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Posts Tagged ‘REVIEW’

Sony a7R IV review

16 Oct

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Gold Award

91%
Overall score

The Sony a7R IV is the company’s fourth generation, high-resolution full-frame mirrorless camera and is built around a BSI-CMOS sensor that outputs 60.2MP images. Relative to previous generations, it promises more robust build quality, refined controls, the company’s latest autofocus implementation, and more.

Despite its high resolution, it can shoot at up to 10 frames per second with full autofocus and shoot 4K video either from the full width of its sensor or from an APS-C/Super 35 crop. It also gains a 16-shot high-resolution mode that can be used to generate 240MP images of static scenes.

Key takeaways

  • 61.2MP BSI CMOS full-frame sensor
  • Powerful yet easy-to-use AF tracking system
  • 10 fps burst shooting (JPEG or Compressed Raw from 12-bit readout)
  • 5.76M dot OLED viewfinder
  • 4K video from full sensor width (sub-sampled) or oversampled from roughly-Super35 crops
  • 4 or 16-shot high resolution modes (up to 240MP images for static subjects)
  • S-Log 2, S-Log 3 and ‘HLG’ video modes (8-bit only)

As well as an increase in resolution, the a7R Mark IV sees an increase in price: at $ 3499, it’s being launched for $ 300 more than the a7R III was.


What’s new and how it compares

The a7R IV comes with a host of refinements both inside and out – here’s where to find them.

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Body, handling and controls

From redesigned buttons to a deeper grip, the a7R IV feels substantial without weighing you down.

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Is it right for you?

We look at how the Sony a7R IV stacks up for a variety of types of photography.

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Image quality

See how that 60.2MP sensor stacks up in our in-depth look at image quality here.

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Pixel shift image quality

Sony’s Pixel Shift tech allows for up to 240MP files – with some caveats.

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Autofocus and performance

Thanks to an advanced (and really good) autofocus system, the a7R IV is capable of shooting far more than just landscapes.

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Video

The a7R IV churns out impressive 4K image quality with good video autofocus, but has otherwise fallen a bit behind the competition regarding its full video feature set.

Conclusion

Whether or not you really need the resolution it offers, the a7R IV’s capabilities make it an easy camera to recommend.

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Sample gallery

Check out our sample gallery to see what 60MP of resolution could do for your photography.

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Articles: Digital Photography Review (dpreview.com)

 
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The end of an era? Digital camera review site Imaging Resource set to close

12 Oct

We’re sad to report that Imaging Resource, one of our most longstanding (and very friendly) competitors is set to close at the end of 2019, after more than 20 years. In a lengthy message to friends in the industry, founder Dave Etchells confirmed that while the site will remain available through at least spring next year, content production will most likely cease in the coming months.

Imaging Resource and DPReview grew up together in the early days of consumer digital imaging, and although many of our respective readers might imagine that we’ve had a competitive relationship, the truth could not be more different. The photo industry is, by and large, a friendly and close-knit community. A community of nerds, sure. And not a few misfits, but bonded together over a common interest in photography and technology. As king of the nerds (and I know he would have no problem with me saying that) Dave has been a central, and literally towering figure for 20 years.

Although many of our respective readers might imagine that we’ve had a competitive relationship, the truth could not be more different.

We have worked closely with Dave and his team of writers since our respective sites were in their infancy. Just personally, I’ve had the pleasure of accompanying Dave on several factory tours, including some where we were the only two journalists present. Along the way we’ve shared notes, resources (you’ll find our images in Dave’s recent Sigma factory tour article, and a lot of Dave’s insights in ours!) and of course a lot of hangovers.

I hope that there are still a few shared hangovers ahead of us, because the chances of Dave and his team leaving the photo industry entirely seem extremely thin (it’s kind of like the mafia, in that respect). And on that note, we’ve been in communication with Dave about I.R.’s pending closure for some time, and I’m hopeful that we can play a part in continuing its legacy going forward into the future.

For now, I hope you’ll join me, and everyone at DPReview in wishing Dave and his team well, and we invite you to leave thoughts, best wishes and memories in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z50 initial review: What’s new, how it compares

11 Oct

The Nikon Z50 is a 20MP mirrorless camera: the first time the company has put an (unstabilized) APS-C sensor behind its new, larger ‘Z’ lens mount. The company says the camera is designed to attract a generation of users who don’t consider themselves to be photographers.

Alongside the camera, Nikon has announced two lenses designed for this sensor size: a 16-50mm F3.5-6.3 collapsible standard zoom and a 50-250mm F4.5-6.3 telephoto zoom – both with built-in image stabilization (which Nikon calls Vibration Reduction).

Key specifications

  • 20.7MP CMOS sensor
  • Twin control dial interface
  • Up to 11 fps shooting with AE/AF, 5 fps with live view
  • 4K video at up to 30p
  • 2.36M-dot OLED viewfinder
  • Rear touchscreen tilts up by 90° or down by 180°
  • Bluetooth-enabled Wi-Fi (via Snapbridge app)
  • Creative Picture Control effects

Correction: The original version of this article stated the 4K video would be cropped. We are told this won’t be the case on production cameras.

The Z50 will be available for sale from November, with an MSRP of $ 860, body-only. Adding the 16-50mm zoom takes the price to $ 1000 and a two-lens kit with both DX zooms takes the list price to $ 1350.

The Z50 is compatible with the FTZ mount adapter, allowing it to use F-mount DSLR lenses. The adapter is not included in any of the kits announced so far.


What’s new and how it compares

The Z50 is Nikon’s first APS-C mirrorless camera. We take a look at what it offers and how it squares up to its rivals.

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Body and controls

We take a look at the new camera and how it operates.

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First Impressions / Shooting Experience

Reviews editor Carey Rose spent a couple of hours shooting with a near-final Nikon Z50.

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Sample Gallery

We’ve shot a series of images using a pre-production Nikon Z50 with a variety of lenses.

View gallery

Articles: Digital Photography Review (dpreview.com)

 
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Review: DJI Osmo Mobile 3 smartphone gimbal

09 Oct

DJI Osmo Mobile 3
$ 119 | dji.com

Over the past few years we’ve seen massive leaps in the quality of video produced by smartphones, allowing content creators to lean more heavily than ever on the devices in their pockets. Whether you’re a vlogger, journalist, budding cinematographer or just a parent who wants to post great videos on Facebook, chances are good that you’re part of this trend.

However, to get the best results, it still helps to use some third party tools. Enter the DJI Osmo Mobile 3, the third generation of DJI’s gimbal stabilization system for smartphones, which can help take your production quality up a level – particularly if you’re the kind of person who shoots while moving around. Let’s take a look at it in more detail.

Key features/specifications

  • Foldable design
  • Hyperlapse and timelapse functions
  • Active tracking
  • Trigger control
  • Bluetooth connection
  • 15-hour battery life

The Osmo Mobile 3 is a drastic overhaul of the company’s predecessor, the Osmo Mobile 2. It joins a lineup of increasingly sophisticated smartphone gimbals from competitors like Freefly, Zhiyun, Gudsen, and others.

Design

The biggest update to the Osmo Mobile 3 is the overall physical layout. Though DJI took most of its design cues from the crowdfunded Snoppa Atom gimbal, the company fundamentally changed two aspects of the look and function of the device.

