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Posts Tagged ‘Test’

Report: FAA to test new pilot programs to speed up remote drone identification tech

08 Jan

In 2017, news surfaced the Federal Aviation Administration (FAA) had taken the first steps toward establishing drone identification rules, which would require a drone to remotely identify itself to law enforcement. The remote ID system could help identify drones operated in restricted airspace, such as drones over airports, but multiple reports have indicated there could be a significant delay.

In November, the Wall Street Journal reported the FAA was ‘significantly behind’ schedule on establishing drone identification rules, something necessary for the large scale commercial use of drones. As well, law enforcement and government officials have increasingly expressed concerns over illegal drone operation and their inability to rapidly identify these UAVs.

In its most recent update, the WSJ has revealed a Federal Register notice from December that details pilot projects aimed at speeding up remote ID system testing. According to the report, the FAA wants to create up to eight prototype projects financed by private companies in order to test different identification options.

These prototype projects would be used both to gather real-world data and verify that the remote identification technologies work while speeding up the overall time it will take the FAA to establish the new rules. Neither timelines nor project costs have been revealed at this time, but assuming that a rule proposal in made in the next few months, final regulations may be established in the next year or two.

Articles: Digital Photography Review (dpreview.com)

 
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Gear Review: Lensbaby Sol 45 Field Test

01 Jan

The post Gear Review: Lensbaby Sol 45 Field Test appeared first on Digital Photography School. It was authored by Suzi Pratt.

Lensbaby has always been a niche company, offering lenses that help photographers put a creative, untraditional spin on their images. This year, the Portland, Oregon based company released the Lensbaby Sol 45. At $ 200, this is their least expensive lens yet, making it an attractive way for photographers to enter the creative effects world of Lensbaby. We got to test out this new lens and found it to be great for unlocking new creative angles. Read on for more thoughts on the lens and our ultimate recommendation.

Lensbaby Sol 45

Lens specs

Design

Announced on August 7, the Lensbaby Sol 45 is a fixed 45mm f/3.5 lens with an unusual lens design. Relatively compact at just 5 ounces, this lens looks normal until you twist the front to unlock it. When in the unlocked position, this lens can bend in just about every direction. It does this via its “bokeh blades” that rest on the lens hinges. When unlocked, these blades can be moved around to alter the quality of bokeh or image blur.  The result is an image with textured bokeh and custom edge blurs that can’t be achieved with “normal” lenses. It’s a very specific creative look that may or may not appeal to you.

Lensbaby Sol 45mm Tilt Shift Lens

Build

Despite being one of Lensbaby’s cheapest lens, Sol 45 feels very well built. The exterior is mostly metal and has a solid feel in your hands. Perhaps the only thing to note is that the lens’ moving parts could potentially get stuck or broken, so it’s important to keep the lens in a locked position.

Lensbaby Sol 45

Compatibility

The Lensbaby Sol 45 is a full-frame lens, but it can also work on crop-sensor cameras. Currently, the lens is available for Canon EF, Nikon F, Sony A and Sony E, Pentax K, and Fujifilm X mounts. For Micro Four Thirds cameras, the Sol 22 is available with an equivalent focal length of 45mm. For this article, Sol 45 was used with the full-frame Sony A7rIII.

Lensbaby Sol 45

The shooting experience

Besides its unusual design, Lensbaby Sol 45 is also a manual focus lens (as are all other Lensbaby products). This means that in addition to manually altering the bokeh blades, you also have to manually set your focus point. Depending on your subject, getting a tack sharp image can be challenging. If your camera has manual focus peaking, this can greatly help with correctly setting your focus, so take advantage of it!

Lensbaby Sol 45

Fun for closeup shots

The lens has a minimum focusing distance of about 1.1 feet. This means you can get pretty close to a photo subject and isolate it with a nice bokeh background. Even though most photographers likely use this lens for still photos, it also made for creative video shots.

Lensbaby Sol 45

Lots of moving parts

I used the Lensbaby Sol 45 on a Sony A7rIII. As someone who rarely uses manual focus, shooting with this lens took some getting used to. For one, it’s a process just to set the bokeh blades since you have a wide range of positions to lock them in. After setting the bokeh, you then have to tinker with the front element of the lens to set your focus point. With focus peaking enabled, it was a breeze to shoot with this lens. But if I didn’t have focus peaking, I could see this shooting experience getting frustrating very quickly. In general, this lens isn’t the best choice if you’re shooting a moving subject or need to capture your shot quickly.

