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Posts Tagged ‘REVIEW’

DPReview TV: Tamron 20mm F2.8 review

18 Mar

The Tamron 20mm F2.8 DI III OSD M1:2 lens for Sony E-mount boasts close-focusing capability and a 1:2 magnification ratio. It’s also incredibly affordable. Could this be a great wide angle macro lens for Sony shooters?

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Design and size
  • Sample images
  • Sharpness
  • Longitudinal chromatic aberration and bokeh
  • Macro use
  • Focus and lens breathing
  • Sunstars
  • Environmental portraits
  • Conclusion

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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GoPro Hero8 Black review: Have action cameras finally hit a wall?

16 Mar
Have action cameras reached peak performance?

I remember GoPro in the early days. Back then the cameras could only offer sub-SD recording, had no Wi-Fi and more importantly no way to see the picture as they lacked a screen. They were a hard sell, but filled a gap for small disposable digital video cameras.

The launch of the Hero 8 Black brings some improvements over the previous generation, but is it enough? If you already have an action camera does the quality and feature set of the Hero 8 Black make you want to upgrade? And, if you don’t already have a camera like this, has GoPro launched a camera that will convince you to buy into this product category?

Key specifications

  • 12MP sensor
  • 4K/60p, 2.7K/120p and 1080/240p video (up to 100 Mbps bit rate)
  • H.264 and H.265 codecs
  • HyperSmooth 2.0 video stabilization
  • LiveBurst captures 1.5 seconds of photos or video before shot
  • Integrated mounting ‘fingers’ attach directly to GoPro mounts
  • Optional ‘Mods’ add features like 3.5mm mic jack, HDMI-out, selfie screen and LED light
  • Waterproof
  • Wi-Fi + Bluetooth connectivity

The list of features on the Hero 8 Black is extensive, but improvements in image quality year-over-year are hard to come by. After all, 4K/60p with limited noise on a sensor that is incredibly small is difficult to achieve, especially in low light. To paraphrase a well known line from Scotty, ‘you can’t change the laws of physics’. Pixel pitch, size and resolution play directly against each other in the triangle of visual fidelity. Without increasing the pixel size, or finding a way of gathering more photons per pixel, improving signal-to-noise ratio is difficult.

Image quality isn’t everything

Where do you see improvement when moving from the Hero 7 Black to the Hero 8? One feature that’s attracting attention is HyperSmooth 2.0, GoPro’s image stabilization technology, which claims to rival gimbal levels of image stabilization without the need for balancing, mounting or powering an external handle. But can it actually deliver, and is it a big enough improvement over the previous generation to convince people to part with their money and upgrade?

Before I started using this camera I was incredibly skeptical, but having tested this feature over the past few weeks it does deliver a very good result, even managing to smooth out some of the bumps associated with footfalls, which is very difficult to achieve on standard gimbals.

This video compares the four levels of HyperSmooth 2.0 stabilization: off, on, high, and boost modes. As expected, each level provides increased stabilization, however notice that there’s a small crop factor when using ‘on’ and ‘high’ modes, and an even greater crop factor in ‘boost’ mode.

I did notice one slightly odd characteristic when shooting below 4K, however. When mounted in certain situations, for example in or on a vehicle, it will actually pan the image to counter movement. If you’re driving and turning left the embedded software will pan the image to the right, then slowly return to the center once you’ve completed the turn. As a result, the image has an overall floating feel to it instead of providing a rock solid picture.

That said, overall the results are surprisingly effective, even when using the boost mode, although that’s not available at 4K/60p. Be aware that HyperSmooth crops the image about 10% (and somewhat more in the most stabilized boost mode).

I discovered one odd effect when using the HyperSmooth 2.0 boost mode at 1080 resolution: when mounted in certain situations, like a moving car (above) the image will pan to counter movement. This gives the image a floating feel instead of the sense that the camera is locked in place.

With that proviso, though, it rivals and now beats a lot of traditional optical image stabilization done in-lens or in-camera, even compared to models that use sensor shift.

Integrated ‘fingers’ eliminate the need for frames or cases to mount the camera on standard GoPro accessories.

Two steps forward and one step back?

Along with some useful additions, this new camera also changes some features – and not for the better. For example, it’s no longer possible for the user to change the front element of the lens if it becomes cracked or chipped. GoPro’s stance is ‘GoPro does not offer a repair service on our cameras as, due to their size and design, the cost of parts and labor for performing such a specific repair would be more expensive than replacing the camera outright if it’s covered by warranty.’

