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Loupedeck+ Review – the Perfect Editing Companion for Lightroom and Premiere?

02 Oct

The post Loupedeck+ Review – the Perfect Editing Companion for Lightroom and Premiere? appeared first on Digital Photography School. It was authored by Carl Spring.

Loupedeck+ Review - the Perfect Editing Companion for Lightroom and Premiere?

There is something undeniably cool about Hollywood editing studios. I remember seeing one in a magazine as a child and wanting to play with it. Thinking how cool it would be to figure out what all the dials did and edit Hollywood Blockbusters. I never made it in Hollywood, but I can remember my first editing console. Purchased from the high street, it allowed me to link 2 VCR players and have a fade and wipe slider for video. It even had an audio fader that allowed me to (surprisingly) fade audio. At the time it was amazing! I made a lot of skateboard videos using that console.

Obviously we’ve moved to digital everything, but there is something about using knobs and dials to edit that I have always liked. So, when I was given the opportunity to try the Loupedeck+, I jumped at the chance to get hands-on with it. 

What is it?

Simply put, Loupedeck+ is a keyboard-sized photo editing console. The main editing functions are controlled via a series of knobs and buttons.

Loupedeck started life on Indiegogo. The initial Loupedeck was marketed as a photo editing console just for Lightroom. With the Loupedeck+, however, it has become much more than that. The new version has support for several different software platforms too.

This device is still aimed primarily at Adobe users, with support for most of the Creative Suite. There is also support for Apple’s Final Cut and Aurora HDR and is also currently in Beta testing with Capture One Pro, which is my preferred choice of photo editor.

Out of the box

In terms of looks, it is beautifully packaged. However, that doesn’t mean anything if the product itself is not up to scratch. The Loupedeck however, definitely is. Although fully plastic, everything is solid and feels like it will survive long term usage. The only exception to this is the control dial, which does feel a little flimsy compared to the rest of the device.

In terms of the buttons, when making notes, I put down that they are squishy but solid. I still think that’s the best way to describe them. There is also a nice little detail for the cable to connect the Loupedeck. There are grooves that allow you to place it to work with how your computer is setup. It’s not a deal-breaker, but attention to detail like this tends to show the makers care about the end-user. 

dpsloupedeck+-review

The Loupedeck+ is well built apart from the control dial. It just feels a little flimsy. However, in use, it has been flawless so far.

Getting set up 

Once you have unpackaged your Loupedeck, the next stage is setting it up. To do this, you need to install the Loupedeck software. This is a simple download from the Loupedeck website, which then allows you to customize the Loupedeck to your specific editing preferences.

I have left it is standard for now, but I can definitely see me looking into this again to fine-tune it to how I edit.

Once you have the software installed, it is as simple as choosing which software you want to use the Loupedeck with and off you go. Loupedeck has a series of guides for each piece of software that it is compatible with. I recommend having these on hand, especially when using software other than Lightroom. Even with Lightroom though, it is worth having nearby to see what extras you may find yourself reaching for.

The fact that the user guide for Lightroom alone is 31 pages tells you what level of customization is possible.

Image: To get started with Loupedeck+ you need to download the software from the Loupedeck website....

To get started with Loupedeck+ you need to download the software from the Loupedeck website. Once installed, choose your software and away you go.

The learning curve

The learning curve is in two parts; getting used to the Loupedeck from your usual editing routine, and how Loupedeck reduces the learning curve of the software.

To test this, I got my wife to use Loupedeck to work on a wedding we had recently shot. She normally helps make picks, but she has very limited editing experience. She can just about manage to tweak exposure a little, but that’s it.

I put her at the Loupedeck and asked her to try and edit images she thought needed work. After about 2 minutes of me explaining the device, she started. Two more minutes passed before she explained how brilliant it was.

By removing the need to search through the menus (of Capture One in our case), she was able to edit photos easily and without needing constant reminders of the locations of buttons or sliders. It made her experiment more, and within an hour, she felt completely confident using the Loupedeck.

For beginners, this will make the process of learning to edit (especially in Lightroom) so much easier. Everything is at hand, and the layout makes it simpler for beginners to experiment. They can use more of the features of the program without the need to remember the locations in the menus.

For me, as a power user of Capture One, the learning curve was a little steeper. I’ve put this down to Capture One currently being in Beta testing. There are some quirks I needed to get used to when editing, such as using the color balance tool.

There is also the fact that when you use the software every day, you acquire muscle memory from the keyboard shortcuts you use most often. Moving to dials does take a while to get used to.

I do feel that even for Lightroom users (whom this deck was designed for), the change to Loupedeck will mean your editing is slower until you get up to speed. However, I am talking only hours here, not days.

Loupedeck+ and Lightroom

Obviously I wanted to start this test with Lightroom as this is really the program the device is designed for. Now I am not a Lightroom user, so having me use this is more like an inexperienced Lightroom editor versus someone who uses it every day.

I loaded up a selection of images into a catalog and began editing. Using the Loupedeck was completely intuitive. I simply started to edit images without the need to try and remember control locations. It was as easy as twisting the dials with the required name on them. In my experience, the Loupdeck+ and Lightroom work flawlessly together. There is no lag, and the degree of control with each twist feels perfect. Everything is at hand, and if you do find yourself needing something that is not here, you can customize the software until your heart’s content.

It made the process of editing in Lightroom a pleasure and, as a hardcore Capture One user, that is the highest praise I can give it.

dps-loupedeck+-review

It is easy to see that the Loupedeck+ is designed with Lightroom users in mind.

Loupedeck+ and Capture One Pro

Because I’m not a Lightroom user, I went down the road that is Beta testing to put the Loupedeck in my day-to-day editing software. 

Now compared to Lightroom, I found editing in Capture One Pro to be a more clunky affair. The problem is that in its current Beta state, the Loupedeck doesn’t offer the same level of functionality. This is something that Loupedeck are working on and are currently looking for feedback from any Capture One users to help improve the experience.

The basic adjustments work perfectly well in Capture One. To adjust white balance and exposure is just as good as Lightroom. However, there are elements, such as resetting adjustments, that are not there.

The issue here is that the Loupedeck was designed with Lightroom in mind and Capture One works differently. The most obvious example of this is the P1-P8 buttons. In Lightroom, these assign to presets; however, in Capture One, they are simply not set up.

Shooting Fuji, I would love to map this to my film curves, where it would be great to choose the look of my image. However, at present, this is not possible. For more advanced editing, it can be frustrating, and I find myself reaching for the mouse and keyboard more often than I would like.

It’s not perfect by any means, and it does sound a little doom and gloom, but in terms of basic edits, it really did speed up my workflow. I have now edited two weddings with the Loupedeck, and it has definitely saved me some time. Also being super simple for basic adjustments, it really has allowed my wife to do basic edits for things such as exposure.
When editing a wedding, I reach for it straight away. It really is something that after using it, I wouldn’t be without.

The best thing about using Loupedeck+ with Capture One is that I know it can only get better from here. Once there are some more options added, and a few things ironed out from the beta testing, I feel this will be a powerful editing tool.

Loupedeck+ and Photoshop

This is where things start to feel like I was using the Loupedeck for the sake of it. When editing a RAW file, it was great, but after that, I really felt no benefit from using it. When editing in Photoshop, you tend to use your mouse or tablet much more.

You can use it for working with curves, but you need to work with the mouse too, and I found it just too clunky. Other things like zoom in and out, which are mapped to knobs, simply do not work as well as using the middle mouse button.

