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Posts Tagged ‘Performance’

How to Boost your Lightroom Performance and Improve Speed

22 Jun

Are you running out of space on your hard drive? If you’re both a prolific photographer and a Lightroom user the answer may be yes. A hard drive that’s close to being full is bad news because it slows down Lightroom and just about every other application that you use on your computer. So how can you boost your Lightroom performance and make your computer run faster?

Luckily, there are ways to both minimize the amount of hard drive space Lightroom uses and to free up some space that is being used unproductively. As a result, Lightroom will run faster, as well as your entire computer usually.

So, how much spare hard drive space is required for Lightroom?

Ideally, you need at least 20% of your hard drive space to be free. If you have a 1TB drive, that means you should aim to keep at least 200GB free. If you have a smaller drive, such as the 256GB solid state drive I have on my iMac, then you need less. In my case, I need to keep at least 50GB free to keep Lightroom happy.

So, here are some tips to help improve Lightroom performance:

1. Store all your photos on an external hard drive

This has nothing to do with Lightroom per se, but it’s important because your photos are likely to take up a lot of hard drive space (especially if you shoot in Raw). The best approach is to use a separate hard drive for your photos, either an external drive or another internal drive added to your computer (if this is possible on your machine).

For example, my Raw photos take up 1.96TB of hard drive space. I keep them on a 3TB external hard drive like the one shown below.

How to Boost your Lightroom Performance and Improve Speed

It’s important that the hard drive on which your photos are saved also has at least 20% of its space free. Otherwise, it might slow Lightroom down as well.

It’s good practice to use the external drive for photos and Lightroom catalog backups and nothing else. That means it won’t get cluttered up with other files. It’s easier to backup to other hard drives.

2. Save fewer LR catalog backups

It’s important to backup your Lightroom catalog regularly in case it becomes corrupted or the hard drive it is saved on fails.

Many photographers recommend that you set up Lightroom to backup the catalog every time you exit the program. The only problem is that the hard drive space occupied by those catalog backups can soon add up to a considerable amount.

It’s less of an issue in Lightroom 6 and Lightroom CC, which compress the backup catalogs than it is with older versions of Lightroom. But even compressed backups take up a lot of hard drive space. For example, my backup folder currently has six backups in it and is 2.94GB in size.

There are two steps to take to minimize this problem:

1. Save catalog backups on an external hard drive. The same one you use to store your photos is ideal.

Each time you quit Lightroom the Back Up Catalog window appears. Click the Choose button to select the folder where you want it to save the Catalog backups. NOTE: this is the only time this option appears!

Also worth noting is that you want to save your backups on an external drive anyway because if your main hard drive crashes, both your main catalog and all the backups are gone. That is not good and defeats the purpose of having backups.

How to Boost your Lightroom Performance and Improve Speed

2. Delete old backups. You don’t need to keep anything older than the two most recent catalog backups.

I deleted my four oldest backups and freed up nearly 2GB of hard drive space. It may not sound like much if you have a 1TB or larger hard drive, but it does make a difference on a 250 GB solid state drive.

It may be tempting to move your catalog to an external drive, but this will slow Lightroom down. It’s best to keep the working catalog on your internal hard drive.

3. Keep an eye on the Preview Cache

If you go to Lightroom > Catalog Settings (Mac) Edit > Catalog Settings (PC) and click on File Handling you will see something like this.

How to Boost your Lightroom Performance and Improve Speed

Lightroom gives you a lot of useful information about how it uses hard drive space here. First, it tells you the size of your Preview Cache. This is where Lightroom stores all the previews it builds which enable you to view your photos in the Library module.

As you can see, my Preview Cache is currently 36GB, which is a large chunk of a 250GB hard drive. It’s less of an issue if you have a bigger hard drive.

How to Boost your Lightroom Performance and Improve Speed

If your Preview Cache is too large, there are some tips for reducing its size in the next two sections.

4. Regularly delete 1:1 Previews

Of all the Library module previews Lightroom uses the 1:1 Previews take up the most space. But they are essential for zooming into your photos at 100%, which is why many photographers build them.

You can manage 1:1 Previews by setting Automatically Discard 1:1 previews to After 30 Days. You can also set it to After One Week or After One Day. Just pick the one that works best for you. Avoid the Never option, otherwise, your Preview Cache will grow out of control.

How to Boost your Lightroom Performance and Improve Speed

Set your File Handling Preferences in the Catalog Settings to automatically delete 1:1 Previews after 30 days.