Lensbaby Sol 45mm Tilt Shift Lens

Should you get this lens?

The Lensbaby effect is a specific, very unique look that won’t suit every taste. It also shouldn’t necessarily be applied to every photo, so it’s very much a specialty lens. But what’s great about having a unique look is that it may appeal to you in surprising ways. Although it took a while to get used to handling the lens, I eventually found it to be a delight for viewing the world from a very different perspective. It became a novelty that unlocked a creative side of my brain that I hadn’t used before. Sometimes, this is what creatives need if they’re stuck in a rut or simply need a new form of inspiration.

Bottom line

If you’ve been curious about Lensbaby products, Sol 45 is a great lens to get started with. It has a low price point, and the lens itself is very compact and easy to travel with. While untraditional in many ways, this lens is great for offering you a new perspective on photo subjects if that’s something you’re seeking.

Lensbaby Sol 45mm Tilt Shift Lens

 

Lensbaby Sol 45mm Tilt Shift Lens

Lensbaby Sol 45mm Tilt Shift Lens

Lensbaby Sol 45mm Tilt Shift Lens

Lensbaby Sol 45mm Tilt Shift Lens

Lensbaby Sol 45mm Tilt Shift Lens

Lensbaby Sol 45mm Tilt Shift Lens

Have you used the Lansbay Sol 45? If so we’d love to hear your thoughts and see you images in the comments below.

The post Gear Review: Lensbaby Sol 45 Field Test appeared first on Digital Photography School. It was authored by Suzi Pratt.


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DJI challenges drone plane collision test, accuses researchers of ‘sowing fear’

23 Oct

DJI has challenged a recently published video that demonstrates a small drone smashing into an airplane wing. The test collision was conducted in a simulated environment by researchers with the University of Dayton Research Institute (UDRI) to assess the potential damage such an in-air crash may cause. DJI has accused the test of being “unbalanced, agenda-driven research.”

In a letter sent to UDRI’s group leader for impact physics Kevin Poorman, DJI alleges UDRI’s “Risk in the Sky?” video (below) and related materials present a “collision scenario between a drone and an airplane wing that is simply inconceivable in real life.”

The test collision involved a 952g / 2.1lbs DJI Phantom 2 quadcopter being launched at the wing of a Mooney M20 aircraft. In a blog post about the research, UDRI researchers said the test was intended to “mimic a midair collision of a drone and a commercial transport aircraft at 238 miles per hour…”

DJI has taken issue with that claim, saying the test assumes the Mooney M20 would be flying at its max 200mph / 321kph speed, and that the drone would “apparently” be exceeding its max 33.5mph / 53.9kph speed. “At the altitudes where that plane would conceivably encounter a Phantom drone,” DJI claims, “it would fly less than half as fast – generating less than one-fourth of the collision energy.”

DJI also states:

Your video was created contrary to established U.S. Federal Aviation Administration (FAA) crash test parameters, which assume a bird striking an airplane at its sea-level cruising speed —which is typically 161 mph to 184mph for Mooney M20. Your video deliberately created a more damaging scenario, and was widely cited as evidence for what could happen to a large commercial jet —even though the Mooney M20 is a small plane with four seats.

The Chinese drone company has likewise taken issue with the test as a whole, accusing it of having not been “created as part of a legitimate scientific query, with little description of your testing methodology and no disclosure of data generated during the test.” The company accuses the researchers of having a “bias toward sowing fear,” claiming they would have otherwise also shared a video of a simulated bird-plane strike that caused “more apparent damage.”

DJI’s letter demands UDRI “remove the alarmist video,” withdraw the research, and “issue a corrective statement” that proclaims the test to be “invalid.”

Articles: Digital Photography Review (dpreview.com)

 
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Thoughts and Field Test: Sigma 50mm f/1.4 for Sony E-Mount

17 Oct

Sigma recently announced nine prime lenses coming to their Art lens lineup for Sony E-mount shooters. We got to test out the new Sigma 50mm f/1.4 DG HSM Art Lens for Sony E-mount mirrorless cameras, an update to the previous Sigma 50mm f/1.4 released in 2014. Here’s what we thought.