Instead, it offers the GoPro Plus service, which will replace your camera if something goes wrong (at a maximum of 2 cameras per year). However, this service comes at a cost: $ 4.99 per month or $ 50.04 per year, and includes unlimited cloud storage and 50% off mounts and some accessories. Yes, another service to subscribe to, although for serious users this may pay dividends.

The USB-C port interfaces with GoPro’s range of accessories

Why only incremental improvements?

Technology usually progresses at an evolutionary pace rather than a revolutionary one. The introduction of a brand new product can have the ‘wow’ factor, but usually subsequent versions don’t have the same effect.

A limiting factor here is processing power and its relationship to battery life and available power. Small cameras have small batteries and in turn these can only provide limited power to the processor. As a result, you can’t have all the best features enabled at the same time.

Think you might be able to use your older Hero 7 batteries? Think again. Hero 7 batteries can’t deliver as much peak power as Hero 8 batteries and are not compatible with the new camera.

There’s always a trade off with temperature as well. If you did have all the available features turned on the camera would most likely shut down before the battery was exhausted due to overheating, which could cause damage to the camera or battery. There’s a reason that the older Hero 7 batteries—even though they are physically the same—won’t work on the Hero 8 due to power delivery limitations. The newer Hero 8 batteries can deliver more peak power. What more can be added?

If image quality isn’t making great leaps, and with features like Hypersmooth 2.0, live streaming, 4K capture and slow motion already included, have we hit a wall? What more can possibly be added to future action cameras? Part of the answer for GoPro seems to be add-on hardware, like a vlogging flip-up LCD (Display Mod), or an add-on frame which gives you HDMI out, a 3.5mm in and an extra microphone (Media Mod). These go some way to disguise the limitations of the bare camera and add the possibility of appealing to the ever expanding vlogging market.

HyperSmooth 2.0 is impressive, and even does a good job of smoothing out the bouncing of footsteps, such as this child holding the camera running across a yard. Since it’s getting harder to improve image quality with each generation of action camera, manufacturers will need to get creative with features like this to entice users to upgrade.

What’s the competition?

The competition in the premium action camera space is actually fairly limited. There’s the Sony FDR-X3000, the DJI Osmo Action and the recently introduced Insta360 One R, and really that’s about it at the moment. The recently released Insta360 camera employs an interesting modular setup, but can it compete? After all, GoPro has been doing this for nearly 20 years.

There are lots of cameras available at the mid and lower end of the market, but this isn’t an area that GoPro competes in and it really is a case of getting what you pay for. GoPro’s installed user base and reputation are formidable to any new manufacturer coming to market, and it has proven difficult for established name brands to launch and maintain an action camera market segment, as Nikon found out.

The GoPro Hero 8 Black. A hero among action cameras?

What does it all mean?

Much as we’d like to see revolutions in technology, this isn’t the norm. Incremental improvements mean that year-over-year upgrades are less necessary for a lot of users. The niche factor of the high end action camera market also means that not many manufacturers operate in this space, which in turn limits competition.

The next major developments will probably center around a change in battery technology and an increase in power density that allows for more powerful processing. The gradual shrinking of the process node in the CPU will also bring key improvements and the ability to do more while maintaining lower temperatures or extending battery life.

An action camera is a great addition to a filmmaker’s tool kit, and if you need a new one the Hero 8 Black is a solid choice. However, while there’s a certain FOMO—a fear of missing out—and even peer pressure to have the latest and greatest, it probably doesn’t make financial sense to upgrade every year for only minor improvements.

That looks like it’s not going to change any time soon.

What we like

  • HyperSmooth 2.0 stabilization is impressive
  • Excellent 4K/60p video
  • GoPro accessory mount integrated into body

What we don’t

  • HyperSmooth results in strange panning effect in certain situations
  • Subscription service for repairs
  • Incompatible with Hero 7 batteries

Articles: Digital Photography Review (dpreview.com)

 
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Lume Cube 2.0 review: rugged, portable lights for stills and video

15 Mar

Way back in 2014, Lume Cube Inc. sailed past its fundraising goals when it launched its brand-new, eponymously-named LED lighting system on Kickstarter. Aimed both at still and video shooters, the original Lume Cube offered 1,500-lumen light output and Bluetooth wireless control in a remarkably compact package. And despite measuring just 4 x 4 x 4.5cm (1.6 x 1.6 x 1.75″), it was also both rugged and waterproof.