There’s another way to delete 1:1 previews:

1. Go to the Catalog panel in the Library module and click on All Photographs.

How to Boost your Lightroom Performance and Improve Speed

2. Go to Edit > Select All (or click CMD/CTRL+A for the keyboard shortcut).

3. Go to Library > Previews > Discard 1:1 Previews (click the Discard option in the next window).

There are a couple of things you should be aware of, though:

  • Lightroom doesn’t delete the 1:1 previews from the Preview Cache right away. There is a delay, so in case you change your mind you can use the Undo function. You may have to wait a day or so to see the benefit.
  • Lightroom only deletes 1:1 previews that are at least double the size of your Standard previews.

5. Build Standard Previews that aren’t too large

You can set the Standard preview size in your Catalog Settings as well. If you select Auto Lightroom sets the smallest size required for your monitor resolution. You can also set Preview Quality to Medium or Low to reduce the space the previews take up.

How to Boost your Lightroom Performance and Improve Speed

6. Build fewer or dump Smart Previews

The Catalog Settings also show you the amount of space occupied by Smart Previews. If that is too large, you can delete them.

How to Boost your Lightroom Performance and Improve Speed

  1. Go to the Catalog panel in the Library module and click on All Photographs.
  2. Go to Edit > Select All.
  3. Go to Library > Previews > Discard Smart Previews (click the Discard option in the next window).

7. Regularly dump the Camera Raw Cache

Lightroom creates more previews to use in the Develop module when you process your photos. These previews are saved in the Camera Raw Cache.

You can set the maximum size of that cache by going to File Handling in Preferences. The larger the number you set the more hard drive Lightroom’s Develop module previews will potentially take up. But, Lightroom may run slower if you set it too low – so you need to find a balance between too big and too slow. Try around 20GB to start with and see how you go.

How to Boost your Lightroom Performance and Improve Speed

You can delete the Develop module previews by clicking the Purge Cache button. It’s probably a good idea to do this every now and then to free up hard drive space. The last time I did it I gained over 20GB of space (see below).

How to Boost your Lightroom Performance and Improve Speed

If you edit or view video files in Lightroom you can also gain space by purging the Video Cache (below).

How to Boost your Lightroom Performance and Improve Speed

Conclusion

Lightroom is essential for most photographers but it can use up a lot of hard drive space. The tips in this article let you take back control of your hard drive. Any questions? Let me know in the comments below.

If you’d like to learn more about Lightroom, then please check out my popular Mastering Lightroom e-books.

The post How to Boost your Lightroom Performance and Improve Speed by Andrew S. Gibson appeared first on Digital Photography School.


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Firmware update improves AF performance of Sigma 100-400mm F5-6.3 DG OS HSM lens for Canon

07 Jun

Sigma has released new firmware for its 100-400mm F/5-6.3 DG OS HSM lens for Canon mount. According to Sigma, firmware version 1.01 improves the AF performance of the lens. When attached to the Sigma mount converter MC-11 AF performance will be improved as well. In addition the optical image stabilization mechanism can operate at faster speeds.

As usual, Sigma lens owners with the Sigma USB Dock must first update the Sigma Optimization Pro software to, at minimum, version 1.4.1 (Windows) or version 1.4.0 (Mac) before downloading and installing the new firmware.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2017 – Sigma interview: ‘We’ve learned that some customers require exceptional lens performance’

27 Feb
Kazuto Yamaki, CEO of Sigma Corporation, pictured at CP+ 2017, with Sigma’s new 14mm F1.8.

Sigma released four lenses at this year’s CP+ show in Yokohama – the 14mm F1.8 DG HSM Art, 24-70mm F2.8 DG OS HSM Art, 135mm F1.8 DG HSM Art and 100-400mm F5-6.3 DG OS HSM. We’re at the show, where we made time to sit down with Kazuto Yamaki, CEO of Sigma, to find our more about the new lenses. 

You’ve told me previously that you really want Sigma to make more wideangle lenses. Do you think you’re achieving that goal with the 12-24mm and new 14mm?

Yes, but I’m still not satisfied. I think we need to make more wide-angle lenses. A fast 14mm was one of the lenses that our customers were asking for. Most existing 14mm lenses are F2.8, so F1.8 was a challenge.

The new Sigma 14mm F1.8 is the fastest lens of its kind, and according to Sigma, should outperform competitive, slower designs from other manufacturers.

What have you learned, from making the Art series?

We’ve learned that some customers require exceptional lens performance. We believe that our mission is to make products that other manufacturers don’t have. If we just released similarly-specified lenses to existing models, we wouldn’t be contributing to the industry, or benefiting customers. So our Art series is meant to provide the best performance.