What’s in the Box

Like all Sigma lenses, this one comes packed in its own zippered carrying case. It also comes with front and end caps and a lens hood. It’s ready to use right away, although you may want to buy a 77mm UV filter to protect it while in use.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Specs

This E-mount lens is designed for full-frame format Sony mirrorless cameras. However, it can also be used with APS-C models (although it will slightly crop the resulting image).

The lens has an aperture range of f/1.4 to f/16. When shooting at the maximum aperture of f/1.4, it produces a shallow depth of field with smooth bokeh, making it great for portraiture.

The Sigma 50mm f/1.4 Art lens is made for several camera mounts including Nikon and Canon DSLRs, Sony A-mounts and Sony E-mounts. This lens we tested was made for Sony E-mounts and used with a Sony a7R III.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Look and Feel

Sigma designates this lens as part of its Art series, which means it’s designed for high optical performance in a range of shooting environments.

Off the bat, the lens has a high-quality look and feel to it. Comprised mostly of metal, this lens is big and bulky. While that may be great for those with bigger hands, having a big and heavy lens that only covers a single range may be an issue for some.

Autofocus Performance

This lens worked so flawlessly with the Sony a7R III that it felt like a native lens. With a clear, contrasting point the autofocus is fast and responsive. Sometimes the lens was slower to focus in low light scenarios, but never in such a way that made it unusable. If you need to focus manually, simply flip the switch from AF to MF and use the large focusing ring near the front of the lens.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Image Quality

Images captured with this lens are crisp with excellent, well-saturated colors. Even when shooting wide open at f/1.4, photo subjects are sharp with buttery-smooth bokeh in the background. There isn’t a lot of vignetting either.

The lens appeared to hit critical sharpness at f/8, although shooting at f/2 provides a nice balance of image sharpness and bokeh.

If all third-party lens mounts worked this flawlessly, I doubt photographers would even bother using lens adapters.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

What About the Sigma MC-11?

If you’ve recently switched from a DSLR to the Sony mirrorless, you’re probably familiar with the Sigma MC-11 lens adapter. It’s a popular way to use existing DSLR lenses (i.e. the Canon 50mm f/1.4) on Sony cameras. But while the MC-11 has been popular, Sigma is pushing for photographers to adopt native lenses for their camera mounts, including Sigma’s lens options.

Why go for a native mount?

  • You can tune the lens to work with each focal length you’re shooting at.
  • Focus hunting is minimized.
  • Better autofocus including continuous AF, eye AF and face recognition.
  • Native mounts work better for video AF.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Why This Lens May Not Be for You

Overall, the Sigma 50mm f/1.4 DG HSM Art lens is a winner when it comes to build and image quality. But here are two reasons why it may not work for you.

Expensive

Firstly, there’s the price. At $ 949 this is an expensive 50mm lens. By comparison you could get a Sony FE 50mm f/1.8 for $ 248 or a Sony FE 50mm f/2.8 macro for $ 498. But fast Sony Zeiss 50mm lenses always come at a high price. The Sony Planar T FE 50mm f/1.4 costs $ 1,498, while the Sony Zeiss 55 f/1.8 is priced at $ 998.

So depending on your needs, you may need to budget quite a bit of money for a fast Sony prime lens. But if you’re in the market for a basic nifty fifty, there are much cheaper options.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Large

Secondly, there’s its size and weight. At 1.8 lbs it’s large and bulky, comparable in size to the Sony 24-240mm and the Canon 24-70mm f/2.8. By comparison, the Sony Zeiss 55mm f/1.8 is only 0.62 lbs and is more compact and portable.

If you’re looking for a compact prime lens that’s easy to travel with, this Sigma lens probably isn’t your best bet.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Lens size comparison. From left to right: Sigma 50mm f/1.4 Art, Sony 24-240mm, Sony 24-70mm f/4, Sony 55mm f/1.8

In Conclusion

For photographers set on having a fast 50mm prime lens, the Sigma 50mm f/1.4 Art lens is a great choice. It’s smaller and more reasonably priced than the Sony 50mm f/1.4 lens, and produces crisp and beautiful images.