Enter the Lume Cube 2.0: as portable as ever with some key improvements under the hood. In short, we think it’s an incredibly handy little light with a robust ecosystem of accessories. See our condensed findings below and read on for the full analysis.

Key takeaways:

  • Compact, size, rugged and waterproof construction inspire confidence and use in a variety of situations
  • Excellent quality of light, with daylight white balance and a high CRI value
  • Optical sensor to act as a slave flash for stills shooting
  • Fine control over brightness
  • Impressive battery run-time, but longer charge times
  • Good max brightness for size, but still struggles under sunlight
  • Excellent, if pricey, accessory system

What’s new?

Although it’s exactly the same size as its predecessor and has the same light output as before, the updated Lume Cube 2.0 now runs for three times as long at full power, and is easier to recharge too. And the light it produces has improved noticeably in terms of its color rendition, coverage and evenness.

The new version also offers an added low-light mode with a 1-10% power range in 1% increments, controllable either from the smartphone app or the Lume Cube’s own physical controls. And the product bundle has been expanded, with a modification frame and two filters included as part of the base product bundle.

The standard Lume Cube 2.0 kit (left, $ 90) now includes the modification frame with diffuser and warming filters. The Pro Lighting Kit (right, $ 300) includes a carry case packing two lights with modification frames, a dozen filters, two grids, and a full set of barn doors, snoot and diffusion bulb for each light.

Who is it for?

As before, the Lume Cube 2.0 is aimed both at still and video shooters, regardless of whether they’re using a sizable interchangeable-lens camera rig, GoPro, smartphone or even a drone.

For standalone cameras, most functionality can be used without a smartphone at all, and the Lume Cube works either a continuous light source or an optically-triggered slave flash. Alternatively, multiple lights can be controlled individually or as a group using an Android / iOS app.

Smarter physical controls and a better-placed optical sensor

The Lume Cube 2.0 looks quite similar to predecessor, and its size and weight are unchanged. The biggest difference is that the optical sensor has moved from the front of the light to its top, sharing its location with the status LED. In its new home, it’s now easier to trigger from a wide range of angles.

It sits in between a clearly-labeled pair of opaque black buttons on the top deck which replace the translucent buttons of the original model. These together provide access to power control, brightness adjustment, optical slave flash, and low-light mode.

The non-swiveling hot shoe mount shown in this image is included in the standard bundle. The Pro Lighting Kit doesn’t include any mounts; the ball head mount shown atop this page costs $ 25.

Charging is quicker and easier, but waterproofing suffers

Around back, the charging port is now a modern, reversible USB-C connector, and is covered by a soft rubber flap. While it’s still a bit fiddly to pull open with recently-trimmed nails, it closes securely, stays in place, and it’s really nice not to have to worry about the lights being affected by rain. (And to be able to take them underwater too, if that’s your thing.)

While less bothersome than the screw-in cover of the original Lume Cube, it’s also easier for water to circumvent, though. As a result the new model is waterproof to a maximum depth of 9.1m / 30ft, down from 30.5 / 100ft for its predecessor. That’s still plenty for snorkeling and probably a pretty significant proportion of recreational scuba too, but if you’re planning on deeper dives you may want to stick with the earlier version.

Wider, more even and daylight-balanced light

On the inside, everything is new. The battery, LED and optics have all been replaced, and while it still has a light output of 1,500 lumens (750 lux at 1m), the Lume Cube 2.0 now has a 5600k daylight color temperature, down from the 6000-6500k of its predecessor.

At the same time, the quality of its light has improved, with a Color Rendering Index score of 95. The Lume Cube 2’s new lens is also less prone to hot spots, and has a wider 80-degree coverage, up from its predecessor’s 60-degree beam angle.

Here’s a view from the rear, with the Lume Cube on its optional ball head mount atop my personal Pentax K-3. This mount is much better than the basic one included in some kits, as it lets you aim the light in almost any direction.

Smarter firmware and new features

The Lume Cube 2.0 has also received some smart updates in the firmware department. Perhaps most importantly, it now requires a three-second long press of the power button to switch on. This ensures that unlike its predecessor, it won’t switch itself on in your camera bag and drain its battery right before it’s needed.

The new firmware also allows brightness to be adjusted in either direction using the Lume Cube 2.0’s physical controls, unlike the original version which could only increase brightness to its maximum before looping back around to its minimum brightness setting on the next step.

And a new mode accessed with a long press of both buttons at once allows a much narrower 1-10% brightness range with a more precise 1% step size, rather than the full range in 10% steps as is the default. It’s handy if you’re shooting long exposures but still need just a little illumination.