They’re bulky and heavy, it’s true, but our customers like them because of the performance. That’s what we learned.

Hands-on with Sigma MC-11 (CP+ 2016)

You now make a mount adapter for Sony E-mount, but are you planning native support for the Sony E-mount in the future?

Yes, that’s our plan. Our plan is to develop full-frame lenses for Sony E mount, and in the future we will have more E mount lenses. But it takes time. Normally it takes about two years to develop one lens, sometimes three. So even if I start the process now, the lens might come out in two years time.

Sigma’s new Art-series lenses have a degree of weather-sealing – why now?

It’s based on customer demand. Some of our customers said that rain and snow sometimes got into the lens mount, so they wanted sealing. And the other reason is that it’s becoming a trend. Other manufacturers are offering sealed mounts.

Does that make the design process more complex?

No, not really. The only seal is around the lens mount. It’s not a perfect weather-proofing like our Sports series. The 150-600mm for instance has sealing everywhere, on the focus ring and zoom ring.

Of the lenses in the Global Vision line, which were the most complex to bring to market?

Our 12-24mm zoom. Because that lenses uses a very large aspherical element, and at the time, no other company was producing an element of this kind, and there were no machines capable of producing it. So we designed a custom machine to make that element. But as a result of developing that technology, we were able to create this new 14mm F1.8.

The Sigma 12-24mm ultra-wide zoom is a complex design, containing a very large aspherical (front) element.

The Global Vision line is almost five years old. What are you most proud of?

Firstly, I’m still not satisfied. We need to do more. But these days, I’m pretty happy that people regard Sigma as a high-quality company. In the past, some people regarded Sigma as just another third-party lens manufacturer, and maybe even as a cheap, low-quality lens supplier. But people’s perception has been changing, gradually, and I’m very happy about that.

One of the things that professional Canon and Nikon photographers rely on is the support networks for service, like CPS and NPS. Is a professional service support system something that Sigma is interested in creating?

I think we’ll have to. In Japan we’ve already started a pro support project, and I hope we can create a global professional support system very soon.

In the past you’ve expressed concern that you don’t want Sigma to grow too much, too quickly, because this might threaten some the magic of being a small company. Is this something that you’re still worried about?

Growing too fast is not good. We need to grow, but we should grow gradually. We need to develop our capability to produce higher-quality products. That’s the priority. Then turnover, and sales, and profit will follow. We do not prioritize making the company bigger. We focus on product quality, and technology.

Over the past five years, we’ve actually been making fewer lenses, because we decreased the number of cheaper lenses we were producing. But we’ve expanded our manufacturing capacity, because the higher-end lenses use more glass. Cheaper lenses might use 10-15 elements, but these higher quality lenses use 15-20, sometimes even more elements. So more capacity is needed to make a single lens. We’ve actually invested massively in the past five years.

Sigma and Fujifilm have recently introduced lineups of cine lenses. How much growth do you see in this segment?

We don’t know. Even before I decided to get into the cine lens market, I tried to collect market data, but there’s no data out there. It’s not available. It’s only anecdotal. But we guessed that this segment will grow in the future.

Video has lower resolution demands than stills, but we’ve been designing lenses for 36+ megapixel sensors for several years. That is equivalent to 8K, in video terms. A lot of traditional cine lenses aren’t that high resolution. Our lenses might be more affordable, but they’re top quality.

The Sigma Cine lens range includes a geared version of the company’s 18-35mm F1.8, now known as the 18-35mm T2. The lens covers the Super 35 format and requires a roughly 350 degree rotation to zoom from 18-35mm, allowing very precise control.

Do you have a market share target for your cine lenses?

No, we’re waiting to see how the market develops. We can dream, but it’s not the same thing!

Editors’ note:

We always enjoy speaking to Mr Yamaki, partly because on the occasions when we get the opportunity to do so, it’s usually because he’s just unveiled something really interesting. Mostly though, we enjoy speaking to Sigma’s CEO because he’s a nice guy. Open, honest, and candid about Sigma’s plans and ambitions, Mr Yamaki is well-liked in the photography industry, even by his competitors.

Speaking of competitors, I get the feeling that Mr Yamaki was compelled to deliver the new 14mm F1.8 partly out of a general disappointment with the available options for photographers. Sigma has a strong history of innovating in the wide and ultra-wide market, and the new 14mm, alongside the previously-released 12-24mm certainly look like a confident statement of intent. If the 14mm is as good as Mr Yamaki claims (and we are rarely disappointed by the optical performance of Sigma’s Art series) it looks set to be a reference lens for landscape, architectural and astrophotographers. We’re hoping to be able to post a gallery of samples very soon – watch this space.