The first of these is that the Osmo Mobile 3 folds in on itself into a more compact, transportable size. It only uses one joint to achieve this, and all the gimbal’s other axes remain in place. The folded gimbal is slightly larger than an average person’s hand – if detached from the tripod base that DJI ships with the gimbal’s combo package. Once I unfolded the arm and figured out the orientation, I wasn’t bothered by anything related to this design change; it seems a useful update that makes the gimbal more compact.

The foldable design is made possible by the second, and perhaps more notable, change to the design: the sideways orientation of the phone-holding arm. DJI has placed this arm to the right of the device rather than behind it, bucking the typical design shared by most other smartphone gimbals on the market.

The Osmo Mobile 3’s folding design makes it compact for travel (seen here in its included case).

This change will likely require a bit of muscle-memory adjustment for gimbal operators used to the more standard back-arm design. The difference became most apparent for me when I tried to get shots close to the ground. I was used to leaning the gimbal forward and away from my body to achieve this, but that didn’t work with the Osmo Mobile 3, it must be leaned to the side for a similar effect.

A common complaint about the Osmo Mobile 2 was that the arm location blocked access to the phone’s headphone jack and charging port. The sideways arm on the Osmo Mobile 3 fixes those problems, now allowing access to both. A tradeoff, however, is that the phone needs to be balanced each time it’s placed in the gimbal. The Osmo Mobile 2’s use of counterweights meant that once the user balanced their mobile device, they could take it on and off without needing to adjust each time. The Osmo Mobile 3 doesn’t have this option, though balancing the phone along a single axis seemed to be a pretty quick process.

The button layout on the Osmo Mobile 3 is unchanged from its predecessor. The sideways orientation of the gimbal arm is a change from the Osmo Mobile 2.
A new front trigger makes it easy to switch between sport modes and free the gimbal from responsiveness. The gimbal allows for both USB A and C attachments and can charge a mobile device while in use.

DJI also added a trigger to the back of the gimbal handle. This is a welcome addition. It allows access to useful functions in a place that makes ergonomic sense. Depending on whether it’s clicked or held down, the trigger enables ‘sport mode’, a setting that makes the gimbal more responsive to your movements. It can also pause the gimbal’s responsiveness entirely, helpful to maintain framing.

In use

The experience of using the Osmo Mobile 3 cannot be separated from its app, DJI Mimo. This app is also used on other DJI devices and it’s quite intuitive. It connects to the mobile device via Bluetooth, eliminating further cables. The Mimo app introduces manual camera controls to your phone, essential for creating more professional-looking content. It also allows for other creative camera modes.

The Osmo Mobile 3 complete with phone displaying the Mimo App interface.

DJI updated its Active Track software on the Osmo Mobile 3, which keeps the camera trained on a subject selected by the user. I’ve found two ways to effectively use this feature. In the first, the gimbal stays stationary and the camera pans and tilts to keep the subject in frame. This could be a useful feature for vloggers and self-filmers as they move at slow to medium speeds throughout the frame. This tracking does not do as well with fast-moving subjects however.

The second way I’ve found active track useful is by training the camera on a subject and moving the gimbal itself. This eliminates the need to track your subject with hand movements or the joystick and can introduce cinematic camera movement along multiple axes.

DJI’s Active Track feature is effective at automatically tracking and following subjects – as long as they don’t move too quickly. (Captured with an iPhone 8)

The Mimo app also offers panorama photo modes, gesture controls, timelapse modes, and an amazingly impressive hyperlapse feature. The combination of the Mimo app’s software stabilization with the Osmo Mobile 3 gimbal stabilization results in a final video that makes me seriously regret the many hours I’ve spent moving tripod legs inches at a time to create a similar effect.

Despite these cool features, there are a few elements of the Osmo Mobile 3 that have me particularly disgruntled. The first is the rounded base and forward-leaning handle. This makes it impossible to stand the gimbal up on a flat surface without using the tripod included in the more expensive combo package, perhaps an intentional move by DJI. The tripod does hold the gimbal upright, but it also adds significantly to the device’s footprint – one that’s marketed as small and portable.

The Osmo Mobile 3’s hyperlapse feature works effectively. (Captured with an iPhone 8)

Another annoyance I’ve found is that the Osmo Mobile 3 doesn’t allow full 360-degree rotation as the gimbal will reach an end point while spinning. There is also no option to toggle between the phone’s forward and rear-facing cameras while recording in the Mimo app, though this can perhaps be addressed in a future software update.

Is it right for you?

Overall, the Osmo Mobile 3 is a fun new upgrade to the Osmo Mobile line that can be useful for certain applications. To me, one of the most obvious uses would be live-streaming. With the addition of an external microphone, I foresee the Osmo Mobile 3 making waves in live news, conferences, vlogging, and more, where a phone is the easiest way to distribute high-quality, live video. DJI does need to fix some issues here, though, like not being able to switch between rear and forward cameras while recording within the Mimo app.

The gimbal would also be great for those who want to up the quality of their vacation or family home videos without shelling out for a new camera (and possibly new camera gimbal).

For smartphone gimbals like the Osmo Mobile 3 to get more popular with serious filmmakers, however, I think we still need a drastic shrinking of size. The biggest draw of shooting on a phone is that it’s always with you. Once everything is set up the Osmo Mobile 3 with a smartphone is only slightly smaller than its mirrorless equivalent, which generates an exponentially better image.

For the rest of us, however, the Osmo Mobile 3 is a fun device that provides effective stabilization and software tools, and one that doesn’t require you to be an expert filmmaker to use.

What we like:

  • Folding design significantly reduces size
  • Gimbal can charge mobile device
  • Impressive hyperlapse function
  • Active track works well for a product at this price point
  • Arm design allows microphone attachments (unlike Osmo Mobile 2)

What we’d like to see improved:

  • Gimbal needs to be balanced each time phone is attached
  • Base of gimbal doesn’t allow device to be set down without a tripod
  • Sideways gimbal arm orientation takes getting used to

Articles: Digital Photography Review (dpreview.com)

 
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Review: Sony A7R IV Mirrorless Camera

09 Oct

The post Review: Sony A7R IV Mirrorless Camera appeared first on Digital Photography School. It was authored by Anabel DFlux.

Sony-A7r-IV-review

Having just purchased the Sony A7r III earlier this year, I didn’t expect to add another camera to my collection so quickly. Until… the Sony A7r IV announced it was on pre-order. Typically, I will not invest in yet another body unless something truly monumental comes about, and this was such a situation. The A7r IV is a piece of machinery unlike any other – and I don’t regret a single dime spent. This Sony A7r IV review will explain why.

Mirrorless versus Digital 

Review: Sony A7R IV Mirrorless Camera

By now, 2019, many photographers are well aware of mirrorless cameras invading the digital photography market. Just to refresh on some of the key differences in technology between DSLRs/SLRs and mirrorless cameras… 

Mirrorless cameras, as the name suggests, does not utilize a mirror to reflect the image to the viewfinder. The way that a digital camera works is that a mirror inside the camera reflects the light up to the optical viewfinder. This is also how you see the image before you take it.

In a mirrorless camera, the imaging sensor is exposed to light at all times. This gives you a digital preview of your image either on the rear LCD screen or an electronic viewfinder (EVF). This allows you to see exposure changes in real-time on a mirrorless camera. The lack of a mirror also aids in the camera’s size, allowing the mirrorless model to be smaller and lighter than a traditional DSLR.

DSLR aficionados don’t trust the digital viewfinder portrayal in mirrorless cameras as this is system-based, while the DSLR uses a practical application to show a true-to-life, through-the-lens optical viewfinder system. This uses a series of mirrors to reflect light to your eye. However, as a new mirrorless user, I can testify that the electronic viewfinder display is extremely accurate to the image I create when clicking the shutter button. 

