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Review: Alien Skin Exposure X4 Software

24 Feb

The post Review: Alien Skin Exposure X4 Software appeared first on Digital Photography School. It was authored by Peter West Carey.

Alien Skin Exposure X4 is a photo editor providing direct competition to Adobe Lightroom, but with a few extra tricks up its sleeve. While it is a cataloging software, it doesn’t require a catalog like Lightroom. There is no importing to be done. It has a host of features and over 500 presets to help get you started with edits.

Who is it for?

Exposure X4 is aimed at a wide variety of users. From novices just getting started who want a little help via presets, to advanced photographers possibly tired of the subscription model Adobe keeps pushing for its programs.

As a professional myself, I don’t find any show-stopping limits within the program as I’ve seen from Lightroom competitors in the past. You’ll notice the word “robust” used a number of times in this article and I don’t use it without warrant. It’s a very serious competitor to Lightroom.

Highlighted Features

No catalog

At its core, Exposure X4 is built to edit photos quickly, dynamically and then to help you get the finished product out to the world, be it in print or online. Exposure X4 uses non-destructive edits, much like Lightroom, and does this without a catalog. Instead, Exposure X4 drops another folder inside of any folder you are editing as in the screenshot below.

Some may like this system because without a catalog there is no catalog to corrupt. While not a widespread problem in Lightroom, it can happen if you don’t close the program properly or if your computer crashes. Uniquely, it also allows for a limited amount of shared editing.

As the program only looks to individual edit information files (those ending in .exposurex4 in the screenshot above), it is conceivable to run the program on two computers sharing the same files, such as with a Network Attached Storage or other file sharing services (Dropbox, iCloud, OneDrive, etc…). There’s also no need to pack up or export a catalog before moving files as the folder with edits will travel with the master folder.

File copy from cards

Instead of importing files, Exposure X4 uses a simple copy and bookmark feature to handle raw images.

The copy feature lets you copy from a card, or from a hard drive or network resource if you want to move files. This is a separate process than simply bookmarking an existing folder to bring its contents into Exposure X4.

The copy feature is pretty robust, with the ability to change file names, make backup copies, add metadata, including keywords and copyright. It can also apply presets (from the over 500 included or ones you create yourself).

The file naming convention is also robust with all kinds of variables you would expect. Below is an example of all the date related options you have.

As a long time Lightroom user, I was happy with the selections included.

Bookmarks instead of Imports

Lightroom requires you to run an import function to bring any images you want to edit into its catalog. Exposure X4 accomplishes this, in my opinion, in a more elegant way.

Simply click the plus sign on the Folders pane and select which folder you want including in the program.

The program also has the ability to monitor folders, so when new images show up (if you are importing with another program, for instance, or shooting tethered) the program will automatically bring those images in.

Layers

For those familiar with Photoshop, the Layers technique of editing will see standard practice. Using features like Brushes (for masks) and gradients will create a new layer for each desired effect.

In this case, I added some clarity to the mountains and a slight gradient. The array of presets is decent and you can modify any mask/edit to your liking.

Each layer can be turned on or off, which is very helpful when you want to see what effect each has without having to step back through the History.

Lastly, as you would expect, layers can be copied, named and deleted.

All the other edits

Exposure X4 has a vast array of editing options as you can see from this collapsed panel below.

While featuring every single item is beyond the scope of this review, I will mention the IR (infrared) and Focus.

For instance, take this shot of photographers in front of Cho Oyu, the 6th highest mountain in the world, shot from the Nepal side.

With a quick swipe of the adjustment brush on a new layer mask then a few slider moves as such:

Bingo! We have selective focus.

Further editing needs to be done, but this is a nice start to helping the photographers stand out.

Presets galore

If you love presets, you’re going to love what Exposure X4 packs into its programming. Here’s a quick screenshot of the categories:

If you want to see what is behind each of those headings, take a look at their website.

One downside I can see is there aren’t many third parties making presets for this program, at least not that I was able to find.

However, you are able to create your own with no limits.

Lightroom Migration Tool

Now the crux of it!

When you install Exposure X4 on a computer with Lightroom, it will add a Migration Tool as an add-on within Lightroom.

So what does it do?

It’s fairly basic and, for the most part, tells Exposure X4 where to find all your files from the Lightroom catalog as well as bring over keywords and collections.

Does it work?

Yes and no. You need to know what to expect.

First off, it’s not going to bring over the entire history for a photo with all your edits just as they are in Lightroom.

You have two options: 1) Simply point Exposure X4 to the RAW file and then start from scratch or 2) Export each file that you have edited as either a JPG, TIFF or PSD file.

