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  • Olympus 12-40mm F2.8 Pro sample gallery

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    The Olympus 12-40mm F2.8 has joined us on a lot of journeys over the years, mounted to many different OM-D camera bodies. First announced in 2013, the lens is still a mainstay in Olympus’ Micro Four Thirds system. Covering a versatile 24-80mm equiv. range and offering the weather-sealing and durability Olympus is known for, it’s at the heart of many-an OM-D shooter’s kit. We’ve collected our own images taken with the lens throughout the years and added some new ones to showcase its capabilities.

    Articles: Digital Photography Review (dpreview.com)

  • Roger Cicala breaks down the do’s (and don’ts) of cleaning your camera gear and workspace

    Roger Cicala, founder and owner of Lensrentals, is best known in these parts for tearing down, repairing and reviewing lenses. But not long ago (relatively speaking), it wasn’t just lenses Roger was mending; he was also a physician. As such, his experience in these two fields makes him uniquely qualified to talk about something we should all be mindful of — how to keep yourself and your camera gear disinfected through proper care and treatment of your equipment and workspace.

    In the thorough blog post, Roger breaks down what cleaning supplies you should (and shouldn’t) use and what practices will help to ensure you’re being as safe as you can be during the ongoing COVID-19 pandemic (and beyond). From basic gear cleansing tips to advice for keeping your studio or office as clean as possible, he covers it all.

    You can read the full blog post yourself over on the Lensrentals blog. If we’re lucky, Roger might even make an appearance in the comments below for those of you who have any additional questions.

    Image credits: photos used with kind permission from Lensrentals.

    Articles: Digital Photography Review (dpreview.com)

  • Canon Explorers of Light – Q&A with Photographer Vanessa Joy

    The post Canon Explorers of Light – Q&A with Photographer Vanessa Joy appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy Feature Image

    In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.

    The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.

    In this Canon Explorers of Light Q&A series, we interview photographer Vanessa Joy. She shares her experiences and gives tips to upcoming photographers.

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy

    Photographer Vanessa Joy

    Photographer Vanessa Joy is a Canon Explorer of Light that has been an influential speaker in the community for over a decade. Starting her photographic journey in 1998, she has since branched into public speaking, earned 5 college degrees, received a PPA Photographic Craftsman degree, been named a WeddingWire Education Expert, sponsored by Canon, Profoto and Animoto to name a few.

    Vanessa has spoken at almost every major convention and platform in the event industry such as CreativeLIVE, The Wedding School, Clickin’ Moms, WPPI, ShutterFest, Imaging USA, Wedding MBA, WeddingWire World, MobileBeat, in addition to hosting personal workshops and numerous small business and photography conventions around the globe.

    Recognized for her talent, and more so her business sense, her clients love working with her. Industry peers also love to learn from her tangible, informative, and open-book style of teaching. Find her at www.VanessaJoy.com.

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy. Women in a formation beside a pool shot from above.

    How did you get into photography?

    My mother was a photographer, so I’ve been around it my whole life. Naturally, that meant I hated photography!

    It wasn’t until high school, when I had to choose an elective (and I felt like appeasing my mother who was sitting right next to me when I was deciding what to take), that I got into photography for myself.

    I fell in love with the darkroom.

    My high school photography teacher photographed weddings on the weekends, so after graduation, I worked for him for five years until starting my own business in 2008.

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy. Two example wedding photos of brides.

    What was your first camera setup?

    My first camera was my mother’s Canon F-1 25mm film camera. I still have it. ?

    What camera gear do you use now, and why?

    I shoot weddings with the Canon 1DXIII (see video of why I love it here), and for other engagement and lifestyle shoots I enjoy using the Canon EOS R (check out my take on that here).

    Both camera systems use the EF and RF lenses, and I prefer mostly primes at that. You just can’t beat the durability, color science, and customer service with Canon.

    What area of photography do you specialize in, and why did you move into that field?

    I am primarily an NJ NYC Wedding Photographer because that was all I knew of photography when I graduated high school and started working for my high school photography teacher.

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy

    That being said, I fell in love with it the same way I fell in love with photography itself. There’s something wildly special about being a part of such a precious time in my couple’s lives.

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy. A bride and groom photographed against a pink and blue stormy sky and rolling green hills.

