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The New York Times opens up free applications for its 7th annual portfolio review

14 Nov

Tomas Roggero

The New York Times has opened up applications for its 7th annual New York Portfolio Review on March 30 and 31 in New York City, New York.

The applications, which are free to submit, are now open on The New York Times’ website for the review, which is put on by The New York Times Lens column, the Craig Newmark Graduate School of Journalism at the City University of New York and United Photo Industries.

So long as the applicant is over 18 years old, they’re free to apply. The New York Times says “all types of photography will be considered.” The deadline for applications is December 10, 2018 at 11:59 p.m. Eastern Time.

“The first session, on Saturday, March 30, will be for photographers 21 and older,” reads The New York Times announcement post. “Each participant will receive six private critiques. The second session, on Sunday, March 31, will be solely for photographers 18 to 27 and will consist of at least four private critiques for each participant, as well as free workshops on how to best present, promote and publish photographs. We will screen all applicants and choose 100 participants for Saturday and 60 for Sunday.”

The New York Times specifically mentions anyone who attended last year’s review is ineligible to apply. Also, if someone has attended more than twice in the seven years the portfolio review has been going on, they too are ineligible.

When a photographer is chosen for a portfolio review, they will be able to requiem their top choices for who is to review their work. The New York Times has provided a partial list of the reviewers on the bottom of its announcement page.

To enter, head over to The New York Times’ application page and fill out the required form. In addition to personal details, such as first name, last name, age, contact information, and a short biography, applicants can upload up to 20 photos from one or two projects. The images must be JPEGs and no more than 1,200 pixels across at 72 DPI.

Applicants who have been selected will be notified by January 12, 2019. The New York Times warns “Be sure to triple-check the email address you submit, because in past years some people were accepted into the review, but couldn’t be contacted with the good news because of a typo in their address. Don’t be that person.”

Articles: Digital Photography Review (dpreview.com)

 
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Review Tamrac Anvil Pro Series Backpacks

07 Nov

Review Tamrac Anvil Pro Series Backpacks

Camera backpacks are abused, and I mean seriously mistreated.

We need them to be tough; want them to be comfortable; need them to be light; we want them to be dependable; want them to handle heavy loads (often worth thousands), we need them to offer security; we want them to adapt, and, we want to forget they’re there, and we don’t want them to complain.

It seems, on the surface, this is a rather one-sided relationship. But, in fact, it can be a rather nice love affair.

Ok, that’s a tad mushy, I know! The point is, camera backpacks are some of the hardest working bags in the world. When you need the shot, and the light is fading, they are dumped to one side, no matter what the surface, with zips ripped open. The last thing any of us think about is the poor backpack. And, that’s the way it should be. That’s the whole point. Their role is that of the consistently reliable silent partner.

Why I Switched to the Tamrac Anvil Pro Series Backpacks

After owning numerous backpacks over the years and always disappointed with their performance, I had a chance encounter with an old friend three years ago. They steered me in the direction of Tamrac, and more specifically, their range of six pro backpacks known as ‘Anvil.’

Review Tamrac Anvil Pro Series Backpacks 1

Side View of Anvil Pro Series Backpack with Accessories. Photo courtesy of Tamrac ®

Now, I had heard of Tamrac because I also own an older style Gura Gear bag. But I hadn’t realized just how influential they have been in camera backpack development over the last 40 years. A bunch of outdoor enthusiasts established the company in Southern California in 1977. They had a mission to design products that could withstand the day-to-day challenges of photographers in the world’s most testing and demanding environments and conditions. They stuck to that conviction and they continue to innovate and enhance – based on customer reviews they are getting.

Tamrac has sized the Anvil to fit us, and our gear. Whether we shoot pro-DSLR with battery grip, have a big fast glass or have been enlightened by the mirror-less movement. With six sizes, multiple heights and depths, any set-ups have an Anvil to suit.

I decided to invest in the ‘Anvil 23,’ as it is appropriate to my particular set of requirements. That said, all six Anvils are designed and built alike, with capacity being the only real difference.

Review Tamrac Anvil Pro Series Backpacks 2

Front/Side View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Now, when it comes to handing over hard-earned cash for a backpack, I have some basic criteria to meet. Albeit, I would have to take a punt based on existing customer reviews and previous experience. Three years on, and I can now add my own real-world experience to this set of standards.

Adaptability

Backpacks need to be fully customizable and to adapt with you as your gear evolves.

The Anvil has certainly delivered on this front. It features a large main padded compartment designed to protect and carry multiple pro-sized DSLR bodies with lenses attached. Along with a full range of lenses, flashes, and accessories.

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Compartment View of Anvil Pro Series Backpack Photo courtesy of Tamrac ®

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Top Compartment View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

I’ve lost count of the number of times I’ve reconfigured the internal compartment over the years to cater for my varying needs!

Robust Materials

While keeping my bag light is extremely important, there is also the need for it to stand up to some serious long-term abuse.

Anvil backpacks utilize over ten different optimized foams for the perfect balance of weight and protection. The fabric used is ‘Cordura 500D’ with a PU coating. It is super-rugged and has excellent abrasion resistance. It’s also incredibly strong with outstanding tear strength and water repellent capabilities.