Unlike using it in Lightroom and Capture One, when working in Photoshop, I found myself using it for the sake of it, rather than reaping any real benefit. I do feel that the Loupedeck+ working with more software is good. However, I feel that, in some cases, it just feels like it is added for marketing over actual functionality. 

Loupedeck+ and Premiere

The ability for Loupedeck to work with Premiere was something that I found myself excited to try. I am by no means a power user, but I know my way around Premiere and edit with it enough to consider myself proficient.

Using Loupedeck with Premiere, though, is where things go a little too far for me. When using it to edit a video, it was just too hard for me to remember what all the functions did. It could be due to my lack of time spent in Premiere, but I think it’s more than that. When photo editing, things like exposure, and contrast are the same no matter which program you use. Video editing, however, uses a completely different language.

It is not that you can’t learn how to use Loupedeck with Premiere. I think once you got used to what each button and dial was mapped to, it would really speed things up. However, as someone who uses the software occasionally, I would find it hard to remember the settings for Premiere.

I think the best way to sum it up is that if you are buying a Loupdeck+ solely for Premiere use, you may face a steep learning curve. For me, to have it as a bonus is nice, even though I can’t really see myself using it.

loupedeck+-review

As you can see from the layout above, Loupedeck is not as intuitive in Premiere.

Conclusion

It’s hard to sum up the Loupedeck+.

Some may see this as a gimmick you will buy, only to put it in the cupboard after a few months to gather dust. But that really isn’t how it is. It’s a well-made, high-quality device that really is a time-saver, especially in basic edits.

I use the Loupedeck+ on every edit now. That must say something. It has sped up my editing (it needs to, I am currently behind on editing a wedding and am writing this article rather than doing that). However, I do still find myself reaching for the keyboard or mouse quite often. I think the best way is to give three different outcomes, depending on what software you use.

If you’re a Capture One user like me, you may find it frustrating. It is almost there, close to being great, but then there are silly little things that are really annoying! However, this is in beta testing, which means things are still ironing out. I am sure this is going to improve moving forward. It’s just a question of whether you are willing to pay for something that doesn’t quite work as you would like it to.

If you’re using this on Premiere or Final Cut, you will need to spend some serious time with the manual. It really is not intuitive in the same way it is for photo editing. If you are willing to put in the time, I am sure it will speed up your workflow. I do question how long it would take to get to this point though.

Lastly, Lightroom. This is still what they designed the Loupedeck for. If you are a Lightroom user, I would definitely suggest getting your hands on a Loupedeck+ – It really does make editing much faster. It worked incredibly well in use, and I enjoyed editing in Lightroom. This really is the highest praise I can give it.

However, where this console really shines is for new users. If you are new to editing, I cannot recommend this enough. I wish something like this had existed when I started editing. It makes the process of understanding how tools work so much more organic. Beginners will get a lot out of using a device like this – It just makes editing more intuitive. My wife managed to edit much better than ever before in minutes.

Moving forward, I will continue to use a Loupedeck+ to edit. Maybe it’s just my old ways. Maybe it means I get to pretend I am in a film studio editing suite. Or maybe, it’s something that I never really thought I would want, but now don’t want to stop using.

In all honesty, I think it’s all three.

 

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The post Loupedeck+ Review – the Perfect Editing Companion for Lightroom and Premiere? appeared first on Digital Photography School. It was authored by Carl Spring.


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Canon EOS 90D Review

01 Oct

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No Award

85%
Overall score

The Canon EOS 90D is a midrange DSLR that replaces the 3.5 year-old 80D and fits between the EOS 77D and the ‘yes, it still exists’ EOS 7D Mark II. It gains a new higher-resolution sensor with excellent Raw image quality, and offers competitive live view AF (with eye detect) as well as 4K video capture, all in a familiar package.

The 90D is essentially the DSLR version of the mirrorless EOS M6 Mark II, which was introduced alongside it. Since the specs are nearly identical, it looks like Canon is letting potential buyers choose what type of shooting experience they want: a midsize DSLR with an optical viewfinder and more physical controls, or a smaller and lighter mirrorless model with a removable electronic finder. And, of course, the difference in native lens lineups between the EF and M mounts could attract different types of users, as well.

Key features:

  • 32.5 Megapixel APS-C CMOS sensor
  • Dual Pixel autofocus (live view/video)
  • 45-point all cross-type AF (through the viewfinder)
  • 220k-pixel metering sensor w/face detection
  • 7 fps burst shooting w/continuous AF
  • Fully articulating 3″ touchscreen display
  • Optical viewfinder w/100% coverage
  • 4K/30p video capture with no crop
  • USB 2.0 port with Micro USB connector
  • Wi-Fi + Bluetooth

While the external design of the 90D doesn’t dramatically depart from the pattern set down by the 80D, the guts of the new camera are quite a bit different, which we’ll cover on the next page.

The 90D is available in several kits. The body alone is priced at $ 1199. When bundled with the EF-S 18-55mm F3.5-5.6 IS STM lens the price is $ 1349, while the kit with the more versatile EF-S 18-135mm F3.5-5.6 IS USM lens is $ 1599.


What’s new and how it compares

Find out more about the 90D’s new sensor, updated metering system and video capabilities.

Read more

Body and controls

The design of the 90D has barely changed since the 80D, with one exception.

Read more

Is it right for you?

Whether you’re looking for a family camera, a portrait camera or something for fast action, we break down whether the 90D is right for you.

Read more

Image quality

How does the EOS 90D stack up against other APS-C cameras? Take a look at our studio test scene.

Read more

Autofocus

How does the 90D’s autofocus compare when shooting through-the-finder vs live view? Have a look.

Read more

Video

The EOS 90D gains 4K video capture, but is it any good? See for yourself.

Read more

Conclusion

The 90D is a compelling camera for a specific type of user. Here’s why.

Read more

Sample gallery

See how the 90D’s photo quality looks in our sample gallery.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Review of PaintShop Pro 2020 Ultimate: A Photoshop Contender?

26 Sep

The post Review of PaintShop Pro 2020 Ultimate: A Photoshop Contender? appeared first on Digital Photography School. It was authored by Glenn Harper.

Not for nothing is Photoshop called the “industry standard” for graphic design and photo editing. The moment you defect to another product, you start missing stuff. Can Corel Paintshop Pro 2020 Ultimate do the job just as well? It’s a comprehensive standalone program with lots of extras thrown in for free.

New stuff

This edition of Paintshop Pro (PSP) introduces several new features, including a touch-ready Photography Workspace, a SmartClone Tool, and a Refine Brush for ultra-precise selections. There are improvements to existing tools, too. We’ll cover these things during this review as well as looking at preexisting features.

Paintshop Pro Photography Workspace

The new touch-ready Photography Workspace may not suit everyone, but it’s uncluttered and armed with enough tools to rifle through many pictures.

Raw processing in Paintshop Pro

Paintshop Pro Ultimate comes with Corel Aftershot 3 raw processing software as well as its own in-built raw conversion. Since many of our pictures start out as raw files, it seems apt to look at these facilities first.

Aftershot 3

Aftershot 3 is a pared-down version of Corel’s Aftershot Pro, which you can upgrade to for a modest sum. The latter lets you create Lightroom-style catalogs, so all changes to images are stored inside the program instead of in separate XMP sidecar files. Although not as sophisticated as the pro version, Aftershot 3 Standard offers much more than the in-program raw conversion tool of PSP 2020. A notable exception to this is DNG support, but it does have lens corrections, layers and Perfectly Clear auto image enhancement. The latter works well with layers since you can adjust the opacity to achieve optimum results.

