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LG V30 camera review

24 Nov

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The LG V30 is the Korean manufacturer’s latest flagship smartphone and offers a dual-camera setup that combines a main camera with a 71-degree angle of view with a secondary 120-degree super-wide angle lens. On the main camera, a Sony IMX 351 1/3.1″ sensor is coupled with a very fast F1.6 lens.

The super-wide-angle lens, by contrast, comes with a smaller Samsung sensor that features a 13MP resolution and 1.0um pixel size. There is an F1.9 aperture but no OIS, which is easier to live without on a super-wide-angle anyhow.

The V30 sets itself apart from the competition with a comprehensive video mode that provides manual control over shutter speed and sound recording levels, among many other parameters. You can also choose from 15 new Cine Effect color presets that are based on film genres and the Point Zoom mode allows for stable zooming into a target in the frame rather than the center.

Images and videos can be viewed on the phone’s 6″ QHD+ OLED HDR FullVision display with a 18:9 aspect ratio that occupies almost the entire front of the device’s dust and water sealed metal body. Read on to find out how the V30’s impressive specs translate into real-life camera performance.

Key Photographic / Video Specifications

Dual-camera with 70 degree main camera and 120 degree super wide angle
Main camera: 16MP 1/3.1″ Sony IMX351 CMOS sensor, F1.6 aperture, OIS
Super-wide-angle: 13MP Samsung sensor with 1.0um pixel size, F1.9 aperture
4K video
720p slow-motion at 120 fps
Manual photo and video control
5MP F2.2 front camera

Other Specifications

6″ QHD+ (1440 x 2880) OLED FullVision display
Qualcomm Snapdragon 835 chipset
64/128GB storage, 4GB RAM
microSD card slot
3,300mAh battery with quick charging

DPReview smartphone reviews are written with the needs of photographers in mind. We focus on camera features, performance, and image quality.

Articles: Digital Photography Review (dpreview.com)

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Sony a7R Mark III review

23 Nov

Introduction

The Sony a7R Mark III is the company’s latest high-resolution full frame mirrorless camera. Much like Nikon’s recent D850, it’s one that combines this resolution with high speed and fast autofocus capabilities to a degree we’ve not previously seen.

Like its predecessor, the Mark III is built around a 42MP BSI CMOS sensor, but unlike the a7R II, it can shoot at ten frames per second.

Essentially it can be seen as an a7R II that inherits many of the lessons learned from the company’s pro-sports model, the a9. This means faster processing, improved autofocus, improved handling and ergonomics, as well as the adoption of a much larger battery. While some of the individual changes are subtle, they very quickly combine to produce a hugely capable and highly useable camera.

Key Features

42MP BSI CMOS sensor
Faster, lower-noise image processing
10 fps shooting with full AF, 8 fps with ‘live’ updates between shots
3.69M dot (1280 x 960 pixel) OLED viewfinder
Improved autofocus, including more tenacious Eye AF mode
5-axis image stabilization, rated at 5.5 stops (CIPA) with 50mm lens
4K footage from ‘Super 35’ crop region oversampled from 5K capture
Video AF less inclined to refocus to background
‘Picture Profile’ video gamma/gamut modes including S-Log2 and 3
Twin SD Card slots (one UHS-I and one UHS-II compatible)
Bayer-cancelling multi-shot mode for improved resolution
True 14 bit uncompressed Raw, even in continuous drive mode
Use of phase detection (including Eye AF) at 3 fps with adapted lenses

Sony says the a7R III is based around the same 42MP back side illuminated CMOS sensor as its immediate predecessor, so doesn’t gain the full speed advantages of the a9’s Stacked CMOS chip (in terms of AF performance, continuous shooting rate or reduced rolling shutter in video and electronic shutter mode). However, the adoption of the processing systems, algorithms and refinements introduced on the a9 all have their benefits.

This means a camera with a touchscreen and dedicated joystick for AF point positioning, a camera with a deeper grip and improved customization, with better laid-out menus and much improved battery life.

Video capabilities

Sony also says the improved processing will benefit video shooting. The oversampled footage taken from a Super 35 (~APS-C) region of the sensor is still expected to look better than the subsampled capture from the full sensor width but both are supposedly improved by the new processing chain. We’ll delve into this later in the review.

To take advantage of the camera’s dynamic range, the Picture Profile system of color and tonal response borrowed from Sony’s professional video line now includes the even flatter S-Log3 gamma curve. That said, there is no 10-bit capture possible; the camera can still only capture 8-bit 4:2:0 footage internally or output 8-bit 4:2:2, which may limit the usefulness of S-Log3 if it makes posterization more likely when the footage is graded.

For users wanting to use the camera’s video dynamic range with a high dynamic range display but without the extra hassle of color grading, the a7R III joins the Panasonic GH5 in offering Hybrid Log Gamma recording: essentially Log capture with tags to tell displays how to correctly render it.

Compared:

The a7R III’s most obvious peer is the D850, since it’s the other high-speed, high resolution full frame camera. We’ll also note the changes relative to its predecessor and its other, less rapid high-res rivals.