The second option works well when I had it create new PSD files. Keywords, star ratings, color coding, and all the metadata came right along into Exposure X4. The one annoying thing is it renames each file and appends it with “_migrated.psd”. This can easily be cleaned up with Exposure X4’s renaming feature.

Here’s an example of a small catalog brought into Exposure X4.

More info on the tool can be found on their site.

Show me more

There really is way too much to talk about in this one post. Luckily they have a great Features page that lists the plethora of features you may be looking for.

What Could Use Work

I found a few issues with the program while testing it. I left out the items I would describe as “That’s not the same as Lightroom!” where I blurted out that phrase because it’s not exactly the same.

No preview on import

I admit that import is the wrong name for it. Mentioned above, I’m talking about the “Copy From Card” feature to move items from a card to a local hard drive and also include them in Exposure X4.

When running this feature, there’s no ability to preview the images. This also means there is no ability to choose individual images when copying from a card.

Hopefully, this will be addressed in a future version. But I can see why they left it this way; because Exposure X4 is supposed to look at all images in a folder. If you don’t want to see them, they shouldn’t be there! It does cut down on the need to synchronize things as Lightroom can.

Not all profiles are present

The camera profile for my drone, a Mavic 2 Pro, was not included. At least that’s what I thought.

While it did have the profile for the Mavic Pro, it was not automatically recognized and applied in the Lens Correction pane. This may be a temporary thing, but the Mavic 2 Pro has been out since last summer.

Two finger rotation

This will seems like a little thing, but it really annoyed me. Rotating images is accomplished by holding down Command/Ctrl and the left and right arrow keys. Using the arrow keys make sense, because they point the way of rotation, but I want it quick and easy, not with the added Command key.

I know, it’s a little thing.

Lack of Add-Ons and Plug-Ins

Because it is not Adobe, Alien Skins doesn’t have a huge pile of developers pumping out plug-ins and add-ons for Exposure X4. It tries to make up for this fact by offering a robust program from the start, but I use the Lightroom tethering abilities often and not having that feature in Exposure X4 is hampering.

Conclusion

Alien Skin Exposure X4 can do almost all of what Lightroom can do. It’s worthy competition that deserves a close look if you are getting fed up with Lightroom and Adobe’s current path.

It offers a number of creative features you won’t find in Lightroom, like the adding sun streaks or other lighting effects to your photos.

It’s a fun and different approach than Lightroom. It can export to Photoshop and has a decent migration tool if you are already using Lightroom.

It’s not compatible with Lightroom, though. Using both programs on the same images will not work, so you need to choose one or the other. In my mind, it’s worth giving it a try and really diving into the keyboard shortcuts (“-” is used to reject a photo and “+” is used to flag it, while either shortcut can be used to toggle off the flag. No more trying to find “U” (to unmark!) to see if it is the right program for you.

Have you used this software? What are your thoughts?

The post Review: Alien Skin Exposure X4 Software appeared first on Digital Photography School. It was authored by Peter West Carey.

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Canon EF-M 32mm F1.4 review

20 Feb

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85%

Overall score

The EF-M 32mm F1.4 STM was an easy lens to miss when it was announced, unveiled at the same time as Canon’s all-new EOS R. Quite how the EOS M series will play alongside the newer R line remains to be seen, but its adopters have been clamoring for more wide-aperture native lens options for some time, so it’s nice to finally see a lens of this type join the lineup. And at F1.4, it’s the fastest lens in the EOS M system to date.

The third prime lens for the EF-M mount, the lens’s 32mm focal length provides a versatile equivalent focal length of 51mm in full-frame terms on EOS M-series bodies, and an aperture equivalent to an F2.2 lens on full-frame. As the only lens of its kind in the range, it should appeal widely to those already invested in the system, particularly portrait photographers who haven’t really had a suitable alternative as of yet (at least not a native one).

It should also find a lot of love from those shooting in low light, and it also makes sense for those intending to capture nature who don’t need a lens with true macro capabilities. In short, it has plenty of appeal.

Key specifications

Focal length: 32mm (equivalent to 51mm in 35mm terms)
Aperture range: F1.4-16 (In 1/3 stops)
Filter thread: 43mm
Close focus: 0.23m (0.76ft)
Maximum magnification: 0.25x
Diaphragm blades: 7
Hood: optional (ES-60)
Length / Diameter: approx. 56.5 x 60.9mm (2.22 x 2.40in)
Weight: approx. 235g (8.3oz)
Optical construction: 14 elements in 8 groups

That wide aperture is arguably even more important here, given that this is only the second lens in the stable not to be furnished with its own image stabilization system. This isn’t a feature we’d expect as standard on a lens of this sort, but it wouldn’t exactly be out of place when you consider that stabilization isn’t found inside any current EOS M-series bodies (at least not mechanically). Its omission from the lens itself is probably less of a concern for anyone intending on shooting portraits, but those planning on using it for static subjects in sub-optimum light might have hoped Canon had found space for this.