After shot 3 - Perfectly Clear

Reducing the opacity of Perfectly Clear on an adjustment layer often gives a nice result.

An early problem I had with Aftershot and Paintshop Pro 2020 was that neither liked my custom monitor profile, so I had to switch to a generic Adobe RGB profile to make the color look acceptable. It took some head-scratching before I realized why raw previews looked so bad.

With that problem temporarily solved, I found the software eminently usable, though I think Corel should include a histogram in the standard Aftershot version. The pro version has enough to commend it without cutting essentials from its little sibling.

zPerspector plugin Corel Aftershot 3

Adjusting perspective in Aftershot 3 using the zPerspector plugin.

Aftershot is rebranded Bibble software, which was highly rated in its time. It includes access to many plug-ins, such as the Wavelet Sharpen plug-in and the zPerspector perspective correction plugin. These are useful add-ons. I’d recommend that you trial Aftershot thoroughly before buying or upgrading. Remember, the Pro version won’t catalog your DNG files if you use them. You need proprietary raw files. As well, Paintshop Pro doesn’t like Adobe’s enhanced DNG files.

Working in Paintshop Pro 2020

The first thing to do in Paintshop Pro 2020 Ultimate is to choose from three workspaces: Photography, Essentials and Complete. The new “touch-ready” Photography workspace is inviting since it doesn’t distract you with a bewildering set of tools. It’d be a good place to start for beginners. But if you’re coming from years in Photoshop, you’ll probably skip to the Complete workspace where all things are possible.

Adjustment Layers

Just like Photoshop, Paintshop Pro 2020 gives you the choice of editing photos on adjustment layers or independently. Some of the editing choices are not available as layers, though you can always apply these to a duplicate layer. All adjustment layers have built-in layer masks for selective editing.

Color and Tone

Paintshop Pro offers most of the features you’d expect in an advanced pixel editor when it comes to correcting color and tone. There are a few things you may not have seen before. For instance, the “Histogram” adjustment layer is a kind of advanced blend of Levels and Curves.

The “Histogram Equalize” adjustment in PSP 2020 evens up the tonal range of the image, often brightening it. You need to be careful with this if you don’t want to blow highlights. More useful, I think, is “Local Tone Mapping” at its default low settings. It seems to have a very subtle HDR effect that perks many photos up.

Smart Photo Fix - PSP 2020

Smart Photo Fix lets you alter the software’s One Step Photo Fix adjustment, and as an alternative starting point, it’s pretty good. PSP did a decent job with the photo in the screenshot, though it could still do with brighter whites.

Conspicuous by its absence in Paintshop Pro is any form of clipping display or exposure warning. If it’s there, I never found it. To me, this is a must-have feature, since it shows you what you’re losing with tonal or color adjustments and whether it’s likely to matter. I don’t expect it to be missing in a wide-ranging package like Paintshop Pro.

Correcting perspective

I’ve gotten used to being able to correct perspective in architectural photos, so I was keen to see what Paintshop Pro offers in this respect. In fact, the Perspective Correction tool in PSP is very good, albeit without the full-auto option of ACR or Lightroom. It’s the work of a few seconds to correct most photos, and that’s good enough for me.

correcting perspective - Paintshop Pro 2020

This is all you need do to correct verticals in Paintshop Pro. Not automated like Adobe’s solution, but easy.

Cloning (& the new SmartClone tool)

The regular cloning tool in Paintshop Pro is fine for most cloning work, but now we also have the SmartClone tool. This is useful if you want to lay textures or patterns over another area of a photo or even a different photo. Three blend modes are available for different effects: Original, Blend, Black and White. The first gives you regular-type cloning, the second tries to blend color and texture by reducing opacity, the third clones only texture by desaturating the selected area.

smart clone tool and paint brush - Paintshop Pro 2020

I used the SmartClone tool to superimpose Proust’s face onto a separate image of the beach at Cabourg – a scene he’d have known well. By placing the clone onto a duplicate layer with a layer mask, I was able to refine the original rectangular selection using the Paint Brush with “Smart Edge” tool.

A neat feature of the SmartClone tool is the ability to save selections as presets, so you can use them with future images. This tool is not an equivalent to content-aware fill in Photoshop. It has its own uses and controls. Paintshop Pro offers Object Remover and Scratch Remover tools to intelligently fill in areas of an image, though you have to be reasonable in your expectations as to what these things can do.

Selection Refine Brush (new)

I never need to make intricate selections in my day-to-day photography, but perhaps that makes me a good candidate for testing the new Selection Refine Brush in Paintshop Pro 2020. I had trouble even accessing it at first until I realized the chosen selection tool must be docked for the button to appear. Despite this shaky start, I was soon impressed.

I started with a quick freehand selection around the edge of the subject and well within the hairline so that any intricate hairs could be selected later with the refine brush. The brush does such a good job at picking out fine detail that it’s a waste of time to attempt precision yourself. You can further refine the end result with global corrections such as smooth edge or feathering.

Image: In this photo, everything not in red is selected. You can see the Selection Refine Brush has...

In this photo, everything not in red is selected. You can see the Selection Refine Brush has done a very good job of selecting strands of hair. This was the work of just a few minutes, and I’m a novice at selections. (Photo: Pixabay)

Once you’re happy with the selection, you can output it in various ways. It’s easy to copy and paste the selection with transparent background onto a new image if you want, or you can edit it further on a new layer. Whatever your aim, it’s hard to imagine other software doing a much better job in getting you to that point.

Dealing with Chromatic Aberration

Fixing chromatic aberration, even in its most common purple fringing form, is one of the great strengths of Photoshop. Other programs struggle to compete. Paintshop Pro’s “One Step Purple Fringe Fix” introduced an artifact the first time I used it and didn’t completely remove the fringing. On the other hand, “Chromatic Aberration Removal” in PSP 2020 gave a good result. Taking as small a sample as possible seemed to help. Based on this, it might be better to leave chromatic aberration in a raw image and fix it in the rendered version, unless you have advanced raw conversion software on your side.

Image: Using the Chromatic Aberration Removal tool in Paintshop Pro to remove green fringing. Radius...

Using the Chromatic Aberration Removal tool in Paintshop Pro to remove green fringing. Radius and color range settings help to fine-tune the correction. (You may need to view this full size to see the difference.)

Sharpening

Paintshop Pro offers four sharpening methods: Sharpen, Sharpen More, Unsharp Mask, and High Pass Sharpening. These are familiar choices. Unsharp Mask lets you choose radius, strength and clipping settings. It also includes a set of presets you can pick from according to your intended use for the image.

High Pass Sharpening focuses sharpening on edges.  Most programs give you a grey overlay with this feature so you can clearly see the effect of your edit, but that’s not possible in Paintshop Pro. Instead, you have to eyeball the image directly.

There is another route to high-pass sharpening in PSP where you do get the grey preview: create a duplicate layer and go to Effects->Edge Effect->High Pass. Choose an Overlay, Hard Light or Soft Light blend mode.

high pass sharpening - PSP 2020

You get this useful preview if you sharpen your photos using Edge Effects->High Pass in PSP 2020. It’d be nice to see this in the High Pass Sharpen tool, too, but you get a regular preview there. As you can see, the grey overlay makes it easy to see what your sharpening settings are doing.