	Sony a7R III	Nikon D850	Sony a7R II	Canon EOS 5DS R	Pentax K-1
MSRP (Body only)	$ 3200	$ 3300	$ 3200	$ 3900	$ 1800
Pixel Count (MP)	42.4	45.7	42.4	50	36
Sensor type	BSI-CMOS	BSI-CMOS	BSI-CMOS	CMOS	CMOS
ISO Range	100-32,000	64-25,600	100-25,600	100-6,400	100-204,800
Stabilization	In-body (5.5 stops)	Lens-only	In-body (4.5 stops)	Lens-only	In-body (5 stops)
AF working range	–3EV (@F2)	–4EV	–2EV (@F2)	–2EV	–3EV
Viewfinder magnification & eyepoint	0.78x 23mm	0.75x 17mm	0.78x 23mm	0.71x 21mm	0.70x 21.7mm
Connectivity options	Wi-Fi, BT (+NFC)	Wi-Fi, BT	Wi-Fi (+NFC)	Optional SD Card	Wi-Fi
Video	4K/30p 1080/120p	4K/30p	4K/30p 1080/120p	1080/60p	1080/30p
Mic/ Headphone	Yes / Yes	Yes / Yes	Yes / Yes	Yes / No	Yes / Yes
Flash sync speed	1/250th	1/250th	1/250th	1/200th	1/200th
Flash Sync socket	Yes	Yes	No	Yes	Yes
Continuous shooting	10fps	7fps*	5fps	5.0fps	4.4fps
Intervalometer	No	Yes	Via app	Yes	Yes
Memory format	SD (UHS-II) SD (UHS-I)	XQD SD (UHS-II)	1x SD (UHS-I)	CF (UDMA) SD (UHS-I)	2x SD (UHS-I)
USB (Connector)	3.1 (C) 2.0 (micro B)	3.0 (micro B)	2.0 (micro B)	3.0 (micro B)	2.0 (micro B)
Battery life (CIPA) VF/LCD	530/650	1,840/ –	290/340	700/200	760/ –
Weight	657g (23.2oz)	1005g (35.5oz)	625g (22.0oz)	930g (32.8oz)	1010g (35.6oz)

*D850 can shoot 9fps when combined with a battery grip and D5-style battery.

As should be apparent, the Sony offers a combination of resolution, speed and video capabilities not easily matched by its peers. And, with the new battery, is able to offer much more similar endurance, if you’re not in a situation in which you can plug the camera in to an external power source.

Articles: Digital Photography Review (dpreview.com)

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Review of the Tamron 18-400mm F/3.5-6.3 DI-II VC HLD Zoom Lens

22 Nov

Tamron has been specializing in super-zoom lenses for the last few years. You may be familiar with their 16-300mm, 18-270mm or 150-600mm lenses. Their newest super-zoom is an even more astonishing focal length, the Tamron 18-400mm. I recently had a chance to review this lens for a few weeks so I thought I’d give you an idea of who this lens is for, the good, the not-so-good, and my overall recommendation.

Review of Tamron 18-400mm F/3.5-6.3 DI-II VC HLD Zoom Lens - Hibiscus

Hot pink hardy hibiscus bloom. Canon 7D Mark II, Tamron 18-400mm lens @ 400mm, f/9, 1/160th, ISO 100, handheld.

About this review

I know you already know this (because you read ALL my pieces for dPS, right? Right?!) but my lens reviews are pretty real world. I don’t sit in a lab or use techy gizmos to measure sharpness. I actually hold a lens in my hands and shoot with it. This lens was tucked in my favorite bag for most of August.

That said, my intention was to see how a lens holds up for an actual shoot. I used this lens to photograph Lipizzan horses at a dressage performance as well as at the racetrack. Then I used it on a mission to photograph old barns and finally to make some macro flower images.

Lipizzan foal at Tempel Farms, Old Mill Creek IL. Canon 7D Mark II, Tamron 18-400mm lens @ 300mm, f/6.3, 1/640th, ISO 500, handheld.

The goal was to make images at most focal lengths with a variety of apertures, but a few might have been skipped because I was really out there shooting. I shoot at the focal length, shutter speed, ISO and aperture that each situation calls for. So let’s just say I apologize in advance if I’ve skipped something important to you. Give me a shout in the comments if that’s the case. I’ll dig through my notes and image archives to see if I can answer your question.

Lens specs

Let’s start off with a quick overview of the lens specs. This lens is for Nikon and Canon APS-C (crop sensor) cameras only. I tested the lens on a Canon 7D Mark II.

The Tamron 18-400mm super-zoom is a variable aperture lens. Meaning that at 18mm, the maximum aperture (largest opening) is f/3.5. But when you zoom into 400mm, the maximum aperture is f/6.3. The minimum aperture (smallest opening) is f/22 at all focal lengths.

Dilapidated red barn, McHenry County IL. Canon 7D Mark II, Tamron 18-400mm lens @ 71mm, f/9, 1/250th, ISO 200, handheld.

The lens has an HLD Autofocus Motor that is quick and quiet for a consumer lens at this price. It also has Tamron’s standard VC Image Stabilization. This feature enables you to get sharper shots while hand-holding at longer focal lengths. The lens also has what Tamron calls Moisture-Resistant Construction. I’m relieved to tell you I didn’t get to test this feature.

The minimum focusing distance – important especially if you want to try your hand at making macro images – is 17.72″ (45 cm). Macro is usually a 1:1 ratio and this lens only produces 1:2.9, but I was pleasantly surprised with my macro results.

