RSS
 

Posts Tagged ‘Image’

Chinese satellite captures image showing both Earth and the Moon’s far side

07 Feb

China’s Longjiang-2 satellite has captured an incredible image featuring both the far side of the Moon and Earth in the background. The data was received by the Netherlands’ Dwingeloo Radio Telescope from an amateur radio transceiver built by a team at China’s Harbin University of Technology.

The satellite first provided the team with partial images of the Moon and Earth back in October, but then was inactive to avoid interfering with China’s Chang’e 4 Lunar mission. The satellite resumed activity on January 19 and captured a time-lapse, including one featuring the Moon’s far side and Earth, on February 3.

According to the team’s initial report, the images have been color corrected by radio amateurs. A team shared an uncorrected version of the image on Twitter, seen above.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Chinese satellite captures image showing both Earth and the Moon’s far side

Posted in Uncategorized

 

Olympus OM-D E-M1X in the studio: familiar image quality, Pixel-Shift still impresses

26 Jan

$ (document).ready(function() { ImageComparisonWidget({“containerId”:”reviewImageComparisonWidget-13871818″,”widgetId”:655,”initialStateId”:null}) })

We’ve been shooting with the new Olympus OM-D E-M1X for a little while now, both in and out of our studio. Our standard studio tests show that conventional stills performance is little changed from the E-M1 II, but its high-res Pixel Shift mode is still impressive.

Click here to read our Olympus OM-D E-M1X First Impressions Review

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Olympus OM-D E-M1X in the studio: familiar image quality, Pixel-Shift still impresses

Posted in Uncategorized

 

NASA’s OSIRIS-REx spacecraft captures image of Earth from 71 million miles away

18 Jan

NASA’s OSIRIS-REx spacecraft, which achieved a record orbit at asteroid Bennu earlier this month, has returned an image that, at first glance, is unremarkable. The photo, below, features two bright dots — the larger one on the right is Bennu, and the smaller one on the left is Earth and the moon as seen from a distance of 114 million kilometers / 71 million miles.

The image was captured by OSIRIS-REx’s black and white NavCam1 camera on December 19, 2018, according to the Bennu mission website. The asteroid’s brightness is due to the image’s five second exposure time, which was long enough to make both the Earth and moon visible.

Photo provided by NASA

The OSIRIS-REx probe has been tasked with exploring Bennu, a large asteroid located around 70 million miles from Earth. On December 31, OSIRIS-REx became the first spacecraft to successfully orbit an object as small as Bennu, where it will remain before briefly touching down in 2020 to acquire a small sample.

The spacecraft has returned a number of images to its team on Earth, including close-up shots of the asteroid’s rocky surface. The latest image joins the iconic Pale Blue Dot photo as a rare example of space photography that puts Earth’s tiny place in the universe into perspective. Future images from OSIRIS-REx will be shared in the mission’s Gallery.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on NASA’s OSIRIS-REx spacecraft captures image of Earth from 71 million miles away

Posted in Uncategorized

 

Nikon Z7 and Sony a7R III offer similar results in our image stabilization test

10 Jan

Battle of the high-res mirrorless IS systems

Both the Nikon Z7 and Sony a7R III feature 5-axis in-body image stabilization. When tested against one another at 24mm, 55mm and 200mm both cameras’ IS systems proved similarly useful. Users can expect around 2 to 3-stops IS advantage when shooting with wide angle lenses, 3 to 4-stops when using normal lenses and 4 to 5-stops when shooting with telephotos (helped by both cameras making use of in-lens IS at 200mm).

Nikon Z7 vs a7R III IS test results:

24mm 55mm 200mm
Nikon Z7 2.3-stops 4-stops 4-stops
Sony a7 R III 2.6-stops 3.3-stops 4.6-stops

These results correlate pretty similarly to our Sony a7 III IS test. That camera is rated as being 0.5EV less well corrected than the a7R III, so it’s not surprising to see that it performed about 1 stop behind its high-res counterpart at 200mm.