In regards to quality, both can excel in optical quality, image sensors, technical aspects, and adeptness at shooting conditions. Both are equally spectacular, with each model having its own pros and cons (of course). It does come down a lot to personal choice.

Specifications

Sony-A7r-IV-review

Now that we’ve gotten that out of the way, let’s get back to the drool-worthy A7r IV. The specifications of this newest member to the Alpha line is what made me fall out of my seat and need to order this model.

And it has not disappointed.

A true feat of modern technology, it includes the following specs:

  • A whopping 61 MP, 35 mm full-frame Exmor R™ CMOS and enhanced processing system. This produces an image sized at 9504 x 6336. For landscape and commercial photographers, the a7r IV features a 240MP pixel-shift mode.
  • ISO 100–32000 (ISO numbers up from ISO 50 to ISO 102400 can be set as expanded ISO range.)
  • Fast Hybrid AF with Wide (567-points (phase-detection AF), 425-points (contrast-detection AF))/Zone/Center/Flexible Spot (S/M/L)/Expanded Flexible Spot/Tracking (Wide/Zone/Center/Flexible Spot (S/M/L)/Expanded Flexible Spot) The focus modes include AF-A (Automatic AF), AF-S (Single-shot AF), AF-C (Continuous AF), DMF (Direct Manual Focus), Manual Focus.
  • Eye-start AF, Lock-on AF [Still] Human (Right/Left Eye Select)/Animal, [Movie] Human (Right/Left Eye Select), AF micro adjustment, and predictive AF control. 
  • High-speed continuous shooting of up to 10fps12 with AF/AE tracking.
  • 5-axis image stabilization with 5.5-stop exposure advantage20.
  • 4K video in full-width and crop modes.
  • Dual card slots with simultaneous or consecutive recording.
  • Silent Shooting Mode.
  • You can operate the camera via newly supported wireless PC Remote functions via Wi-Fi.

Sony-A7r-IV-review

Much like the other models in the Alpha line, this camera is an E-mount that only accepts E-mount lenses (unless you use an adapter). The awesome thing about E-mount, though, is that many brands (alongside Sony) make lenses for it, including Zeiss, Sigma, and Tamron.

Build 

Sony-A7r-IV-review

I did not expect a redesign of the A7r IV body. Silly me! I expected a perfect replica of the A7r III with more advanced technology. In fact, the A7r IV has improved upon its predecessor’s body and ergonomics. They have changed the design, proving that Sony listened to photographer complaints and suggestions when redesigning this camera.

Firstly, the grip is different. Sony modified the contour, and the grip has deepened – for lack of a better term. I found it to be much more comfortable, and my hand cramped less during prolonged use (photographers, you know what I’m talking about here).

The camera grip reminded me of my large DSLRs rather than a mirrorless, and I liked that a lot. While I have small, feminine hands, I am sure this new grip design will work nicely with larger hands too.

Sony has also redesigned the buttons. They’re softer and “squishier” to the touch. There is also a redesigned joystick and an amended exposure compensation dial that now includes a lock button (thankfully!).

Sony-A7r-IV-review

A big change is the card slot door. The new card door no longer needs a lock lever. Just pull straight back like Canon and Nikon. This provides a much tighter seal as well. Oh, and speaking of cards…Slot 1 is now on the top, not backward like the A7r III (which constantly confused me).

The Sony A7r IV is sized at 5.07 x 3.8 x 3.05″/128.9 x 96.4 x 77.5 mm and 1.46 lb/665 g.

Ease of use 

Sony-A7r-IV-review

In my brain, Sony Alpha and ease-of-use are synonymous phrases. This camera is quick to set up, even simpler to use, and you can run off and play immediately when the battery is charged. The menu and settings are intended for professionals, but if you’ve been doing photography and understand how a camera works, figuring it out is quick.

I’ve heard complaints about the Sony menu, but I’ve personally not had any problems with it. I easily found everything I needed and do all of my adjustments within about 10 minutes.

This is coming from a Canon user that features an entirely different menu. 

I do wish the eye-tracking mode was an actual button on the camera as you can switch between Human subject or Animal subject. It would be convenient to have this as a button rather than having to dig into the menu to change this feature. I find myself continually changing it back and forth (being both a human and a pet photographer).

Autofocus, sharpness, and clarity 

Sony-A7r-IV-review

Just one word: phenomenal. 

I could end the review with just that one word and be satisfied. However, to go into detail…the autofocus is lightning sharp. Definitely the fastest autofocus of all of my cameras – and I have a lot of them! I find the autofocus to be even faster and more accurate than the A7r III – and that’s saying a lot, as the A7r III is very fast as well. 

I’ve captured dogs running – high speed – directly at my camera without even losing focus on their eyes for a second. That is how superb the eye-tracking mode is. I see a lot of use for this camera in sports photography if you have large enough cards to accommodate the 61-megapixels, of course! You can bring the camera down to 24-megapixels if needed, but that’s no fun.

Review: Sony A7R IV Mirrorless Camera

The predictive AI focus has truly revolutionized the way you can photograph subjects moving erratically or quickly, and I am living for it. This has made my job much easier with pets, or little humans that love to run away from mom!

In regards to sharpness and clarity, (while much of the final quality and look comes from the lens), in this case, the camera plays a big role. This is where the Sony mirrorless cameras begin to stand out significantly. The images are extremely sharp and clear. To some, maybe even artificially so. The look is very distinct. Professional photographers can quite easily pick out a Sony mirrorless photograph from the rest. The 61-megapixels show an immense amount of detail, excellent for commercial and detail work. 

Buffering

Review: Sony A7R IV Mirrorless Camera

Despite the enormous amount of megapixels, the A7R IV can still fire up to 10 frames-per-second with autofocus and autoexposure active. That’s impressive! The camera can keep at this for up to 68 compressed raw images.

Color rendering

Review: Sony A7R IV Mirrorless Camera

With vivid, vibrant, and deep colors, there is little editing I need to do with this camera. Even in low light, the colors tend to be quite true. The dynamic range is superb with 15-stops of dynamic range. I have been able to pull incredible details, colors, and information from darker images. 

Low light capability 

Review: Sony A7R IV Mirrorless Camera

The only gripe I have with this model is the low light capability is not improved over its preceding version. That doesn’t mean that the low light capability is bad – it’s just not better. For a camera that has improved in so many ways, I would have liked to see an even better low light sensor in this particular model.

However, the larger megapixel count does allow for significantly more manipulation, and it hasn’t phased me to take care of noise through a quick flick of the Noise slider in Lightroom. Ideally, it would have been nice not to need to do this.

With that said, I have not personally noticed worse noise at the same ISO levels, as some photographers have reported. The autofocus in low light is superb. It’s great for my concert photography endeavors, and even better than the firmware update on my A7r III.

Battery life 

Review: Sony A7R IV Mirrorless Camera

For battery life, my original frame of reference is my many Canon DSLR cameras. The 5D Mark IV, 5D Mark III, 7D Mark II, and 1Dx Mark II are the models I use. In my experience, Sony batteries are not nearly as powerful or long-lasting as Canon batteries. However, this makes sense, as the power necessary to operate a mirrorless tends to be more draining than the DSLRs due to the mirrorless cameras using a digital viewfinder and LCD display. 