However, photographers with a smaller budget, or who want to carry smaller lenses, may want to consider other 50mm options at lower price points in more compact packages.

Sigma 50mm f/1.4 Art lens at f/11

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/8

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/4

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/2

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/1.8

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/1.4

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sony 55mm f1.8 at f/1.8

The post Thoughts and Field Test: Sigma 50mm f/1.4 for Sony E-Mount appeared first on Digital Photography School.


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Fujifilm X-T3 added to studio test scene comparison

19 Sep

Our test scene is designed to simulate a variety of textures, colors and detail types you’ll encounter in the real world. It also has two illumination modes to see the effects of different lighting conditions.

The X-T3 boasts a brand-new 26MP BSI image sensor, which is likely to appear in the next generation of Fujifilm cameras. We’ve added the X-T3 to our studio test scene comparison to take a first look at how the new sensor compares to the competition.

$ (document).ready(function() { ImageComparisonWidget({“containerId”:”reviewImageComparisonWidget-64598286″,”widgetId”:628,”initialStateId”:null}) })

Read our Fujifilm X-T3
First Impressions Review

Articles: Digital Photography Review (dpreview.com)

 
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Real World Test: Using the Sony A7R III with Canon Lenses

31 Aug

Here’s a review from Julia Trotti who has been testing the Sony A7R III mirrorless camera alongside Canon lenses. With mirrorless technology coming to the forefront, but the number of native Sony lenses available being limited, using third-party lenses like this is not far from a necessity.

Trotti has spent her entire 10-year photography career shooting with Canon, but recently got the Sony A7R III and wanted to integrate that camera into her workflow with the Canon glass she already owns. This is a similar boat to that which many photographers moving from DSLR to mirrorless may find themselves in. By using an adaptor (and making sure you keep the firmware for it up to date) you are able to use your DSLR glass on mirrorless bodies.

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While adaptors are great, Trotti does point out their shortcomings. She found some issues with focusing while testing the combination, meaning that her workflow was slowed down by having to wait for the lens to catch up with her (thanks to the adaptor).

Trotti loves the Sony A7R III, as well as her Canon glass, but advises that you should be aware of the limitations of the adaptation when it comes to shooting situations where you might only have one chance to get it right, such as weddings.

Check out the full video above to see all of her thoughts and some example photos from the shoot.

The post Real World Test: Using the Sony A7R III with Canon Lenses appeared first on Digital Photography School.


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DPReview TV: Tamron 28-75mm F2.8 Di III RXD hands-on field test

17 Jun

The Tamron 28-75mm F2.8 Di III RXD is an affordable F2.8 standard zoom for full frame Sony E-mount cameras. It’s one of the first third-party zooms designed to take full advantage of the short Sony mount, resulting in a small, light carry-everywhere lens. What are the trade-offs, compared with the alternatives? Chris and Jordan take a closer look…

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Articles: Digital Photography Review (dpreview.com)

 
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Long-term test: Domke F6 ‘Little Bit Smaller’ shoulder bag

13 Jun

Domke F-6 ‘Little Bit Smaller’ bag
$ 109 | Tiffen.com

The F-6 ‘Little Bit Smaller’ bag is a similar but more compact alternative to Domke’s iconic F-2.

Domke is among the most famous names in the pantheon of camera bag makers, and for good reason. The company makes some of the toughest and most practical bags on the market. Traditionally aimed at photojournalists, Domke’s bags are usually tough, somewhat on the heavy side, very accessible, and capable of accommodating a surprising amount of gear. I’ve been using an F-6 for about three years now, and it’s accompanied me on trips all over the world. This is my long-term test.

Key Features:

  • Weight: 740g (1.6lb) with second strap attached, including foam insert
  • Exterior dimensions: width: 11.5″ depth: 7″ height: 7.5″
  • Interior dimensions (main compartment): width: 11.25″, depth: 5.5″, height: 7″
  • One outer zipped pocket, one inner zipped pouch, one open rear pouch
  • Comes with one 4-compartment foam insert (removable)
  • Machine washable (non-Ballistic and non-RuggedWear versions only).