My Anvil 23 is now three years old. Although it shows signs of use (extreme abuse) and its showroom shine has gone, everything is still in working order. There’s no evidence to suggest material degradation.

Of course, when your backpack is dragged down a wet pebble beach by a German Shepherd, it has to be tough, right?

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Photo © Andrew Sproule

Comfort

Wider, flexible waist-straps and shoulder straps are a must to ensure I can manage all my gear comfortably over long periods of time.

Furthermore, I transit through plenty of airports each year and climb many a mountain. The Anvil’s comfortable airflow harness and removable belt system (which you can use independently) has made any amount of gear easy to carry.

I’ve also been able to fit the Anvil in the overhead compartment of most commercial aircraft, but please check with your own carrier’s carry-on restrictions.

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Back View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

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Belt View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

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Back Belt View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Access

Due to the fact that I work predominately outdoors, there are few things worse than missing a shot because I couldn’t get access to my gear on time.

Except for the Anvil Super 25 (designed to carry up to an 800mm lens or up to a 500mm attached to a pro DSLR), all Anvils have a handy front padded pocket that holds most 15” laptops. There are also many other exterior pockets for carrying accessories. These are where I tend to keep memory cards, phone, etc.

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Front View of Anvil Pro Series Backpack with Tripod (not included). Photo courtesy of Tamrac ®

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Front Open View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Dust

Dust is my camera’s enemy.

I lead worldwide wildlife photo safaris to some extremely inhospitable places, and dust can be a constant concern. Past backpacks I’ve used have been dust magnets, especially ones with air-mesh type materials.

Thankfully, the Tamrac Anvil Pro Series Backpacks are completely seam-sealed and have a weather protective rain fly. Both have been critical components in my gear’s welfare.

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Rain Fly View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

In conclusion

As I’m sure you can tell by now, I’m a big fan of the Tamrac Anvil Pro backpack. That’s down to the fact that it has delivered against my set of expectations and requirements. So, it’s certainly not the cheapest backpack on the market, with prices ranging from around $ 170 – $ 270 (approx. £130 – £210). Although, if I had to choose a backpack again, I would most certainly go for an Anvil.

 

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Nikon Z7 Review

05 Nov

Nikon Z7 Review

The Nikon Z7 is the company’s most well-rounded camera to date: it’s as well spec’d and well-suited for video capture as it is for stills, and the quality of both is impressive. The Z7’s designed to offer an experience familiar to existing Nikon DSLR shooters in a smaller, lighter body, built around the all-new Nikon Z-mount.

This is Nikon’s first full-frame mirrorless camera: a 4K-capable machine which features a variant of the D850’s 46MP BSI CMOS sensor, but with the addition of on-sensor phase detection AF pixels and mechanical stabilization. The only area where the Z7 comes up a little short is autofocus reliability and usability – something at which Nikon’s DSLRs have long excelled.

Key features:

  • 45.7MP full-frame BSI-CMOS sensor with on-sensor phase detection
  • In-body 5-axis image stabilization (rated to 5EV)
  • 493 PDAF points with 90% horizontal and vertical coverage of the frame
  • ISO 64-25,600 (expandable to 102,400)
  • Up to 9 fps shooting (JPEG and 12-bit Raw)
  • 3.69M-dot OLED viewfinder
  • 2.1M-dot tilting touch LCD
  • OLED top plate display
  • Single XQD card slot
  • UHD 4K capture up to 30p
  • 10-bit 4:2:2 N-Log output over HDMI
  • Up to 100Mbps H.264 8-bit internal video capture
  • SnapBridge Wi-Fi system with Bluetooth, including to-PC transfer
Edited to taste in Adobe Camera Raw.
ISO 4500 | 1/500 sec | F2.8 | Shot using the Nikon Z 35mm F1.8 S

The Nikon Z7 is available now for a body-only price of $ 3400. It is also available kitted with the 24-70mm F4 S lens for $ 4000 (many retailers are offering additional kits with the ‘F to Z adapter’ for about $ 150 more).


What’s new and how it compares

The Z7 isn’t just a D850 without a mirror: we look at the key additions and what the Z7 offers.

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Body and handling

How the Z7 feels in the hand may be crucial to its acceptance with photographers. Have a look at the camera and its control points to see how it could work for you.

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Operation and controls

The Z7’s user interface will be very familiar to existing Nikon shooters. Up to a point, that is.

Read more

What it’s like to use

The Z7 is well-suited for a wide variety of photo and video use-cases. Here are the pros and cons of using it for…

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Image quality

The Z7’s 45.7MP BSI-CMOS full-frame sensor is very capable, but how does it compare to the D850?

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Dynamic range

On-sensor autofocus points limit the Z7’s effective dynamic range, compared to the D850. By how much? Read on.

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Z7 autofocus performance

The Z7 mostly offers impressive autofocus performance, but struggles with tracking reliability and low light accuracy.

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Autofocus usability

AF usability is one area the Z7 lags behind its Nikon DSLR counterparts and the mirrorless competition.

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Video

Nikon has done a lot to enhance the Z7’s video, even if that’s not immediately obvious from the specs.