White hardy hibiscus bud. Canon 7D Mark II, Tamron 18-400mm lens @ 400mm, f/13, 1/320th, ISO 320, handheld.

If you use screw on filters, like a circular polarizer, the front thread is 72mm. The lens is 1.56 pounds (710 g) and approximately 3.11” in diameter by 4.88″ in length (79 x 123.9 mm). It’s an incredibly compact lens for this focal length range.

The price, at the time of publication of this article, is $ 649.00 USD.

Who is this lens for?

I would describe the ideal user of this lens as an amateur or enthusiast. If you’re an amateur photographer who travels but doesn’t want to carry more than one or two lenses, this is the perfect choice for you.

With an 18-400mm focal length, you might not need to ever change the lens, except in a dark indoor situation, when you need either flash or perhaps the fast f/1.8 maximum aperture of a nifty fifty.

Low-key portrait of a racehorse, Arlington Park IL. Canon 7D Mark II, Tamron 18-400mm lens @ 400mm, f/6.3, 1/250th, ISO 250, handheld.

This lens would also be great for a busy parent who needs more than a smart phone to capture pictures of soccer matches and dance recitals but who doesn’t have a ton of extra room in her carryall bag. The compact size and weight of the Tamron 18-400mm make it an easy addition to any parent’s standard kit.

What’s good about this lens

The size of this lens just can’t be beat. At only a pound and a half and less than 5 inches long, it’s a lot of focal length in a very small package. I was really taken with how small it was since I normally shoot with such large neck-and-shoulder-busting glass.

Hand-holding this lens for an afternoon at the race track wasn’t even remotely painful. With the insane focal length capabilities, I didn’t even bother to carry a second lens with me (or even my camera bag!) and that made for a really care-free afternoon.

The Tamron 18-400mm lens, attached to the Canon 7D Mark II, with the Canon 100-400 lens alongside for size comparison.

Tamron 18-400mm lens comparison - extended

The extended Tamron 18-400 lens, attached to the Canon 7D Mark II, with the extended Canon 100-400 lens alongside for size comparison. Clearly you can see what a compact size this lens is and how beneficial that could be when you travel.

Great for landscape images

It’s also a pleasure to catch a pretty landscape out of the corner of your eye and to simply zoom out to 18mm to capture it. Typically if you’re shooting with a long lens, you have to take the time to switch over to your wide-angle lens, take the shot and then switch back to your longer focal length lens again. Well, actually, if you’re me, you see that landscape and think ooh, pretty and then walk away without taking the shot.

Arlington Park Racetrack IL. Canon 7D Mark II, Tamron 18-400 @ 18mm, f/13, 1/100th, ISO 320, handheld. Processed in Lightroom.

I’m lazy that way so this was the first time I’ve actually made images of the racetrack itself. The lens performed really well in the 18-50mm focal range. It was both sharp and relatively distortion free. Lightroom’s Lens Correction easily managed the slight distortion there was too.

Things to be careful of

Remember I said we’d talk about the not-so-good too? It is a touch tricky to twist the lens in order to zoom in past 200mm to get to the 400mm focal length. First, your hand gets a bit “stuck” since anatomically, your wrist only twists so far before you have to reposition in order to continue the twisting motion.

Headed to the gate, Arlington Park IL. Canon 7D Mark II, Tamron 18-400mm lens @ 209mm, f/6.3, 1/1000th, ISO 250, handheld.

Second, the lens has what I call a “hiccup” where you need to exert more pressure to push it past this point. I missed a few shots because the twisting motion wasn’t smooth enough and I jerked the lens a bit as I zoomed in from 200mm to 400mm.

White hardy hibiscus bloom. Canon 7D Mark II, Tamron 18-400mm lens @ 227mm, f/13, 1/400th, ISO 320, handheld.

Softness around the edges

There is a definite softness (or loss of sharpness) at the longer end of the lens, especially when your aperture is wide open, e.g., 400mm at f/6.3. If you crop in too much during post-processing or print too large, you’ll start to see the loss of fine details in your image since they weren’t tack sharp to start. You won’t see this loss of detail in a small 5×7″ print, or if you post to social media – so for many people, this actually won’t be a big issue.

Riders up at the paddock, Arlington Park IL. Canon 7D Mark II, Tamron 18-400mm lens @ 18mm, f/5, 1/500th, ISO 640, handheld.

Use the center focus point

The lens tends to be softest in the corners so sharpness improves if you use your camera’s center focus point. It also improves if you close down your aperture to f/8, f/9, or smaller. Because the lens is not tack sharp all the way through the focal length spectrum, I’m not recommending this lens for super serious wildlife shooters or anyone who likes to print really large. For you guys, I’m going to suggest sticking with a more standard zoom lens like a 100-400mm or 200-400mm. (I apologize in advance for the wear and tear this recommendation will cause your shoulders.)

If you predominantly shoot wide-angle images, like landscapes, and only occasionally shoot long, this lens will be a good fit for you when you don’t want to carry a ton of gear.

Final thoughts

Ultimately there were a number of things I really liked about this lens. The small size and super-zoom focal length make it a very practical tool to have in your bag. At $ 649.00 USD, it’s also a great value.

However, the softness at the long end of that focal length can become a real issue if you’re not careful. Because of that, I’m cautiously going to rate this lens 3.5 stars out of 5.