Also interesting, is another statement of intent – Sigma’s move into affordable cine lenses. While the company is not competing (yet) with the Arris of this world, or with Canon’s Cinema EOS optics, Sigma (like Fujifilm) sees an opportunity to cater to a newer generation of videographers who are working with mirrorless systems. Optically, Sigma’s cine lenses should be top notch, although being based on existing stills lens designs, we’re told that some qualities, such as focus breathing, might cause issues for professional broadcast and film cinematographers. There is a reason, after all, that high-end professional cine lenses can cost tens of thousands of dollars.

So what next for Sigma? We wouldn’t be surprised if Mr Yamaki is working on more wideangle lenses, and following the new 24-70mm F2.8, it seems likely that the company will refresh its 70-200mm F2.8 in the near future, too. More Sony E-mount optics are also on the way, we’re told, which will be welcome news to Sony a7-series users.  

Articles: Digital Photography Review (dpreview.com)

 
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RawTherapee 5.0 released with new tools, faster performance and bug fixes

15 Feb

Free raw photo-processing application RawTherapee has been updated to version 5.0, adding numerous features including support for both grayscale TIFF (32-bit) and JPEG in addition to the myriad of raw formats it already supports. In addition to new features, RawTherapee 5 also brings with it ‘over two years worth’ of improvements, including cleaner code, unspecified bug fixes and faster speeds.

Most notably, RawTherapee 5 offers a new Wavelets tool and a Retinex tool, a post-resize sharpening option, automatic chroma noise reduction, new ‘Perceptual’ and ‘Luminance’ exposure tone curve modes, a curve pipette and a 100% image preview when hovering the mouse over a photo. The full list of features is below.

RawTherapee 5 is available to download now for Windows XP through Windows 10 32-bit and Vista through Windows 10 64-bit, as well as macOS 10.8 through 10.12.

New Features

  • Wavelets tool.
  • Retinex tool.
  • Monitor profile and rendering intent support.
  • Print soft-proofing support.
  • Automatic chroma noise reduction, manual luminance noise reduction using sliders and curves.
  • The “Inspect” tab in the File Browser lets you see a 100% preview of the image whose thumbnail your mouse cursor hovers over, which is either the largest JPEG image embedded in the raw file or the image itself when hovering over non-raw images.
  • The curve pipette allows you to pick the right point of a curve by clicking in the preview, and input/output values so that you can set the desired output value for a given input value.
  • Post-resize sharpening, to give your photos that subtle crispness after resizing them.
  • Dual-illuminant DCP support with curves, base tables, look tables and baseline exposure.
  • New exposure tone curve modes “Luminance” and “Perceptual”.
  • Queue processing will stop if an error is encountered while saving, e.g. if you run out of disk space.
  • The Contrast by Detail Levels tool received the “Process Locate Before/After Black-and-White” option.
  • Rec. 2020 ICC profile added.
  • The Navigator can show RGB, HSV and L*a*b* values in a range of 0-255, 0-1 or %.
  • The Lockable Color Picker allows you to place multiple sample points over the preview to measure colors and see them change in real time as you manipulate the image. They support the same ranges as the Navigator.
  • Grayscale JPEG and TIFF images are now supported.
  • 32-bit TIFF files are supported.
  • In addition to these new features, RawTherapee received over two years worth of amazing speedups, code cleanups and bug fixes, making it faster and more stable than ever before!

Via: RawTherapee Blog

Articles: Digital Photography Review (dpreview.com)

 
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Canon applies to patent double-sided micro lenses designed for better edge performance

23 Aug

Canon engineers have developed a new design for the micro lenses it uses on imaging sensors that it claims will reduce vignetting and false coloration at the edges of the picture. The new designs have a bi-convex lens that uses the upper surface to collect light and the lower to channel the light more effectively to the photodiode. The patent application shows the lower face of the micro lenses with a convex surface featuring an off-center vertex. Canon says these would be placed at the edges of the sensor to direct light approaching from a steeper angle. The idea is to direct more of the light toward the photodiode than can be achieved with standard single-micro-lens designs.

As pixels have depth it can be difficult to channel light from the camera’s lens down the ‘well’ to reach the photodiode unless it approaches straight-on. When a pixel is positioned at the edge of the sensor array it becomes more difficult because light approaches from an extreme angle and can miss the photodiode, as the refractive index of the micro lens isn’t high enough to bend it directly down the well. Since certain colors experience different refractive indices, some wavelengths of light don’t make it to the photodiode either. Thus, pixels outside the central area can report less light – and false colors – compared to those in the middle of the sensor.