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Conclusion

For a first-generation product, we’re hugely impressed with the Z7. We think it’s the most well-rounded stills+video camera Nikon’s launched to date.

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Sample gallery

We’ve shot a lot with the Z7, here’s our full gallery of out-of-camera JPEGs and Raw conversions.

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Articles: Digital Photography Review (dpreview.com)

 
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Nikon Coolpix P1000 Review

29 Oct

Four years ago, the typical superzoom ‘bridge’ camera had a zoom power of around 50x. Over the years that number has slowly risen, before leveling out at 65x. And then came the Nikon Coolpix P900, whose 83x, 24-2000mm equiv. lens suddenly took zoom ranges from ‘really long’ to ‘absurd’.

Nikon’s new Coolpix P1000 has moved the zoom needle to ‘ludicrous,’ with an equivalent focal length of 24-3000mm. That’s right, 3000mm. This is a lens so long that we were able to fill the frame with a 1 meter (3.3 foot) tall monkey that’s 70 meters (230 feet) away.

This does come at a cost, though. For one thing, the P1000 is huge and its lens is challenged by a slow maximum aperture (and thus diffraction) and image quality can be compromised by the same thermal and atmospheric issues that are typical of images taken at extreme distances with any super telephoto lens.

Besides the lens, the P1000 features a 16MP 1/2.3″ BSI-CMOS sensor, a fully articulating LCD and high-res EVF, Raw support and the ability to capture 4K video.

Key features

  • 16MP, 1/2.3″ BSI-CMOS sensor
  • 24-3000mm equiv. F2.8-8 lens
  • ‘Dual Detect’ optical image stabilization
  • 3.2″, 921k-dot fully articulating LCD
  • 2.36M-dot OLED electronic viewfinder with eye sensor
  • Raw support
  • UHD 4K/30p video capture
  • Microphone input
  • Hot shoe
  • Wi-Fi + Bluetooth (SnapBridge)
  • 250 shots per charge (CIPA standard)
ISO 100 | 1/250 sec | F3.2 | 47mm equiv. Photo by Jeff Keller

The P1000 has a spec sheet almost as long as its lens. From Raw support to a high-res EVF, the camera has just about everything you’d want in a bridge camera, save for decent battery life and a touchscreen (a glaring omission). Image stabilization is a requirement on superzoom cameras, and Nikon’s ‘Dual Detect VR’ reduces shake by up to 5 stops (depending on focal length,) according to Nikon. Being 2018, it’s no surprise that Wi-FI and Bluetooth are also onboard.


What’s new and how it compares

The Coolpix P1000 really is all about that lens.

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Body and controls

The P1000 has sensible controls, though it’s big and heavy and its build quality doesn’t feel like a $ 1000 camera.

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What it’s like to use

The P1000 is ideal for still wildlife and lunar photography, but what else?

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Shooting experience

Shooting with the Coolpix P1000 at the Woodland Park Zoo in Seattle.

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Image quality

The P1000 makes the most out of its small sensor, though don’t expect miracles.

Read more

Conclusion

If you want a camera with a lens that can shoot for the moon, then there’s nothing else like the P1000.

Read more

Sample gallery

View a variety of sample images from the Coolpix P1000.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Gear Review: Sony FE 85mm f/1.4 GM Lens

28 Oct

Gear review: Sony FE 85mm f/1.4 GM Lens 1

 

Sony has very quickly risen to be a photography power horse in the professional world. With their collection of impressive mirrorless cameras and fantastic cinema products, Sony has carved a name for themselves among the photography legends such as Canon, Nikon, and Leica. As such, it is of no wonder that the company has released a version of their own of the famous 85mm f/1.4 lens (Sony FE 85mm f/1.4 GM Lens) – a fixed millimeter that features a beautifully creamy bokeh.

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I am a very versatile photographer. My work spans a variety of niches in the field, from live concerts to portraiture, action photography to animals. I have found a use for the Sony FE 85mm f/1.4 GM lens in all of these situations, and the wide aperture is a fantastic bonus for the work that I do.

I use this lens in low light situations, aiding in isolating the subject in busy locations, and creating a precise depth-of-field-look for my clients.

Gear review: Sony FE 85mm f/1.4 GM Lens 3

Lens build

My frame of reference is the Canon L lenses of which this is meant to be an equivalent. I find the build of those lenses to be very high quality and durable. Upon opening the box to unveil the Sony FE 85mm f/1.4 GM lens, I was actually rather impressed at the build quality. The camera weighs about 825g – almost 2lbs – a significant weight.

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The outer casing of this lens is high-quality polycarbonate, and all markings are engraved and filled with paint. The physical feel of the lens in your hand is solid and sturdy. The rubberized focus ring was quite comfortable to the touch and was very smooth to turn.

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The lens features a rubberized focus ring, an aperture ring, an AF/MF switch, and on the left side of the lens, there is a programmable button that you can set to work as most anything. An excellent idea for a lens!

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The hood that comes with the camera is also high quality in build. The hood sports a rubberized front bumper and felt on the inside to counteract stray light. Furthermore, there is also a button which you have to press to remove the hood, which ensures the hood stays in place.