Design

The F-6, also known as the ‘Little Bit Smaller’ bag belongs to what Domke now calls the ‘Heritage’ range, and shares a lot of characteristics with the venerable (and a Little Bit Bigger) F-2. Most obvious are the F-6’s box-shaped main compartment and distinctive clamshell top, which is secured with two sturdy metal clips to the front of the bag. The bag isn’t really ever ‘closed’ as such (even with the clips secured, it’s still possible to slip your hand into the main compartment if you try hard enough) but this design has the advantage of allowing quick one-handed access to either end of the main compartment without fiddling with any zips.

A large front pocket is big enough for a small mirrorless or rangefinder camera, but is most useful for odds and ends like memory card wallets, snacks and spare batteries.

There are two zips on the F-6 for less often-accessed compartments: one on the large front pocket, and another one inside the top cover that secures a document pouch sewn into its underside. This pouch runs the full length of the top cover, and it’s perfect for instruction manuals, maps or a paperback book or two. Unlike the main compartment, prying fingers will struggle to find or get access to this compartment, so when I’m traveling this is usually where I’ll store my passport and wallet. I’m telling you that in confidence – please don’t spread it around.

The F-6’s main compartment is surprisingly roomy, and can comfortably fit a 2-camera, 3-lens outfit, along with extras like an iPad, and a flash or two.
With the foam insert removed, the F-6’s main compartment is basically box-shaped. The base is lightly padded, but I usually add a little extra foam padding just in case of accidents.

The F-6’s main compartment is deceptively capacious, and without the included foam inserts it can easily accommodate a full-size professional DSLR and standard zoom. That’s a lot of weight, though. Where the F-6 really shines is as a bag for smaller camera systems. With the foam insert added, I can fit two slim mirrorless or rangefinder bodies and up to three lenses inside without the F-6 feeling overloaded.

A full-height pouch on the back of the bag is large enough for a notebook, 9.7in iPad Pro, or a couple of paperbacks

Total storage space is augmented by the front pocket, which I generally use for batteries, rolls of film, memory card wallets and other odds and ends but which at a pinch could also house a small mirrorless or rangefinder camera body. A full-height pouch on the back of the bag is large enough for a notebook, 9.7in iPad Pro, or a couple of paperbacks.

While the clip-to-close design isn’t entirely secure, it has the advantage of allowing very easy access to the main compartment without needing to put the bag down.
The clips are easy to undo by feel, meaning you don’t need to take your eyes off the action to reach down and pull out a camera.

I was inspired to write this review after a recent trip back to the UK to visit family, during which the F-6 amply demonstrated its Tardis-like capacity. When I’m in transit, I tend to use the F-6 to store my most valuable and delicate gear, so that I can keep it all in one place on my lap or by my feet and I don’t have to worry about anything getting bumped around in overhead bins or baggage holds. Over the past couple of years I’ve abused my F-6 in almost every way possible, but I think my recent trip to Seattle to London was the high (or low, depending on how you look at it) point:

  • Fujifilm X100F with 28mm lens adapter (main compartment)
  • Leica M2 (body-only, tucked vertically into the foam insert)
  • Leica 35mm F2 (foam insert)
  • Leica 50mm F2 (foam insert)
  • reading glasses (foam insert)
  • Noise-cancelling headphones (sitting on top of main compartment)
  • Bag of nuts (roasted, salted, tucked alongside the headphones on the top of the main compartment)
  • Sunglasses (front pocket)
  • Memory card wallet (front pocket)
  • iPhone power adapter and 1m cable (front pocket)
  • Spare X100F battery (front pocket)
  • 4 rolls of film (front pocket)
  • Dramamine (front pocket)
  • 9.7in iPad Pro (inside Logitech keyboard case – rear pouch)
  • Paperback (Tom Collins’ ‘Another Roadside Attraction’, thanks for asking – rear pouch)
  • Passport (British – inner pouch)
  • Wallet (inner pouch)
  • Keys (inner pouch)

Clearly this is an insane amount of stuff to cram into a camera bag, but hopefully you get the point. The fact that the stitching has held up to several years of this kind of shameful abuse is also testament to the F-6’s strength and standard of construction, and I only wish I could say the same thing about my shoulder…