When I purchased my first Sony camera, I went ahead and bought a second battery. The battery is the same as the one that the Sony A7r IV uses, so now I have two additional batteries for it. I am glad that I did because the battery does not last me all day like Canon cameras. I seldom end up switching to a second Canon battery. Even after shooting a dog agility trial for eight hours without turning the body off. On the Sony, I found myself switching the battery mid-day on all-day shoots.

It is key to note I am not using a battery grip. With a battery grip, the power lasts significantly longer. 

However, when comparing to Sony itself, the battery in the newer Alpha series cameras are significantly better and far more superb than previous models. The Sony NPFZ100 Z-Series Rechargeable Battery is no joke – far more powerful than the previous batteries used by the company. 

Final thoughts

Review: Sony A7R IV Mirrorless Camera

Do you need the power of the Sony A7r IV? Generally, probably not. For specialty work? Absolutely. The specifications are very much overkill for the average photographer, but for those that have found a use for its tremendous amount of megapixels or the ease in which the AI focuses, this is absolutely a worthy investment.

It’s likely great enough to sell prior pieces of equipment in order to buy the A7r IV.

I work a lot in commercial photography, and this camera allows me to better produce commercial imagery for my corporate clients – something I couldn’t pass up. 

Would you like to own this camera? Why? Or are you lucky enough to have you tried the Sony A7r IV? What are your thoughts? Share with us in the comments! 

The post Review: Sony A7R IV Mirrorless Camera appeared first on Digital Photography School. It was authored by Anabel DFlux.


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Sigma 45mm f/2.8 Lens for Sony Review

08 Oct

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

The Sigma 45mm f/2.8 DG DN (sony, Leica) is the latest addition to Sigma’s Contemporary lens line. Launched in July 2019, this lens is available as Sony E-mount or Leica L-mount. The latter mount is of particular interest as the new L-mount is compatible with Panasonic and Leica full-frame cameras, plus Sigma’s own forthcoming L-mount mirrorless cameras. I got my hands on an E-mount version and tested the lens with my Sony A7RIII. Here are my thoughts.

Sigma 45mm f/2.8 Lens for Sony E Mount

Specs

The Sigma 45mm f/2.8 lens has a maximum aperture of f/2.8, which may be a disappointment for photographers used to having at least an f/1.8 on their prime lenses. It also is a fairly expensive lens given its $ 549 price tag. However, this lens makes amends when it comes to size and the build quality.

Size

Compared to other Sigma prime lenses such as the Sigma 35mm f/1.4 Art (Nikon, Canon, Sony), this lens is significantly smaller and more lightweight. It weighs 7.5 ounces (half of the aforementioned 35mm) and comes in at less than 2-inches long. This makes the 45mm much more portable and discreet when compared to Sigma’s other Art lens primes that all have an f/1.4 aperture, but are significantly larger and heavier.

This compact size is closer to that of the Canon 50mm f/1.8 and 40mm f/2.8 pancake lens. Both were my longtime favorite prime lenses when I shot with Canon DSLRs. The beauty about this size is that it feels very balanced when attached to a full-frame camera, whether it be my old Canon 5D Mark III or my new Sony A7RIII. With that said, this lens puzzles me when I compare it to other similar lenses that I’ve owned.

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f/2.8 (left), Fujifilm 35mm f/2 (center), and Sony 55mm f/1.8 (right).

Build quality

It’s hard to ignore the design of this lens, which is both visually eye-catching and functional. There are two physical rings – the outermost ring controls the focus and the innermost ring selects the aperture, similar to how a Fujifilm lens performs. Choosing the aperture via the lens can take some getting used to, but it’s a wonderful way to interact with your camera. There’s also a switch to toggle autofocus or manual focus. The lens itself is made mostly of metal, and it includes a lens hood that is also made of metal. There is also weather sealing on the mount of the lens to keep dust and dirt at a minimal.

Shooting experience

45mm is an interesting focal length. It sits comfortably between two of the most popular focal lengths out there: the 35mm and 50mm. Not too wide or too narrow, 45mm gives you a range that feels natural, yet intentional. Autofocus on this lens is fast, accurate, and very quiet thanks to a fast-stepping motor.

If you shoot on a Sony full-frame mirrorless camera, you may also be familiar with the feature of flipping between shooting in full-frame and APS-C mode. While the latter does crop and shrink your images, it gives you the ability to shoot at a slightly zoomed-in focal length. This, in turn, gives you at least two focal lengths to shoot from, and it is one of my favorite features of my Sony A7RIII.

Sigma 45mm f/2.8 Lens for Sony E Mount

Image quality

The images captured by the Sigma 45mm f/2.8 lens result in very consistent color, tones, and sharpness. This lens has a rounded seven-blade diaphragm that renders a smooth, shallow depth of field. There is a minimum focusing distance of 9.4 inches, giving this 45mm decent macro capabilities.

In Conclusion

Overall, I had a very positive experience shooting with this Sigma 45mm f/2.8 lens. The compact size complemented the Sony A7RIII perfectly, making it a very portable unit. I usually have a 24-70mm f/2.8 or 55mm f/1.8 glued to my camera when shooting in low lighting scenarios. Thus, the 45mm’s f/2.8 aperture did not hinder me much. However, there is something to be said about having a faster aperture, especially in low light conditions.

If you enjoy shooting with a versatile prime lens that is reasonably fast but very portable, this Sigma 45mm f/2.8 lens might be the lens for you.

What are your first impressions of the Sigma 45mm f/2.8 lens? Would you purchase it? Why or why not?

Sample photo gallery

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f/2.8 Lens for Sony E Mount

 

Sigma 45mm f/2.8 Lens for Sony

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Review of PhotoWorks: a Fresh and Fast Photo Editor for PC

06 Oct

The post Review of PhotoWorks: a Fresh and Fast Photo Editor for PC appeared first on Digital Photography School. It was authored by Glenn Harper.

PhotoWorks is an image editor with a fresh, clean interface and a set of tools that work intelligently to get the best from your photos. It helps you turn drab files into spectacular pictures within a few clicks – sometimes only one! The software’s Portrait Magic technology uses face recognition to add expert retouching edits to your photos. A host of other handy features make the PhotoWorks photo editor for PC an enticing proposition.

PhotoWorks interface

The histogram is a constant when you edit in PhotoWorks. It’s good to see a program that knows its value.

Who’s it for?

Automatic photo editing is the forte of PhotoWorks, but the software doesn’t do everything. It doesn’t offer the huge toolbox that many other programs do, with so much thrown in that you have to rummage endlessly to find what you want. It’s designed for ease of use and speed, which will appeal to beginners and casual photographers but might catch the eye of a few veterans, too.

photoworks-photo-editor-for-pc

The clean, minimalistic interface of PhotoWorks. All edits are memorized by the software, so they’re non-destructive.

In this review, I’ll look at everything PhotoWorks has to offer. I feel like I’ll enjoy it because this photo editing software for PC isn’t an unwieldy monster with innumerable needless features. PhotoWorks seems knowable from the first time you open it. You can jump in without facing a steep learning curve, though there are good tutorials available online if you need help. Let’s see what it can do.

Opening raw files

Raw files are always an obvious place to start when reviewing a photo editor for PC. Can PhotoWorks handle them? It’s not billed as a raw processor, but it does open most proprietary raw files in addition to Adobe’s standard DNG files.