Running Lipizzan foal at Tempel Farms, Old Mill Creek IL. Canon 7D Mark II, Tamron 18-400mm lens @ 400mm, f/6.3, 1/640th, ISO 100, handheld.

I’d love to hear your opinions too. Have you tried super-zooms lenses? Do they work for your type of photography? Which is your favorite one and how does it compare to the Tamron 100-400mm lens? Please share your thoughts with the dPS community in the comments below.

The post Review of the Tamron 18-400mm F/3.5-6.3 DI-II VC HLD Zoom Lens by Lara Joy Brynildssen appeared first on Digital Photography School.

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Surface Beast: A photographer’s review of the Microsoft Surface Book 2

17 Nov

This review was originally published on Blair Bunting’s blog, and is being republished in full on DPReview with express permission from the author.

Over the last year I have been slowly migrating from Apple to Windows, and to be honest, breaking out of the walled gardens that I lived within (some known, some unknown) has not been easy, but it has been freeing.

I have to hand it to Apple, they made a system, an environment, that has been comfortable and creatively useful for many years; however, slowly the sparkle that was once held in such high regards by artists, has begun to dull. For me, there was one piece of hardware that remained from my Apple past, one that traveled with me to all my photoshoots and pre-production meetings, coffee shops and airport bars, studios and locations alike… my MacBook Pro.

When I began transitioning to Windows, I had made concessions. I thought at the time, that one of the few pieces of Apple hardware that would stay in my repertoire was the MBP. I had even decided to upgrade it to the newest one before the announcement, for I knew it would be cutting edge in the ways that other Apple products of the past had been. Then, to the horror of myself and many around, we watched as Apple gave us the new MacBook Pro, complete with… wait for it… the scroll bar (ready to suit all of my emoji needs).

That very day I bought a Microsoft Surface Book (the very one that I am typing this blog on) and never looked back. To be honest, I had intended to write a review of it for quite some time, however, that blog had been put on the backburner. What was striking about the original Surface Book was something I had a very hard time quantifying. While there were many things I fell in love with on it, such as the keyboard, and the detachable screen, the thing that won me over more than anything was how much it just worked.

Almost overnight I started to see my productivity rise as I was able to re-focus on the business side of advertising photography.

I was transporting my RAWs from set on the original Surface Book and would occasionally do minor edits on it in airports; however, the 100-megapixel files from the Hasselblad H6D-100cwere taxing on it once layers were added in Photoshop and file sizes surpassed the 5GB mark. Now I know that 5GB files are rarely opened on a laptop, but I had to test it out and did notice that the large files sizes were tough on the processor.

Then, about a month ago, the phone rang and it was Microsoft, wondering if I would like to hear about a new piece of equipment… the Surface Book 2. Previously they had let me try out their Surface Pro, which I liked, but still found myself using the Surface Book more. It was a no brainer and I quickly signed to have a loaner unit sent over immediately.

The Surface Book 2 arrived only days before I was to fly out for a campaign I was shooting in New York and New Jersey. I have always had a rule that any gear headed to set has to have a backup. No matter how different the backup is, there needs to be a safety net in case something unforeseen happens.

For the past year, I was traveling with the Surface Book in my carry on while the MacBook Pro was in my checked baggage. Perhaps there was part of me that was nervous about letting go of that laptop. However, the campaign on the East Coast would be the first one completely void of an Apple product, backups included.

All this had been planned before the Surface Book 2 arrived.

Then the FedEx delivery man arrived with the package that I had been sitting next to the door waiting for all day (on a side note, does FedEx know when I am anxiously awaiting a package and then decide to be late as hell delivering it?).

In the box was the clean white box containing a new Surface Book 2, and to my surprise… IT WAS THE 15” MODEL. While I knew it existed, I had told the gentleman on the phone to send out whatever was easiest and I didn’t want to hassle them with demands. To be honest, I had grown quite comfortable with the 13-inch model that I bought and didn’t think there was a need for the extra two inches… I was wrong.

As it turns out, the new model was completely rebuilt from the ground up, and I could tell it within the first hour of using it. The details were even more refined and it was even MORE comfortable to type on. A funny little side note… with the screen being completely detachable, you can pop it off and walk around set with a tablet bigger than any other on the market and, as it turns out, the only thing my clients talked about for hours.

Now at this point you are probably asking, “but Blair, how does it perform?” … please refer to the title of this blog.

I have NEVER used a laptop that felt as powerful as the Surface Book 2. The thing ate 100 megapixel files for lunch and came back for more. In a way, it felt as though my laptop had hooked up with my desktop and the resulting baby was the Beast. Credit where it is due, the phrase “Surface Beast” was actually coined by one of the art directors on the photoshoot when he compared it to his MacBook Pro (scroll bar and all) and decided we would preview the shoot on the Surface from there on out.

One area where there isn’t even a comparison to my previous Apple MBP life is when it comes to retouching. More specifically: while traveling. Even more specifically: sitting at the airport bar while the airline tells you the delay is because the plane can’t fly (FML).

The Surface Book 2 has an option to have a secondary processor in the keyboard base of the computer. What this means is that you can detach the screen, flip it around and fold it backwards and have a drawing tablet with near desktop power—it is completely insane. This feature, combined with the increasing inebriation, led to me laughing/near-cheering with the announcement that my flight was further delayed.