    Are you working on any exciting projects you’d like to share?

    I just wrote my first book!

    It’s all about off-camera flash and making it easy, accessible and practical to beginner and intermediate flash users. The Off-Camera Flash Handbook: 32 Scenarios for Creating Beautiful Light and Stunning Photographs.

    I’m also pumping out a ton of content on my photography education YouTube channel, and I’m really happy with it so far. I’m creating my channel to be a very applicable and tangible view on gear and photography concepts.

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy

    If you could share any photography tips with our readers, what would they be?

    Assist and work for as many photographers as you possibly can. It’s better than a college education, and most of the time, you even get paid for it!

    You’ll discover new photography tips and tricks and learn about the business side of things as well.

    “There is wisdom in many counselors.”

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy. A wedding party celebrates with champagne.

    See more of Vanessa Joy’s work here:

    Instagram: www.instagram.com/vanessajoy
    Twitter: www.twitter.com/vanessa__joy
    Facebook: www.facebook.com/vjoyphoto
    YouTube: www.youtube.com/vanessajoy 

    Canon Explorers of Light – Q&A with Photographer Vanessa Joy

    The post Canon Explorers of Light – Q&A with Photographer Vanessa Joy appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • Film Fridays: Pentax MX – a nuts and bolts review

    Photo: 35mmc.com

    The Pentax MX is a gem of a film SLR: super compact, well-built and fully-mechanical in operation – batteries are only required to power the light meter. Better yet, they’re easy to find in working order, without breaking the bank. Our pals over at 35mmc.com dive deep into the nuts and bolts of this classic camera.

    Read: Pentax MX nuts and bolts review

    About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.

    Articles: Digital Photography Review (dpreview.com)

  • Olympus TG-6 review: the best waterproof camera on the market

    Introduction

    The Olympus Tough TG-6 is the company’s sixth-generation premium underwater camera. It features a 12 Megapixel sensor, 4X optical zoom lens, numerous sensors and, of course, serious protection against the elements.

    Key specifications

    • 12MP, 1/2.3″ BSI-CMOS sensor
    • 25-100mm equivalent F2.0-4.9 stabilized lens
    • Waterproof to 15m (45ft), shockproof from 2.1m (7ft), crushproof to 100kgf (220lbf), freezeproof to -10°C (14°F), dustproof
    • 3″, 1.04M-dot display (non-touch)
    • Raw support
    • 1cm (0.4″) minimum focusing distance
    • 20 fps burst shooting
    • Pro Capture mode saves photos before and after the shutter release is pressed, to help you capture the right moment
    • 4K/30p video
    • Built-in GPS, altimeter, compass, thermometer and accelerometer
    • Optional conversion lenses and flash accessories

    The TG-6 comes in black or red and is priced at $ 379.

    What is it?

    The TG-6 is a pocketable, ultra-rugged camera with a blend of features that will appeal to many different audiences:

    • Everyday shooters and parents who want something that can be dropped or get wet, unlike their smartphone
    • Serious underwater photographers who want to dive deeper and use off-camera flashes
    • Hikers and other outdoorsy folks who want to track their progress and incorporate things like location and altitude into the metadata of their photos

    For those in the first group, the TG-6’s auto mode can handle just about every situation, and its numerous scene modes are well organized. Going underwater? Just choose the ‘fish’ spot on the mode dial, where you’ll find five choices that match the situation you’re in. It is a shame that Olympus did not create a simplified version of its menu system for more novice users, who are likely to be overwhelmed by the options and organization.

    Out of camera JPEG. ISO 100 | 1/800 sec | F5 | 58mm equiv.
    Photo by Jeff Keller

    For the enthusiast, the TG-6 offers some manual controls, but not the full suite you’d expect on a higher-end camera. While you can adjust the aperture, there are only three choices at any one time. This is also why there aren’t shutter priority or manual exposure modes on the camera. It’s worth mentioning that you cannot adjust exposure compensation in auto mode, so you’ll need to switch to program or aperture priority mode to do so.

    Olympus offers a huge number of accessories, including an underwater housing that lets the camera go 15 meters (50 feet) deeper, wide-angle and fisheye conversion lenses, the ability to wirelessly fire Olympus’s flashes (which need to be in housings too, of course) and much more.