How we test and why

Our standard image stabilization test is performed by shooting 10 frames of our test target, starting with a shutter speed of 1/focal length and working our way downward in intervals of 2/3-stops using a neutral density filter (to maintain the same aperture). The test is done at 24mm, 55mm and 200mm, since the challenges of stabilization change with focal length and exposure duration.

We first do this with IS on, and then with IS off. The images for both are then assessed to the following standard:

Excellent Some softness
Noticeable blur Unusable

1) Excellent – the best the camera is capable of
2) Some softness – only distinguishable from Excellent by comparison
3) Noticeable blur – blur can be perceived without reference to another image
4) Unusable – significant motion perceptible

After each frame is assessed, we plot the results in the graphs you see below. We then compare the lowest shutter speed at which the camera was able to maintain a 50% or greater hit rate with IS on and off at a given focal length (images that are acceptably sharp are those rated ‘Excellent’ or ‘Some softness’). This allows us to determine how effective the IS system is in real world shooting.

Our results compared to CIPA

CIPA offers a good baseline to compare cameras, but CIPA tests tend to use focal lengths around 50mm (which are relatively easy to stabilize) and do not include any rolling motion, which can give very high numbers. For instance, the Sony a7R III’s in-body stabilization is quoted as offering a ‘5.5-stop shutter speed advantage,’ according to CIPA testing (the Nikon was rated at 5-stops). That suggests you can get usable shots, consistently, at 0.8 secs (5.3-stops below one over focal length), which we could not reproduce: at 1/2 sec (4.6-stops below) we were only about to get one usable shot in ten with IS on.

Nikon results

24mm Equivalent
55mm Equivalent
200mm Equivalent
Stabilization On Stabilization On Stabilization On
Stabilization Off Stabilization Off Stabilization Off

For 24mm and 55mm we tested the Z7 using the Z 24-70mm F4. At 200mm we used used an adapted Nikon 70-200m F2.8E FL ED VR.

At 24mm with IS on, the Z7 maintains a 60% acceptable hit rate at 1/5 sec and a 40% at 1/3 sec, which indicates 1/4 sec would likely be where it’d hit the 50% acceptable threshold. With IS off, the acceptable rate is 60% at 1/20 sec and plummets to 10% thereafter. The results indicate about a 2.3-stop IS advantage at 24mm.

With IS on, the 50% acceptable hit rate at 55mm should be 1/4 sec – the Z7 maintains an 80% acceptable rate at 1/5 sec and a 40% at 1/3 sec. With IS off, we weren’t able to hit the 50% acceptable threshold at 1 over the focal length (40%), but it’s safe to assume at a third a stop faster (1/60 sec), 50% should be manageable. 1/60 sec off vs 1/4 sec results in a 4-stop IS advantage at 55mm.

At 200mm, the Z7 maintained a 50% or greater hit rate down to 1/8 sec, our lowest speed on the graph. We pushed it an additional 2/3rds stop slower in testing (down to 1/5 sec) and found it dropped to a 30% hit rate. With IS off we were able to get 50% or greater usable down to 1/125 sec. The result is a 4-stop IS advantage at 200mm. This is helped by the use of a VR lens: Nikon says the pitch and yaw corrections are handled by the lens, where possible.

Sony results

24mm Equivalent
55mm Equivalent
200mm Equivalent
Stabilization On Stabilization On Stabilization On
Stabilization Off Stabilization Off Stabilization Off

At 24mm we tested using the Sony 24-70 F4 OSS, at 55mm we used the Sony 55mm F1.8 and at 200mm we used the Sony 70-200mm F2.8 GM OSS.

At 24mm with IS on, the a7R III maintains a 60% hit rate down to 1/5 sec and 40% hit rate at 1/3 sec, meaning 1/4 sec is where it’s likely to hit the 50% threshold. With IS off this threshold is reached around 1/25 sec. This gives the a7R III about a 2.6-stop advantage at 24mm. Note that this result includes the use of a lens with its own stabilization (though sensor shift is usually better-suited to the corrections needed for wide-angle lenses).