In three hours of sitting at the airport bar, I had finished key art retouching on one of the images from the campaign (this is huge) and rung up a healthy bar tab of Hendricks.

For me, the Surface Book 2 was the MacBook Pro that we had all wanted/expected from Apple—it just wears a different logo.

While other reviews will read off the spec sheets and talk about the 17 hour battery life and GX yadda yadda yadda processor, they sometimes forget that we (the creative professionals) use these as tools. What Microsoft has done with the Surface Book 2 is make a system void of gimmicks, because gimmicks don’t hold up in the working world. Our jobs will not benefit from being able to tap an emoji on a scroll bar… they will benefit from the ability to get work done.

As a photographer, it feels extremely odd to say this, but I sincerely feel that the Surface Book 2 is not only a strong contender for the laptop to own, but actually the clear cut choice of the computer to have on set.

These weeks with the Surface Beast have won my allegiances completely, and probably resulted in me making a third computer purchase for the year. However, it has also given me the confidence and comfort to say that the transition away from Apple will soon be complete.

Blair Bunting is an advertising photographer and Hasselblad ambassador who has shot campaigns around the globe for a diversified list of clients that range from television shows shot for The Discovery Channel to athletes photographed for Muscle Milk.

To see more of his work, visit his website, check out his blog, or follow him on Facebook, Instagram, and Twitter.

Articles: Digital Photography Review (dpreview.com)

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DJI Spark Review: Small but mighty

15 Nov

The DJI spark is a diminutive drone that just screams to be put in your bag and taken everywhere you go. It’s likely to appeal to all levels of users thanks to its extremely compact size and strong feature set, but this miniaturization does come at a cost. Compared to most larger models it has shorter battery life, lacks a 3-axis gimbal and, notably, does not support 4K video capture. But, did we mention that it’s really small?

With an MSRP of $ 499, the Spark doesn’t have a lot of direct competition from models of comparable size and feature sets, though the closest alternative is probably the Yuneec Breeze 4K. If size isn’t a critical factor there are models with more impressive specs, such as DJI’s own Phantom 3 Standard and Phantom 3 SE, in the same price range.

The Spark is also available in a ‘Fly More’ combo that adds a remote controller, charging hub, spare props, propeller guards, and extra battery for $ 699.

Key Features

12MP 1/2.3″ CMOS sensor
2-axis mechanical gimbal
1080/30p video
Vision system for accurate positioning
Gesture control
16-minute flight time
Compact size

Before we get into the nitty-gritty, let’s qualify this review (and really, any drone review). A drone is not a flying camera. Rather, a drone is an aircraft with a camera attached to it. Therefore, the true value of a drone is a balance between the aircraft and camera.

Since we’re looking at two distinct pieces of hardware merged together, let’s look at each one individually, beginning with the aircraft. We’ve included the Yuneec Breeze and DJI Phantom 3 SE for comparison.

	DJI Spark	Yuneec Breeze 4K	DJI Phantom 3 SE
Take-off weight	300g	385g	1236g
Dimensions	143x143x55mm	196x196x65mm	247x247x193mm
Maximum flight time	16 minutes	12 minutes	25 minutes
Maximum speed	50km/h (31mph) [with controller]	18km/h (11mph)	58km/h (36mph)
Obstacle avoidance	Yes	Yes	No
Maximum operating range	100m [2km with controller]	100m	4km
Controller	Optional	Optional	Yes
Price	$ 499	$ 399	$ 599

The thing that’s obvious right away is how much smaller the Spark and Breeze are compared to a full-sized Phantom, though the Phantom will stay in the air quite a bit longer. The Spark has some notable advantages over the Breeze, including a much higher maximum speed (when used with the optional controller) and a mechanical gimbal. Both have a limited operating range of 100m, but if you pair the Spark with the optional controller the range extends significantly. Chances are good you’ll want the controller.

Now let’s take a look at the camera and gimbal.

	DJI Spark	Yuneec Breeze	DJI Phantom 3 SE
Sensor size	1/2.3″ CMOS	1/3.06″ CMOS	1/2.3″ CMOS
Resolution	12MP	13MP	12MP
Lens (equiv.)	25mm F2.6	Not specified	20mm F2.8
Lens FOV	81.9º	117º	94º
Max photo resolution	3968×2976	4160×3120	4000×3000
Image formats	Jpeg	Jpeg	Jpeg, Raw
Max video resolution	1080/30p	UHD 4K/30p	DCI 4K/24p/25p UHD 4K/30p
Bit rate	24 Mbps (H.264)	Not specified	60 Mbps (H.264)
Gimbal type	2-axis mechanical	None	3-axis mechanical

The cameras in all three models are similar in size to the ones found in many smartphones. They’re not going to be low light champs, but they’re still capable of producing good photos and video. What really jumps out here is the Spark’s lack of a 4K video option. Of course, HD is usually fine for web streaming, which we suspect will be a pretty common use case for this model.

What’s all this mean? The Spark is an extremely small, lightweight drone that seems perfect for throwing into a backpack, tossing into carry-on luggage, or just having with you all the time.

OK – let’s talk about what it’s like to actually fly this tiny beast.