The noisier your photo is to begin with, the wiser it is to avoid global sharpening. If you have a clean file to work with that you want to quickly publish online, a simple Sharpen or Sharpen More adjustment will often look fine.

Plugins

A great feature of Paintshop Pro is its compatibility with Photoshop plugins (those with 8bf, 8be, 8bi, and 8ba extensions). A lot of the time they work fine, though I noticed the color goes flat in my Nik Collection Viveza 2 plugin if the preview is small. This is a known problem with other Photoshop alternatives.

Paintshop Pro’s compatibility with PS plugins is not an insignificant factor when weighing up the software. In fact, a range of downloadable plugins and scripts is available as soon as you buy the product – some of them free.

Time Machine

Paintshop Pro also offers the fun “Time Machine” photo effect. This teaches you something about photographic history and attempts to replicate photos from different eras, ranging from the daguerreotype in 1839 to the cross-processing look discovered in the late 1950s to early 60s. You can add appropriate borders to each effect if you want. Below is the “Early Color” preset in action with James Joyce obliging as the subject.

Review of PaintShop Pro 2020 Ultimate: A Photoshop Contender?

Extras

As well as Corel Aftershot 3 raw conversion software, Paintshop Pro 2020 Ultimate comes bundled with a host of other goodies. Here’s the full inventory:

  • GRFX Studio: gives access to 1000s of photo effects.
  • Parallels Toolbox: a suite of tools to keep your computer running smoothly.
  • PhotoMirage Express: turn stills photos into eye-catching animations.
  • Painter Essentials 6: lets you paint, draw and sketch as well as automatically adding painting effects to photos.
  • Aftershot 3: raw conversion software (good, but lacks some of the near-essential features of the pro version).
  • Creative Collection: free pack of many extras available for optional download.
Paintshop-Pro-2020-review-img3

As well as letting you create original artworks, Painter Essentials 6 can generate “paintings” from your photos.

Other new features of PSP 2020 include copy-and-paste layer styles; quicker text rendering, editing and text wrap; faster Pic-to-Painting transitions; and an improved depth-of-field effect.

shallow depth of field - flower photography

Paintshop Pro lets you apply arty shallow-depth-of-field effects with the improved Depth of Field tool.

Conclusion

Corel Paintshop Pro 2020 Ultimate is a vast photo-editing package that doesn’t leave you wanting for much. But it’s lacking in places. The absence of a clipping display or exposure warning that I could find is almost a deal-breaker for me. I use that all the time when adjusting color and tone. Also on my wants list would be gradient maps. There are surprising omissions and inconsistencies in Paintshop Pro. That aside, it’s not unlovable.

black and white conversion - GRFX Studio

The Classic B & W effect in GRFX Studio creates some pleasing black and white conversions and gives you plenty of control over the result.

Some of the tools in Paintshop Pro 2020 Ultimate are exceptional. My new-found ability to make complex selections with the Refine Brush was a bit of a revelation. And there are tons of special effects, so there’s no excuse not to be creative. Paintshop Pro seems to lean that way – towards the visual editor who doesn’t care so much about the math and more about how the photo just looks. And maybe that’s not a bad thing.

 

Have you used Paintshop Pro 2020 Ulitmate? What are your thoughts? Share with us in the comments!

 

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The post Review of PaintShop Pro 2020 Ultimate: A Photoshop Contender? appeared first on Digital Photography School. It was authored by Glenn Harper.


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Gear Review: 4 New K&F Concept Filters Put to the Test

25 Sep

The post Gear Review: 4 New K&F Concept Filters Put to the Test appeared first on Digital Photography School. It was authored by Kav Dadfar.

I have always been an advocate of carrying as little camera equipment as possible. In fact, most people are surprised to hear how little I carry with me on any trip. Besides the obvious weight to carry, it also means more things to lose or have stolen. But whilst carrying less is always better, there are some things that I simply can’t live without. Filters are one of the sets of accessories that I always take with me as they are essential for my photography. So when given four new K&F Concept filters recently, I was very excited to put them to the test.

k&f-concept-filters-put-to-the-test

Why should you use filters?

As advanced as digital cameras are these days, they still occasionally need some help to capture photos the way you want. Often the big issue in photography is light. Too much of it, not enough, too harsh, in the wrong place…if only you could control outdoor light like in a studio.

Filters can help a photographer control light in varied circumstances. There are lots of filters that all fill different objectives. Two of the most common filters are neutral density filters and polarizing filters.

Polarizing filters

Polarizing filters help to remove unwanted reflections from non-metallic surfaces. For example, if you are photographing water or through glass, they can help ensure you keep reflections to a minimum. In addition to this, they also help to boost the saturation in images (especially blues and greens). So, they are very useful for photographing things like waterfalls.

Neutral Density filters

Neutral Density filters help to reduce the amount of light that enters the camera. This allows you to select a slower shutter speed to create motion blur (when photographing water during the day or moving clouds). However, even in day to day photography, you may sometimes find ND filters useful to help avoid overexposure at wide apertures.

k&f-concept-filters-put-to-the-test

Square filters vs screw-on filters

There are two types of filters these days – square filters and screw-on filters.

Square filters are either square or rectangle and attach to a holder attached to your camera. As the name suggests, screw-on filters screw onto your lens directly.

There are pros and cons for using both. Historically, I have always used square filters, so this was a good test to see how I get on with using screw-on filters instead.

Gear Review: 4 New K&F Concept Filters Put to the Test

The filters tested

The four filters tested for this article are:

  • 77mm ND8-ND128 Variable Neutral Density ND Filter Nano Coated
  • 77mm Variable ND2-ND32 Neutral Density and Circular Polarizing Filter Coated
  • 77mm Circular Polarizers Filter, K&F Concept 77MM Circular Polarizer Filter HD 18 Layer Super Slim Multi-Coated CPL Lens Filter
  • 77mm ND2-ND32 Variable Neutral Density ND Filter Nano Coated

 

Packaging

My first impression of the filters was of the beautiful and secure packaging they arrive in. They come in a hard cardboard box with the filter itself placed in a hard plastic case inside the cardboard box. The filter is further protected inside the plastic box wrapped in a plastic bag and placed on a piece of foam. The plastic box that they come in makes them really easy to get in out to use when needed as the lid flips open. The circular polarizing filter comes in a slightly different plastic box which twists open but is still secure inside due to some rubber ridges. This stops the filter rattling around the case.

I will need to stick some small stickers on the plastic boxes and write the filter on them to make them easier to find – something that is currently lacking on the plastic boxes. Other than that, the packing is very impressive.

k&f-concept-filters-put-to-the-test

k&f-concept-filters-put-to-the-test

Build and ease of use

The frames of all of the filters, except the circular polarizer filter, are made from an aluminum alloy (the polarizer filter has extra-tough magnalium). Even though they are very slim in design, they certainly feel rigid with no real bending even when forced.

The glass itself on all the filters is coated optical glass (to help reduce reflections) that is waterproof and scratch-resistant.

k&f-concept-filters-put-to-the-test

Performance

Overall, all of the filters performed very well. As someone who has always used square filters, I was skeptical about the quality and how they would affect the image. I deliberately headed out during early afternoon as I wanted to test these filters in harsh light. Below are the images taken using these filters.