Speaking of not finding space for things, it’s a shame to find that a lens hood isn’t included with the EF-M 32mm F1.4 as standard.

Design and handling

The overall design of the EF-M 32mm F1.4 is consistent with the other optics in the series, which is to say smart and understated. Its charcoal grey finish perfectly complements the EOS M50 body I used during this review, while its weight of 235g gives it some substance relative to its size when held on its own. The combination is just as nicely balanced in the hands as it is to the eye, and the whole package will just about fit into a coat pocket.

The streamlined barrel features a large, textured focusing ring, while the rest of the casing has a matte finish that’s smooth to the touch. The overall result is perhaps the most minimally styled lens in the line since the (much smaller) EF-M 22mm F2 STM pancake lens. As with its siblings, there’s no focus-distance window or equivalent markings, and in the absence of an AF/MF switch, alternating between autofocus and manual focus has to be done via the camera.

It’s only the focus limit switch that physically breaks the lens’ symmetry. We wouldn’t necessarily expect such a lens to be fitted with one, but its inclusion makes some sense when you consider its 0.23m close-focusing limit and broad range of potential applications. This two-mode control allows you to either use the full focusing range or to work between 0.5m (1.64ft) to infinity, and it’s relatively flush with the rest of the barrel and somewhat stiff. This, together with its placement just above the mid-point of the lens, meant that I found it somewhat more awkward to operate than necessary. That said, I imagine for most photographers it won’t be a control used frequently enough to matter.

Like all of Canon’s EF-M lenses, the 32mm F1.4 is very compact. At barely 8 ounces in weight it won’t weigh you down, either.

The EF-M 32mm F1.4 STM’s mount is made of metal, and there’s no real issue with mounting or un-mounting as such, although the fact that the barrel is the same diameter throughout and that most of it is made up by the rotating focus ring means that you have to grab it right at its base when changing lenses.

As useful as it is to have such a wide aperture, one issue I soon ran into with the EOS M50 was the lack of an electronic shutter that can enable shutter speeds beyond the the mechanical 1/4000sec limit. This applies to other EOS M-series bodies too, and presents an obvious challenge when working outdoors in brighter conditions. Of course, an ND filter can help here, but it’s not a convenient solution. (Incidentally, there is a silent shutter option that employs an electronic shutter hidden in the EOS M50’s scene modes, although you have no agency over exposure settings when this is enabled and you can’t otherwise access the feature).

Focus

As with every other current optic in the EF-M series, focusing is handled by an STM stepping motor. Here, it’s a lead gear-type motor that promises smooth and quiet focus for stills and ‘near silence’ when capturing videos.

Canon’s own literature makes it clear that the advantage of this type of motor over the screw-type STM motor used in its other lenses relates to compactness rather than silence and speed. After using it for some time, I’m not sure whether the motor can be described as smooth in its operation when capturing stills, but only because it’s clearly working at speed to acquire focus. I’d certainly prioritize speed over smoothness here, so this is no criticism.

When shooting very close subjects, the EF-M 32mm F1.4 can take a moment to achieve focus, but for arms-length shooting and beyond, focus is fast and snappy.

Converted Raw| ISO 100 | 1/160 sec | F1.4 | Canon EF-M 32mm F1.4

In good light, the lens typically performs a rapid shift to its approximate position before a brief final shuffle for accuracy. While this is audible, these sounds are easily masked by ambient noise, and they’re not particularly obtrusive. When the lens hunts, it typically manages to travel between its full range in around a second and a half, although this can obviously be improved if you’re not shooting up close and are happy to limit the focus range to the 0.5m-infinity range.

Using autofocus during video recording will result in an audible low-frequency hum as it transitions between different focusing distances, rather than the more obvious, higher pitched whirring when focusing for stills. These sounds are picked up on recordings, but they’re also not distracting and are, again, easily quashed by ambient noise. These movements are very smooth, and I found the transitions looked very pleasing in resulting footage, assuming the camera found focus without any issues. There’s some noise from the lens as it’s manually focused during video recording, but if you turn the ring slowly enough you will not even notice this.