Canon’s new dual micro lens design aims to take more control of the light as it enters and exits the micro lens, and to channel it in a more vertical direction down the well so that less is lost. This should in theory improve both vignetting and false coloration nearer to the edges of the image.

For more information see Canon’s full patent application.

Extract from the patent:

The lower surface 102 of the microlens 103 has an asymmetrical shape with a position nearest to the photoelectric conversion device 104 (a position at which the thickness from a center plane 130 of the microlens 103 is the maximum) shifting from the center position of the microlens 103 to the central side of the pixel array 110A. The lower surface 102 of the microlens 103 has a convex shape with respect to the photoelectric conversion device 104.

Each microlens 103 is formed from a material having a higher refractive index than a material in contact with the lower surface 102 at a position between the microlens 103 and the photoelectric conversion device 104. The microlens 103 is formed from, for example, a color filter material.

The upper surface 101 of each microlens 103 has a convex shape with respect to the incident side of incident light. The incident light 111, incident light 121, and incident light 131 entering the microlens 103 from the same direction as that of the straight line 115 each are refracted by the upper surface 101 of the microlens 103 and focused onto the photoelectric conversion device 104. In this case, if the upper surface 101 of the microlens 103 lacks in refractive power with an increase in curvature radius, the lower surface 102 of the microlens 103 compensates for the refractive power to cause the incident light 111, 121, and 131 to enter the photoelectric conversion device 104. At this time, the refractive power of the lower surface 102 of the microlens 103 is larger than that of the upper surface 101 of the microlens 103. As described above, the microlens 103 can focus incident light onto the photoelectric conversion device 104 by using the upper surface 101 having a convex shape extending upward and the lower surface 102 having a convex shape extending downward with respect to the center plane 130.

Articles: Digital Photography Review (dpreview.com)

 
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Astropad 2.0 brings better performance and increased compatibility

04 Aug

Astropad, the app that turns your iPad into a graphics tablet for your Mac, has released its first major update. Astropad 2.0 comes with a range of improvements that allow for a more responsive drawing experience and increased compatibility with Mac software packages. The makers of the app claim the technology is so good that users are starting to replace their Wacom tablets with Astropad.

The new version of Astropad comes with the following improvements:

  • Astropad’s LIQUID technology, which allows for very smooth operation at 60 fps, has been upgraded to run three times faster and with significantly reduced pixelation.
  • The new velocity control analyzes network conditions at a very high frequency to find the optimal balance between image quality and latency.
  • Astropad 2.0 uses 3x less CPU power and 4x less memory than before, extending the iPad’s battery life.
  • The pressure curve has been refined for a more natural drawing feel.
  • Ehanced software capability means that the app now supports panning and zooming gestures across more software applications, including: Affinity Designer, Affinity Photo, Art Rage, Clip Studio Paint, Lightroom, Mischief, Autodesk Sketchbook.
  • The cursor can now be auto-hidden while drawing.
  • The user interface has been updated for a sleeker look and feel.

The update to Astropad 2.0 is free for existing users. Anyone else can purchase the app now for $ 29.99 on the Apple App Store. Astropad 2.0 works on all iPads with iOS 8 and all Macs with 10.9 (Mavericks) or later.


Articles: Digital Photography Review (dpreview.com)

 
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Sony Xperia X Performance achieves top score in DxOMark Mobile ranking

29 Jul

DxoMark has published its test results for Sony’s flagship device in the Xperia X series, the Xperia X Performance. At 88 points the Sony achieves the same score as the HTC 10 and Samsung Galaxy S7 and now shares the top spot in the DxOMark Mobile rankings with those phones. 

The DxOMark testers were particularly impressed by the Xperia X Performance’s fast and accurate AF system, good exposure and dynamic range, well-controlled noise in low light and good detail in flash images. On the downside, the HDR mode does not always trigger when it should, small amounts of chroma noise are visible in outdoor conditions and the white balance is inconsistent when shooting with flash. 

The Xperia X Performance comes with a very similar camera specification to the Xperia Z5. A 23MP 1/2.3-inch Sony Exmor multi-aspect sensor is coupled with a F2.0 aperture in a wide angle lens with an equivalent focal length of 24mm. A predictive AF system, developed in collaboration with the engineers in Sony’s Alpha camera division, allows for improved subject tracking and low light mode ISO to be increased to 12800. You can read the full test report on the DxOMark website.