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Aperture ring

As an avid Canon DSLR and EF lens user who had recently added a Sony mirrorless to the collection, the aperture ring was something a bit new to me.

Intended to be very beneficial during cinema work, instead of adjusting the aperture on the camera body, you have the option of adjusting its width on the lens. This ring can be adjusted to either be silent or make little clicks to indicate it is turning – very useful for silent shooting.

Gear review: Sony FE 85mm f/1.4 GM Lens 8

For those that prefer to adjust the aperture on the camera body itself, you can set the dial ring to ‘A’ for automatic. My one gripe would be the location of the ‘A’ option- it sits on the f/16 side rather than the f/1.4. It seems more logical to me to place this option on the side of the widest aperture. I found myself accidentally shifting the ring over to f/16 during shooting.

Gear review: Sony FE 85mm f/1.4 GM Lens 9

Focus

The focus on this lens is very accurate if I do say so myself. Although in these types of camera combinations, much of the autofocus relies on the camera- but the speed is very much the lens. The close focusing distance is approximately 0.8m.

Gear review: Sony FE 85mm f/1.4 GM Lens 10

I have read reviews of others who have had focus issues with this model, but I have not. I was able to record an entire sequence of a dog running directly at me from start to finish in perfect tack sharpness. The body I am pairing the lens with is the Sony a7r III, which can make a significant difference.

Gear review: Sony FE 85mm f/1.4 GM Lens 11

Keep in mind that shooting at f/1.4 has its challenges- wide apertures tend to be difficult if you aren’t used to them. To quickly refresh you of the basics, when you focus your camera on a subject, it establishes a focal plane. To get your subject in focus, it has to be on the focal plane. Focal planes happen on an x (horizontal) and y (vertical) axis.

Anything along either of those axes will be in focus, and anything not on them will be out of focus. With wide apertures like f/1.4, your focal plane is quite narrow. Quick trick? Step further back to widen the plane!

Gear review: Sony FE 85mm f/1.4 GM Lens 12

Sharpness

Talking about the focus naturally leads to sharpness. This lens is tremendously sharp. I was very impressed with the amount of detail that this lens can capture. There is absolutely no reason to add sharpening in post-processing.

One of the first sessions I did with the Sony FE 85mm f/1.4 GM lens was action portraits at the beach, and the final result managed to pick up all of the detail including specks of sand flying up.

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I was also very impressed with the clarity and colors when using this lens- the glass was superb. Though I still find a significant advantage in Canon L glass (reminding that I am an avid Canon user), in regards to raw-off-of-the-camera quality. This lens is a close second best.

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Depth of field

The bokeh produced from this lens is where the difference is quite noticeable to the trained eye. The depth of field (DOF) at f/1.4 looks somewhat different from that of its competitors, such as Canon’s equivalent.

I find the depth of field looks more dreamy and a bit artificial from other similar lenses, but it has an authenticity and liveliness to it. The shallow DOF has quite a bit of a subtle, calmer rotation that creates a very natural look to the images (or in the least, as natural as this shallow of a field can be).

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That said, there is a vignetting that occurs at f/1.4. Some people like this, others don’t. I enjoy the natural vignetting that is contrary to popular opinion, but for those that find it a nuisance, keep in mind that this issue does occur with this lens.

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Flare resistance

A big bonus that sets this lens apart from others is its impressive flare resistance. Most of the time you can just shoot directly into the sun and you will neither have problems with a huge loss of contrast nor ghosting. This is brilliant for natural light photographers, especially during the beloved golden hour.

For me, as a concert photographer, I found this to be a significant perk as the stage lights didn’t flare too badly.

Gear review: Sony FE 85mm f/1.4 GM Lens 17

Chromatic aberration

Chromatic aberration, also known as ‘color fringing’ or ‘purple fringing,’ is a common optical problem that occurs when a lens is either unable to bring all wavelengths of color to the same focal plane, or when wavelengths of color are focused at different positions in the focal plane.

Gear review: Sony FE 85mm f/1.4 GM Lens 18

Unfortunately, where I lose a bit of love for this lens is the chromatic aberration issue it suffers. Though I have read reviews in which others claim that the chromatic aberration is minimal, I have experienced the contrary and consider the chromatic aberration to be rather severe.

I have used several high-quality fast lenses that have little to no aberration, and this is not one of them. I have experienced a slew of colors coming out in quite contrasted images, ranging from the purple fringe to aqua or bright green fringing. Although this can be removed in post-processing (especially in a program such as Lightroom), that is an extra step.

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Pros and cons of the Sony FE 85mm f/1.4 GM Lens

Pros

  • Very fast lens – focusing is a breeze.
  • The build quality is quite solid and durable.
  • Very sharp and clear images.
  • The depth of field is more natural rather than dreamy, which I find to be positive.
  • This is a full-frame lens intended for full-frame cameras – always a massive perk.
  • Excellent flare resistance.

Cons

  • Very noticeable chromatic aberration in high contrast situations.
  • Visible vignetting at wide apertures.
  • The ‘A’ option on the aperture ring is located in an inconvenient spot (in my opinion).
  • The lens has a significant weight.
  • The price is a bit steep at around $ 1700 USD.