This image shows the 32mm at its closest focusing distance, with the inner barrel extended from the main body of the lens.

Focus itself isn’t internal; the inner barrel extends by around half an inch or so when at its closest focus distance of 0.23m, although the outer barrel maintains the same length at all times and the focusing ring also stays put. The focusing group isn’t mechanically linked to the ring, and response is speed-sensitive, not linear. This means that the amount of focus adjustment when manually focusing will vary according to how quickly you rotate the ring. You can work through the whole focusing range in as little as three quarters of a full rotation, but turn it too quickly and you may end up needing two-and-half rotations to move between the two extremes. Video shooters manually focusing will miss the option for linear focusing.

In any case, there’s ample room for fine control over manual focus adjustment, and this is helped even further by the peaking option found on every compatible camera, save for the original EOS M. The lens also supports full-time manual focus, which lets you override the AF system by turning the focusing ring.

Overall, while the lens doesn’t operate in complete silence for stills nor video, it works quickly enough for stills and smoothly enough for video.

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: Fujifilm X-T30 first impressions review

15 Feb

The new X-T30 may not be Fujifilm’s flagship model, but it arrives with some very impressive features and specifications. Chris and Jordan have been shooting it for a few days and share their first impressions, along with a look at an iconic new building in their hometown of Calgary, Alberta.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

Introduction
Shot on the X-T30
Design and handling
LCD design
Film simulations
The sensor
The processor
LCD and EVF quality
Burst mode
Autofocus
Video quality and features
Wrap-up

Articles: Digital Photography Review (dpreview.com)

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Fujifilm X-T30 review in progress

14 Feb

Fujifilm’s new X-T30 brings much of the feature set of the high-end X-T3 at a more reasonable price. If that sounds familiar, it’s because the relationship between the X-T20 and X-T2 was the same.

With the X-T30 you receive the same 26MP sensor and processor as the X-T3, a more advanced AF system (which the X-T3 will soon gain via firmware update,) plenty of direct controls and a tilting touchscreen, all in a smaller body. The X-T30 also comes at a significantly lower price than the X-T3, with the body priced at $ 899, versus $ 1499 for the X-T3. We’ll discuss what features are cut in order to make the X-T30 the less expensive of the two options a bit later in this article.

Key specifications

26.1MP APS-C X-Trans BSI-CMOS 4 sensor
X-Processor 4
Hybrid AF system has 425 phase-detect points spread across the entire frame
Burst shooting at 30 fps with no blackout (but 1.25X) crop using electronic shutter; 20 fps without crop
2.36M-dot OLED viewfinder w/0.62x equiv. magnification and 100 fps refresh rate in boost mode
3″ tilting touchscreen display
Dedicated drive, shutter speed and exposure compensation dials
Joystick for AF point selection
Eterna Film Simulation mode
DCI and UHD 4K/30p capture using full width of sensor
4:2:0 8-bit internal recording or 4:2:2 10-bit HDMI output
USB-C socket with headphone support
Single SD card slot (UHS-I only)

That’s a lot of camera for under $ 900 body-only. If you’d like to add a lens, you can get the camera and the 15-45mm F3.5-5.6 OIS Power Zoom lens for $ 999, or with the excellent 18-55 F2.8-4 lens for $ 1299. The traditional black and silver models will be available in March, with the ‘charcoal silver’ model shown in this review coming in June.

What’s new and how it compares

The X-T30 borrows the sensor and processor from the more expensive X-T3, and that’s great news. It has a more advanced AF system (for now) and impressive video specs for its price range.

For a $ 900 camera, the X-T30 is surprisingly well-built. It has a tilting touchscreen LCD, nice EVF and direct controls that make it a pleasure to use.

In addition to four customizable buttons you can also ‘swipe’ the X-T30’s LCD in one of four directions to adjust settings. The camera offers two different customizable menus so you can set it up the way you’d like.

Articles: Digital Photography Review (dpreview.com)

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Capture One Pro 12 Review – Whats New and Should You Upgrade?

12 Feb

The post Capture One Pro 12 Review – Whats New and Should You Upgrade? appeared first on Digital Photography School. It was authored by Carl Spring.

Screenshot of Capture One

Capture One have recently released version 12 of their image editing software. Capture One have made a name for their high quality imaging software that offers professional users the best control of their images. But does version 12 deliver this? And, more importantly, is it worth upgrading to from version 11?

What’s new?