Articles: Digital Photography Review (dpreview.com)

 
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Benchmark performance: Nikon D810 in-depth review

12 May

Read our in-depth review of the Nikon D810

I’m pleased to announce that our in-depth review of the D810 is now published. A lot of you will be asking why it took so long. That’s a good question. There’s no single, simple answer, but believe us when we say that over the past two years there has rarely been a day when we have not been working on the D810 review in some way or other.

As we started to dig deeper and deeper into things like its class-leading dynamic range, its 3D tracking autofocus and numerous other details, we realized that not only did we have to revisit some of our existing testing methods, but that to properly test a camera like this we had a responsibility to create entire new tests.

You’ve seen the results of those new testing methods in our reviews of other major cameras like the Sony a7R II and Canon EOS 5DS/R. When we started looking into shutter-induced vibrations at certain shutter speeds for example, we had to devote a lot of time to tedious repeated testing of several cameras, not just the D810, to figure out what was going on. We did that because we don’t like guessing. Because when we suspect that a certain camera (or class of camera) displays a behavioral quirk that photographers should know about, we like to be able to prove it.

This process of evolving old tests and developing new ones is ongoing. Ironically, none of our recent reviews of major new flagship cameras could have been written to the standard that they were without some of the tests we developed when working on the D810.  We’re just very sorry that it took so long before we could show you our workings. 

And with that – we hope you enjoy the review!

Articles: Digital Photography Review (dpreview.com)

 
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Canon PowerShot G7 X Mark II boasts faster performance and improved ergonomics

19 Feb

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Canon has introduced the PowerShot G7 X Mark II with a new DIGIC 7 processor, bringing much-needed improvements to camera performance. Maintaining its predecessor’s 20.1MP 1″-type CMOS sensor and 24-100mm equiv. F1.8-2.8 lens, the G7 X II brings some updates to the camera’s exterior as well, with a re-designed grip, bottom-hinged 3″ 1.04M-dot LCD and a front control dial that can switch between clicking or smooth-turning operation.

The new processor allows for face registration and better subject detection in scenes of low saturation or similar colors. In addition, it dramatically speeds up camera performance, with Canon claiming continuous 8 fps Raw shooting. Battery life is also 25% better than the original G7 X, with a CIPA-rated number of 265 shots per charge.

Full 1080/60p HD video is offered, as in its predecessor, along with Wi-Fi and NFC. The G7 X II provides Picture Style processing modes borrowed from the EOS DSLR line, and time-lapse movie mode is included.

The Canon PowerShot G7 X Mark II will be offered for $ 699 with availability in May.

Press release:

TAKE THAT CAMERA TO GO!  CANON U.S.A LAUNCHES COMPACT POWERSHOT G7 X MARK II AND POWERSHOT SX720 HS DIGITAL CAMERAS

Newest Canon PowerShot Digital Cameras Offer Outstanding Quality in Convenient Compact Size 

MELVILLE, N.Y., February 17, 2016 – Ideal for both advanced amateur and pro photographers looking for a convenient, high performance compact camera with the ability to connect to compatible digital devices, Canon U.S.A. Inc., a leader in digital imaging solutions, proudly introduces the compact PowerShot G7 X Mark II1 and lightweight PowerShot SX720 HS digital cameras.

Canon’s new PowerShot G7 X Mark II digital camera pairs a 1.0-inch, 20.1 Megapixel* CMOS sensor with Canon’s new DIGIC 7 Image Processor to help reduce noise and deliver outstanding image quality, even in low light shooting situations. The PowerShot SX720HS digital camera boasts a new 40x Optical Zoom lens (equivalent to 24-960mm), providing outstanding performance, reach and resolution for everyday use and when shooting memorable family events, while easily slipping into a pocket or purse.

“In today’s world, compact cameras must work well with other devices and still offer superb quality. The PowerShot G7 X Mark II and PowerShot SX720 HS cameras both provide outstanding image quality with amazing optical zoom lenses and they easily connect with compatible phones, tablets and other smart devices so great images can be shared and enjoyed” stated Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.  

Sleek and Sophisticated 
The first Canon camera to feature Canon’s new high-speed DIGIC 7 Image Processor, the PowerShot G7 X Mark II digital camera is a model of compact sophistication and speed with a high-quality sleek body and optimum comfort grip. Building on the success of Canon’s PowerShot G7 X digital camera, the PowerShot G7 X Mark II digital camera features a fast startup and improved RAW continuous shooting speed of up to eight frames per second (fps) with short intervals between shots. Additional features include: 