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Conclusion

For those rocking Sony E-mount cameras, this lens is dreamy. An excellent and high-quality choice as a native Sony mount. I find it to be rather worth it for those sporting this brand’s camera body.

Have you used the  Sony FE 85mm f/1.4 GM lens? What are your experiences with it? Let us know in the comments below.

 

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DPReview TV: Panasonic LX100 II review

27 Oct

The LX100 II is the newest model in Panasonic’s LX line of compact cameras, historically designed to appeal to photography enthusiasts. This week, Chris and Jordan take it for a spin and explain why photographers will really enjoy shooting this camera.

For more detail, read our First Impressions Review of the Panasonic LX100 II.

Panasonic LX100 II First Impressions Review

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Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T3 Review

22 Oct

When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1, most notably in terms of autofocus and video. While the new X-T3 hasn’t changed the overall design of the camera it repeats the same trick: representing a significant step forward.

The X-T3 brings with it a brand new sensor, improved autofocus and video performance that makes it competitive with Panasonic’s GH5, taking the X-T series from being a very good stills camera to one of the best stills/video hybrids on the market.

With its classic looks, attractive photos and superb video, it’s the APS-C camera to beat.

Key Specifications

  • 26MP BSI ‘X-Trans CMOS 4’ sensor
  • 425-point hybrid AF system
  • Improved AF Tracking and Face/Eye Detection AF
  • 20 fps shooting with AF (11 fps with mechanical shutter)
  • 30 fps shooting in 1.25x crop with electronic shutter
  • ‘Sports Finder’ mode gives preview of area around a 1.25x crop
  • 3.69M-dot electronic viewfinder
  • Three-axis tilting touchscreen
  • 10 bit 4:2:0 H.265 internal video capture (4:2:2 over HDMI)
  • UHD/DCI 4K/60p from 1.18x crop region
  • UHD/DCI 4K/30p using full width of sensor
  • Internal F-Log capture (HLG coming by end of 2018)
  • Dual UHS-II SD card slots
  • USB C-type connector can be used for charging battery
  • Headphone and Mic Sockets
Out of camera JPEG shot using the Provia/Standard profile.
ISO 640 | 1/ 160 sec | F2 | Shot using the Fujifilm XF 90mm F2 R LM WR
Photo by Wenmei Hill

The X-T3 has an MSRP of $ 1499 (down $ 100 from the X-T2) but still costs $ 1899 when sold as a kit with the XF 18-55mm R F2.8-4 OIS lens. It is available in black or black and silver.


What’s new and how it compares

Autofocus, video and the user interface are just a small portion of what’s new on the X-T3 compared to its immediate predecessor.

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Body and handling

The X-T3’s design is nearly identical to that of the X-T2, and that’s a good thing. The improvements are significant, though, with the addition of a higher-res EVF and a touchscreen LCD.

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Operation and controls

The name of the game is customization, with nine buttons to choose from. There are also use-case-based AF controls available. Battery life is above average.

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First impressions

Fujifilm has raised the bar for video on APS-C cameras, one example of why crop formats are not dead yet.

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What’s it like to use

We look at how well the X-T3 performs for a variety of different types of shooting…

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Image quality

Take a closer look at the X-T3’s image quality, using our studio scene.

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Dynamic Range

The X-T3 produces pretty flexible Raw files, even in E-shutter mode…

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Autofocus

The X-T3 shows newfound AF capabilities, particularly when it comes to people.

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Video

The X-T3’s video quality lives up to its impressive specifications.

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Conclusion

The X-T3’s newly enhanced video capabilities, added to familiar photographic prowess makes it one of the best APS-C cameras we’ve tested.

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Sample gallery

View a variety of sample images from the Fujifilm X-T3.

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Articles: Digital Photography Review (dpreview.com)

 
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ACDSee Photo Studio Ultimate 2019 Review: Face Detection and Recognition

16 Oct

A question seen frequently on photography groups is “What software do I get to process my images in?”. There is the usual flurry of recommendations for the familiar choices and a few random ones thrown in. One option that doesn’t get mentioned as often as it should is ACDSee. In particular the Photo Studio Ultimate 2019 bundle is worthy of consideration for both beginners and more experienced users.

The 2019 version with the newly included Face Detection and Facial Recognition features is a step up from the previous 2018 program, indicating an intention towards AI-based digital asset management.

For anyone wanting a one-stop shop to manage, view, process RAW files, and edit with layers, etc, PLUS only having to pay once for a perpetual licence, ACDSee offers a compelling option in the marketplace.

My background is in Lightroom and Photoshop which is the basis for comparison in this review.

Let us assess this software from the point of view of what it offers a beginner.

CONTENTS

  1. Getting Started – installing and setting up
  2. Layout and Features
  3. Importing and Viewing Images
  4. Editing your RAW Image
  5. Advanced editing with layers
  6. New Features in 2019 version
  7. General Comments

1. Install and Setup

Setup and installation are fairly standard as per most software. ACDSee does require you to set up an account as part of the install process (it’s mandatory and cancels the install if you try to opt out), which then requires an extra registration step with an email confirmation. However, once sorted, no further registration is required. If you have registered before, you can use the previous login details.