When you open raw files in PhotoWorks, you have the option of applying one of six profiles to them: Default, Auto Enhancement, Landscape, Portrait, Sunny Day or Black & White. With the Default profile, all the settings in PhotoWorks are zeroed when you open the file, whereas the others are Presets with adjusted sliders.

photoworks-photo-editor-for-pc - raw conversion

You’re presented with six starting points when opening raw files. The default conversion opens automatically on the page.

PhotoWorks is really a pixel editor. It converts individual raw files quickly and the quality is okay – good, even – but problems like chromatic aberration (CA) and chroma noise are present if you examine images at 100%. Should you view images at 100%? Only if you’re creating big prints or trying to impress third parties with technical quality. And if you’re doing that, you may not belong to the target market for this software, though PhotoWorks has potentially wide appeal.

chomatic abberation - CA

PhotoWorks does not currently fix chromatic aberration or purple fringing. If you’re the type of photographer who scrutinizes image quality and needs impeccable files, you could run them through a dedicated raw converter first.

By pairing PhotoWorks with a separate raw processor (e.g. RawTherapee, Darktable), “serious” photographers could have the basis of an efficient workflow. That’d be good for, say, wedding photographers, who would also benefit from the software’s intelligent retouching capabilities. We’ll look at those in more detail later, but for now, it suffices to say they’re good.

Saving the PhotoWorks way

Not long after firing up PhotoWorks, you’ll notice there’s no way to close images. This is unusual, to say the least, but it’s another form of streamlining. You can save edited files and move onto the next image. Your edits are stored, even if you move on without saving, and you have the option of resuming them or starting afresh when you go back to the file. This is true even if you close the program. Edits are non-destructive.

Both Save and Fast Export let you export a separate copy of the edited file in the format of your choice, the main difference being that you choose the format beforehand with Fast Export. You can select from JPEG, TIFF (8-bit compressed), PNG and BMP.

Enhancement

The Enhancement tab is where you make changes to color and tone in your image. It includes an Auto Correction feature that aims to transform your photos in a single click, but you can alter its effect if you want. For instance, let’s say you’re already happy with the tonal range but would like more color, you could switch off the dynamic range and add vibrance to Auto Correction. Plus, there’s a slider that adjusts the strength of the auto effect.

PhotoWorks image enhancement

PhotoWorks includes a blue sky enhancement, which makes it easy to deepen the blue of the sky whilst also warming the photo up. Those two edits are normally at odds with each other.

Most of the color and tone sliders you’d expect to find in top-end software are in the Enhancement section of PhotoWorks under the Main tab. They give you as much manual control as you want. The workspace is so tidily laid out that it puts some established photo-editing brands to shame. The design is thoughtful and user-friendly, and it makes you want to linger. You even get to suggest features you’d like to see.

Two more tabs under Enhancement are Colors and Sharpness. The first lets you adjust hue, saturation, lightness (HSL) and color balance. The Sharpen tool is basically an unsharp mask, and there’s a blur section where you could create dreamy soft-focus effects or counteract over-sharpening. It’s all useful stuff, and the confusing terminology is notably left out.

photoworks-photo-editor-for-pc-sharpening-the-blur-tool

A slightly de-sharpened image focuses attention on form rather than detail. That’s where the PhotoWorks Blur tool is useful. It works well with busy compositions.

Tools

Move along to the Tools tab in PhotoWorks and a carefully selected set of powerful tools reveals itself to the right of the screen. There are not a hundred little tool icons as with complex programs. Some of the tools, like Curves or Tone Mapping, offer an alternative and perhaps more advanced way of working with your pictures. Seasoned photographers will be familiar with these features.

Crop

The PhotoWorks crop tool includes a modern set of aspect ratio presets that fit today’s devices or social media pages perfectly. Of course, you can also use the original aspect ratio, choose a different ratio or crop the photo freely. There’s nothing much missing here. You can rotate the picture, which helps get horizons level or to achieve the most effective composition.

AMS Software, the creator of PhotoWorks, also offers a choice of grid overlays to assist you with composition when cropping. For example, you can choose a Rule of Thirds or Golden Ratio grid to help you decide what to include and where. My only slight gripe here is that the grid lines are often a little hard to see: maybe a different color or opacity control would help.

the golden spiral crop composition

The Golden Spiral crop grid in PhotoWorks.

Geometry (correcting perspective and distortion)

You can correct the perspective of architectural photos using the Geometry tools in PhotoWorks. Like in most photo editors for computers, there’s no auto adjustment, so you have to alter the vertical and/or horizontal perspective yourself using the sliders, but this is generally an easy task.

correcting lens distortion

In this pic, you can clearly see the effects of lens distortion on the window frame. In the inset, I’ve corrected it using the distortion slider.

Correcting optical aberrations such as pincushion or barrel distortion is also possible in this section. Some programs will do this for you with the help of lens profiles, but you can do it easily yourself with the assistance of the included grid and distortion slider.

Change background

PhotoWorks makes it easy to change the background of your photo, so if you want to transplant a better sky or create a composite picture, you can. The process of separating the subject from its background is simple. You draw a green line with the object brush, a red line with the background brush, and then you let the software work its magic. Typically, you need to refine the edge a bit using the same brushes, which could become labor-intensive with intricate subjects. For many photos, the process works fine. There’s even a choice of free-to-use pictures you can add as backgrounds, or you can upload your own.

PhotoWorks - change background

The Change Background feature in PhotoWorks separates subjects from their background with ridiculous ease. I’m not sure there’s enough finesse for complex selections (e.g. fur or fine strands of hair), but there’s a lot of fun to be had.

Vignetting

The vignetting tool lets you correct vignetting that occurs naturally with your lens. You can brighten edges and corners for even exposure. It also lets you add a vignette as a creative effect, focusing the viewer’s attention more on the subject of the picture. This photo editor for PC provides all the controls you need to fine-tune this edit.

3D LUT Color Correction

Color LUTs might just as accurately be called “special effects” since they remap the color of your photos to create a different look. PhotoWorks offers a nice built-in selection of them as well as letting you upload your own in the form of cube files. You can’t save your own LUTs within the software, hence you can’t preview them either, but I’m glad to see this feature in PhotoWorks.

PhotoWorks review - color LUTs

This is the “Drama” color LUT. Interestingly, it compresses the tonal range. In doing so, maybe it makes the viewer feel more hemmed in and on edge.

Tone Mapping & Curves

PhotoWorks includes tone mapping and curves tools for controlling color and tone. Tone mapping lets you overlay a color or texture. You could apply a color to a black-and-white image here for a duotone effect. The curves tool adjusts contrast, changes color temperature, and tint and even corrects color if you use the individual RGB curves.

PhotoWorks - tone mapping

A black & white photo turned into a duotone (i.e. a mix of black and blue) using the Tone Mapping tool in PhotoWorks.

Noise Reduction and Grain

There are tools for reducing digital noise or adding film-like grain in PhotoWorks. This photo editing software for PC doesn’t separate color noise from luminance noise, which would be a nice feature for more advanced photographers. But it will smooth and improve the look of high ISO photos.

The film-grain effect is generally better looking than digital noise in photos. You can add that to give your photos an authentic retro look from the days of analog photography.

Retouch

Some of the headlining features of PhotoWorks fall under its Retouch section. The software harnesses the power of face recognition technology to automatically enhance portraits. You can use its Portrait Magic or Face Sculpt technology to retouch faces and show your subjects at their best.