Capture one say “Capture One 12 delivers better, faster, and more creative control. New features includes advanced masking functionality, an even more efficient and intuitive user experience, plug-in compatibility, and much more”

In any software, a speed increase is always welcome. In use, Capture One 12 is slightly quicker on my machine, which is nice. Is it enough on it’s own to make me upgrade? Probably not. However, there are lots of other features that make it much more appealing. These include an updated interface, new masking options, intelligent adjustments copying and much more. Let’s look at each of the updated features in more detail.

New updated interface

The menu system in Capture One Pro 12 is more customizable than before. The new icons have been upgraded, which does make it look fresh. I like the new design, but this is nothing to get excited about. There is a redesigned keyboard shortcuts panel though, which is useful for those who like to create their own. I’m not someone who delves deep into creating my own shortcuts, but I do appreciate the new design. If you are so inclined, you have the option to create more than 500 customizable commands.

The updated interface. Yes, it is a little nicer, but not a massive difference. V12 is on the left.

New masking options

New masking options are something to get excited about. The Luminosity masking allows you to create a mask based on the Luma Range of the file. This makes it really simple to create a mask to bring back only the darkest of shadows or add clarity to the lightest part of the image. It is a straightforward system that works well in practice.

Linear gradient masks have also been transformed to give more precise control, which many of us will really find useful. The addition of Radial Gradient Masks is another handy option for those who like to create custom vignettes on their images.

Screenshot of luminosity mask in Capture One

Luminosity masks are a great time saver and probably my favourite new feature in Capture One 12

Intelligent adjustments copying

I love this update. I use Capture One for about 80% of my editing. This includes minor skin retouching and cropping, etc. It used to be that when I copied the adjustments and pasted across to a batch of images, I then had to go in and undo the crop and remove the retouching on each image. Now, the copy-paste tool ignores options such as crop and spot healing by default, but if you want to add them, it is simple to do so. A great timesaver and a feature I love.

A small thing, but a massive timesaver. Copy/paste adjustments without adding the crop is huge for my workflow. What about yours?

Plugins

Plugins are the one feature that I love from Lightroom. Finally, Capture One is allowing plug-ins to work with their system. With this being new the range is limited, but obviously, this will increase over time. A great time saver, I can’t wait to see the potential of this increase going forward.

At launch the plugins are limited, but this will grow and become a great time saver for many users.

Fuji Film simulations

I don’t currently shoot Fuji (I do lust over their Medium Format Cameras) but for those that do, Capture One have now developed (alongside FujiFilm) the different Film simulations available in their cameras. This means you can add the FujiFilm preset onto your images and use this as a starting point in your editing. Now if only I can get DPS to fund the rental of a a Medium Format Fuji, I can do an in depth test for you all (editor’s note: I wouldn’t mind one myself). Please comment below to help me out. In all seriousness though, this is awesome for all you Fuji Owners.

Mac OSX Mojave support

As a Mac user, this is my biggest pet peeve with Capture One. With the release of version 12, support for version 11 has now ended. This means that if you want to use Capture One with OsX Mojave, you need to upgrade to version 12. Obviously if you pay monthly this isn’t a big problem, but if you own the software outright, the upgrade price of £150 (US$ 195) feels a little steep just to use the latest version of an OS.

Whilst I understand it from a business point of view, it does feel like, as a Mac user, you are forced to upgrade every year. I love that you can purchase Capture One outright, but it does feel like they are slowly creeping towards the subscription model like everybody else.

Should I upgrade?

The million dollar question. I have upgraded. The plugin support for JPEG mini and intelligent copy paste features will save me enough time to easily justify it. The added benefits of better masking is also great for the way I work. However, it is not that simple for a lot of people. If you are PC based, you may want to skip this version unless, like me, there are features that will help your workflow. However, if you use a Mac, this is more of a do you want to upgrade to Mojave. If the answer is yes, then you really do need to upgrade. There are many reports of version 11 working fine in Mojave, but as a professional, I cannot risk it. Capture One have also ceased their discount codes, which again seems to be a little harsh. You used to be able to easily find a 10% voucher, but since the end of 2018, Capture One seem to have cut them. Obviously I am not privy to why, but I am sure they have their reasons.

Should I move from Lightroom?

If you are thinking of moving from Lightroom, I would say give it a go. Capture One have a generous 30 day trial of the software, which is time to get to grips with it and see what it can do. Give it a try, you have nothing to lose.

Do you use Capture One? If so, share your thoughts below.

The post Capture One Pro 12 Review – Whats New and Should You Upgrade? appeared first on Digital Photography School. It was authored by Carl Spring.

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GoPro Hero 7 Black Review – 5 Things I Love and Dislike About this Camera

11 Feb

The post GoPro Hero 7 Black Review – 5 Things I Love and Dislike About this Camera appeared first on Digital Photography School. It was authored by Suzi Pratt.