Same accessories and mounting system, but now it’s in the bundle

A wide selection of filters and accessories can be attached to the Lume Cube 2.0 using the exact same modification frame attachment as before, allowing owners of the original Lume Cube to upgrade their lights or add new ones while keeping the rest of their gear.

A wide variety of optional mounts are available, including this spring-loaded smartphone clip ($ 20) to which I’ve attached the ball head and a Lume Cube 2.0 with bulb diffuser.

The frame itself now ships even in the base product bundle along with a pair of warming and light diffusion filters. Each of these uses name-brand LEE filter materials from the company’s LED-specific Zircon line. The level three warming filter drops the color temperature to 4,500 kelvin, and the diffusion filter is the lowest strength available.

Incredibly portable yet decent battery life too

The Lume Cube 2.0 is very solidly built, with not a hint of creak or flex anywhere. It’s also impressively small. Even with a modification frame attached it’d fit in looser pants pockets, and you could easily bring two or three in a jacket pocket and almost forget they were there until you needed them.

Given the compact size and relatively powerful output, I was really impressed by battery life, which is a huge improvement on the previous iteration’s 25 minutes. At 100% brightness, I could manage anywhere from 62 to 90 minutes on a charge, depending on whether or not Bluetooth was enabled, meeting the manufacturer spec precisely.

Battery life impresses, and you can charge the lights while using them

And by dropping to 50% brightness, I managed an average of three hours, 38 minutes per charge with Bluetooth active. That absolutely demolishes not only the original Lume Cube’s runtime, but also the spec sheet, which promises only 2.5 hours!

I must say it surprised me that controlling the lights via Bluetooth decreased the battery life as much as it did, though. The good news is that the Bluetooth radio does eventually go to sleep if the light is left inactive for a while. Once fully asleep, it needs to be woken back up with a physical button press before it’ll respond via Bluetooth again.

Fast charging requires a fast, modern USB-C charger and cable

The only place I didn’t come near the manufacturer spec was recharging. Lume Cube’s documentation promises around 45-60 minutes for a full charge, but using the supplied USB-C to USB-A cable and a wide variety of different chargers capable of up to a maximum of 18 watts per port, I was never able to recharge in less than two hours, 49 minutes.

I used three Lume Cubes for this shot. One was unfiltered on a mini-tripod near the bottom front of the cage, and another with bulb diffuser was pointed straight down from a bit above and in front of the birds. Finally, a third was just out of frame right and, in turn, was aimed to bounce off a small folding reflector just out of frame left.

To get near the claimed time you’ll likely need a recent, high-powered USB-C charger with Power Delivery support, as intended for charging laptops and the like, plus a Power Delivery-compatible USB-C to C cable. Unfortunately, I haven’t one to test with myself to confirm the claimed charging time.

Recharge and use your lights at the same time

The good news is that you can charge and use the lights at the same time if you’re within reach of a power outlet. This can potentially extend run times a lot, especially if you can switch off entirely or dial the brightness down significantly while setting up and between groups of shots.

I did just that while working to get the shot of my pet parakeets above, avoiding having to stress the birds any more than was necessary.

Note, though, that it’s not recommended to go above brightness level 80 while also charging. This is likely due to heat concerns, as after extended periods at 100% power, the Lume Cubes can get uncomfortably hot to the touch even without charging at the same time. (Not enough to burn instantly, but enough that you couldn’t persuade me to hold my finger on it.)

So long as you’re not in direct sunlight, the Lume Cube 2.0 is sufficiently bright for daytime use at shorter distances. Compared to the unlit shot (left), a Lume Cube at arm’s length (right) not only fills in shadows, but is strong enough to cast its own.

Best for smaller subjects or in lower ambient light

The Lume Cubes’ small size is great in terms of portability, but it comes at the expense of daytime usability. For what they are, these are pretty powerful lights but they’re simply no match for full sunlight, where they struggle to fill in shadows even at full power from just a couple of feet away.

A small reflector would be a better choice here, using the sun’s own power to provide light where it’s needed. In full shade or even indirect sunlight, though, even just a single Lume Cube can make quite a noticeable difference, so long as it can be kept fairly close to the subject.

That makes it quite well-suited to things like head-and-shoulders portraits, selfies and talking head video capture, and so on. And once you take the sun out of the equation, shooting indoors or at night the Lume Cubes really shine, if you’ll pardon the pun.