  • Bright f/1.8 (W) – f/2.8 (T), 4.2x (24–100mm equivalent) optical zoom lens with Canon’s Intelligent Image Stabilizer (IS) and a 9-blade iris diaphragm;
  • Multi-angle 3.0-inch capacitive touch panel LCD with a screen resolution of 1.04 million dots and tilt options of 180° up and 45° down;
  • Ability to capture 1080p Full HD video in MP4 format with stereo sound;
  • Built-in Wi-Fi®** and Near Field Communications (NFC™)*** capability with a dedicated Wi-Fi button for easy sharing and transferring of images and videos;
  • Picture Style function that offers superb command of in-camera color, contrast, and sharpness;
  • In-camera RAW conversion, making it possible to preview customized image processing modifications on the camera, without the use of a computer;
  • Convenient control ring lever that enables users to quickly switch between stepped and continuous ring movement; 
  • Time-Lapse Movie feature to help capture images at preset intervals and combine them to create a short movie clip;
  • Panning feature that allows the camera to lock onto the main subject using Canon’s Intelligent IS technology to automatically adjust the shutter speed for beautiful background blur.

The Canon PowerShot G7 X Mark II digital camera is currently scheduled to be available in May 2016 for an estimated retail price of $ 699.992.

Powerful Zoom Delivers Virtually Shake-Free Images
The Canon PowerShot SX720 HS digital camera is equipped with a new powerful zoom lens and is the ideal choice for amateur photographers looking to take a step up from a smartphone or entry-level digital camera to a lightweight, compact camera. The PowerShot SX720 HS digital camera’s new 40x Optical Zoom lens (24-960mm equivalent focal length range) uses one Hi-UD, three UD and three aspheric lens elements to help achieve high image quality and high magnification, while also utilizing Canon’s Intelligent Imaging Stabilizing (IS) technology for greater optical performance. 

As the successor to Canon’s PowerShot SX710 HS digital compact camera, the PowerShot SX720 HS digital camera features increases its zoom range while maintaining compact size for maximum convenience. Additional features include:

  • A dedicated Wi-Fi® button for easy sharing and transferring of images and videos utilizing the camera’s built-in WiFi and NFCtechnology;
  • 20.3 Megapixel* CMOS sensor with Canon’s DIGIC 6 Image Processor to help deliver outstanding image quality, even in low light;
  • 1080p/60 Full HD video capture with stereo sound;
  • 3.0-inch LCD (approx. 922,000 dots) to allow for easy viewing, even from a wide angle;
  • Zoom Framing Assist that allows the lens to automatically zoom in or out while the camera follows subject movement  and helps keep it in focus;
  • Story Highlight feature that enables the camera to automatically compile images and videos3 from a certain day or event into a mini-highlight reel with music and effects;
  • Creative Shot mode that uses composition, color and lighting from an original image to create artistic images.
  • Canon’s PowerShot SX720 HS digital camera is currently scheduled to be available in March 2016 for an estimated retail price of $ 379.992.  

1 This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.

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

3 Videos must be shot in Hybrid Auto or Short Clip.

* Image processing may cause a decrease in the number of pixels.

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

*** Compatible with Android smartphone and tablet versions 4.0/4.1/4.2/4.3/4.4/5.0/5.1.

PowerShot G7 X Mark II specifications

Price
MSRP $ 699
Body type
Body type Compact
Sensor
Max resolution 5472 x 3648
Other resolutions 5472 x 3080, 4864 x 3648, 4320 x 2880, 4320 x 2432, 3840 x 2880, 2304 x 1536, 2048 x 1536, 1920 x 1080, 720 x 480, 720 x 408, 640 x 480
Image ratio w:h 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 21 megapixels
Sensor size 1″ (13.2 x 8.8 mm)
Sensor type BSI-CMOS
Processor DIGIC 7
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 125-12800 (expandable to 25600)
Boosted ISO (maximum) 25600
White balance presets 8
Custom white balance Yes
Image stabilization Optical
Uncompressed format RAW
JPEG quality levels Super fine, fine
File format
  • JPEG (EXIF v2.3)
  • Raw (Canon CR2, 12-bit)
Optics & Focus
Focal length (equiv.) 24–100 mm
Optical zoom 4.2×
Maximum aperture F1.8 – F2.8
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus Yes
Normal focus range 5 cm (1.97″)
Macro focus range 5 cm (1.97″)
Number of focus points 31
Screen / viewfinder
Articulated LCD Tilting
Screen size 3″
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 15 sec
Maximum shutter speed 1/2000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
  • Custom
Scene modes
  • Self Portrait
  • Portrait
  • Panning
  • Star Portrait
  • Star Nightscape
  • Star Trails
  • Star Time-Lapse Movie
  • Handheld Night Scene
  • High Dynamic Range
  • Underwater
  • Fireworks
Built-in flash Yes
Flash range 7.00 m
External flash No
Flash modes Auto, on, slow synchro, off
Continuous drive 8.0 fps
Self-timer Yes (2 0r 10 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±3 (at 1/3 EV steps)
AE Bracketing ±3 (3 frames at 1/3 EV steps)
Videography features
Resolutions 1920 x 1080 (60p, 30p, 24p), 1280 x 720 (30p), 640 x 480 (30p)
Format MPEG-4, H.264
Videography notes Also has time-lapse (normal and star), miniature effect, and digest modes
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC (UHS-I compatible)
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n with NFC
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description NB-13L lithium-ion battery and charger
Battery Life (CIPA) 265
Weight (inc. batteries) 319 g (0.70 lb / 11.25 oz)
Dimensions 106 x 61 x 42 mm (4.17 x 2.4 x 1.65″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Finally! Adobe updates Bridge CC for improved performance