It does allow you to choose which drive/directory/folder you want to install it into, as well as if you want to use a non-standard install path. As per the splash page below that opens on Startup—you can auto select the folder to open when the software starts.

Also new is the next screen, which helpfully shows you what the key functions and features are, and where to find them. Both of these can be turned off if desired. You can click on any of the words on the left panel and it will take you to the appropriate screen. Or click through on the NEXT button. Or close it.

 

Once you have navigated the splash pages, you will be taken to the Manage mode screen.

2. Layout and Features

ACDSee has five main modes in separate tabs for each function—Manage, Photos, View, Develop, and Edit.  There are some extra features but these are key ones used in general.

Summary of the features:

Manage mode has access to your computer, direction to find images where they are stored on the computer, and the default option is to view your images in thumbnail view (similar to Grid in LR). It shows EXIF data, histogram, and shot information for a particular image. You can colour code or rate images in Manage Mode.

Photos mode is similar to Manage. It allows a more comprehensive way of viewing image files on your hard drive, and you can drill down to specific day/month/year views.

View mode allows you to view a single image in full screen mode (similar to a single image view in LR) and has some basic editing functions included.

Develop mode is where you edit your RAW image files (similar layout and functions to LR or ACR).

Edit mode is where you can do advanced editing with layers (similar to PS).

There are also the 365 tab, Dashboard tab, and Messages tab. 365 is where you have access to your subscription information, if you opt for it. The Dashboard shows graphical data on image/camera information—if you want to know your most commonly used ISO setting, type, and number of files, it is visible here.

 

3.  Importing and Viewing Images

Importing is not required with ACDSee. The software will read folders directly off your computer, displaying and respecting its existing folder structure, just like Explorer. However, users can import off of external sources if they wish to achieve other organizational goals at the same time, such as culling, tagging, renaming, etc.

Once imported, you will then want to view them, cull, tag, and select the best ones for editing.

I have all my images stored on a NAS and it found those with no issues.  Above is the Manage page showing the hard drive directory structure and images in thumbnail grid view.

You can rate your images either using numbers or color tags. In the above image it has picked up the color rating I gave one image in LR. If you select the Catalog tab on the left hand menu, you can further refine your search parameters with selecting a specific rating or color tag. In the below example it has used the Red color tag to select images to view.

 

Also visible in the above image is the histogram (color graph below left) with camera settings above it for the selected image. The fine print at the bottom of the window has the name, file format, date/time taken, and file size information.

The full Manage mode window above, with directory tree/histogram/camera data on the left hand menu, and EXIF data for the selected image on the right hand pane, and all the images on display.

Other Image Viewing Options

ACDSee has two other image viewing options included. Photos mode and View mode

Photos mode opens with a splash screen explaining what it does.

It offers another way to sort and view your image files and has some granular control. You can get it down to a specific day quite easily and just see the images shot on that day. Probably very helpful for wedding or event photographers. Below is an example where it shows all the shooting days, with a blue bar that gives an idea of how many photos are stored under that day.

View mode is where you can see just a single image using the full screen size. You can zoom in to check the image quality using various zoom features. There is a floating Navigator panel you can activate and use that to ensure you are viewing the correct part of the image.  Similar to the Navigator in LR/PS.

There are some very basic editing tools available here, but better functionality is had in Develop mode.

4. Editing RAW Files

RAW image editing is done in Develop mode and it is laid out very similarly to LR. By default, the Editing tool panel is on the left but it can be moved.

Image with Edit Tool Panel on the left

It’s not immediately obvious, but the white section of the grey bar that ends with the triangle cut out of the bottom is the active slider. You move the light bar to the desired settings. Or type in a number or use the Up and Down arrows on the end.

There are 4 main tabs in the Tool Panel:

Tune – The usual tools for editing a RAW file, exposure, etc. Very similar to LR

Detail – Sharpening, Noise Reduction, and Skin Tuning

Geometry – Lens Correction, Cropping, Perspective adjustments

Repair – Heal/Clone and Red Eye adjustments

In Develop Mode with the Tune Panel open

In general, I found the sliders a bit fiddly to operate; it wasn’t smooth, but apparently it is easier to incrementally adjust sliders with a mouse wheel. My perception of the program is that its application of the settings is quite harsh, so careful use of the sliders is necessary.

While you can activate a second screen in Develop mode, the only purpose is to maintain a view of the unedited image for comparison.

The Tune tab also has some spot editing features—Develop Brush, Linear Gradient Tool and Radial Gradient Tool—the equivalent of Adjustment Brush, ND Grad, and Radial Tool in LR.

5. Advanced Editing With Layers

Edit mode gives most of the expected features you would find in Photoshop and other programs that offer layer/mask functionality. The Filmstrip is visible (similar to Bridge), although you can turn it off to gain the screen real estate back.

Edit Mode open with all the default settings and panels visible

Edit mode offers quite a few extra or useful features. The 2019 version also has an Adjustment layer for Color LUTs, which is a recent new feature brought into LR.

