a6400 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Canon RF 28-70mm F2 L sample gallery

09 Jan

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Canon launched the mirrorless full-frame RF-mount with a handful of impressive lenses including the RF 50mm F1.2L as well as the the versatile, fast 28-70mm F2L – a lens we’ve been shooting with a lot. Described by one DPR-staffer as ‘the size and weight of a 25 oz can of [popular-Australian-in-name-only] beer,’ this lens isn’t necessarily compact, but it does seem like an indicator for what’s to come for the RF-mount. Simply put, it seems more suited for a larger, more professional body than the EOS R. Despite some awkwardness using it on the aforementioned, we’re impressed with the results.

See our Canon RF 28-70mm F2L sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z 50mm F1.8 S sample gallery

07 Jan

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The Nikon Z 50mm F1.8 is one of three lenses to launch with the Z system, and it’s quickly becoming a staff favorite thanks to its edge-to-edge sharpness and a pleasing absence of chromatic aberration. Nikon claims that the Z 50mm F1.8 redefines what an F1.8 standard lens can do – take a look at our gallery and see for yourself.

See our Nikon Z 50mm F1.8 S
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Nikon AF-S 500mm F5.6E PF sample gallery

06 Jan

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Nikon’s AF-S 500mm F5.6E PF has some big – er, small? – shoes to fill. It follows up on the company’s earlier AF-S 300mm F4 PF (Phase Fresnel) lens, which offers up solid reach and impressive image quality in a compact package.

And like the 300mm, we’ve been impressed with the 500mm F5.6E PF’s image stabilization, build quality and image quality. From eagles to frisbee players, we’ve been toting this lightweight telephoto around with us to see just what it’s capable of. Take a look through our sample gallery to see for yourself.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EF-M 32mm F1.4 sample gallery

02 Jan

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Users of Canon’s EOS M system got a treat this fall, with the announcement of the EF-M 32mm F1.4. Announced more than a year after Canon’s last EF-M lens (the EF-M 28mm F3.5 Macro), the new 32mm offers a native 50mm equivalent field of view, a metal mount, a focus limiter switch and overall solid construction. But how is it optically? Take a look through our sample gallery to get an idea of how it performs.

Articles: Digital Photography Review (dpreview.com)

 
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Three is the magic number: LG V40 ThinQ sample gallery

16 Dec

When the V40 ThinQ was launched back in October it wasn’t the first triple-camera phone (that honor goes to the Huawei P20 Pro which combines a main camera with a tele and monochrome sensor), but it was the first to offer three different focal lengths.

Since then more triple-focal-length phones have arrived on the scene, such as the Samsung Galaxy Note 9 and Huawei’s 2018 flagship, the Mate 20 Pro, but you’re still looking at a pretty exclusive list if you’re after focal length flexibility.

LG V40 ThinQ sample gallery

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The V40 ThinQ’s camera combines a primary 27mm equiv. module, a super-wide-angle with 16mm equivalent focal length and a ‘tele’ lens that offers a 52mm equivalent focal length.

So does the triple-cam really offer a noticeable advantage over a phone with one or two lenses? In my experience using the phone on a week-long hiking trip and a few other occasions, I indeed found the added flexibility in terms of focal length to be a real benefit.

Key specifications:

  • Triple camera
  • 16MP Super Wide (1/3.1″-type, F1.9 / 16mm equiv, no AF)
  • 12MP Standard (1/2.6″-type F1.5 / 27mm equiv, OIS, dual-pixal PDAF)
  • 12MP Telephoto (1/3.4″-type F2.4 / 52mm equiv, OIS, PDAF)
  • Dual front-camera with 8MP Standard (1/4″-type F1.9 / 26mm equiv) and
    5MP Wide (1/5″-type F2.2 / 22mm equiv)
  • Qualcomm Snapdragon 845 chipset
  • 6.4-inch QHD+ OLED display (3120 x 1440 pixels)
  • 6GB RAM / 64GB or 128GB internal memory / microSD slot
  • 3300mAh battery

Using the V40 ThinQ is not to dissimilar to shooting with a DSLR and three prime lenses, but without the bulk. It is possible to zoom to intermediate positions between the native focal lengths but image quality suffers as digital zoom is applied and it’s simply more convenient to tap on the zoom icon of your choice than worry about pinch-zooming or using the zoom slider.