    Conversion lenses, lens caps and a ring flash adapter for the TG-6

    Hikers and other adventurers can take advantage of the camera’s sensors and tracking abilities so they can see exactly where they were on their journey when they took a photo. The environmental sensors include a GPS, altimeter/depth gauge, compass, accelerometer and thermometer (which wasn’t close to accurate on the camera we tested, but the other sensors were fine). When you’re out and about, pressing the ‘info’ button displays all of the data the camera is capturing.

    Pressing the Info button when the camera is off lets you see all of the data the TG’s environmental sensors are picking up.

    Lastly, the TG-6’s host of close-up features not only allow for capturing subjects 1cm (0.4″) away: the ‘digital microscope’ mode lets you zoom in up to four times more, though with a reduction in image quality. Olympus sells a ring light and flash diffuser to add flexibility to your macro photography.

    Out of camera JPEG. ISO 160 | 1/125 sec | F2.3 | 30mm equiv.
    Photo by Jeff Keller

    What’s new?

    These days, updates to compact cameras are very minor, and that includes the TG-6. Very little has changed compared to the TG-5, with the main things being a higher resolution LCD, additional macro and underwater modes, and focus bracketing. Improvements have also been made to reduce ghosting and flare.

    The higher resolution LCD is certainly nice, though Olympus did not address the most frustrating thing about the screen on the TG-5: it scratches way too easily. Buying a screen protector is highly recommended. It’s worth mentioning that the screen isn’t touch-enabled, but keep in mind this feature is all-but-useless when screens (or your hands) get wet.

    A TG-6 with a tempered glass screen protector

    Where the TG-5 only had one underwater white balance mode, the TG-6 has three, for shallow, mid-depth and deep water. Two additional underwater shooting modes were added: macro and microscope.

    What stands out?

    What really separates the TG-6 from its peers is its ability to capture data from its environmental sensors and attach it to photos, as described earlier in this review. Some other rugged cameras have some sensors, but nobody does it better than Olympus. Having GPS data in your photos lets you search for photos by location in software like Lightroom and Apple Photos.

    Having the tracking feature on (which is how you can create the map like the one below) does drain the battery, which is why I kept the camera plugged into a car charger while driving around.

    A map created with the OI Track app shows you where you took each photo.

    The TG-6 is a bit of an outlier in that Olympus continues to use a 12 Megapixel sensor, rather than the 16 or 20 Megapixel sensors found on its competitors. On a chip this small, the TG-6’s lower pixel count might help its performance at higher ISOs, but the much bigger benefit is its lens’ ability to go to F2.0 at its widest-angle setting, letting in twice as much light as its closest rivals will. And, for most purposes, a 12 Megapixel sensor is more than enough.

    The build quality of the TG-6 is still the best-in-class. Its chassis is solid enough that you’d think it could chop wood, though that would probably void the warranty. Both of the doors (one for the I/O ports, the other for the battery and memory card) have dual locks, a feature which has disappeared from its competitors. The camera’s dials are pretty plasticky though, and the buttons are mushy (the movie recording button is the worst offender), but this is likely due to the extensive sealing.

    Note the dual locks on the battery/memory card compartment door. The same as true for the door that protects the USB and HDMI ports.

    While the TG-6’s rugged specs are very impressive, when it comes to going underwater, several of its peers can go quite a bit deeper, with the Nikon Coolpix W300 (arguably the TG-6’s closest competitor) able to function down to 30 meters (100 feet). If you’re a snorkeler, that’s no big deal, but for scuba it’s a very desirable trait.

    While the lens on the camera doesn’t have as much telephoto power as many of its peers (many of which reach 140mm equivalent at their long end), it is the widest available, which is really helpful when underwater. The lens is also the fastest in this class, which will keep noise levels down as light levels drop.

    The TG-6 gets mixed reviews in terms of usability. As mentioned earlier, its auto mode works well and shortcut menu is fairly sensible, but the main menu is far too confusing. The lack of exposure compensation in the auto and scene modes is also a bummer, since it’s a commonly used, easy-to-understand feature.

    The camera’s 25-point autofocus system works well, both above and below sea level. It can detect faces, though the subject needs to be looking straight at the camera. While the TG-6 has an AF tracking mode, it takes too many button presses to activate, and we recommend avoiding it.