A new feature in the 2018 version was an Actions Menu—a range of preset creative edits you can apply with one click. The 2019 update to this allows you export and import actions as well.

Some of the actions have a really harsh effect like overdone HDR or similar, which was quite noticeable in the 2018 version. In the 2019 version they have toned down the effect in some of the actions, but not all of them. So it pays to pick and choose as it does depend on which action you choose as to what outcome you get. Also it applies it directly to the image so you can’t do it as a layer and then blend in, unless you duplicate the base layer and blend back which has its own issues.

One of the features that did impress me in both the 2018 and 2019 versions was how good a job the Heal tool did in tidying up spots and other issues. On the above image I have removed several spots and imperfections. On the right hand side, in the center of the flower, was a long black mark on a petal (near the small curled one), and that has been seamlessly removed.

An oddity also visible in the above image—in View mode I applied a LOMO preset and liked what it did, and further edited the image to mute the tones and lower the saturation.However, when you use the Navigator tool, as per above, it shows the original RAW file in its unedited state.

Finally I dragged some texture layers, (can be dragged from a second monitor into the Layer Palette), apply some blend modes, adjust the opacity, and soften areas with a mask to reach the final image.

New Features in 2019

Several new features have been included in the 2019 edition, but one key one is Face Recognition. A short video explains how to use it HERE.

I don’t shoot people/portraits generally but had a few tucked away to test. I could get the Face Recognition to function, however it didn’t automatically find all the other images and assign them correctly.  I suspect this is because I have all my images on a NAS and not in the usual directory. If I clicked on each image individually, it did recognise the face and the person.

General Comments

There are some things I find odd about how the program functions; three different ways to view the image can be a bit confusing. The second monitor view in Develop mode that only holds a copy of the unedited file for a comparison seems like a major waste of screen real estate.

Many new features were included in the 2018 version, and the ones assessed in this review of the latest version have been further enhanced and improved—I am guessing in response to user feedback.

This 2019 version adds a lot of nice new mature touches, and helpful splash screens to introduce you to different features.  More accessible help options is a vast improvement: there are links in the Help menu to a Support Community, a Facebook page, and a Twitter account.

Any new software program takes a bit of getting used to, but once you understand it, ADCSee Photo Studio Ultimate 2019 offers any beginner (and more experienced users) a compelling package. It has all the features you need for image management, RAW editing, and more advance editing in one place, with the advantage of a ‘pay once and it’s yours’ option instead of a subscription.  Although a subscription option is available, if desired.

At $ 149 USD for the single purchase perpetual licence, you get a LOT of capability all wrapped up in one software program.

Rating

8.5 out of 10

Disclaimer: ACDSee is a paid partner of dPS

 

 

 

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Paint Shop Pro 2019 Ultimate Review

14 Oct

About a year ago I reviewed the 2018 version of this software. It was an interesting comparison for me, as I started using it back when it was still owned by Jasc Software (before Corel bought it).

Now we have the 2019 version, dubbed Paint Shop Pro 2019 Ultimate. And as someone who uses Lightroom and Photoshop, I was interested to see how it stacks up.

The Basics

Corel Paint Shop Pro 2019 is a Windows-only product that comes in two editions – Standard and Ultimate.

The Standard edition features creative presets powered by AI, 360-degree photo editing, enhanced performance, features, enhanced usability and ease of use, and new creative content.

The Ultimate edition includes everything in the Standard edition as well as:

  • Photo Mirage Express
  • Painter Essentials 6
  • Perfectly Clear 3.5 SE
  • Aftershot 3
  • Creative Collection of brushes, textures and backgrounds.

Note: Painter Essentials 6, Perfectly Clear 3.5 SE and Aftershot 3 will run only on the 64-bit version of Windows.

Both come with a 30-day free trial, and the $ 99.99 USD price tag is for a perpetual one-off licence, not a subscription.

For more information, check out the website.

Workspaces

PSP 2019 Ultimate has two workspaces – Essentials and Complete.

Essentials is a cut-down version aimed very much at beginners, while Complete has all the features and options. To distinguish between them, Corel has made the interfaces different shades of grey.

Essentials is a light grey, although you can adjust it to one of three different shades. You can also adjust the size of the buttons on the toolbar to make them bigger (as shown  below), and move the toolbars and palettes around to suit.

Complete is a dark charcoal grey, and has the filmstrip of images along the bottom.

Layers comes up by default in Complete, whereas I had to manually add it in Essentials and dock it where I wanted it to go. So if you plan on using layers I’d opt for the Complete workspace, although you can switch between them quite easily.

Performance

I tested the performance of PSP 2019 Ultimate on my standard Photoshop machine. It has:

  • an Intel Core i7 processor
  • 24GB of memory
  • two 180GB SSD in a Raid 1 configuration for the operating system
  • two 500GB SATA drives in a Raid 1 configuration for extra backup (PSP was installed on this array)
  • network attached storage (NAS) for all my RAW files.

Admittedly my system is about seven years old. But it works fine with Photoshop CS6 and images with many layers.

PSP found my NAS files and let me access them easily. But performance was generally slow and noticeably laggy. When I moved sliders on the RAW image import I had to wait for the software to catch up.