At 55mm we opted to de-couple the Sony’s sensor IS from lens IS by using a non-stabilized lens (the same we tested on the a7 III). With stabilization on, the hit rate was 60% at 1/8 sec and 40% at 1/4 sec meaning 1/6 sec is the likely 50% point. We weren’t able to get a 50% hit rate with IS off at one over the focal length, but it’s safe to assume we would have by 1/60 sec (and surely by 1/80 sec). This gives us at least a 3.3-stop advantage at 55mm using sensor IS alone.

Like the Z7, we tested the a7R III at 200mm with IS on down to 1/5 sec. Good thing we did: it’s not until this speed that a7R III’s IS system also drops below the 50% acceptable threshold with 2 images rated ‘some softness.’ This means you can expect a 50% or greater hit rate down to 1/8 sec with IS on vs 1/200 sec with IS off, providing a 4.6-stops advantage at 200mm. Like the Nikon, this is helped by the use of a lens with IS, which is able to provide the large movements needed to correct long focal lengths.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon Z7 and Sony a7R III offer similar results in our image stabilization test

Posted in Uncategorized

 

Panasonic LX100 II: solid image quality in studio and real-world shooting

07 Dec

We’ve been shooting with the LX100 II both in and out of the studio, as part of our ongoing review. We’ve written about the camera’s operation and handling, analysed the studio scene and the camera’s dynamic range, and expanded the sample gallery.

Click here to read our expanded First Impressions Review

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7065627980″,”galleryId”:”7065627980″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Panasonic LX100 II: solid image quality in studio and real-world shooting

Posted in Uncategorized

 

Xiaomi details DeepExposure, an AI that automatically fixes image exposure and detail

06 Dec

Chinese company Xiaomi’s AI Lab has published a new paper detailing an AI network called “DeepExposure” that improves low-quality images through machine learning. “Comparing with other methods,” the researchers explained in their paper, “our algorithm can restore most of the details and styles in original images while enhancing brightness and colors.”

DeepExposure utilizes generative adversarial networks and asynchronous adversarial learning to split low-quality images into segments called sub-images. The system computes both local and global exposures for these sub-images, then evaluates their quality before blending them with the original image.

The end result is an image with improved exposure and detail, opening the door for future solutions that may automatically enhance low-quality photos. It’s possible that Xiaomi may one day offer this technology on its smartphones, which already offer other AI capabilities.

The researchers point out in their paper, “Due to the requirement of expertise of photography, photo quality enhancement is beyond the capability of non-professional users, thus leading to the new trend of automatic techniques of image retouching.”

The study indicates that DeepExposure could also be adjusted in the future to improve image tone and contrast.

Xiaomi isn’t the only company using artificial intelligence to automatically improve images. Earlier this year, researchers with Intel and the University of Illinois Urbana-Champaign detailed a deep neural network able to brighten low-light images without reducing their quality. Similarly, a technology called Deep Image Prior was unveiled last year with the ability to recreate damaged parts of an image based on the image’s existing elements.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Xiaomi details DeepExposure, an AI that automatically fixes image exposure and detail

Posted in Uncategorized

 

Samsung Malaysia caught using DSLR image to advertise Galaxy A8 Star ‘Portrait Mode’ feature

04 Dec

Samsung has again been caught using an image captured with a DSLR to advertise its mobile camera capabilities. The discovery was recently detailed on DIY Photography by writer and photographer Dunja Djudjic, who took the image and made it available for sale on EyeEm.

After receiving an alert that the image had been sold, Djudjic used a reverse image search and found the image on Samsung Malaysia’s website, where it features a different background and is used to advertise the Galaxy A8 Star’s Portrait Mode feature.

Samsung Malaysia displays two iterations of the image on its website, one with a sharp background replacing the original, another with a blurred background supposedly demonstrating the handset’s Portrait Mode capabilities.

Djudjic contacted EyeEm in an attempt to confirm whether Samsung purchased the image, but the company hadn’t yet received the sales data and was unable to confirm the buyer. Getty, which is partnered with EyeEm, was also contacted to determine whether the sale took place through its platform, but didn’t respond to the inquiry.

Djudjic attempted to contact Samsung Malaysia and Samsung Global, but was unable to get a response about the image’s use.