The GoPro Hero 7 Black is hands down the best action camera on the market right now. With meaningful updates such as incredible stabilization, improved built-in sound, and better app integration, GoPro makes a compelling case for even its most loyal user base to upgrade to the latest model. If you’re on the market for an action camera, read on to find out 5 big reasons why the GoPro Hero 7 Black is the best one for you.

GoPro Hero 7 Black Review

Specs

GoPro released three new action cameras in September 2018: the Hero 7 Black, White, and Silver. The Hero 7 Black is their most premium model at US$ 399, with the other two being stripped down versions. GoPro’s mid-tier camera is the Hero 7 Silver. Priced at US$ 299, the Silver has most of the features of the Hero 7 Black minus Hypersmooth; it’s also capped at taking 10-megapixel photos compared to the Hero 7 Black’s 12 megapixels. GoPro’s new entry-level camera is the Hero 7 White. At US$ 199, you get the same 10-megapixel sensor as the Hero 7 Silver. Most features are retained except for the ability to shoot in 4K video.

Besides the price difference, the Hero 7 Black is also the only model to receive three new key features: HyperSmooth, live streaming, and TimeWarp video. More on all of these features below.

Look and feel

The Hero 7 Black retains the same rubberized design that was first introduced with the Hero 5 Black. Side-by-side, it looks almost identical to the Hero 6 Black. Both cameras have the same 2-inch touchscreen, button placement, and the same ports (USB-C and micro HDMI). They even use the same replaceable batteries.

Before you gripe about GoPro retaining the same camera design, consider this: reusing old designs means you can keep using the same GoPro accessories. This is key as GoPro, and many third-party manufacturers such as Joby have created some truly helpful accessories to get more use out of the camera. So if you have mounts, cages, or adapters for the Hero 5 or 6, rest assured that you can use them all with the Hero 7 Black as well.

GoPro Hero 7 Black Review

5 things I love about the GoPro Hero 7 Black

1. Hypersmooth

Hands down the best feature about the GoPro Hero 7 Black is Hypersmooth. GoPro claims it is the very best in-camera video stabilization on the market, adding gimbal-like stabilization to video footage. After profuse testing, it’s hard to argue. Shooting with Hypersmooth enabled does indeed produce ultra-smooth footage akin to what you would get if you used a gimbal. In turn, this seems to kill the GoPro Karma Grip gimbal as it seems the Hero 7 Black can record video just fine without it.

You can shoot in Hypersmooth even when shooting at 4K 60fps at full resolution. Just be mindful that Hypersmooth can’t be enabled when shooting in 4:3 aspect ratio, and also when shooting in Full HD at 240fps and 120fps.

2. TimeWarp

Also new on the Hero 7 Black is a feature called TimeWarp. In a nutshell, this is timelapse video with HyperSmooth applied. The resulting effect is being able to capture timelapse videos that are ultra stable. This is key for time-lapsing anything with movement, such as driving, hiking, walking, running, or biking. When using TimeWarp, you have the option to record at several different speeds including 2x, 5x, 10x, 15x, and 30x.

3. Same form factor as Hero 5 and 6

On the outside, GoPro made almost no change to the Hero 7. It looks exactly the same as the Hero 5 and 6, and even uses the same batteries. This is actually a good thing. If you’ve invested in GoPro cages or batteries before, you can reuse them with the Hero 7. Also, many third-party companies have created accessories for the Hero 5 and 6. You can use these just fine with the Hero 7.

One design change I’d love to see in future GoPros: a camera that comes with its own mount and doesn’t need to be put in a cage.

4. Touchscreen with revamped UI

While GoPros have had touchscreens for several models now, the user interface has been revamped in the Hero 7 Black. Key information such as resolution and framerate are condensed at the bottom of the screen, while battery life and remaining memory card space are in the upper portion of the screen. Portrait mode has also been added, allowing you to shoot vertical photos and videos for platforms such as Instagram Stories or IGTV.

Speaking of social media, the Hero 7 Black now allows for live streaming. Using WiFi or cellular service, you can conduct a 720p live stream on Facebook. At this time, live streaming to other platforms (ie. YouTube) isn’t yet enabled.

GoPro Hero 7 Black Review

5. Seamless smartphone integration

One of my biggest gripes about modern cameras is how terribly unreliable their smartphone integrations are. While most cameras offer Wi-Fi and Bluetooth connectivity for remote control via smartphones and easily transferring images, it’s always hit or miss whether or not these features will work. With the GoPro, connectivity is the most responsive and reliable I’ve ever seen on a camera. This makes it very easy to use your smartphone to control the GoPro and review photos and videos immediately after capture. Well done, GoPro.