    One feature that no other rugged camera on the market has is Raw support. While the small sensor doesn’t have the dynamic range of enthusiast cameras, you can still brighten shadows with decent results, fine-tune white balance (critical for underwater shooting), and get more detail than JPEGs provide. While the TG-6 has in-camera Raw conversion, it’s poorly implemented. You have to set the camera’s shooting settings to what you want and then apply the edits to the Raw file, as opposed to adjusting them for each Raw image individually.

    Heavy noise reduction in the TG-6’s JPEGs obliterates fine detail, like the trees and grass in this photo. If you’re comfortable with editing Raw files, you can get some of that detail back.

    Download out-of-camera JPEG | Download converted Raw file

    While the image quality from the TG-6 is fine, modern smartphones will surpass it in most situations, though once downsized to social media resolutions, it’s less noticeable. But, remember, your phone isn’t exactly rugged. While out-of-camera JPEGs have pleasant colors*, the lens just isn’t very sharp and too much noise reduction is applied. Turning down the ‘noise filter’ option helps a bit, but if you’re up to the challenge of processing the results, shooting Raw is the way to get the most out of the TG-6.

    * Tip: Try to shoot in ‘P’ mode if you can, as the ‘i-Enhance’ color profile in Auto mode is over-the-top, to say the least.

    We found the TG’s white balance was accurate, even underwater, which is always challenging. The camera tends to overexpose, so you may find yourself needing to use exposure compensation fairly often. As mentioned earlier, you can’t use exposure compensation in most modes (including Auto), so you’ll need to P or A mode to adjust it.

    Out of camera JPEG. ISO 200 | 1/30 sec | F2 | 25mm equiv.
    Photo by Dan Bracaglia

    The camera’s 4K video is fine though, again, no better than that from a smartphone. The ‘movie IS’ does a good job of stabilizing things, though there is a noticeable crop when it’s on. Audio levels are adjustable, and a wind filter is also available. The TG-6 can shoot (silent) Full HD video at 120 fps, with even faster frame rates available if you drop the resolution.

    The TG-6 uses the Li-92B lithium-ion battery, which turns in a respectable 340 shots per charge (CIPA rated), though you’ll probably do even better than that in most situations. That’s assuming you’re not using the GPS, though, so a spare battery is a must if you’re using it or the logging function. The camera can be charged over its USB 2.0 connector. There’s no external charger included in the box, but Olympus would be happy to sell you one for a whopping $ 70.

    Despite all of its cool tracking features, the TG-6’s wireless implementation isn’t great. There’s no Bluetooth, so you have to put the camera into a smartphone connection mode and then manually find the network it’s created on your phone (a QR code is used for initial set-up, but that’s it). Olympus’s OI Share app is simple to use, though not always reliable. To get tracking data and put it on a map, you must use another app, OI Track, which downloads log files that sync with up with photos that you’ve already downloaded via OI Share.

    Conclusion

    Out of camera JPEG. ISO 100 | 1/80 sec | F2 | 25mm equiv.
    Photo by Jeff Keller

    The Olympus Tough TG-6 continues to be the top waterproof camera on the market. We like its ruggedness, expandability, tracking features, and Raw support. Its lens is faster at the wide-angle end than its peers, and its macro capabilities are top-notch. Battery life is very good, assuming that you’re not hitting the GPS too hard.

    The TG-6’s main negative is pretty much the same as for any small-sensor compact camera these days: image quality just isn’t that great, especially compared to best-in-class smartphones that seamlessly combine multiple images to boost image quality. Having Raw support gives TG-6 users more flexibility to squeeze the most out of the camera, but you can only do so much with a 1/2.3″ sensor. Compared to its peers, we wish the TG-6 had a bit more range at its telephoto end (but you are getting F2 at the wide end in exchange), and the lack of Bluetooth is disappointing.

    There have been several references to smartphones throughout this review, and to be clear, the TG-6 isn’t meant to replace one. Rather, it’s designed to withstand exactly what you don’t want happening to your smartphone: being dropped, stepped on, or dunked in water.