In use

In day to day use with a more realistic mirrorless or rangefinder kit, the F-6 is much more manageable. Of course, like all shoulder bags, it can still get pretty uncomfortable after a long day being carried around on my shoulder. The thick fabric strap is nicely textured and rubberized (so it never slips) but it’s unpadded and can dig painfully into my neck after a few hours. Alternating the bag’s position helps, and Domke also makes a dense foam shoulder pad for $ 30 which can be attached if you need a bit of extra padding. I have one and it works well, but it’s bulky and since I try not to overload my F-6 (despite what you might think from the list above) I prefer the way the bag handles without it.

Speaking of straps, the F-6 comes with a short, slim removable strap for hand-carrying the bag. It’s a nice idea, and does make the bag easier to pick up and carry if you’re traveling, but I find it gets in the way, so I relegated mine to the sock drawer – next to the shoulder pad.

A full-height pouch can be found on the rear of the F-6, which is perfect for an A4 notebook, or an iPad. This is my 9.7in iPad Pro, inside a Logitech keyboard case, pulled out diagonally for illustration.

In the years since I bought my F-6 I must have walked thousands of miles with it, but it’s held up remarkably well. The rubberized thread sewn into the strap is starting to break up in a couple of spot, the rear pouch has been buffed to a high shine against various (mostly blue, apparently) coats and jackets and there are small holes worn into its corners, but I reckon I’ll fall apart before the bag does. The more expensive F-6B (‘B’ stands for (B)allistic nylon) should theoretically hold up to the rigors of daily use even (B)etter. I should probably throw it into the washing machine at some point and re-wax the canvass but I’m not in any immediate rush.

Bottom line

Is the F-6 perfect? It is not. Although the main compartment has some padding on its base, it’s probably not enough to prevent damage to a heavy camera or lens if you drop the bag from any significant height. I’ve accessorized mine with extra padding from an old unused foam insert, and if I’m carrying a rangefinder, I usually add even more just to avoid any DIY roadside focus recalibration after a knock or fall.

If you’re outside in the wind and weather for several hours, you should expect water to make its way into the main compartment

The F-6 itself can take a fair amount of abuse, but there are limits. For one thing, it’s not particularly waterproof, even when brand new. The heavyweight waxed material does a good job of keeping light rain from getting in, but it soon gets soaked in heavier precipitation and if you’re outside in the wind and weather for several hours, you should expect water to make its way into the main compartment. Of course the older and more worn the canvass gets, the less effective it becomes at repelling moisture. On the plus side, it dries out remarkably quickly and doesn’t tend to retain dampness as long as you can air it out for a few hours.

This shot shows one of the F-6’s two main clips, which keep the top cover closed. As you can see by the chipped paint, they’ve already held up to a lot of heavy use. The downside of their sturdy metal construction is that they can scratch gear inside the bag if they’re allowed to dangle or fall into the main compartment.

I love the metal top cover clips for their sturdiness and the ease of access that they provide to the F-6’s main compartment, but because they’re metal they can (and do) scratch cameras and lenses if you let them flop into the main compartment when the cover is unsecured. Just another good reason to be strict about lens caps and protective filters.

I’ve already mentioned the included removable hand-strap – I don’t find it particularly useful, but as a keen cyclist, I wish the F-6 was compatible with a waist strap. When I’m riding my bike the F-6 flops around like mad. A waist strap would help keep it secure. It would also make me look a little bit like a bicycle messenger from the 1940s, and a little bit less like a man about to have a bicycle accident.

The final word

Despite these complaints, the F-6 is undoubtedly the most useful camera bag that I own for everyday photography. There are better options out there for large DSLR and multi-lens kits, but for day-to-day shooting with a compact system, the F-6 is hard to beat. With the foam insert removed, the F-6 is a useful bag for shopping, travel and daily use, too.