5 things I dislike about the GoPro Hero 7 Black

For all of the things that GoPro improved in the Hero 7 Black, there is still room for improvement. Here are 5 features in particular that I would like to see refined and improved in future generations.

1. Unresponsive screen

While the Hero 7 Black’s touchscreen is largely improved, it has one major shortcoming: it’s not very responsive! This problem also extends to GoPro’s other two buttons. In general, it’s hit or miss whether the GoPro will react to buttons being pushed or the touchscreen being swiped. This can be very frustrating, especially when trying to shoot spontaneously.

GoPro Hero 7 Black Review

2. Voice commands are unreliable

Another feature that is hit or miss is voice control. New on the Hero 7 Black are two voice commands that can control the GoPro: “GoPro capture,” and “GoPro Stop capture.” While useful in theory, these voice controls seem to work about half of the time.

3. No mic jack

In the past, GoPro was notorious for having awful built-in microphones. All of that changed with the Hero 7 Black, which offers remarkably improved in-camera sound. However, there are still instances that require enhanced sound capture via a lavalier (lapel) microphone or shotgun mic. Unfortunately, GoPro has withheld the mic jack from the Hero 7 Black, opting instead to give us USB-C and micro HDMI ports. GoPro does offer a solution in the form of a mic jack adapter. However, it is bulky and expensive, and you must use GoPro’s adapter (other brands will not work).

GoPro Hero 7 Black Review

4. Battery life

Of all the things GoPro improved in the Hero 7 Black, one thing that remains unchanged is battery life. It’s hard to give an estimated battery life as it depends on how you are using the camera. But in general, one battery lasts about an hour when shooting in 4K. Luckily, all three Hero 7 models come with a USB-C port to allow for charging via a wall socket or external battery. However, it is still a wise idea to carry several spare batteries with you.

GoPro Hero 7 Black Review

5. Low light performance

All three Hero 7 models have an f/2.8 aperture. This means they are decent at shooting in low light, but the video and photo quality still leaves room for improvement. In the case of the Hero 7 Black, it also seems that HyperSmooth is automatically disabled in low light conditions, further worsening the low light performance. In general, you’ll get the best photo and video performance out of your Hero 7 if you use it in daylight or good lighting conditions.

In Conclusion

Despite some shortcomings, the GoPro Hero 7 Black is easily the best action camera on the market right now. GoPro made significant and actually useful improvements on this camera and it is worth using not only for action scenarios but everyday use as well. Agree or disagree? Let me know in the comments below!

GoPro Hero 7 Black Review

You may also find the following articles helpful:

How to Trigger an Off-Camera Flash with the Pop-up Flash

8 On-Camera Flash Tips: How To Get Better Lighting From Your On-Camera Flash

Bounce Flash Secrets – Bouncing Your Way to Better Photography

DIY Lighting Hacks for Digital Photographers

How to Understand the Difference Between TTL Versus Manual Flash Modes

How to Make Beautiful Portraits Using Flash and High-Speed Sync

If you want to learn more from Phil, check out some of his video courses covering topics like event photography, Lightroom, headshots and more on steeletraining.com.

The post Godox XPro TTL Flash Trigger Review with Phil Steele appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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DPReview TV: Olympus E-M1X video features review

02 Feb

Chris and Jordan recently reviewed the Olympus E-M1X as a camera for still photography. Now they’re back with a whole episode about its video features. Watch to find out where this camera really excels – as well as a couple places where there’s room to grow.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

Introduction
Cinema 4K capture
1080p quality
Time-lapse
Flat and OM-Log profiles
Menus
Video autofocus
Image stabilization
Body design
Microphone and pre-amp
Wrap-up

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: Olympus E-MX1 video features review

02 Feb

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

Introduction
Cinema 4K capture
1080p quality
Time-lapse
Flat and OM-Log profiles
Menus
Video autofocus
Image stabilization
Body design
Microphone and pre-amp
Wrap-up

Articles: Digital Photography Review (dpreview.com)

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Panasonic S1/S1R review in progress

01 Feb

The Panasonic Lumix DC-S1 and S1R are the company’s mid and high-end full frame mirrorless cameras: both of which are built around the L-mount developed by Leica and now supported by Sigma and Panasonic. Aside from resolution and video features, the two cameras are very similar to one another.