    Out of camera JPEG. ISO 100 | 1/320 sec | F9 | 28mm equiv.
    Photo by Jeff Keller

    In the course of writing this review I took the TG-6 to Olympic National Park in Washington State. With its combination of rock-strewn beaches, temperate rainforests and snowy mountain peaks, the park is exactly the kind of place where you want to stuff your phone in a pocket, get out the TG-6, and not worry about what it may smash into. And being able to see where you took a photo isn’t just interesting: it makes organizing photos easier, as well.

    Sample gallery

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    Scoring

    Olympus Tough TG-6
    Category: Waterproof / Rugged Compact Camera
    Build quality
    Ergonomics & handling
    Features
    Exposure and focus accuracy
    Image quality (raw)
    Image quality (jpeg)
    Flash performance
    Low light / high ISO performance
    Optics
    Performance (speed)
    Movie / video mode
    Connectivity
    Value
    PoorExcellent
    Conclusion
    The Olympus Tough TG-6 is a well-designed rugged camera with a broad feature set, good image quality for its class and a host of environment sensors that store everything from location to temperature in your photos.

    Good for
    Divers, hikers, parents who don't want their smartphone broken

    Not so good for
    Those who desire smartphone (or better) image quality
    76%
    Overall score

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    Articles: Digital Photography Review (dpreview.com)

  • 3 Ways Photography Can Ease Anxiety

    The post 3 Ways Photography Can Ease Anxiety appeared first on Digital Photography School. It was authored by Megan Kennedy.

    3 Ways Photography Can Ease Anxiety Featured Image

    Anxiety is a condition that can be utterly debilitating. From intrusive anxious thoughts to overwhelming fear or panic, anxiety can make it difficult to cope with everyday life. Fortunately, studies have demonstrated that it is possible to lessen the effects of anxiety through art therapy. In this article I’ll have a look at some of the ways photography can ease anxiety symptoms.

    how photography can ease anxiety fence
    f/1.8 1/4000 ISO 100

    1. Perspective

    One of the key ways photography can ease anxiety is through perspective. In photography circles, perspective usually refers to the camera’s point of view. Perspective can also be used to describe the relationship between objects in an image.

    However, perspective in everyday language also refers to “a particular way of considering something“. An individual’s perspective is guided by their own experience. Therefore, a person suffering from anxiety may view the world through a prism of distress.

    The beauty of photography is that it can change visual experience – which in turn alters personal perspective.

    ways photography can ease anxiety flower
    f/3.5 1/320 ISO 100

    With an eye to the viewfinder, priorities can shift from the internal to the external. Energies are funneled into discovering and negotiating subject matter. A focus on composition and exposure stimulates a perceptible reach beyond mental distress and sustained visual-analysis distracts the mind which can loosen the grip of anxiety, improving perspective.

    2. Getting out

    When anxiety starts to creep in, the first instinct can be to hole-up at home. Some downtime alone can be therapeutic. But anxiety can exacerbate the desire to self-isolate, which, in turn, can amplify anxiety – a vicious cycle.

    Sufferers of anxiety and are often advised to get out of the house and exercise. Go for a run, or a walk, get into yoga… something that gets endorphins happening. And for a good reason too: it’s proven that exercise propagates good mental health. But exercising while combating anxiety is easier said than done. That’s where photography comes in.

    For many photographers, the potential for a great photographic opportunity is a powerful motivator to actively seek photographic subjects outside the confines of the home, helping to shift the burden of anxiety a little. In addition, placing emphasis on the familiarity of the photographic process expands the comfort zone, making leaving the house a bit less daunting.

    how photography can ease anxiety
    f/4.0 1/100 ISO 160

    The physical nature of photography decreases the tension in anxious muscles and can divert attention away from the experience of anxiety in general. Of course, photography may not be as labor-intensive as a session at the gym (although it could well be, depending on the situation), but the physically and mentally active role of the photographer behind the camera is one of the best ways photography can ease anxiety symptoms.

    3. Expression

    When Nicéphore Nièpce succeeded in making the earliest surviving camera-made photograph in 1826, he probably didn’t envisage the far-reaching impact his endeavor would have on the human transferal of information.

    Nevertheless, as photography evolved, so too did the capacity for people to communicate ideas and experiences through the photographic image.