This image required just a single Lume Cube. I positioned the camera directly above the cash, then put a sheet of glass at a 45-degree angle in between. I bounced the light from a single unfiltered Lume Cube off this, and shielded the subject from direct lighting.

Up next, let’s take a look at the Lume Cube 2.0’s accessory mounting system, and its Android / iOS app experience, before wrapping up with a final conclusion.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T4 initial review

26 Feb

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All product photography by Dan Bracaglia

The Fujifilm X-T4 is the company’s latest high-end photo and video APS-C mirrorless camera. It brings in-body stabilization, faster shooting, improved autofocus and a larger battery to the already very capable X-T3.

Fujifilm says that the X-T4 is a sister model to the X-T3, rather than a replacement, which is borne out by the specs and pricing. It’s a 26MP camera capable of 20 fps shooting and 4K capture at up to 60p.

Key specifications

  • 26MP BSI CMOS sensor
  • In-body image stabilization (up to 6.5EV correction)
  • 20 fps shooting with AF (15 with new mechanical shutter)
  • 4K video (DCI or UHD) at up to 60p
  • 1080 video at up to 240 fps, output as 4-10x slow-motion footage
  • Fully articulated rear touchscreen
  • 3.68M-dot OLED electronic viewfinder (up to 100 fps refresh rate)
  • New NP-W235 battery rated to give 500 shots per charge
  • Dual UHS-II card slots
  • USB-C type connector allowing USB PD charging
  • 12 Film Simulation modes, including Eterna Bleach Bypass

The X-T4 will be available body-only at a price of $ 1699, which represents a $ 200 premium over the original list price of the X-T3. It will also be available as a kit with the 18-55mm F2.8-4.0 OIS lens for $ 2099 or with the 16-80mm F4 OIS WR for $ 2199.

The X-T4 is expected to ship this Spring.


What’s new and how it compares

Image stabilization, a bigger battery and faster continuous shooting, but also a bigger price tag. How does the X-T4 measure up to its rivals?

Read more

Body and controls

There have been a number of tweaks and refinements made to the X-T4’s body. We take a look and compare with the X-T3.

Read more

Video capabilities

The biggest difference is the addition of stabilization but there are a few more tweaks to the video side of the camera.

Read more

Initial impressions

The X-T4 splits the difference between the X-T3 and the older X-H1. It might be videographers that most benefit from upgrading.

Read more

Sample gallery

We’ve been shooting with the X-T4 for the past few days. Here’s some of what it can do.

See more

Articles: Digital Photography Review (dpreview.com)

 
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Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review

26 Feb

The post Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

When I was offered the chance to review the Laowa 65mm f2.8 2X Ultra-Macro APO lens, I must admit I wondered what all the fuss was about. From a quick look, it appeared roughly the same size and price as the Fujifilm 60mm f2.4 R macro lens – but it is a manual focus lens.

Then I realized I had misread the specs – this is not a 1:2 macro like the Fujifilm XF 60mm f2.4 R lens, where objects appear half their size on the sensor. Nor is it a true 1:1 macro like the Fujifilm XF 80mm f2.8 R LM OIS WR lens, where objects appear their actual size. The Laowa Ultra Macro lens boasts 2:1 magnification. That’s right! It can take photos where objects appear up to twice their actual size.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

The Laowa 65mm f/2.8 2x Ultra Macro APO lens mounted on my Fujifilm X-T2.

In this gear review, I put the Laowa 65mm f2.8 2x Ultra Macro APO lens through its paces on my Fujifilm X-T2. If you’re not a Fujifilm shooter, keep reading anyway, Laowa has released lenses for many full-frame and APS-C mount systems.

Background

Venus Optics has made Laowa lenses in China since 2013. Most of the lenses they’ve created so far have been for full-frame cameras. Their line-up boasts an impressive range of lenses, including fisheye (fancy a 4mm f2.8 lens?), probe, ultra-wide, and ultra-macro lenses for a variety of camera systems.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

These flowers are tiny, measuring less than 10mm (3/8 inch) across. I found the bokeh of the lens to be very pleasant. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

 

The Laowa 65mm f2.8 2X macro APO is the first macro lens that Venus Optics has launched for non full-frame cameras. While this review is for the Fujifilm X-Series mount lens, it’s also available for two other mirrorless camera systems: the Sony E-mount and Canon M-mount.

Laowa specs

Let’s take a look at the specs for this lens, the Laowa 65mm f2.8 2x Ultra Macro APO.