Gear Review: 4 New K&F Concept Filters Put to the Test

Circular Polarizer Filters

I conducted the first test with the circular polarizer. Below are two images taken from the same place only seconds apart. The image on the left was with no filter. In the image on the right, you can see how the reflection from the water has been removed using the K&F Polarizer Filter. In addition, you can see a boost in the blue in the sky a little. There is a very slight vignette on the top left corner, but this is so minor that it can easily be removed in post-production.

Gear Review: 4 New K&F Concept Filters Put to the Test

ND2-ND32 Neutral Density

I conducted the next tests with the two ND filters. Both filters easily screwed in and were subsequently easy to remove with no jamming at all. Both filters performed very well with no color casting or vignetting. I also didn’t come across the X cross-issue that might sometimes occur with variable ND filters.

Image: From the left: ND2, ND4, ND8, ND16, ND32

From the left: ND2, ND4, ND8, ND16, ND32

ND8-ND128 Neutral Density

The thing that I found so useful with these variable filters is the ease of transporting them and the amount of space saved in my camera bag. To be able to carry two ND filters that cover such a wide range is definitely something I feel is worth including in my camera bag.

Image: From the left: ND8, ND16, ND32, ND64, ND128

From the left: ND8, ND16, ND32, ND64, ND128

ND2-ND32 Neutral Density and Circular Polarizing

The final filter tested was the ND filter with the circular polarizing filter. Whilst I was really impressed with the other filters, this is the one that I really found useful. Normally in a situation like this, I screw on my circular polarizing filter, then screw in my filter holder ring, put the holder on, and add the filters I need before I’m ready to shoot.

This filter does all of that. You can see below how using the filter gives you a longer shutter speed to achieve smooth water, and also removes much of the reflection as well. This helps bring out the details on the river bed.

Image: No filter on the left, ND16, ND32

No filter on the left, ND16, ND32

Conclusion

As mentioned, I have always been skeptical of using circular or screw-in filters. However, I am thoroughly impressed with the K&F Concept filters I tested out. The image quality is superb and the added benefit of just using one filter and adjusting the gradient without having to stack filters is really useful.

The thing that really impressed me about these filters is how premium they look, feel, and perform. In fact, I did not notice any difference between these K&F Concept filters and my very expensive current square filters.

Another huge benefit of these filters is the cost. For example, at the time of writing the 5-stop variable ND and CPL filter is priced at $ 89.99. In other words, you are getting six filters for that price. Individually purchasing good quality filters will be a lot more expensive. This will obviously help anyone starting out and wanting to build their accessories up without spending a small fortune. I, for one, will be adding these filters to my collection.

Note: The author was given the K&F Concept filters free of charge to test out. But he is not paid or affiliated with K&F Concept and his review is honest and unbiased and based his personal experience of using the products.

 

k&f-concept-filters

The post Gear Review: 4 New K&F Concept Filters Put to the Test appeared first on Digital Photography School. It was authored by Kav Dadfar.


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DPReview TV: Canon EOS 90D review

21 Sep

The EOS 90D is Canon’s newest DSLR camera, sporting a new 32.5MP sensor and 4K video without a crop. As Chris and Jordan discovered during their testing, there’s a lot to like.

Make sure to visit our Canon 90D initial review for more information on this camera.

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

  • Introduction
  • Handling
  • Battery
  • Lenses
  • VLogging
  • Dynamic range
  • New features
  • Autofocus: optical viewfinder
  • Autofocus: live view
  • Video capabilities
  • Who's it for?
  • Duckies!!!

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Sony a7R IV initial review: What’s new and how it compares

18 Sep

The Sony a7R IV is the company’s fourth generation, high-resolution full-frame mirrorless camera and is built around a 60MP BSI-CMOS sensor. 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

  • 60MP BSI CMOS full-frame sensor
  • Powerful yet easy-to-use AF tracking system
  • 10 fps burst shooting (12-bit Raw mode)
  • 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.

Read more

Body, handling and controls

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

Read more

Sample gallery

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

Read more

Articles: Digital Photography Review (dpreview.com)

 
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ACDSee Video Studio 4 Review – An Intuitive, Easy-to-Use Video Editing Software

16 Sep

The post ACDSee Video Studio 4 Review – An Intuitive, Easy-to-Use Video Editing Software appeared first on Digital Photography School. It was authored by Carl Spring.

In this review, we take a look at the new video-editing software – ACDSee Video Studio 4.

Video is something that, as photographers, we seem to be delving into more and more. Whether that be capturing behind the scenes of photoshoots to create marketing material or simply a video of your photo adventures with friends, video is something many of us are either doing or may want to do. However, it’s not always as easy as that.

Image: Video Studio 4 is great for editing short clips for social media or uploading to YouTube. It...

Video Studio 4 is great for editing short clips for social media or uploading to YouTube. It will not, however, enhance your skills in front of the camera, as you will see later in this review!

The main problem with video content isn’t necessarily shooting the video, but the editing process. I am sure some of you have lots of video footage that you always intend to make into a video (as I have), but it never gets made. You start with good intentions, but the editing always seems to be the sticking point. For those who don’t edit very often or are new to video, editing can be hard and so much software lacks user-friendliness.

Video software usually comes with a steep learning curve too. Those that many consider the standard, Premiere and Final Cut, aren’t particularly user-friendly to the novice user. You will end up spending hours of your time watching YouTube videos to simply understand the basics of how to create a simple edit for either of those pieces of software.

ACDSee has set out to change that. With their latest software, Video Studio 4, you get powerful video editing built into a software that is intuitive and simple to use.

Opening it up

When you launch the software, the layout you see may resemble others. However, with ACDSee Video Studio 4, this layout is streamlined, and the most useful stuff is there, ready and waiting.

On the left side, there are 10 different options for you to work with. They are laid out in a way that guides you through the process of editing from start to finish.

Let’s go through them to see how you can use each one.

The left panel

Media

Video Studio 4 accepts a wide variety of formats for audio, video, and images. These are:

  • Image formats: JPG, JPEG, GIF, BMP, PNG, HEIC
  • Audio formats: WMA, MP3, AAC, WAV, AC3, OGG, M4A
  • Video formats: AVI, MP4, WMV, FLV, MOV, TS, MTS, M2TS, ASF, M4V, MPG, MPEG

As you can see, the software can handle pretty much any format you want to use. It is great to see such a wide range of options available. It means you don’t need to worry about converting files before editing.

Image: Here is a variety of a png, JPEGs and HEVC iPhone footage. ACDSee Video Studio 4 handled them...

Here is a variety of a png, JPEGs and HEVC iPhone footage. ACDSee Video Studio 4 handled them flawlessly.

Captions

Adding in titles and captions is simple and easy. A wide variety of fonts and placement options means you can create a title for your videos quickly.

Image: There are several different styles to work with when it comes to adding titles and captions.

There are several different styles to work with when it comes to adding titles and captions.

Audio Recorder

If you make videos, sooner or later you will find yourself in a situation where you need to record a voiceover. With ACDSee Video Studio 4, you can record audio directly into the software, thus, keeping everything together. This means you don’t have to move between programs to record extra audio. A really fantastic little tool that you may not think is useful – until you need it.

Transitions

With 30 different transitions to choose from, you can easily apply transitions between video clips. Tweaking these to your desired length is simply a matter of dragging them onto the timeline. Some are cheesy, some are incredibly cheesy, but you have options. I am a simple “fade” guy, but if you want something different, you will definitely find it here.

Image: Whilst there are several to choose from, I rarely tend to look past a “fade” or...

Whilst there are several to choose from, I rarely tend to look past a “fade” or “fade to black” transition. If you do, there are several options.