Portrait Magic

A remarkable feature of PhotoWorks is its Portrait Magic feature, which lets you automatically or manually remove blemishes and enhance portraits. Its toolset includes the following:

  • Skin smoothing
  • Control over redness (improve blotchy skin)
  • Skin tone
  • Eyes (sharpness, contrast, remove dark circles)
  • Eyebrows (sharpness, contrast)
  • Lips (sharpness, contrast, hue, saturation, luminance & glare)
  • Teeth (whiteness)
PhotoWorks portrait magic

It may be hard to see the difference here, but Portrait Magic is good at damping down glare on the skin (aka “face shine”). There are many quick fixes to choose from as well as full manual control. (Image: Pexels)

Even if you know how to fix these things already, this technology saves time. It’s easy to imagine it being useful to pro portrait and wedding photographers. The best results are achieved by addressing issues one-by-one, but there’s a set of quick-fix buttons available to speed things up. You have to be careful with it because the software isn’t infallible. For instance, a pair of glasses get in the way of removing dark circles accurately.

Portrait Magic is so good that you could buy this software for that alone. It’s a great photo editor app for pc or laptop.

Face Sculpt

Just when you thought you’d seen amazing things with Portrait Magic, along comes Face Sculpt. Move a slider and watch the software identify and alter a specific part of the face. You can do these things manually in Photoshop using warp tools and the like, but boy is it easy with PhotoWorks: a deft picture editor and retoucher in one.

PhotoWorks - face sculpt

I’ve done nothing to this photo except turn a hint of a smile into a stronger hint. Like Portrait Magic, Face Sculpt is a powerful tool that can totally transform a portrait. The technology behind it is remarkably precise. Subtle edits often work best. (Original image: Pixabay)

Maybe we should all just accept the way we look, but contrary to popular belief, the camera does lie. It’s easy to take an unflattering portrait because of technical reasons, whether it’s an unflattering camera angle, harsh lighting, poor timing or lens distortion. PhotoWorks lets you remedy such problems.

Face Sculpt enables you to reshape or resize eyes, noses, mouths, eyebrows, and the face itself. You can even turn a frown into a smile. Used subtly, it creates different versions of the truth rather than outright lies. And if it helps the subject feel good about themselves, that can’t be a bad thing.

Healing and Cloning Tools

Healing and Cloning tools in PhotoWorks are also first rate. The clone stamp auto-samples from a similar area and gives you the option of changing the sample location. It’s quick and efficient, and no intervention is usually necessary. The Healing Brush is even faster for fixing small blemishes (e.g. dust spots).

Adjustment Brush

There aren’t any layers in PhotoWorks, but you can carry out local edits with the adjustment brush. Users of Lightroom will be familiar with the concept. Color, tone, and sharpness can all be selectively adjusted anywhere on the image. You can also deal with chromatic aberration by brushing neatly over edges and turning Saturation down, though a dedicated tool would be better.

PhotoWorks - adjustment brush

It’s out of fashion, I know, but here’s a quick demo of selective coloring with the Adjustment Brush on PhotoWorks. This Lightroom-style feature offers infinite possibilities without being as daunting to beginners as layers are.

Graduated Filter and Radial Filter

The Graduated Filter and Radial Filter offer alternative ways of making local adjustments to one or more parts of an image. Whether it’s tone, color or sharpness you’re adjusting, these retouching tools make it easy to emphasize your subject. You can also even up your exposures (e.g. the classic dark foreground and bright sky) and bring out shadow detail. Characteristically, these features are neatly designed and easy to use in PhotoWorks.

graduated filters post processing

Two graduated filters are in play here – one to brighten and warm up the lower half of the photo and another to reduce exposure in the sky a little.

Special Effects

With over 150 special effects to choose from, PhotoWorks gives you plenty of ways to interpret each photo. In the Special Effects section of the software, you can add any effect you like and then adapt it to suit your tastes if you want. Hitting the “Apply” button takes you over to the Enhancements area of the software, where you can tweak color, tone, and sharpness.

Image: A quite pleasing special effect to my eye (Faded Photo -1) and one of over 150 special effect...

A quite pleasing special effect to my eye (Faded Photo -1) and one of over 150 special effects available in PhotoWorks.

I personally like adding textures to photos, so it was good to find a few textured effects among the collection. There is also a Quick Enhancements selection, which gives further opportunity for one-click fixing. You can favorite effects so they’re easy to find later on.

A Photographic Films section attempts to replicate the look of various classic films. It’s fun to play around with these effects, which you could find yourself using again and again in some cases.

Captions (add text and stickers)

Whatever you normally do with your photos, there might come a time when you want to add text to them. Maybe you’re making a Christmas card or designing a flyer. You could be creating memes for social media and entertaining your friends. PhotoWorks photo editor app for PC includes a versatile set of tools to help you create the text you want in the font, color, and style of your choice. A sticker collection lets you add cartoon-like captioning for extra fun.

Review of PhotoWorks: a Fresh and Fast Photo Editor for PC

Conclusion

Beneath the minimalistic surface, PhotoWorks offers a powerful set of tools that are easy to use regardless of your level. The way the software exploits face recognition technology is magical, indeed.

There are a few nuts-and-bolts things I would like to see in PhotoWorks, such as chromatic aberration removal, more nuanced noise reduction and an exposure warning to help with histogram adjustments (aka levels). The ability to export 16-bit TIFFs would be nice. At some point, though, if you keep adding stuff, the program ends up complex like many others and loses its streamlined appeal.

Design-wise, PhotoWorks positively gleams. It has a beautifully clean interface, uses simple terminology that everyone can understand, and gets a lot of work done with minimal effort. Whether you use it alone or alongside other photo editors for PC, it’s definitely worth a look.

You can download a free trial version and explore the features of the program yourself. Or use the exclusive coupon for dPS readers to purchase PhotoWorks at a 50% discount now!

Disclaimer: PhotoWorks is a paid dPS partner.

 

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The post Review of PhotoWorks: a Fresh and Fast Photo Editor for PC appeared first on Digital Photography School. It was authored by Glenn Harper.


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Review: Live Planet VR live-streaming system

05 Oct

Live Planet VR camera and live-streaming platform
$ 3,495 | liveplanet.net

Live Planet VR bills itself as “the only end-to-end VR system,” and technically, since it includes a camera system as well as a cloud publishing suite that’s capable of delivering to just about every major VR headset and outlet currently available (including live-streaming high-resolution stereoscopic 360 video over mobile networks) they may be right.

Live Planet has a lot of things going for it, especially when it comes to the algorithm and software solutions side of things. Their live-streaming and real-time stitching execution is impressive, and I can also see many cases where their cloud publishing platform could be a godsend, which we’ll get to below.

In fact, whether or not Live Planet VR is right for you is highly dependent on how you plan to use it, as Live Planet is targeting a very specific user – mostly those looking to live-stream.

But we’ll start with the key features and the design.

Key Features

  • 16-lens stereoscopic VR 6K camera
  • DCI 4K/30p (4096×2160) resolution for live streaming
  • 6K/24p (6144×3328) for post-production stitching
  • In-camera real-time stitching
  • Live-streaming capability
  • Records to a single microSD card
  • VR headset live preview
  • Robust cloud publishing solution to all major VR platforms
  • Delivers high quality VR over LTE networks

Design

The camera itself is quite nice. It’s a hefty, well-crafted chunk of heavy polymer and machined metal about the size of an extra large coffee mug. It has sixteen Sunex DSL218 F2.0 lenses and 1/2.8” Sony IMX 326 sensors, and is flanked on top and bottom by generous ventilation grills.