  • The focal length is 65mm, which is approximately 97.5mm in a full-frame equivalent when you take into account the 1.5 crop factor of APS-C cameras.
Image: A light blue soldier crab on the beach. It’s a wonder I managed to get a shot like this, thes...

A light blue soldier crab on the beach. It’s a wonder I managed to get a shot like this, these little guys move so fast, and they don’t like people! I had to prefocus before the crab came into view. Adults measure 25mm (1 inch). Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

  • 2x Ultra Macro refers to the magnification of this lens – it’s possible to take images where objects appear twice as large on the sensor as real life.
  • Typically, a macro lens is considered a true macro when it achieves 1:1 magnification. So with double that magnification, it seems the Laowa offering is worthy of the title “ultra macro.”
  • APO stands for apochromatic optical design. The lens has 14 elements in 10 groups, including three extra-low dispersion glasses to minimize chromatic aberrations across the frame.
  • Apertures range from f/2.8 to f/22, which you control via the aperture ring on the lens. It focusses from 17cm (2X life-size) to infinity.
Image: Close up of the peeling paintwork on a boat. Even when shooting at f/16, you won’t be able to...

Close up of the peeling paintwork on a boat. Even when shooting at f/16, you won’t be able to achieve a wide depth of field at such a short working distance with macro lenses. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

 

The Laowa is slightly bigger in size and weight to Fujifilm’s 60mm macro lens, but is still very compact. It measures 57mm in diameter, 100 mm long, and weighs 335g. It takes 52mm filters.

What’s in the box

The lens comes attractively packaged in a sturdy box. Rather oddly, the lens seems to have two different names. On the website, it’s the Laowa 65mm f2.8 2X Ultra-Macro APO lens. On the packaging and on the lens itself, it’s the CF 65mm F2.8 CA-Dreamer Macro 2X.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

The lens is attractively packaged and is all metal, apart from the plastic lens cap.

Removing the sleeve from the box, there’s an illustration of the lens on the lid. Inside the box, there’s plenty of foam to protect the lens, which comes wrapped up in a plastic bag with a drawstring.

Build quality

The build quality of the lens – especially at this price point – is excellent. Unlike many other lenses at this price point that are plastic, this lens is an all-metal construction. Even the lens hood is metal, with only the lens cap being plastic.

Using the lens

The Laowa 65mm f2.8 2X macro APO is a manual focus lens – there’s no communication between the lens and the camera body. You achieve focus by rotating the lens until the subject comes into focus.

Given that the lens has quite a wide range of magnification (from infinity to 2x life-size), sometimes it feels like you are twisting the barrel quite a lot to get your subject in focus at different distances.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

Select your aperture on the lens and twist the barrel to achieve focus.

If you’re new to manual lenses, don’t be put off. A lot of macro photography work is done using manual focus, anyway.

At first, I did find it difficult to determine exactly what was in focus and what wasn’t, but this is more due to my eyesight more than anything else. As soon as I turned on focus peaking on my X-T2, things became much easier. I did find that at very close distances, focus peaking didn’t seem to work at all.

When using the lens, remember to check the barrel to see which aperture you’re using. As there’s no communication between the lens and the camera body, this won’t show up in your viewfinder display.

You may also want to keep notes on which apertures were used for your images, as these won’t record in the metadata either.

The lens has a nice click as you change aperture across the range. My only issue is that the settings for f/16 and f/22 do look a little alike at first glance due to the design of the indicators.

Depth of field at even the narrowest aperture of f/22 is very shallow when shooting up close. You may want to consider focus stacking to get a sharp image across the frame.

There are some stunning sample images on Laowa’s website, but I’d guess they achieved them with both focus stacking and possibly even extension tubes.

Image: Boats on the beach. I’m really happy with the sharpness, colors, and contrast of the images t...

Boats on the beach. I’m really happy with the sharpness, colors, and contrast of the images taken with this lens. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Image quality

I’m really impressed with the image quality of photos taken with this lens. As well as being sharp, they display good color and contrast.

I took the lens down to my local beach and took a lot of images of boats, items on the beach, as well as very fast-moving soldier crabs. I took the images of the boats handheld but shot the close-up images using a tripod and remote release. These two items are essential when working at such close distances, where shutter speeds may be slower than 1/60 second, and where any tiny movement may blur the shot or change focus.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

Boat close-up shot. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

Rope detail. For this second shot, I moved my tripod to the minimum focus distance to get this shot. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Value for money

The lens sells for around $ 399 USD. This is very good value considering the image quality, and build quality, and the fact that you’re unable to achieve this magnification with any other lens available at present.