Audio Effects

Adding fade in and outs to your audio tracks is simple and easy too. You can do it manually, but by using the presets and then tweaking to get the desired effect, you can really save some time. You’ll also get your content created much quicker and easier than ever.

Image: It is easy to add fade in and outs with audio in the program.

It is easy to add fade in and outs with audio in the program.

Animations

New in this version of ACDSee Video Studio 4 is the ability to use keyframes to make custom animations. This allows you to create bespoke animations for your clips, which is great when using a still image in your video.

There are also some great presets to use as starting points, which you can fine-tune to get your clips just how you want them.

Image: You can start with one of the inbuilt animations or start from scratch.

You can start with one of the inbuilt animations or start from scratch.

Behavior

Behaviors are customizable entrance and exit effects. You can use these on a clip to really emphasize the clips’ start and end. Simply tweak each effect to customize it to your taste.

I really didn’t see where I would use this, and it feels a little gimmicky. This is a feature most people will not use too often, but in the right hands, I am sure you can do something cool with it.

Filters 

ACDSee Video Studio 4 gives you many filter options to tweak the look of your clip. When applied, these filters tweak things like the clips color, and exposure. There are also several creative effects for quick and easy effects for your footage.

There are several options to explore here. Which ones you choose depends on your taste and preference, but there is something to please most people here. You will no doubt find your favorites when you have used the software a few times, and these will become your go-to filters.

You can add multiple filters should you need or want to. They stack on top of each other in the clip, and you can edit them individually.

Image: This shows the exposure filter in action. It worked well on a clip that was underexposed. The...

This shows the exposure filter in action. It worked well on a clip that was underexposed. There are many others – some good, some that you probably won’t use.

Overlays

Overlays are effects that sit on top of your clips. Some of these, such as the animated hearts and bubbles, are an acquired taste and most of you probably won’t touch them (but will no doubt serve a great purpose for the young generation). However, light leaks and film scratches can give a great effect, depending on the look you are going for with your project.

Image: You can add filters to give your footage a certain look. Some are a little cheesy IMHO, but t...

You can add filters to give your footage a certain look. Some are a little cheesy IMHO, but there are some really nice ones, such as old film, which I used here.

Advanced Effects

This is where the software gets seriously impressive. Here you will find some features most commonly found in high-end editing software, yet they come with the ease and simplicity of use that makes Video Studio 4 so user-friendly.

Starting with one of the new features in Video Studio 4 is Remove Color. This is most commonly used for green screen work. This allows you to shoot against a green screen (or other color backgrounds) and remove it from the clip. You can then add in a background of your choice. This is great for YouTube videos, where you can buy a cheap green screen (or even use a green sheet) and then add in a background you created in Photoshop or similar. It can give you a host of creative options, is incredibly simple to use, and really powerful.

A new cool feature is Color LUTS. These allow you to add a variety of different color grade options to your footage to enhance their look.

Another new addition allows you to adjust the speed of your footage. You can create time effects such as slow-motion, or speed up the timing of your clip.

The last new addition is Mosaic, which is great to blur out items in clips, such as car number plates. This can then be sized and tweaked to match your clip. Again this is one of those tools that you probably won’t use very often, but when you do need it, you will be glad the software includes this handy tool.

Image: You can add LUTS to color your footage. Start with a preset or upload your own. For the short...

You can add LUTS to color your footage. Start with a preset or upload your own. For the short video I created, I used Tinsel.

Using ACDSEE Video Studio 4

It’s one thing to list all the features of a software, but it is another thing entirely to put it in practice. With this in mind, I put a few things together in ACDSee Video Studio 4.

The first project involved taking a couple of clips from a photoshoot on my iPhone and making them into a quick clip for Instagram. I also wanted to try out the screen recording software that comes with Video Studio 4 so I used this to make a quick tutorial on creating custom animations in the software.

Lastly, I wanted to test one of the key new features, Remove Color.

Green screen test

As this was one of the new features of the software, I was keen to test it out. However, rather than test this with a perfectly lit green screen, I tested it in a more common situation. At first, I tried against a blue block wall, not expecting it to work at all.

Then I used a green screen I borrowed from a friend. Now, this is by no means a high-end green screen. In fact, one of the stands fell to pieces when we were putting it up and had to be held together with tape! I also didn’t iron the green material (as you can see in the clip). It was a very cheap eBay purchase, but it is the type of setup the most people will use when starting with a green screen, so I wanted to see the results.

I used no specialist lighting in the setup either. Again, with the right type of equipment, this is super easy, both for the editor and the software. But, I wanted to push it a little…

Here are the results:

?

As you can see, the software worked pretty well on the green screen (just a slight issue with the reflection in my glasses) and surprisingly well on the blue wall, even if it didn’t manage to get it quite perfect. I think that a simple, smooth painted wall, with decent natural light, would work perfectly well for this type of work. Moreover, with an ideal studio lighting setup, it would work great.

The tutorial video

ACDSee Video Studio 4 also comes with software that allows you to record your screen, which I wanted to test to create a simple instructional video. As I am reviewing the software, I decided to make a quick tutorial on creating a logo animation. I simply selected the inbuilt Mic and Webcam and hit the record button.

When you have finished recording your footage, it drops it directly into Video Studio 4 ready to edit. Editing is then simple.

Here is the result:

?

If you are looking to get into creating tutorial videos for your photography, or tutorials for any software, Video Studio 4 is great. 

The Insta edit

What I see as the biggest possible use of this software is for quick, simple edits for Instagram. This software is perfect for that purpose –one of those situations where you just want to put a few clips together and make an edit as quickly as possible.

In this example, I had three phone clips I wanted to use. I also had my logo and background I created in Photoshop. With all I needed ready to go, I jumped into Video Studio 4 for the first time.

It is super simple to use, and within minutes I had a completed video.

The first thing I wanted to do was to create a quick intro using my logo. I saved my logo as a .png file so that I could keep the background transparent so it would work with layers. Then I placed both the background and the logo into the software. To add some animation, I used the custom animation feature in Video Studio 4. By dragging and dropping this onto the logo, I was able to quickly add two 360-degree motions to the logo to add interest.

It was easier than I imagined. Within 20 seconds, I had my animated logo.

Then I added transitions to the start and end of the clip as well as adding an old film overlay. That was it. One minute and I had a finished animated logo. If I wanted to, I could export this clip and use it in all future videos as an intro. That saves even more time when creating clips like this.

Next, I needed to insert my clips. Again, it was simply a matter of drag and dropping them to get them onto the timeline. To trim the clips to the required length, you have two options:

  • drag the ends of the clip to where you want them, or
  • split the clip where you want the edit and delete the part that you want to trim.

I found this splitting quicker, and this is what I did for the rest of the clip.

With my clips trimmed, I also needed to remove the audio. There are two ways you can do this: Method one is to adjust the sound level of the clip by right-clicking on it and selecting Edit Audio. This is great when you want to adjust the sound levels of a clip. In this case, however, I didn’t need the audio at all, so split the clip into separate audio and video tracks. This way, I was able to delete the audio from the clip quite simply.

Image: You can either edit the audio level of clips or split the audio, which is what I did here. As...

You can either edit the audio level of clips or split the audio, which is what I did here. As I didn’t need sound, I simply deleted the audio from the clips.

I then added transitions between clips. While there are loads to choose from, you will probably find yourself going back to a select few. In my case, I have always tended to use Fade to Black or Cross Fade (called Fade in Video Studio 4).