The Lumix S1 is a mid-level, image-stabilized 24MP camera capable of shooting at up to 9 frames per second. It can shoot 4K/60p video from an APS-C region of its sensor or oversampled 4K/30p from its full sensor width. A multi-shot high-res mode lets it create 96MP images. A paid upgrade enables 10-bit V-Log shooting.

The Lumix S1R, meanwhile, is a higher-end, higher-resolution variant. It features a 47MP sensor which can also shoot at up to 9fps, and its multi-shot mode lets it generate 187MP files. The S1R can shoot video at up to 4K/60p with only a slight crop but it pixel bins, so footage will be less detailed than the S1’s output.

Both cameras feature the highest-resolution electronic viewfinders on the market: 5.7M-dot OLED panels that run at 120Hz and promise very little lag.

Panasonic Lumix S1 Key Specifications

24MP full-frame CMOS sensor
Depth from Defocus contrast-detect AF system
5-axis in-body ‘Dual IS’ system
Fully weather-sealed
96MP ‘High Res’ mode
6 fps bursts with continuous AF
5.76M-dot EVF
Dual-hinged 2.1M-dot touchscreen LCD
UHD 4K/60p video capture (1.5x crop); Oversampled 4K/30p with no crop
10-bit HLG built-in, optional 4:2:2 V-Log
One XQD and one SD card slot
380 shots/charge using LCD
USB charging, including from laptop/tablet chargers and portable power banks

Panasonic Lumix S1R Key Specifications

47MP full-frame CMOS sensor
Depth from Defocus contrast-detect AF system
5-axis in-body ‘Dual IS’ system
Fully weather-sealed
187MP ‘High Res’ mode
6 fps bursts with continuous AF
5.76M-dot EVF
Dual-hinged 2.1M-dot touchscreen LCD
UHD 4K/60p video capture with 1.09x crop and pixel binning
One XQD and one SD card slot
360 shots/charge using LCD
USB charging, including from laptop/tablet chargers and portable power banks

The complete Lumix S system at launch

Alongside the cameras, Panasonic has announced 50mm F1.4, 24-105mm F4 and 70-200mm F4 lenses for the L system. They will cost $ 2299, $ 1299 and $ 1699, respectively. Both cameras will also be compatible with the existing Leica SL lenses as well as APS-C ‘TL’ glass.

A battery grip (DMW-BGS1) will also be available for around $ 350.

What’s new and how it compares

The S1 and S1R inherit (and improve upon) many of the features from Panasonic’s Micro Four Thirds cameras, while adding new full-frame sensors, a High Res mode, HLG photos and more.

The S1/S1R have rugged bodies which can hold their own in the elements. The cameras have an incredibly high resolution EVF as well as a dual axis LCD.

The S1 and S1R have redesigned menus, plenty of customizable controls and a cool ‘image stabilization scope’.

The S1 can capture 4K/60p video with a 1.5x crop as well as oversampled 4K/30p footage. You will have to pay extra if you want a 10-bit V-Log workflow, however.

Find out what DPReview editor Richard Butler thinks about the Panasonic S cameras thus far.

Dan Bracaglia has been shooting with the S1 and S1R running firmware v0.7.

Articles: Digital Photography Review (dpreview.com)

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Posts Tagged ‘REVIEW’

Who is it for?

Highlighted Features

No catalog

File copy from cards

Bookmarks instead of Imports

Layers

All the other edits

Presets galore

Lightroom Migration Tool

Show me more

What Could Use Work

No preview on import

Not all profiles are present

Two finger rotation

Lack of Add-Ons and Plug-Ins

Conclusion

Key specifications

Design and handling

Focus

Key specifications

What’s new and how it compares

Body and handling

Operation and controls

What’s new?

New updated interface

New masking options

Intelligent adjustments copying

Plugins

Fuji Film simulations

Mac OSX Mojave support

Should I upgrade?

Should I move from Lightroom?

Specs

Look and feel

5 things I love about the GoPro Hero 7 Black

1. Hypersmooth

2. TimeWarp

3. Same form factor as Hero 5 and 6

4. Touchscreen with revamped UI

5. Seamless smartphone integration

5 things I dislike about the GoPro Hero 7 Black

1. Unresponsive screen

2. Voice commands are unreliable

3. No mic jack

4. Battery life

5. Low light performance

In Conclusion

You may also like these reviews from Suzi:

You may also find the following articles helpful:

Panasonic Lumix S1 Key Specifications

Panasonic Lumix S1R Key Specifications

What’s new and how it compares

Body and handling

Operation and controls

S1 video overview

Initial impressions

Sample Galleries