    Because no two experiences are the same, anxiety can be hard to endure and even harder to explain. Many photographers, however, have found ways to channel their experiences within the photographic medium.

    For example, the Let’s Talk campaign looks to promote mental health awareness by photographing sitters with their mental health stories written on their faces.

    ways photography can ease anxiety
    f/8.0 1/800 ISO 1000

    Another website, fragmentary.org curates photographic bodies of work that document the highly personal experience of mental health photographically. By delving into the complexities of anxiety and depression, photographers like Courtney Lowry and John Mannell express creatively what words cannot adequately describe.

    Exploring mental health artistically is an impactful way photography can ease anxiety. Self-portraits, abstract renderings, photo-manipulation… photography enables photographers to share experiences, lessening the often lonesome burden of anxiety and perhaps creating new relationships along the way.

    Conclusion

    Whether you are a seasoned photographer or just starting out, the ways photography can ease anxiety are far-reaching. From altering perspective to influencing motivation and cultivating expression, photography can ride with you through highs of mental health, and support you in the lows.

    Have you found that photography helps you to ease the anxiety in your life? Share your thoughts with us in the comments.

    The post 3 Ways Photography Can Ease Anxiety appeared first on Digital Photography School. It was authored by Megan Kennedy.


    Digital Photography School

  • Tamron 20mm F2.8 sample gallery from DPReview TV

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    This week our crew from DPReview TV tested the Tamron 20mm F2.8 DI III OSD M1:2. Check out their sample photos from this affordable lens, including portraits, macro shots, sunstars, lens correction comparisons and more!

    View sample gallery

    Watch Chris and Jordan review the Tamron 20mm F2.8 on DPReview TV

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-T4 vs X-T3: Which should I buy – and is it worth upgrading?

    X-T4 versus X-T3

    Fujifilm says the X-T4 is intended as a sister model to the X-T3 rather than a direct replacement, but there are enough differences between the two that some users might wish to upgrade. And there may be people looking at the X series afresh, wanting to know which is the better choice.

    The more I’ve used the X-T4, the more I believe some stills-only photographers will appreciate it

    Initially I wrote that the majority of benefits would be experienced by video shooters but the more I’ve used it, the more I believe some stills-only photographers will appreciate the newer model.

    But, of course, the X-T3 has been on the market long enough that its price has dropped, so anyone looking to buy for the first time might be tempted to save a fair chunk of money by going for the unstabilized camera. So what are the differences that matter?

    Stabilization

    Image stabilization will be the decisive factor for some photographers, but not all. Given Fujifilm’s lens lineup is primarily built around stabilized zooms and fast primes (the same approach that’s worked well for Nikon and Canon’s DSLR systems), many photographers are likely to conclude they don’t need a stabilized camera body.

    Some kinds of photography, such as macro work, could benefit from it but for many stills shooters it’s likely to be a feature that’s nice to have, but not necessarily essential.

    For many stills shooters IS is likely to be a feature that’s nice to have, but not necessarily essential

    Stabilization is probably a feature that offers the most benefit to videographers. Unlike lens IS, in-body IS can correct for camera roll, and in our experience so far, it’s sufficiently effective to allow the X-T4 to be used without a tripod or gimbal. This pairs nicely with the excellent video spec shared by both cameras.

    For really ambitious video work, the X-T3 mounted on a gimbal is arguably the more powerful combination (especially now Fujifilm has added the ability to control the camera from the gimbal), but for ad hoc video shooting, the X-T4’s stabilization is a major benefit.

    Battery life

    Battery life is another big differentiator between the two cameras. The X-T3 could already be charged and operated by connecting a power bank to its USB-C port, so it was easy enough to keep topped-up, such that its battery capacity wasn’t a major limitation for most users.

    Video shooters, who need to know their battery won’t cut out mid-shot, and photographers who need to travel light and not carry an external battery, will be the main beneficiaries of the X-T4’s larger capacity W235 battery.

    The X-T4 delivers a 600 shot rating if behaving like the X-T3’s default mode, or 500 with a better user experience

    Interestingly, the X-T3 achieved its pretty respectable 390 shots-per-charge rating by dropping the brightness and refresh rate of its screen after 12 seconds of inactivity: a behavior the X-T4 calls ‘Economy’ mode. A like-for-like comparison would be that the X-T4 delivers a 600 shot rating if compared to the X-T3’s default mode, or 500 while providing a better user experience.