For the last stage, I easily added a LUT to the footage. There are several LUTs in Video Studio 4, or you can upload them into the software. I decided to use the Tinsel LUT, which adds a color grade to the footage.

Adding music

When I watched the footage back, I decided I wanted to add some music.  I used a track by A Himitsu, the details of which are as follows:

Adventures by A Himitsu, Creative Commons — Attribution 3.0 Unported— CC BY 3.0 

Music released by Argofox Music provided by Audio Library

Once I had the music in, I wanted to move my edits a little to match the music. Even though I had LUTs applied and fades in place, this was easy, and there was no lag when dragging clips around. The software felt speedy throughout using it, which was reassuring. With the music added, and clips altered, I just needed to add an audio transition to fade the music out, which I then tweaked until I was happy with it.

All complete, it was time to export my project. You can see the final edit below.

Export

Exporting is quick and easy and helped by Video Studio 4 holding your hand through the process. You can export and save to a file, or you can upload directly to YouTube or Vimeo. Just log in to YouTube and follow the instructions. In terms of time, the software exported quickly, and I didn’t notice a difference in export times compared to using other editing software.

You can also export to an animated gif, which is ideal for things like action sports clips.

As you can probably guess, the theme of simple and easy continues here. Video Studio 4 guides you through things in the beginning while allowing you the ability to be more creative as your confidence grows.

Image: Video Studio 4 guides you through the export process. You can export to file or upload direct...

Video Studio 4 guides you through the export process. You can export to file or upload directly to YouTube, which is what I did. It was simple and worked perfectly.

Support

ACDSee has some great training videos for their software on their website. For those of you new to video editing, these are well worth a watch to get you started with Video Studio 4. I am sure that more will be added over time, but they have everything you need to get started. There is also great technical support should you have any other issues.

Below is an example of their training videos with Director of Photography, Alex Watson. Before anyone says it in the comments, I know his delivery is a little better than mine.

Who is this software for?

If you use Premiere or Final Cut, you will have more than likely not even made it this far. It is not as fully featured as these programs and is in no way a replacement, but that is not the purpose of this software.

ACDSee Video Studio 4 is for those who are new to video editing or who just want to create quality content without having to spend large amounts of time learning to use software.

While Video Studio 4 is incredibly user-friendly for the beginner, it also contains many features for those wanting to delve deeper and use more advanced features such as the green screen.

In a nutshell, the aim of Video Studio 4 is to create professional videos quickly and easily for those new to video. It does this impressively well.
It is really competitively priced, and for those who are new to video and use PC, I can’t think of a better alternative.

Final thoughts

ACDSee Video Studio 4 is a simple to use, yet surprisingly powerful video editor. It is not a replacement for Premiere, nor is it intended to be. There are some really powerful features in here, but it also contains some stuff that I would personally never use. For example, some of the fades and overlays feel cheesy and overdone. Then again, as a teen starting out with video editing, these will more than likely be fun, and I am sure they will get used in creative ways. Maybe it’s more me being an old stick in the mud for the classics?

If you have been thinking about adding video to what you do, I would recommend you try Video Studio 4. This is simple to do as ACDSee have a free trial, allowing you to try before you buy. When it comes to purchasing, you also have options. You can purchase the software outright, or you can get it as part of the ACDSee 365 plan, which also includes ACDSee’s Photo Studio software for a simple monthly payment.

ACDSee is known for offering alternative software that is feature-packed, simple to use, with a great price tag. With Video Studio 4, ACDSee has definitely cemented that reputation.

ACDSee is a paid partner of dPS.

The post ACDSee Video Studio 4 Review – An Intuitive, Easy-to-Use Video Editing Software appeared first on Digital Photography School. It was authored by Carl Spring.


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DPReview TV: Canon EOS M6 Mark II review

14 Sep

This week Chris and Jordan review the new Canon EOS M6 II mirrorless camera. Even if you’re not interested in the camera, you should probably watch just to see Jordan sing a Dire Straits cover.

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

  • Introduction
  • Design
  • Sensor
  • Burst speeds
  • Custom settings
  • USB charging challenges
  • Buffer
  • Rolling shutter
  • Video capabilities
  • Wrap-up

Sample gallery from this week’s episode

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Articles: Digital Photography Review (dpreview.com)

 
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Canon PowerShot G5 X Mark II review

12 Sep

Introduction

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Sample photoSample photoSample photoSample photoSample photo
Silver Award

82%
Overall score

Canon’s PowerShot G5 X Mark II is a high-end compact camera with a versatile lens, great controls and a modern 1″-type sensor. For a small camera, we find the grip to be generous and secure, and the updated processor combines with the new sensor for some seriously responsive performance. The pop-up electronic viewfinder is a nice touch and the camera also comes with fast burst shooting as well as good-quality 4K video.

In creating the G5 X Mark II, Canon has clearly taken more design inspiration from the G7 X lineup than the original G5 X. Gone from the old camera is the centrally mounted viewfinder and fully articulating screen, but the new camera is more svelte and pocketable as a result. Plus, Canon has extended the lens’ zoom reach while maintaining a fast aperture range, which is a nice bonus. On the not-so-good side of things, for some reason Canon has decided that 24p video recording is unnecessary, there’s no microphone jack, some customization options are limited, and the small battery means you’ll likely want to carry a spare if you’re a heavy shooter.

Key specifications:

  • 20MP 1″-type stacked CMOS sensor
  • 24-120mm equiv. F1.8-2.8 lens
  • Pop-up electronic viewfinder and flash
  • Touchscreen tilts up 180° and down 90°
  • 8fps burst shooting with autofocus, 30fps Raw burst mode
  • 4K/30p, 1080/60p video recording with IS (no 24p options)
  • 1080/120p slow motion video with no audio or autofocus
  • Wi-Fi + Bluetooth wireless connectivity
  • USB 3.1 (with USB-C connector) for data transfer and charging
  • 230-shot battery life (180 using the EVF) per CIPA standard
Out-of-camera JPEG
ISO 125 | 1/1000 sec | F4
Photo by Jeff Keller

The G5 X Mark II looks, in many ways, to be a near-ideal travel or family camera for enthusiast photographers that like having a dedicated camera with them at all times – does it live up to this promise? Time to dig in and find out in our full review.


What’s new and how it compares

The G5 X II looks a lot like a cross between Canon’s own G7 X III and Sony’s RX100-series – here’s how it compares inside and out.

Read more

Body, controls and handling

On the G5 X II, Canon’s fitted one of the nicest grips we’ve ever used on such a small camera – but there’s more to it.

Read more

Image quality

Take a deep-dive into the G5 X II’s image quality, including how its lens performs.

Read more

Autofocus, Raw burst and video performance

Autofocus and video performance from the G5 X II are pretty good – but are they enough to stand out among strong competition?

Read more

Conclusion

Canon’s PowerShot G5 X Mark II earns a solid silver award – here’s the full story.

Read more

Sample gallery

From camping to cats and the occasional dog, we’ve got a full sample gallery from the G5 X II for your perusal.

See the gallery

Articles: Digital Photography Review (dpreview.com)

 
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Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

11 Sep

The post Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens? appeared first on Digital Photography School. It was authored by Adam Welch.