This isn’t the first time Samsung has been caught passing off stock images to advertise its mobile camera capabilities. In August, Samsung Brazil’s Twitter account tweeted two stock images advertising its Galaxy A8 camera capabilities, but later removed them after being called out.

Competitor Huawei was also previously caught using images captured with a DSLR to advertise its mobile camera capabilities. In 2016, the company used an image captured with a Canon 5D Mark III to advertise its P9 smartphone’s camera. Later in August 2018, the company published a video with images seemingly taken by the nova 3 and nova 3i, but that were later revealed to have been captured with a Canon DSLR.

In addition to EyeEm, Djudjic’s work can be found on Flickr and Behance.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Samsung Malaysia caught using DSLR image to advertise Galaxy A8 Star ‘Portrait Mode’ feature

Posted in Uncategorized

 

Photopea online image editor is a free Photoshop clone with advanced tools

09 Nov

Programmer Ivan Kutskir of the Czech Republic has created an online-based Photoshop clone called Photopea. The web app was created solely by Kutskir in his free time during college, according to a Reddit AMA the developer held on Wednesday. Photopea features a Photoshop-like interface and is supported by advertisements.

The Photoshop clone offers a wide variety of image editing tools, including advanced features like spot healing, a clone stamp healing brush, and a patch tool. The software supports layers, masks, smart objects, layer styles, filters, vector shapes and masks, and more. A full rundown of Photopea’s tools is available on the app’s website, as well as tutorials for select basic activities.

Photopea took more than 7,000 hours of work, according to Kutskir’s Reddit post. The web app had 1.5 million visitors in October and offers a premium subscription for customers who want to support the product. Free usage includes PSD importing and exporting, as well as access to the editing tools. The premium version includes those features, eliminates the advertisements, and helps support the developer.

A single-user premium subscription is $ 9/month or $ 20 for 90 days. The developer also offers team and distributor options. Photopea joins other free photo editing programs, including the web app Pixlr Editor and desktop application GIMP.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Photopea online image editor is a free Photoshop clone with advanced tools

Posted in Uncategorized

 

Flickr confirms it’s sparing Creative Commons, non-profits from the new 1,000 image cap

08 Nov
A Grazing Encounter Between Two Spiral Galaxies — NASA on The Commons

Last week, Flickr announced it was removing the previously-required Yahoo login, adding new “Pro” features, and adding a 1,000 image limit on free accounts.

The news, particularly the 1,000 image limit on free accounts, hasn’t exactly gone over well, here on DPReview and other forums. One complaint in particular is what will happen to the hundreds of thousands of Creative Commons photos currently being hosted on Flickr.

Creative Commons CEO, Ryan Merkley, even got in on the topic, saying on a post on the Creative Commons blog, “Many users are concerned such a limit on free account capacity might cause millions of CC images to be deleted from the Commons. A lot of people have reached out to us directly and asked what we can do. I’m confident that together we can find solutions, if we assume goodwill and bring our collective creativity to the problem.”

He later added in the blog post, “I have confidence in Don and Ben and the SmugMug and Flickr teams: they want to do right for the Commons, and they understand how deeply CC and the photo Commons is integrated into the goodwill that Flickr has retained over all these years.”

Well, we now know the fate. In a post on the Flickr blog, SmugMug Co-Founder and CEO, Dan MacAskill, announced Flickr is sparing Creative Common photos from the 1,000 image limit. Flickr will also keep any photos in the Flickr Commons that have been uploaded by institutions, including NASA, The Smithsonian, The National Archives UK, and The British Library, and others, saying “all these organizations already were Pro or have received a free Pro account from us, so they have unlimited storage.”

The post also address non-profits who rely on Flickr for image hosting. He says SmugMug has worked hand-in-hand with 501(c)(3) organizations and International charities in the past to provide free, unlimited storage and will continue to do so going forward with Flickr. Flickr has even set up a dedicated page where non-profits can fill out a form to get started on getting a free Flickr Pro account set up.