Articles: Digital Photography Review (dpreview.com)

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Sony Cyber-shot RX10 IV review

14 Nov

Introduction

The Sony DSC-RX10 IV is premium superzoom bridge-camera (DSLR-like form factor) with a 24-600mm F2.4-4 equivalent zoom lens and a 20MP 1″-type stacked BSI-CMOS sensor: the same used by the Sony RX100 V. This new sensor brings phase detect autofocus to the RX10 series for the first time, adding the depth-awareness that is important for focusing long lenses. The camera is also faster than its predecessor and can shoot at 24 fps with AF and auto exposure (compared to 5 fps).

The processor is borrowed from the flagship Sony a9, which should mean excellent subject tracking. In short, this camera packs speed, AF ability and lens reach into a convenient package, not to mention 4K video. So is it the most capable all-in-one camera on the market? Read on…

Key specs:

20MP 1″-type stacked BSI-CMOS sensor
24-600mm equivalent F2.4-4 stabilized zoom lens
24 fps burst shooting in JPEG + Raw, with full AF and AE
315-point phase-detection autofocus system covers 65% of frame
Detailed 4K video capture with well-controlled rolling shutter
High frame rate video capture
Touchscreen
Bluetooth connectivity
Updated menus

We feel like this camera will appeal to a variety of users including those seeking an all-in-one camera with serious reach for casual shooting, travel or vacationing. But advanced videographers may also find this camera tempting thanks to a laundry list of video features and good quality UHD capture.

Key features compared

The body is almost identical to that of its predecessor, using the same outstanding lens. However the RX10 IV offers a touchscreen that can be used as a touchpad for placing AF points with your eye to the finder or for selecting a point of focus in still or video mode. There are a few other minor differences between the two cameras as well:

	Sony RX10 IV	Sony RX10 III	Sony RX10 II	Panasonic FZ1000	Panasonic FZ2500
MSRP	$ 1699	$ 1499	$ 1199	$ 899	$ 1199
Sensor	20MP 1″-type stacked CMOS sensor	20MP 1″-type stacked CMOS	20MP 1″-type stacked CMOS	20MP 1″-type BSI-CMOS	20MP 1″-type BSI-CMOS
ISO range (native)	100-12800	100-12800	100-12800	125-12800	125-12800
Lens (35mm equivalent)	24-600mm F2.4-4	24-600mm F2.4-4	24-200mm F2.8	25-400mm F2.8-4	24-480mm F2.8-4.5
Built-in ND filter	No	No	Yes	No	Yes
AF system	Phase detect	Contrast detect	Contrast detect	Contrast detect	Contrast detect
AF points	315-point	25-pt	25-pt	49-pt	49-pt
Fastest shutter speed	1/32,000 sec (e-shutter), 1/2000 (mechanical)	1/32,000 sec (e-shutter), 1/2000 (mechanical)	1/32000 sec (e-shutter), 1/2000 (mechanical)	1/16000 sec (e-shutter), 1/4000 (mechanical)	1/16000 sec (e-shutter), 1/4000 (mechanical)
EVF resolution	2.36m-dot	2.36m-dot	2.36m-dot	2.36m-dot	2.36m-dot
LCD	3″ 1.44M-dot tilting	3″ 1.23M-dot tilting	3″ 1.23M-dot tilting	3″ 921k-dot fully articulated	3″ 1.04M-dot fully articulating
Touscreen	Yes	No	No	No	Yes
Burst rate	24 fps	14 fps	14 fps	12 fps	12 fps
Video	4K/30p	4K/30p	4K/30p	4K/30p	4K/30p
High-speed video	Up to 960 fps @ 800 x 270	Up to 960 fps @ 800 x 270	Up to 960 fps @ 800 x 270	120 fps @ 1920 x 1080	120 fps @ 1920 x 1080
Wi-Fi	Yes, with NFC and Bluetooth	Yes, with NFC	Yes, with NFC	Yes	Yes
Battery life (CIPA)	400 shots	420 shots	400 shots	360 shots	350 shots
Weather sealing	Yes	Yes	Yes	No	No
Dimensions	133 x 94 x 145mm	133 x 94 x 127mm	129 x 88 x 102mm	137 x 99 x 131mm	138 x 102 x 135 mm
Weight	1095 g	1051 g	813 g	831 g	915 g

As you can see, the RX10 IV stacks up nicely next to its siblings and direct competitors. For someone primarily concerned with stills, the RX10 IV seems like the obvious choice, especially if you plan on shooting action: it’s got the fastest burst rate of the bunch and is the only camera in its class with phase detection.

But for videographers, the FZ2500 with its fully-articulating touchscreen, built-in variable ND filter and similar zoom range might make it the more sensible choice, especially given its lower price point (though we found its lens performance inferior to its Sony counterparts). You don’t get the cool, super-high-speed frame rate options offered by the Sony cameras, but 1080/120p is not too shabby.

Availability

The RX10 IV is available now for an MSRP of $ 1699.

Articles: Digital Photography Review (dpreview.com)

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Affinity Photo for iPad Review

13 Nov

Affinity Photo for iPad
$ 20 | Affinity.serif.com | Buy Now

We’ve come to expect less from iOS software on the iPad compared to desktop applications because, in most cases, they’re mobile—and “mobile” has traditionally meant “limited.” A lot of that has been due to hardware: even as the iPad’s main processors improved, most models included a minimal amount of RAM that made it difficult to pull off operations expected of a modern image editor, such as smoothly dealing with many layers and real-time effects.