I’ve evaluated and reviewed quite a few lenses over the years – twenty-three to be exact. Throughout those reviews, I’ve been fortunate enough to encounter many that were good, a few that were great, and an oh-so limited few that were absolutely magic. Yet, I can honestly say that I have never experienced the overwhelmingly universal praise and excited electricity surrounding a freshly released lens as I have witnessed with the new Tamron SP 35mm F/1.4 Di USD (for Canon, Nikon). This is the prime lens that is currently wowing the masses with its mind-bending sharpness and wide-open f/1.4 speed.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Ironically enough, this little beauty marks the 40th Anniversary of Tamron’s “Superior Performance” line of lenses. Tamron has specifically geared all of the glass in SP line towards meeting the needs of discerning professional photographers.

So, needless to say, whenever I get the chance to review any new SP lens from Tamron, I always feel all warm and fuzzy inside. Would the Tamron SP 35mm f/1.4 live up to the hype? Could it? I was incredibly curious to find out, and, of course, I want you to come along for the ride.

Out of the box

First things first; this is a gorgeous lens. It possesses a clean and simplistic style which in my experience has been the hallmark of virtually all of the modern SP line. The lens itself is a velvety deep satin black with white lettering and, of course, that signature metallic-colored ring finishes off the minimalist design.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

There isn’t a lot to see here aside from the focusing ring (which is nicely rubberized), and the AF/MF switch. Oddly enough, the SP 35mm F/1.4 lacks the Vibration Control functionality which leaves quite a bit of open real estate on the lens body.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

I say the absence of Tamron’s proprietary VC image stabilization is odd not because it will necessarily be missed on a lens of this focal length, but instead because it is present on the close cousin of this lens – Tamron’s 35mm F/1.8 Di VC USD (Canon, Nikon, Sony). The exclusion of VC on this 35mm could very well be a weight-saving measure to avoid making an already robust lens heavier. More on this in just a bit.

This lens includes generous moisture sealing throughout, which if you’ve read any of my other reviews of Tamron glass, you’ll know that I absolutely love. There’s just something extremely comforting about the physical presence of that rubber gasket at the rear of the lens.

Image: Image courtesy of Tamron

Image courtesy of Tamron

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

It also comes with a very nice storage bag.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Overall, it’s safe to say that the look of the new SP 35mm lens impressed me right out of the gate.

Here’s the list of specifications for the Tamron SP 35mm f/1.4 Di USD courtesy of Tamron:

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

As you can see, this is not a feather-weight prime lens. The 35mm F/1.4 with the lens hood comes in weighing just shy of 2lbs(907g) on my home scales. That makes for a hearty setup when mounted on larger DSLR cameras.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

With that said, the overall balance of the lens, when mated to a Canon 5D MK III, is remarkably pleasant. It’s not light, but it’s not overly bulky either. Take into account the fact that the lens houses 14 elements, and you become somewhat surprised that it doesn’t weigh more.

That lens hood though…

“But Adam…it’s only a lens hood. Do you really think it’s worth its own section?”

Yes, yes, I do.

Don’t get me wrong, I understand how trivial this may very well be, and it’s most certainly only my highly subjective…borderline neurotic…opinion.

Tamron has recently introduced a locking mechanism to some of its new lenses. This is the second time I’ve encounter this hooded curiosity from Tamron with the first being the 24-70mm F/2.8 Di VC USD G2 (Canon, Nikon).

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

In short, I’m conflicted. Of course, the goal of this feature is to keep your lens hood from accidentally popping off your camera. The issue I see with this is that such a static locking mechanism could possibly lead to a broken lens hood, or worse, breakage of the front mount of the lens barrel. Instead of the lens hood simply popping off, there could ultimately be a situation where “something’s gotta give” should a substantial impact occur. What’s more, the need to depress a button to remove the hood is just a little tedious. Then again, I must say the locking mechanism is finely executed and works quite well for its purpose. It’s a feature that I could come to enjoy, but for the time being, not so much.

Relax. I’m finished talking about the lens hood.

A fresh take on Autofocus

Newly introduced with the Tamron SP 35mm f/1.4 is a revamped mechanism that supposedly aids in more speedy and less noisy autofocusing. It’s called the Dynamic Rolling-Cam System.

Image: Image courtesy of Tamron

Image courtesy of Tamron

Not only is that a pretty cool name but the Dynamic Rolling-cam System assists Tamron’s already capable Ultrasonic Silent Drive AF with moving that large f/1.4 focusing unit and is reported to make the entire AF experience of the Tamron SP 35mm f/1.4 much more reliable. I tested the AF with my Canon 5D MK III and my trusty Canon 7D Mk1. In both cases, the AF of the lens was quite snappy and accurate, even in low contrasted scenes. This lens also features a full-time manual focus override so that you can easily tweak focus manually while still in AF mode.

Performance and image quality

If you’ve heard anything about this lens already then you probably know it’s reported to be sharp – I mean scary sharp – with beautifully creamy bokeh and superb contrast. Well, it’s all true. So if you want to take my word for it, feel free to skip down to the sample images. If not, keep reading.

Sharpness

Yep. The Tamron SP 35mm f/1.4 is exquisitely sharp even wide-open at f/1.4. The center is tack sharp with only a minuscule softening at the corners. At smaller apertures beyond f/2, this lens absolutely shines with virtually no vignetting past that aperture mark as well – virtually zero distortion. Also of note is that as you move toward f/16, there are majestically pronounced starbursts at point sources of light.

Color and Contrast

Colors pop wonderfully with this 35mm lens. Equally, the contrast is great, and I noticed no chromatic aberrations even at f/1.4. I wasn’t as overly impressed with this area of the lens as some have been, but it truly does produce some beautifully contrasted photos with perfectly adequate color separation. Tamron has also introduced the second generation of their BBAR element coating which is purported to reduce ghosting and flare greatly.

Here are a few sample images for your inspection. There have been no adjustments to sharpness, color (except WB) or contrast.

Image: F/8

F/8

 

Image: F/4.5

F/4.5

 

Image: F/8

F/8

 

Image: F/16

F/16

 

Image: F/1.8

F/1.8

 

Image: F/1.8

F/1.8

 

Image: F/2.8

F/2.8

 

Image: F/1.8

F/1.8

 

Image: F/2.8

F/2.8

 

Image: F/1.8

F/1.8

 

Image: F/13

F/13

 

Image: F/2.8

F/2.8

 

Image: F/4.5

F/4.5

 

Image: F/1.4

F/1.4

I’ve also put together a full-length video review of the Tamron SP 35mm f/1.4 if you would like to dig a little deeper into the characteristics of this lens.

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Final Thoughts on the Tamron SP 35mm f/1.4…

What else can I say about the Tamron SP 35mm f/1.4 lens? Fortunately enough for both of us, the results from this lens happily speak for themselves. I’ll admit that going into this review I had already been bombarded with tales of its sharpness and high contrast, so the bar was set alarmingly high. So high in fact, that I was concerned that I would be let down by the performance of this lens once I actually used it. Banish all such thoughts!

The SP 35mm f/1.4 Di USD from Tamron is a perfectly executed fast prime. It combines all the best attributes of fine glass and bundles them into a sleek looking package that performs fantastically. It’s a fast focusing beauty that would be right at home in the field or on the street.

The best part? It will set you back considerably less than some other lenses in its class. At the time of this review, the Tamron SP 35mm f/1.4 sells for $ 899US.

Have you used the Tamron SP 35mm f/1.4 lens? Do you have any other “go-to” prime lenses that you absolutely love keeping in your bag? Let us know in the comments!

 

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The post Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens? appeared first on Digital Photography School. It was authored by Adam Welch.


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