Conclusion

The Laowa 65mm f2.8 2X Ultra-Macro APO lens boasts some impressive specifications. The most impressive, of course, is its ability to produce images of objects that are up to twice their actual size.

Image quality is very good, I’m happy with the results the lens gave me on my Fujifilm X-T2. Photos were sharp and displayed good color and contrast.

The lens is light and compact, has an excellent build quality, and is competitively priced.

Although I’m not a specialist macro photographer, I really enjoyed using the lens. If you enjoy shooting macro images, I’d recommend giving it a go. It’s certainly a great lens for flora and fauna enthusiasts, keen to get up close to the action.

Image: I took the lens down to my local beach to see what I could photograph up close. Pine cone on...

I took the lens down to my local beach to see what I could photograph up close. Pine cone on the beach. I was impressed with the results from this lens. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

You may also like:

  • Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount
  • Review of the Venus Laowa 15mm F/4 Wide Angle Lens for Landscape Photographers

 

The post Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.


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DPReview TV: Nikon D780 review

22 Feb

The Nikon D780 is a two-trick pony: it combines the great DSLR experience of Nikon’s D750 with some of the great mirrorless features found on the Z6. Does it manage to do both well? Chris and Jordan seem to think so.

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  • TrianglePlace
  • Introduction
  • Lenses used
  • Sample photos
  • Body and controls: D780 vs. D750
  • Battery and charging
  • Long exposures
  • Sensor
  • Autofocus
  • Video
  • Who's it for?

Sample gallery from this episode

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DPReview TV: Leica Monochrom M10 review

21 Feb

The M10 Monochrom is Leica’s newest dedicated black and white rangefinder camera. Is it a street photographer’s dream come true? Chris and Jordan take it to the mean streets of Calgary to find out.

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  • Introduction
  • Lenses
  • Sample images
  • Handling
  • Appearance
  • Low light image quality
  • Protecting highlights
  • Rear dial
  • M10 weaknesses
  • Color filters
  • Conclusion

Sample gallery from this episode

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Review: Timelapse+ makes day-to-night time-lapse sequences easy

16 Feb

Even if you’re only a casual time-lapse photographer then you probably know how challenging it can be to shoot a time-lapse sequence that involves drastic changes in lighting conditions. For example, sequences shot during periods of time covering sunrises, sunsets, moonrises and moonsets are difficult because a single set of exposure parameters won’t work for the entire sequence. It’s also unlikely that your camera’s Auto Exposure mode will give you proper results, especially during low light conditions.

That’s where the Timelapse+ View intervalometer, a device designed to automate day-to-night time-lapse sequences, comes in. It retails for $ 399 and it includes Timelapse+ Studio, a Lightroom plugin for processing the timelapse sequences. Studio is also sold separately for $ 49.

I started photographing astronomical observatories 12 years ago. Whenever I needed to leave my camera unattended I would expose for the nighttime conditions (mainly considering the Moon’s brightness) and start my time-lapse sequence before sunset. The sequence would start completely overexposed but would become correctly exposed as it got darker. I would then try to salvage as many evening and morning twilight frames as possible by reducing the exposure value and recovering highlight information in post-processing. (More on how to do this in the Timelapse+ Studio for Non-Ramped Sequences section below.)

These time-lapse sequences illustrate the challenge that the Timelapse+ View aims to solve. I optimized the exposure to correctly capture the night sky, but as a result the afternoon and morning sequences were completely overexposed. Paranal Observatory, Chile. (Nikon D700 and Nikkor 14-24mm F2.8)

Timelapse+ View (the hardware)

All that hassle and limitation can be eliminated with the use of an exposure ramper, a device that progressively changes the exposure according to the lighting conditions. Some devices require that you know beforehand how the light is going to change as a function of time (that is, a light curve) and program the device accordingly. For changes involving the Sun and the Moon, this light curve will depend on the day of the year and your latitude on Earth. Consequently, a lot of trial and error might be required.

The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing. Then it predicts the correct exposure for the next frame and sets it accordingly on the camera.

With the Timelapse+ View you can correctly expose the first frame of a sequence and let its auto ramping mode do the rest of the work. The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing. Then it predicts the correct exposure for the next frame and sets it accordingly on the camera. At the same time, the View ignores transient sources of light such as headlights.

With the Timelapse+ View you can correctly expose the first frame of a sequence and let its auto ramping mode do the rest of the work.