But even if you stick with the native equivalent focal lengths – 16, 27 and 52mm – they offer a higher level of creative freedom than we’ve ever seen on smartphones. At the press of a button you now have the ability to completely modify the way a scene is captured.

The three images below were captured from the same location, but the change in angle of view makes for very different image results between the three available focal lengths.

Landscape shot, 16mm equivalent
Landscape shot, 27mm equivalent
Landscape shot, 52mm equivalent

The ability to choose between focal lengths is also very useful when shooting portraits. In the past mobile photographers had to get used to being limited to wide-angle portraits when shooting people pictures.

With devices like the V40 ThinQ you now have the option to go super-wide and capture even more of the background and the subject-surrounding scenery, or use the phone’s tele-lens and produce something more similar to a ‘traditional’ portrait.

Unfortunately even at the LG’s longest focal length and relatively short subject distances there isn’t much bokeh to speak of, though, and the background is still almost entirely in focus.

The background-blurring Portrait Mode can produce nice results with very good background-segmentation but it uses the main camera’s 27mm equivalent focal length, so you can’t combine the DSLR-like background blur with the camera’s longest focal length. That’s a shame, since it would arguably be the lens most suited to portrait photography.

Portrait, 16mm equivalent
Portrait, 52mm equivalent
Portrait, 27mm equivalent, Portrait Mode

In low light the usefulness of the triple-cam is unfortunately a little more limited than in bright conditions. In low light both the super-wide-angle and wide-angle show noise increases and the levels of detail are reduced. That’s only really noticeable when zooming in to a 100% view, however. Color and exposure remain solid down to very low light levels. The 27mm equiv camera, with its bigger sensor and brighter aperture is the stronger option as the light levels drop.

The tele-lens on the other hand is completely deactivated in dim conditions. Instead, the camera uses the main sensor to capture the image and applies digital zoom to keep the exposure bright enough and control noise to some degree. The resulting images show very low levels of detail.

The LG is not the only device doing this – we’ve seen the same behavior on the first iPhones with tele-lens and some other Android devices. It means however that low-light tele shots are best avoided if you are planning to view or display them at larger sizes.

Night Shot, 16mm equivalent
Night shot, 27mm equivalent
Night shot, tele setting (shot with 27mm equivalent camera and with digital zoom)

The different image output sizes (16MP for the super-wide-angle, 12MP for the other two cameras) are slightly unusual but not really a problem. The same can be said for the fixed focus of the super-wide-angle camera. With virtually unlimited depth-of-field there isn’t really a need for an autofocus system.

On all three cameras image detail capture is only average and many images show pretty strong chromatic aberration but again, these flaws are only visible at larger magnifications and most smartphone images are never viewed at full size. Other than that there isn’t much to criticize about the V40 ThinQ’s triple-cam general image quality. Color and exposure tend to be very good in most shooting conditions.

Conclusion

Did I like shooting with the LG V40 ThinQ triple-cam then? The answer is a resounding yes! The iPhone 7 Plus was my first tele-cam-equipped smartphone and I remember how incredibly useful I found that longer lens while shooting on a tourist trip to New York, despite its shortcomings in low light.

The LG V40 ThinQ takes things one step further by adding a super-wide-angle to the mix. Gone are the days of difficult decisions between longer reach or a wider angle of view when buying a new smartphone. Now you can have it all in one device that easily fits into your pocket, and also gives you the ability to instantly edit and share.

Triple-cam-smartphones really are the final nail in the compact camera’s coffin

Is there still room for improvement? Of course there is. The tele-lens could perform better in low light and an even longer focal length would be nice (the Huawei Mate 20 Pro already offers a 3x optical zoom) but the additional creative freedom offered by the V40 ThinQ and similar devices is already a huge leap forward when compared to conventional single-lens smartphones.

If we still needed one, triple-cam-smartphones really are the final nail in the compact camera’s coffin, and we can be pretty certain device manufacturers won’t stop here. New hardware developments in combination with computational imaging techniques are likely to lead to even longer focal lengths and wider zoom ranges on smartphones in the very near future.

Gallery

There are 52 images in our LG V40 ThinQ sample gallery. Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don’t abuse it.

Unless otherwise noted images taken with no particular settings at full resolution.

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Articles: Digital Photography Review (dpreview.com)

 
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