The arrival of the iPad Pro, along with a commitment in iOS to take advantage of the hardware, has opened the door for more powerful applications. One of those apps is Affinity Photo for iPad, a full-fledged image editor that doesn’t feel as if the developers had to remove features from a whiteboard to make the app a reality. Whereas some companies have chosen to make multiple apps that specialize in a few image editing features—a big photography shop that begins with an A comes to mind—Serif has packed the gamut of features into Affinity Photo for iPad. It’s not a literal translation from the desktop version, nor should it be.

Key Features

Full suite of image editing features
Sophisticated layers enable compositing
Projects can be edited in Affinity Photo for iPad and desktop
Interface smartly designed for touch operation

Allow me to head off a common talking point at the outset: Yes, devices such as the Microsoft Surface give you a mobile tablet experience running desktop applications, including Serif’s Affinity Photo for Windows. That works for some people, and not for others, for various reasons. A few readers commented in our review of Affinity Photo for Mac that the performance of the Windows version lags on some systems.

Affinity Photo for iPad runs on the following models: iPad Air 2, iPad 2017, iPad Pro 9.7-inch, 10.5-inch, and 12.9-inch.

Importing Photos

If you’re importing photos from a camera’s memory card, they must still be transferred using the default method of copying them first to the Photos app. However, you can also import from cloud sources, such as iCloud Drive, Dropbox, Google Drive, and others. Under iOS 11, this is made easier by tying into the architecture used by Apple’s Files app, which also acts as go-between for other apps that support it. For example, Affinity Photo can copy images directly from the app Cascable, which is a utility for transferring images using the Wi-Fi built into some cameras.

We’re accustomed to simply opening an image file to work on it; as long as your files are stored on some cloud platform or a compatible app, you can do the same on the iPad

This seems like a pedestrian point to make—ooh, thrilling, opening files!—but Apple’s traditional insistence that everything pass through the Photos app has always been just awkward enough to be annoying. In Affinity Photo, it’s possible to open images, including Raw files, without going through the Photos workflow. On the desktop, we’re accustomed to simply opening an image file to work on it; as long as your files are stored on some cloud platform or a compatible app, you can do the same on the iPad.

Interface and Workflow

A long list of features is impressive (and there are plenty of features), but if using them is frustrating, people won’t stick with the app. Affinity Photo has wisely tailored the interface for a small-screen, touch-based experience. The layout of tools and modes prioritizes visibility of the image you’re editing.

Tools are arranged around the edges of the screen, taking up minimal space.

The main tools, called out by pressing the ? button.

It’s an efficient use of space that may seem confusing at first—and occasionally requires some exploration until you’re familiar with it—but the interface has been well thought out.

For instance, the controls for adjusting brush sizes and other tool properties seem almost clumsy at first. Instead of customary sliders for everything, a tool’s options appear at the bottom of the screen as configurable circles. To make a brush larger, for example, drag from the middle of the control up or to the right; the pixel dimensions appear in the middle, and a solid border snakes around the perimeter to indicate how far the value is from the maximum or minimum value. The same mechanism controls opacity, flow, hardness, and other attributes. Tap the More button there to reveal a screenful of other options, such as blending mode, wet edges, and custom dynamics that affect Apple Pencil interaction.

That’s not intuitive if your brain has been wired to use Photoshop, or even Affinity Photo on the desktop. But it’s no coincidence that the control is finger-sized. Since it’s occupying a small portion of the bottom of the screen, you get control without sacrificing a lot of screen real estate. That said, using the gesture seems almost sloppy at times, because the sensitivity depends on the speed and distance you move your finger or Pencil.

Controls are easily available using your left hand, leaving the right hand for applying edits or making selections.

As with the desktop version of Affinity Photo, the app is split into multiple personas (modules). The Photo persona contains most of the editing tools, layers, and the like. Opening Raw files brings you into the Develop persona to apply Raw edits, which you must apply before you can access the app’s other personas and editing tools; you can also edit individual layers in the Develop persona. The Liquify persona gives you control over pushing, pulling, and warping pixels for retouching purposes. And the Tone Mapping persona applies HDR style effects to a layer.

Additionally, “studios” along the side break out tasks and other tools, such as Layers, Adjustments, Filters, Color, and so forth.

Different from the desktop software is a Selections persona that’s dedicated to making selections. It’s a bit odd to switch to a new persona just to select areas of an image, but after a short amount of time I appreciated that its 11 tools were all exposed by switching personas, versus tapping and waiting on a tool to reveal its alternates (which still happens for many of the basic tools), or digging through menus, as in the desktop software.

One thing you’ll find yourself doing often is working two-handed. For instance, with an Apple Pencil in my right hand and working in the Selections persona, I can quickly toggle between the Add and Subtract modes of the Smart Selection Brush tool using my left hand, just as if I were using Option or Alt on the desktop. Commands such as Deselect or Invert Selection are a finger-tap away at the top toolbar. Turning on Left-Handed Mode reverses the interface.

Articles: Digital Photography Review (dpreview.com)

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Canon EOS M100 review

07 Nov

Introduction

The EOS M100 is Canon’s newest entry-level mirrorless ILC model. Despite being appreciably smaller (and cheaper) than its higher-end M5 and M6 siblings, it comes with the same 24MP APS-C sensor equipped with excellent Dual Pixel autofocus. It also has Canon’s latest DIGIC 7 processor, as well as Wi-Fi with NFC and Bluetooth for connectivity.