MacAskill ends the article saying “Whatever changes come in the years going forward, the importance of these photos will always matter to us. We not only want to preserve the photos we have, we want to keep partnering with organizations such as libraries, museums, and government agencies to contribute to The Flickr Commons as well. And we will continue to work hard to keep these photos safe and available for the world to view and enjoy.”

You can read the post in its entirety on the Flickr blog.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Flickr confirms it’s sparing Creative Commons, non-profits from the new 1,000 image cap

Posted in Uncategorized

 

Nikon Z6 image quality and dynamic range impress, but not without caveats

07 Nov

Studio Scene

We shot the Z6 using Nikon’s new Z 50mm F1.8 S lens, since improved optics are one of the main promises the company has made for its mirrorless system. JPEGs were shot with lens corrections minimized as far as possible. Adobe Camera Raw has mandated lens distortion and chromatic aberration corrections, despite us disabling that option in the camera. Have a look below, then take a look at our dynamic range assessments further down.

$ (document).ready(function() { ImageComparisonWidget({“containerId”:”reviewImageComparisonWidget-43300681″,”widgetId”:641,”initialStateId”:null}) })

The results of the Z6 and 50mm S lens are impressive, with consistent performance across the frame$ (document).ready(function() { $ (“#icl-4298–901106245”).click(function() { ImageComparisonWidgetLink(4298); }); }). The anti-aliasing filter appears a bit stronger than the Sony a7 III, which means a bit less detail but less occurrence of false color$ (document).ready(function() { $ (“#icl-4301-714546339”).click(function() { ImageComparisonWidgetLink(4301); }); }).

While fine detail isn’t as well preserved at low ISO$ (document).ready(function() { $ (“#icl-4299-740733493”).click(function() { ImageComparisonWidgetLink(4299); }); }) or at high ISO$ (document).ready(function() { $ (“#icl-4300–152210045”).click(function() { ImageComparisonWidgetLink(4300); }); }) as the best of its peers, the Z6 generally strikes a nice balance between noise and detail. Low light Raw performance is competitive with the best of its peers$ (document).ready(function() { $ (“#icl-4302–698920912”).click(function() { ImageComparisonWidgetLink(4302); }); }), which is to say it’s essentially class leading.

Exposure Latitude

Our Dynamic Range tests presented no great surprises. The same banding in shadows the Z7 displayed is present in the very darkest tones of its images, at 12 row increments – the very rows dedicated to phase-detect AF (PDAF). This suggests the Z6 PDAF rows aren’t being perfectly corrected when they’re incorporated into the Raw files. This will impact the usability of darker tones in images relative to its peers like Nikon’s own D750 or Sony’s a7 III. We’ll also check for striping (bright white stripes across shadows) in back-lit shooting as we put together a sample gallery with the camera.

$ (document).ready(function() { ImageComparisonWidget({“containerId”:”reviewImageComparisonWidget-65598307″,”widgetId”:643,”initialStateId”:null}) })

ISO-Invariance

The camera isn’t entirely ISO Invariant but this is largely because the sensor features the Aptina-style Dual Gain design that Sony Semiconductor has been using for the past few years. This sees the camera use a second higher gain circuit in its pixels to reduce noise from ISO 800 upwards (at the cost of some capacity for dynamic range), where the camera is essentially entirely ISO-invariant.

This means that if you shoot Raw there’s no advantage to increasing ISO above 800, for the same shutter speed and aperture, vs. brightening the Raw file yourself while protecting highlights in post-processing. This method of working can afford you many stops of additional highlight detail at no cost to you other than a dark image preview.

$ (document).ready(function() { ImageComparisonWidget({“containerId”:”reviewImageComparisonWidget-55446958″,”widgetId”:642,”initialStateId”:null}) })

Our results are confirmed by Bill Claff, based on the test images we sent him. His graphs show a similar pattern to the a7 III’s results but with the performance lying a fraction behind the Sony and a little ahead of the Canon EOS R at most ISO settings. In real world shooting, though, banding in shadows may decrease the overall usable dynamic range.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon Z6 image quality and dynamic range impress, but not without caveats

Posted in Uncategorized