The bottom of the unit has inputs for USB stereo, audio-in, ethernet, 12V DC 5A power, microSD slot, TOSLINK (optical audio), and HDMI out, as well as a standard 1/4”-20 thread for mounting to any standard tripod plate or system.

The LivePlanet camera may look like something out of a science fiction movie, but it’s a robust camera with sixteen F2.0 lenses.

The camera records to a single microSD card in a compressed .mp4 format. It also offers an HDMI out for YUV 4:2:0 capture so you can transmit the signal in both stereo or mono to a switcher or for a traditional broadcasting workflow. For standard recording, it captures at 50 Mbps, and for live-streaming it can capture at 15, 30, 45, or 60Mbps.

This all weighs in at around 700g (1.5 lb) and comes packaged in a Pelican case with custom foam cutouts.

I had no qualms about the aesthetic and physical design of the camera, but there are a few key points to take into account as you consider whether this system is right for you, which brings me to…

In use

As with most VR cameras, much of the magic happens on the software side. In the case of the Live Planet system, most of that magic is related to live streaming. If you’re looking for a rig to showcase and/or live-stream produced events, such as sports, concerts or conferences, and expect to do little to no post-processing, the Live Planet VR system is certainly one to take a look at, for this is where Live Planet VR truly shines.

Live Planet is targeting a very specific user, mostly those looking to live-stream.

However, if you’re looking for a fairly portable system that you can quickly grab and go to capture high-resolution, high-quality 360 footage, you should probably be aware of a few things:

There are no internal microphones. You need to connect a third party microphone, such as the Zoom H2N or Zoom H3-VR, if you plan to capture audio, as well as a second tripod or clamp to attach it to the tripod and keep it out of view below the camera. Live Planet does support direct-to-soundboard input so audio is attached to your video files.

There’s no internal battery pack. In order to use this unit away from a power source, you need a third party battery pack. The review unit came equipped with a Watson Pro VM-95-ME 97Wh external Lithium-Ion battery pack and Core SWX GPSCPM V-Mount plate and monopod clamp, also to be attached to the tripod. These are not included when purchasing the Live Planet VR camera.

The camera’s ethernet plug provides a reliable connection for live streaming content.

You can’t preview recorded clips in the field. In order to preview what you’ve recorded the app provides screenshots, but you can’t see recorded video files until you offload footage onto your laptop or computer. Live Planet says that this is a feature on their roadmap.

The camera only records in compressed .mp4 format. While most cameras at this price point offer several recording options, those interested in color grading and refining stitches may want to look elsewhere as the Live Planet VR camera does not currently record Log or Raw footage, nor does it allow you access to full resolution un-stitched camera files for fine-tuning using tools like Mistika VR or Nuke. Live Planet tells me they have features in beta for Raw capture and a Premiere Pro plugin, however it doesn’t seem that access to individual camera files is yet on the roadmap.

The Live Planet VR camera requires some accessories, like an off camera battery and audio recorder, so it’s not the best camera for quick projects. But for live-streaming events it’s a very powerful solution.

There’s no internal gyroscope or stabilization solution. While this wouldn’t be as much of an issue if individual camera files could be accessed to post-process using third party software, moving shots are virtually impossible with the Live Planet VR system without a gimbal or rover with stabilization.

These may seem like some serious limitations, and for certain uses they are. However, when you consider that the system is optimized to live-stream VR content, features like previewing recorded clips or the specific recording format used are probably less critical.

Software and apps

First, the basics.

The mobile app, as well as the web app from your computer or laptop, are very simple to use. For image control it offers the essentials: exposure (including auto-exposure), shadows, saturation, temperature (including auto-white balance), tint, and curves.

Additionally, you can choose between monoscopic and stereoscopic, quality of live-stream, choice of audio stream (with optional microphone attached), and field of view (currently 360 or 180, with plans on future updates to choose anywhere between 0 and 360 degrees). Finally, you get the option of recording or live-streaming, as well as a button to turn on and off the camera unit.

The Live Planet mobile app is easy to use and offers a lot of control.

Now, the magic.

First, by taking full advantage of an NVIDIA Jetson TX2 Module (with AI computing), the unit live-stitches 4K footage in real-time, and the algorithm does a fantastic job doing so. I was as close as a half meter (1.5 ft.) away, and stitch-lines are hardly noticeable as you can see in the video below

There is an impressively noticeable lack of optical flow Jello-effect, often seen with other software stitching systems at such close distances. It really wasn’t until I was about 30cm (1 ft.) away that I even noticed any stitch lines. To get these kind of results from a package that fits in the palm of your hand, when just a few years ago you needed an ultra powerful desktop-sized stitchbox sitting underneath the camera, is a more than impressive feat.

Editors note: for best results, we recommend watching this sample video on a mobile or head-mounted device.

The Live Planet system is able to live-stitch 4K footage in real-time, a very impressive feat considering how well it works. Stitch lines are hardly noticeable until something gets within about a half meter of the camera. (Please excuse the lack of audio – I failed to consider the lack of internal microphones until I offloaded later in the day).

Second, the ability to monitor and preview live using a Samsung Gear VR headset is priceless. It’s very easy to setup and use, and is a wonderful way for a producer, director or client to experience, on set, the 360 sphere the way the end user will experience it. It’s also capable of simultaneously streaming an equirectangular preview to a laptop or computer, from where you can also control the camera and settings.

Third, and this is perhaps the main selling point for the Live Planet system, is that it gives the user the opportunity to simultaneously live-stream in 4K stereoscopic video, at as low as 2Mbps, to various platforms, including Oculus Go, Samsung Gear VR, and Google Daydream headsets as well as YouTube and any platform that supports Real Time Messaging Protocol (RMTP).

To get these kind of results from a package that fits in the palm of your hand, when just a few years ago you needed a powerful desktop-sized stitchbox sitting underneath the camera, is a more than impressive feat.

This makes it an elegant solution for publishers of live events to easily distribute to multiple channels. All you need to do is connect the camera to a router via Ethernet cable, plug it in, and hit the Livestream button on the mobile app or computer. You then share a simple event code generated by the Live Planet Cloud to whomever you like and users can login to experience both live, as well as pre-recorded, video. Facebook and Vimeo support are on the way.

Now here’s the kicker – users of most major 360 cameras such as Insta360 Pro, Vuze+, Samsung Gear VR and Rylo can now take advantage of Live Planet VR Studio, Live Planet’s cloud publishing platform. Since the software is where Live Planet does some serious algorithmic voodoo, this is an incredibly welcomed feature. Using the Live Planet publishing platform can give you a consistent easy way to push your 360 content out to the world, no matter what platform a user chooses to experience it on. I cannot think of an easier turnkey way to simultaneously publish to all major VR and social media outlets.

Finally, and this will be one of the least talked about and least understood, but perhaps one of the most exciting parts of the technical design, it all runs on a blockchain-enabled infrastructure called VideoCoin.

I cannot think of an easier turnkey way to simultaneously publish to all major VR and social media outlets.

Those that know me know that anything blockchain and distributed ledger technology gets my full attention. While this isn’t the place to get into the nitty-gritty of blockchain tech, essentially the basis of most cryptocurrency, what’s important in the Live Planet VR system’s case is that it provides a peer-to-peer, decentralized, encrypted platform for data distribution – never has there been a safer way to safeguard, control, and distribute your own data, in this case video.

Live Planet also employs a proprietary algorithm in what they call ViewCast technology, which predicts head movements in order to maximize resolution in the direction the eye is facing, enabling high-resolution viewing in headsets even on mobile networks.