What we like:

  • Surprisingly capacious
  • Sturdy build, extra-tough stitching
  • Easy access to main compartment via clips
  • Large, secure inner pocket
  • Large, zipped front pocket
  • Well-sized rear pouch

What we don’t

  • Unpadded strap is uncomfortable when bag is fully loaded
  • Dangling clips can scratch gear if you’re not careful
  • Main compartment never entirely ‘secure’
  • Light padding on base of bag
  • Not waterproof

Articles: Digital Photography Review (dpreview.com)

 
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Thoughts and Field Test of the Fujifilm X-H1 Camera

30 May

This spring, the Fujifilm X-H1 was released to the masses. It’s touted as the company’s camera with the most video features to date, even topping the popular X-T2. As long-time owners of the Fujifilm X-Pro2, my husband and I jumped on the X-H1 bandwagon early, sending in our preorder the day it was announced.

Our main intention was to use it to support our new venture into videography. In the short couple of months that we’ve been shooting with the Fujifilm X-H1, we’ve found it to be not only a superior camera for video but for still photography as well.

Here are our thoughts so far. This camera is most comparable to the Fujifilm X-T2, which is already a respectable video performer. We don’t have the X-T2 but will make some comparisons to the X-Pro2 that we do have.

fujifilm x-h1 mirrorless camera

Key Specs

  • First announced in February 2018
  • 24-megapixel X-Trans APS-C sensor
  • 5-axis in-body image stabilization (IBIS)
  • Touchscreen rear LCD with 2-axis tilt
  • 3.69M-dot OLED viewfinder
  • DCI and UHD 4K video capture at up to 200 Mbps
  • Slow motion 1080p (from 120 and 100 fps)
  • Internal F-log capture
  • New film simulation – Eterna
  • 24-bit audio capture
  • Timecode
  • Dual UHS-II compatible SD card slots
  • Anti-flicker shooting mode
  • Built-in Wi-Fi with Bluetooth
  • Currently priced at $ 1899 USD for body-only; $ 2199 when bundled with the VPB-XH1 vertical battery grip.

What’s New?

Physical Body

Compared to most other Fujifilm cameras, such as the X1ooF and X-Pro2, the X-H1 is much bulkier, but that isn’t necessarily a bad thing. Much of the bulk comes from the camera’s larger hand grip and buttons, making it much easier to carry the camera.

The X-H1 also ads an AF-On button for those who prefer using back-button autofocus. It also has top-panel LCD similar to a DSLR. In practice, the top-panel LCD seems unnecessary, especially since it takes the place of the Exposure Compensation dial that is present on the X-Pro2 and X-T2.

fujifilm x-h1 mirrorless camera

New Quiet Shutter Mechanism

This is among our favorite features of the X-H1: its shutter is whisper-quiet, offering a soft yet audible click when a photo is taken.

Not only is the shutter quiet, it also allows the camera to offer an Electronic First Curtain (EFC) shutter mode. EFC allows you to reduce the risk of shutter shock without increasing the risk of rolling shutter.

5-Axis In-Body-Stabilization (IBIS)

For videomakers, in-camera stabilization is key for helping capture smooth footage. The X-H1 is Fujifilm’s first camera to include IBIS and right off the bat, we’re impressed with its performance.

When activated and used with an image-stabilized lens, capturing smooth hand-held video footage is easier than ever before. As an added bonus, IBIS also helps you shoot still photos at low shutter speeds.

fujifilm x-h1 mirrorless camera - sunset shot

Improved Video Performance

Although based on the same sensor and processor as the X-T2, the Fujifilm X-H1 boasts significantly improved video features. Shooting options have been extended to include DCI 4K and UHD 4K shooting. If you’re unfamiliar with the two terms, here’s a quick summary. DCI (short for Digital Cinema Initiatives) 4K is 4096 x 2160, while UHD (Ultra High Definition) 4K is 3840 x 2160. For videos winding up on YouTube or TV, UHD is fine. But for videos that will be projected in theaters, DCI 4K is a better choice.

The X-H1 also allows for recording F-log footage internally. In video-terms, shooting in log format is like shooting in RAW. Your log footage tends to be less saturated and less detailed so that you can color grade (post-process) the video footage to your liking later. F-log made its debut on the X-T2, but it could only be done via an external recorder. The X-H1 is Fujifilm’s first camera that allows for the recording of F-log directly to an SD card in 4K.