The M100 is aimed squarely at smartphone photographers looking to get their first ‘real’ camera, and its polished touch-centric control scheme reflects this. It’s small, it’s light, and because of the large APS-C sensor, is almost always capable of better photos than any smartphone.

Appropriately given the target audience, there’s even a dedicated ‘Wireless’ button to make it as easy as possible to get your images from the M100 to the wilds of Facebook and Instagram.

Key Features:

24MP APS-C CMOS sensor
Dual Pixel autofocus for stills and video
DIGIC 7 processor
3″ tilting LCD
6fps burst shooting (4fps with continuous AF)
1080/60p video with digital IS
Wi-Fi and NFC with Bluetooth
295 shot-per-charge battery live (via CIPA)

Although smartphones have largely decimated the compact camera segment, the EOS M100 is not without competition from other interchangeable lens cameras, all of which offer image quality above and beyond the typical smartphone camera. Users shopping based on price are likely to also consider the Panasonic Lumix GX850, Olympus PEN E-PL8, Fujifilm X-A3 and even the venerable Sony a6000.

Canon’s color output is a perennial crowd pleaser at the DPR offices. Out-of-camera JPEG. Canon EF 50mm F1.8 STM.
ISO 200 | F5.6 | 1/800 sec

The EOS M100 is among the least intimidating cameras in this group, for new users. It’s got the fewest physical controls, and tapping to focus and manipulate settings on-screen in Auto mode is likely to come naturally to just about anyone who hasn’t been under a rock since the first iPhone came out.

Compared to…

	Canon M100	Panasonic GX850	Olympus E-PL8	Sony a6000	Fujifilm X-A3
Resolution	24MP	16MP	16MP	24MP	24MP
Sensor size	APS-C	Four Thirds	Four Thirds	APS-C	APS-C
Image stab.	Lens-based	Lens-based	In-camera	Lens-based	Lens-based
AF system (live view)	Dual Pixel	Contrast-detect	Contrast-detect	Hybrid	Contrast-detect
LCD	3″ tilting	3″ tilting	3″ tilting	3″ tilting	3″ tilting
Touchscreen	Yes	Yes	Yes	No	Yes
Burst speed (AF locked)	6.1 fps	10 fps	8 fps	11 fps	6 fps
Video	1080/60p	4K/30p	1080/30p	1080/60p	1080/60p
Wireless	Wi-Fi + NFC + BT	Wi-Fi	Wi-Fi	Wi-Fi + NFC	Wi-Fi
Battery life	295 shots	210 shots	350 shots	360 shots	410 shots
Dimensions (mm)	108x67x35	107x65x33	115x67x38	120x67x45	117x67x40
Weight	302 g	269 g	357 g	344 g	339g
Typical price w/lens (11/2017)	$ 599	$ 549	$ 649	$ 548	$ 549

Based on the above table, it’s clear that in the mirrorless interchangeable lens market, this price bracket is getting pretty crowded. There are several different philosophies represented in here. The Sony a6000 has been around for a while but it continues to be a great value proposition. The GX850 is the only camera here to shoot 4K, and is slightly smaller than the M100, but comes with a smaller M43 sensor, which has an impact on still image quality at medium and high ISO sensitivity settings.

Overall, then, is the image quality and user experience of Canon’s most compact ILC enough to make it stand out in this crowd? Let’s find out.

Articles: Digital Photography Review (dpreview.com)

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Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

29 Oct

I believe it was Robert Capa who said, “If your pictures aren’t good enough, you’re not close enough.” While this is not incorrect nor is it bad advice, the fact remains that there will be times when our feet simply can’t do the zooming for us. To facilitate getting up close and personal without actually being up close and personal, photographers rely on telephoto lenses to bridge the gap between themselves and their subject.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

The Sigma 100-400mm F5-6.3 Contemporary Lens

With each lens I evaluate with every passing year, I am fortunate enough to bear witness to the staggering advances lens manufacturers are making in the world of photographic optics. Today, there are many instances where aftermarket “non-native” third-party camera lenses either meet or even surpass the performance of their more expensive cousins manufactured by their respective camera brand. We now have a high-grade glass without the high-grade price tags. This is especially true when it comes to long range telephotos and fast primes.

So, when the opportunity arose for me to get my hands on one of the newest budget-conscious telephotos, the Sigma 100-400mm F5-6.3 DG OS HSM Contemporary lens, I lept at the chance. I have a couple of friends who spoke quite favorably of this particular lens, so I had to see it for myself. Take a few minutes, sit back and relax, and let me tell you exactly why the Sigma 100-400mm might be a good choice for you if your bag is missing a good long-range zoom lens.

Build Quality

The main housing of the Sigma 100-400mm lens is made from a solid-feeling hard plastic. Being from the Sigma Contemporary line, it lacks the metallic-feeling TSC (thermally stable composite) construction of their Art series lenses. Even without this type of material, the lens feels incredibly solid in the hand and feels great. The zoom and focus rings are both rubberized and work smoothly.

The Sigma 100-400mm is exceptionally balanced. Overall, for a lens of this size, it feels surprisingly nimble when mounted on my Canon 7D.