The Live Planet system arrives in a very sturdy Pelican case with custom foam cutouts.

The Live Planet team also indicated that they “plan to release an update every 3 weeks.” Some of the things they specifically pointed out to us include still photo capture, HDR capture, flexible field of view capture (0 to 360º), support for streaming from multiple cameras, RAW capture, an Adobe Premiere Pro plugin to aid in post-production color grading, and spatial audio support on the Live Planet publishing platform.

Be aware that space and publishing through the cloud system will cost you, based on how much streaming time and space you need. There are packages from $ 50/month for 90 minutes of streaming and 50GB storage, up to $ 270/month for 10 hours of streaming and 250GB storage. To take advantage of the ViewCast technology, it’ll cost you $ 9.99 per streamed hour.

Image quality

Image quality is certainly adequate and acceptable, especially for the turn-key live event use cases as described above. While a recent update allows for 6K capture (6144×3328) at 24fps, that is currently reserved for post-production stitching. Maximum resolution for live streaming is 4096 x 2160 at 30fps. The camera does a very good job of rendering details close-by, however, at further distances, in high-contrast situations, say under a tree canopy or between several buildings in daylight, there tends to be some noticeable edge-fringing.

Conclusions

When I first started using the Live Planet I ran into some of the same frustrations that I did when I started shooting 360 several years back, piecing together 3rd party accessories and solutions. With no internal battery, on-board audio recording, any sort of controls on the camera unit itself, it’s not the best camera for travel or on-location shooting. It has a lot of moving pieces, all of which have to work perfectly together with no issues.

Bottom line, this is a perfect turn-key solution for the quickly growing market of live-streaming events in 360 video.

However, when I began to truly consider what the Live Planet system was designed to do – effortlessly stream live events – my perspective changed. Live Planet’s software engineering and solutions are top notch. For live-streaming, especially over wireless networks, 4K is more than enough resolution for that bandwidth to handle. Furthermore, since Live Planet has begun to open up its software solutions to users of other cameras, it’s absolutely worth keeping an eye on Live Planet’s evolution as I’ve yet to see anything that rivals Live Planet VR Studio on the software and distribution front.

Bottom line, this is a perfect turn-key solution for the quickly growing market of live-streaming events in 360 video, and it gets my enthusiastic recommendation as a system to use for live streaming purposes. Additionally, Live Planet VR Studio certainly gets my nod as a publishing platform for users of any camera.

What we like

  • Build quality
  • Instantaneous stitching
  • Live Planet live-streaming publishing platform
  • Good image quality
  • End-to-end system
  • Only requires 1 MicroSD card

What we’d like to see improved

  • Price
  • No internal or swappable battery
  • No audio recording
  • No still photo capture (coming soon)
  • No raw recording (coming soon)
  • No access to individual camera files
  • No stabilization
(Rating based primarily on use as a live-streaming system)

Articles: Digital Photography Review (dpreview.com)

 
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Canon 11-24mm F/4L Lens Review

04 Oct

The post Canon 11-24mm F/4L Lens Review appeared first on Digital Photography School. It was authored by Nisha Ramroop.

Following the release news of the Canon EF 11-24mm F/4L USM Lens, came countless sleepless nights of research and reading reviews. At the end of that process, all I could safely decipher was that it was the new dream lens of the landscape photographer in me.

Canon 11-24 mm F/4L Lens Review

The build

The moment you pick up this lens, the weight surprises you. It’s quite hefty and you notice every ounce of the approximate (just over) two-and-a-half pounds. The entire build of the lens screams quality too. Like other Canon lenses, the manual focus and zoom rings move smoothly and feel natural. Not a lens you want to be cumbersome with, so this was an important feature for me when working with such weight. You can make easy focal adjustments, as the zoom moves through the entire focal range with a small turn. When behind the lens, the AF/MF is also easily accessible.

Canon 11-24mm F/4L Lens Review

The bulbous front element blooms with authority and still makes me nervous enough to cover it almost immediately when not in use. I am not reassured by the presence of the fixed hood that is meant to protect the imposing glass. However, I am glad it is there. The signature red ring around the front always sets expectations of promised image quality and Canon has delivered.

Image: Size comparatives from left to right: Canon 85mm F/1.2 L, Canon 11-24mm F4 L, Canon 135mm F2...

Size comparatives from left to right: Canon 85mm F/1.2 L, Canon 11-24mm F4 L, Canon 135mm F2 L

What works

The Canon EF 11-24mm is benchmarked as the widest ultra-wide rectilinear lens compatible with full-frame DSLRs, since the Sigma 12-24mm F/4.5-5.6 lens. Thus barrel distortion is minimal throughout the range, and straight lines in your subject are not compromised (and appear straight). The most distortion you would find occurs at around 11mm and 12mm and compared to any other lens at this focal range, it is minimal. Of note, distortion seems non-existent between 15-24mm.

Canon 11-24mm F/4L Lens Review

By comparison, yes the Canon EF 8-15mm f/4L Fisheye is wider, but as is the signature of fisheye lenses, it outputs barrel-distorted images and your straight lines curve. The exception is if your line is directly center of your frame.

The lens is quiet and focuses quickly. Most impressively though, it is super sharp, even at the corners! Added to sharp images; the contrast is nice and balanced. If you have used other ultra-wides, you will admire the difference in the output. The image quality is simply amazing!

Canon 11-24mm F/4L Lens Review

The angle of view on a full-frame, coupled with the minimal distortion, makes it great for indoor architectural spaces. The need for a lens like this to be F/2.8 eludes me, as F/4 feels more than adequate.

What could be better

If you are looking at this beauty, the two major drawbacks may reside in price and weight. It is an expensive lens and certainly not in everyone’s price range. However, it’s a great investment if you do professional architectural and landscape photography. In these areas, the minimal distortion works in your favor. There is no other lens that performs like this lens at the wider end.

Canon 11-24 mm F/4L Lens Review

It is a large, heavy lens that will make you think twice before packing it for travel – you know you want it with you, oh but that weight! Even worse, it is front heavy, so you will want to be extra cautious when out in the field.

The front cap feels inadequate, as it struggles to cover the hood. There are also spaces where it clasps (when aligned) that leave room for dust to get into the front. After all the time they spent on this lens, the front cap feels like an afterthought.

Canon 11-24mm F/4L Lens Review

There is also a noticeable amount of vignetting at 11mm and also some color fringing. Both are easy to fix in post-processing, without loss of your image quality. For an ultra-wide lens though, the falloff (or darkened corners) is negligible.

Conclusion

The Canon EF 11-24mm F/4L is a truly magnificent lens for a landscape or architectural photographer. It is well-built, heavy, sharp, quiet and expensive. One thing for certain though, it is the only one of its kind and a signature Canon lens.

Have you used this lens? What are your thoughts? Share with us in the comments.

 

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The post Canon 11-24mm F/4L Lens Review appeared first on Digital Photography School. It was authored by Nisha Ramroop.


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DPReview TV: Fujifilm GF 50mm F3.5 review

03 Oct

Fujifilm’s GF 50mm F3.5 ‘pancake’ lens is a relatively compact optic for the company’s GFX line of medium format cameras. What do you give up in exchange for the small size? According to Chris, not much.

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  • Introduction
  • Design
  • Is it really a pancake?
  • Field of view
  • Sharpness (on the GFX 100)
  • Longitudinal CA
  • River surfing
  • Bokeh
  • Compared to the GF 63mm F2.8

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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