Another vital video feature making its Fujifilm debut on the X-H1 is 120 fps slow motion video. It can only be recorded at full HD, but the slow-motion video quality has been stellar, especially when paired with IBIS.

fujifilm x-h1 mirrorless camera - shot of a car in the mountains

New Eterna Film Simulation

Fujifilm has long been known for their excellent color reproduction, even back in the days of film photography. Thankfully, that is passed down in Fujifilm digital cameras in the form of film simulation modes. They’re similar to the color profiles offered in digital cameras from Canon, Nikon, and Sony.

Until recently, Fujifilm had six unique film simulation modes on its cameras: Provia, Velvia, Astia, Classic Chrome, PRO-Neg STD, and PRO Neg HI. The X-H1 is the first camera to ship with Fujifilm’s seventh film simulation, Eterna.

Designed for videographers, Eterna is characterized by more muted, subdued colors and rich shadow tones. Our observations so far are that Eterna is designed for further color grading in post-production, and also to attract the video viewer’s eye to the action in the scene and away from the rest of the frame.

fujifilm x-h1 provia film type - car next to a field

What could be improved

One of many things to love about Fujifilm is that they really listen to their customers. Kaizen firmware updates are frequent and they add useful features that build on the cameras. Here are a few things we’d like to see rolled out in firmware updates, or in the next version of the X-H1.

Physically, the chunky handgrips and the bigger buttons are appreciated for improved ergonomics. However, the missing exposure compensation dial is a big disappointment. Also, the rear LCD having only a two-axis tilt is limiting; it needs to be able to fully swivel to appeal to the vloggers and also make it easier to shoot from different angles.

Finally, battery life and video recording limits on this camera leave much to be desired. The X-H1 limits 4K video recording to 15-minute clips. This can be extended to about 29 minutes of shooting in 4K if you use the optional battery grip. However, the battery grip adds lots of bulk to the camera, making it less pleasant to shoot with.

fujifilm x-h1 mirrorless camera

Hopefully, Fujifilm will take a cue from Sony and their new NP-FZ100 battery, which arguably is the best-performing battery for mirrorless cameras at the moment.

In Conclusion

The Fujifilm X-H1 is the first of a new line of cameras that make the bold statement that Fujifilm is a viable alternative for videomakers. This camera builds on the already credible video features of the X-T2 by taking it a step further with the addition of features such as Eterna film simulation and 5-axis IBIS. If you’re a serious video maker, keep an eye on the X-H series. It will only improve more with each new release.

Overall Rating: 9/10

To hear more about our experience with the X-H1 and how it compares to the X-Pro2, check out the video below featuring the main Fujifilm shooter of the two of us: my husband Martin.

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The post Thoughts and Field Test of the Fujifilm X-H1 Camera appeared first on Digital Photography School.


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Video: Tamron 28-75mm F2.8 FE face and eye-detect autofocus test

18 May

The Tamron 28-75mm F2.8 Di III RXD for Sony FE cameras made a big splash when it was first teased back in February. People were intrigued by its small size and the new Rapid eXtra-silent stepping drive (RXD) AF motor; it even came up in our CP+ interview with Tamron, and we got to see the lens in person at the show.

The lens isn’t going to be officially available for another week; however, photographer David Oastler was able to get his hands on a copy and, while he wasn’t allowed to take photos with it, he was allowed to put it through it’s autofocus paces to see how that RXD motor holds up.

What Oastler really wanted to see is how well the Eye and Face-detect autofocus from the Sony FE body would perform through this third-party lens that was, ostensibly, designed from the ground up to work on this full-frame mirrorless system. While the video isn’t the best quality (a bit of glare) you can still see, and Oastler tells you, that the lens performs exceptionally well. In fact, Oastler goes so far as to say he noticed no performance difference between the Tamron and his own Sony-native lenses.

Tamron promised as much when it released the lens, calling it “quiet, precise, and exceedingly quiet.” But it’s nice to see a real-world test confirm these claims.

We’ll be trying to get our hands on a Tamron 28-75mm F2.8 Di III RXD as soon as humanly possible for our own in-depth testing. But in the meantime, if you’re interested in picking up this $ 800 USD lens when it ships at the end of next week and you want to see how its AF motor performs IRL, check out Oastler’s video at the top.

Articles: Digital Photography Review (dpreview.com)

 
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