The View has an internal battery which can be recharged via a Micro-B USB cable connected to a power device or AC outlet adapter. It sits on the camera hot shoe and is connected to the camera via a USB cable (simultaneous multi-camera control is supported via an optional USB port). The View works with many camera models from Nikon, Canon, Sony, Panasonic, Fuji and Olympus, and works with most motion control systems for shoot-move-shoot functionality and motion keyrame integration. It writes image files to either the camera memory card or to an SD card in the unit itself.

Exposure ramping a day-to-night sequence

To shoot a day-to-night sequence, one sets the camera to the lowest ISO and the appropriate shutter speed, making sure that no highlights are clipped. This initial setup will ensure that the sequence will not be overexposed. Since I always shoot in Raw I leave the white balance set to Auto (AWB) and edit the values in post-processing. (See below to learn how to edit a varying White Balance with Timelapse+ Studio.)

You can program the View with its intuitive menu but I prefer to use the free TL+View app (iOS and Android) to program, monitor, and even override my time-lapse sequences. The View can also be controlled from a web-based app on any device with a web browser.

In the first video example below, I captured a fisheye time-lapse sequence of night falling in Nashville for a planetarium show produced by Chicago’s Adler Planetarium. The most natural way of viewing circular fisheye photography is by projecting it on a dome. This results in an immersive experience putting the viewer at the center of the action.

Left: Out-of-camera sequence from a Nikon D810A controlled by the Timelapse+ View exposure ramper. The shutter speed changed from 1/250 sec to 5 sec. Right: The same sequence processed with the Timelapse+ Studio plugin to smooth out exposure changes and gradually change the white balance. Nashville, Tennessee.

For this sequence I set up a Nikon D810A with a Fisheye-Nikkor 8mm F2.8 AI-s lens by the Cumberland River in downtown Nashville. I chose an initial shutter speed of 1/250 sec and ISO 200 (with a fixed F8 aperture) and used the View’s Auto Day/Night interval mode. I set the (initial) ‘Day’ Interval to 5 sec, the ‘Night’ Interval to 10 sec, and chose Speed and ISO Auto Ramping (Aperture ramping mode is also available on the View).

In the Speed and ISO Auto Ramping mode, the View will gradually increase the exposure time and interval between exposures as night falls. ISO values will increase when the exposure time approaches the interval. In the Nashville sequence, the final shutter speed was 5 sec with an interval of 7 sec. It is interesting that during the sequence the ISO gradually decreased from 200 to 100. That’s because, whenever possible, the View will use the longest exposure (for a smoother motion) and lowest ISO (for a lower noise), even if this does not change the resulting exposure.

The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing.

I later learned that one can set a mimimum ISO. Setting this to 200 would have prevented the D810A from going into its extended (non-native) ISO range (below 200). According to the developer, only native ISO values should be used since going below the lowest native ISO could cause loss of highlights.

While a time-lapse sequence is in progress you can preview the sequence on the unit’s screen by using hand gestures. This nifty feature lets you control the sequence playback without ever touching the unit, and unintentionally moving the camera. Of course, you can also preview and monitor the sequence remotely using the TL+View mobile app or web-based interface (connected via Wi-Fi, either locally or over the internet). Furthermore, if you need to tweak the sequence settings, the app lets you make changes spread over a determined number of frames, resulting in a smooth change.

You can preview your time-lapse sequence on the built in screen using hand gestures, eliminating the need to physically touch the camera and risk moving it. The View can be programmed with its intuitive menu but I prefer to use the free TL+View app.

On the next page, I’ll explain how to process your images using the Timelapse+ Studio Lightroom plugin.

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DPReview TV: Olympus 12-45mm F4 Pro review

16 Feb

The new Olympus 12-45mm F4 Pro lens promises to be a high quality, compact zoom for Micro Four Thirds cameras. Does it live up to the hype?

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  • Introduction
  • Size and weight
  • Livin' la Bokeh LoCa
  • Sunstars
  • Sharpness
  • Compared to the Panasonic GX 12-35mm F2.8 II
  • Minimum focus distance
  • Conclusion

Sample gallery from this episode

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DPReview TV: Olympus 12-45mm F4 Pro review

15 Feb

The new Olympus 12-45mm F4 Pro lens promises to be a high quality, compact zoom for Micro Four Thirds cameras. Does it live up to the hype?

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Size and weight
  • Livin' la Bokeh LoCa
  • Sunstars
  • Sharpness
  • Compared to the Panasonic GX 12-35mm F2.8 II
  • Minimum focus distance
  • Conclusion

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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