Loading an image file as a layer was quite slow. And if I moved the layer it stuttered instead of moving smoothly.

Image Management and Editing

While RAW files can be imported into the program, the editing features are extremely limited compared to Lightroom and Adobe Camera Raw. Corel does offer AfterShot3 as a RAW image editor, but it’s a separate program and not included in this review.

You can perform basic image edits and compare the Before and After results as shown below.

It also gives you some quicker options for editing photos. One-Shot Photo Fix is a one-click option that does it all. I preferred the Smart Photo Fix, which gives you more control over the edits as shown below. I did like the large preview panes when using this feature.

Other Editing Tools

PSP caters for layers and masks as you would expect. In the image below I applied a text layer to the original photo, changed the blend mode to soft light, and reduced the opacity. I then added a mask to brush out parts of the text.

All the usual suspects are present: adjustment layers, brushes, painting, text, selections and masks. But the creative additions to this version of PSP are interesting.

Art Media

Art Media is a new function that lets you paint over an image in a range of different painting styles (watercolour, acrylic, oil, etc.) It picks up the colour of the image underneath as you paint, allowing for a different creative approach to editing your images.

There’s also a built-in tool that lets you mix colours on a digital palette and paint with various brush styles. Here’s a short video showing how it can be used.

My machine struggled a lot with this. Every stroke was very slow, and as a result wasn’t very accurate.

Here’s an example of a test paint in watercolour mode on top of the original image

When you remove the base image and look only at the painted layer, it looks like this.

Having the paint strokes on a separate layer is a good choice as it lets you apply various layer controls such as blend modes, masks and opacity changes.

Pic to Painting

This is the new AI-assisted painting feature that, glancing at the sample images supplied, looks similar to Topaz Impression. (Here’s a quick video demonstration.)

It provides effects similar to mobile apps such as iColourama, Waterlili and Prisma, but lets you apply them on your computer. Controls are very limited. Choose the style, choose the strength, then apply.

It took a long time to download and install onto my computer. Even previewing the first style took several minutes. While graphics-intensive processing like this can be a bit slow (Topaz Impression can take a minute or so to gather its resources when you first start it up), this was a very long time to wait. Especially for just a preview.

After trying several times, and giving the last test 17 minutes to process, I gave up. Later I discovered that Pic to Painting only works in Windows 10, even though that isn’t stated in any of the advertising.

360-Degree Support

If you have a 360-degree camera (or take a lot of panorama shots), PSP can apparently process these images and let you create different effects. (I didn’t test this.)

Makeover Tools

A set of tools are included to help remove blemishes, lines and red eye, whiten teeth, and even out skin tones. I don’t shoot closeups of faces, so I tested the blemish remover on a blueberry shot.

Here’s the BEFORE shot. The blueberry was a bit old, and when zoomed in you can see creases, bruises and scuff marks.

The Blemish remover settings are essentially a brush. About all you can do is change the size and opacity.

I reduced the brush size to suit. I didn’t see much effect at 40%, so I increased it to around 90%. It seems to do a content-aware fill, as it picked up other lines from the area I was working on. It ended up requiring much more work to solve those extra problems.

Here’s the finished experiment.

Other Useful Features

The size of the buttons on the toolbars can be increased – handy for those with high-resolution monitors and those of us who should probably wear glasses when we edit.

If you click the ‘+’ symbol at the bottom of the Tools palette, a search window appears that lets you search for functions by name in several different ways. This is a great way to find things you don’t necessarily know the name of but can guess what they do.

And being able to change the colour of your workspace backgrounds in both Essentials and Complete mode is a nice touch.

Conclusion

Overall, I found this particular version of Paint Shop Pro Ultimate a bit disappointing. It performed very poorly on my compute, and some of the new features only work if you’re running 64-bit Windows, Windows 10 or both.

It does add AfterShot3 for Raw editing, Perfectly Clear for intelligent photo adjustments, Painter Essentials for the more artistic and Photo Mirage Express for animations. There are also some free bonus additions, and a lot of extras you can purchase (presets, textures, etc.)

Corel has certainly included all the options a photographer might want to process and edit images, as well as a variety of options for further creative exploration. But the hardware requirements needed to access all the extra features is a problem, especially when they’re only mentioned in the technical specifications.

I should note that I joined the PSP Support community to get answers to my questions, and the people there were extremely helpful and responsive. I got several responses to my queries over the course of a few days. The user guide is a bit vague, so if you do have PSP I strongly recommend checking out the Support Community if you need help.

While it is quite cost effective, and a one-off purchase rather than a subscription, I highly recommend downloading the trial version first to see f it will work on your current computer.

Overall score: 3/5

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DPReview TV: Atomos Ninja V review

13 Oct

Almost all new cameras include impressive video features, but for the best results you’ll often need an off-camera recorder. Chris and Jordan take a look at the brand new Ninja V from Atomos, and explain why it might just be one of the most useful tools you can add to your camera.

For even more information, read our article titled Why would I want an external monitor/recorder?

Article: Why would I want an external monitor/recorder?

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Articles: Digital Photography Review (dpreview.com)

 
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