10 Feb

Adobe has released a significant update to Bridge CC, its venerable file management program. Where Photoshop and Lightroom have seen multiple incremental updates over the past few years, Bridge has been left somewhat alone. That all changes today with multiple improvements including improved cache management, and an option to import images from external devices including iOS and Android mobile devices.

Sluggish performance, especially when displaying large numbers of thumbnails has been a perennial complaint among photographers who use Bridge. And although it has taken a while, Adobe seems to have listened to those complaints. Thumbnail previews are now generated on-demand rather than all at once, and metadata is loaded first so that filters can be used before all thumbnails have been generated. In another effort to boost performance, Adobe has introduced improvements to its cache management to automatically purge stale items when Bridge is idle.

This Bridge update also re-instates a feature that automatically identifies and stacks images shot in a sequence either for an HDR or panoramic composite. 

Bridge CC version 6.2 is available for download now.

Press release:

Bridge Reloaded

Today we are pleased to announce the release of Adobe Bridge CC version 6.2.

Bridge was brought back to be managed by Megan Donahue, Director, Creative Cloud and Arno Gourdol, Sr. Engineering Director, Creative Cloud and their awesome teams.  Arno is no stranger to Bridge since he has worked on several past releases.  Our team has been working on several new initiatives that enhance user experience around asset management used by Creative Cloud customers. Most recent initiatives launched by this team include collaboration features in Creative Cloud as well as Creative Cloud Assets, and Creative Cloud Libraries.

This latest release of Adobe Bridge CC includes updates to the following feature set:

Automated cache management

The central cache of Adobe Bridge stores thumbnails, previews, and metadata information in a database. This database improves the performance when users browse or search files. However, the larger the cache, the more disk space it uses. Cache preferences help you manage the trade-off between performance and cache size. We have worked on improving purging cache capability, which is an existing feature in Bridge. In this update, automatic purging of stale cache items has been enabled when the application is idle.

We are also providing a cache compaction option to set up cache clean-up at exit in case the database size increases beyond a certain size. Both these options improve performance of the application and help keep the cache and database clean over extended periods.

For more information see, Work with the Adobe Bridge cache.

On-demand thumbnail generation

To improve the responsiveness of Bridge when you are browsing through a large set of assets, we have made improvements to the way the thumbnails, previews, and metadata are extracted/generated. Now when you select a folder, the thumbnails/previews are extracted on priority for only the on-screen assets. The thumbnails for the remaining files are either generated on demand (when you scroll down/up) or when the application is idle. The metadata extraction happens on priority for all assets, thereby enabling the filter panel and search to become functional sooner.

This change enables you to work with bulky folders without any performance issues like hangs and not-responding states. With this change, you will now have a fully updated Filter panel even before all the thumbnails/previews are generated. This will also enable you to search for the files even before all the thumbnails/previews are generated.

Import from device option on Mac

On Mac OS 10.11.x, Bridge CC did not recognize the following types of devices:

iOS mobile devices

Android mobile devices and digital cameras connected in PTP (Picture Transfer Protocol) or MTP (Media Transfer Protocol) mode

In this update, an alternative to import media from these devices has been provided. You can now choose File > Import From Device to import media from the devices.

For more information, see Import from device on Mac OS 10.11.x.

Note: This is a Mac only feature and launches Apple Image Capture to bring files from devices into Bridge.

Other significant updates

We also reinstated Autostack Panorama/HDR feature. Given our focus was on stability and performance of Bridge, we have made significant updates to the core technology components. This will set the foundation for a technology platform to enable future development and modernization of Bridge.

Our team is very excited to bring this release as a stepping-stone for the work we have set out for 2016!

Articles: Digital Photography Review (dpreview.com)

 
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