    Improved autofocus

    The X-T4’s autofocus improves over the X-T3’s in terms of both performance and usability.

    The difference in performance is immediately apparent in tracking mode, with a single AF reticule sticking much more tenaciously than the ‘cloud’ of AF points did in the past. We’ve not been able to fully test this yet, as we’re told full production X-T4s won’t be available for a while, but it’s a very promising sign: Fujifilm’s autofocus has generally been very good at assessing subject distance, the main shortcoming has been the ability to stay locked onto the correct subject (hence us generally recommending using a focus zone, rather than tracking mode). Concerns about AF drive speed on some lenses persist, but we’re looking forward to testing an X-T4 with the likes of the 50-140mm F2.8 LM.

    The X-T4’s autofocus improves over the X-T3’s in terms of both performance and usability

    Meanwhile the X-T4’s face and eye detection systems have been improved, particularly in terms of how they’re operated. Like the X-Pro3, the X-T4’s face detection works pretty well and lets you drop out of face detection mode simply by operating the AF joystick. This means you can leave the camera in face detection mode most of the time, if you wish. The Face Selection mode is also pretty effective, letting you use the joystick to choose between faces or press it inwards to drop back to your underlying AF mode.

    Sadly, like the X-Pro3, you can’t leave the camera in Face Selection mode: you can only access it by applying it to a custom button and the camera exits the mode every time you power it off.

    Improved stills processing options

    The X-T4 includes the additional processing options introduced with the X-Pro3, including Color Chrome Effect Blue, Classic Negative film simulation and the Clarity parameter. On top of this it adds the Eterna Bleach Bypass film sim and more fine-grained control of the camera’s response curves.

    The X-T4 also gains the option to re-process Raw files as 8 or 16-bit TIFF files, for situations in which you intend to post-process your images, but prefer the in-camera color and detail rendering to anything you can get from a Raw converter.

    Your position may differ, but personally I tend to feel that once I’ve got Provia, Astia, Eterna and Acros I’ve got all the options I need. So, while these new options will add some value to the new camera, they wouldn’t sway my own buying decision.

    Movie shooting differences

    The X-T4’s base movie shooting spec is very similar to that of the X-T3. It’s a testament to how good the T3’s video capture was that it’s still one of the most video capable hybrid cameras on the market, so long after its launch. With internal 10-bit and 60p capture, it’s still probably the most powerful 4K shooter this side of Panasonic’s latest GH models.

    The X-T4’s ‘Movie Optimized Control’ is an appreciable improvement that makes it quicker to adjust settings

    There are improvements, though, even beyond the provision of a fully-articulated screen and in-body stabilization. For a start, the ‘Movie Silent Control’ function, that lets you use the touchscreen to change settings without interrupting your footage – and, crucially, lets you set distinct exposure settings for movie and stills shooting – has been improved. The X-T4’s ‘Movie Optimized Control’ mode lets you adjust exposure using the camera’s front and rear dials, in addition to the touchscreen. It’s an appreciable improvement that makes it quicker to adjust settings when shooting in changing light.

    The other small change that makes a big difference is the Log Preview Assist mode. This doesn’t go as far as Panasonic’s mode, which lets you import LUTs onto your camera but, more like Sony’s implementation, gives a loosely graded preview, which makes it much easier to check your shots in both preview and playback modes.

    Greater movie/stills separation

    We’ve seen some posts decrying the removal of a dedicated metering switch from the X-T4, but we suspect many users will end up finding the stills/video switch that replaces it more valuable, even (perhaps especially) die-hard stills-only shooters.

    While many stills shooters are likely to prefer the X-T3’s two-axis screen, since it stays in line with the camera’s optical axis for both landscape and portrait orientation shooting, travel photographers and the generally clumsy may appreciate the ability to fold the screen so that it faces in towards the camera, leaving it protected from scratches when thrown into a bag.

    Users who don’t ever plan to shoot video need never encounter the pages of video setup options

    The other benefit for all types of shooters is that distinct movie and stills modes allow the menus to be be more focused on the settings they need. Users who don’t ever plan to shoot video need never encounter the pages of video setup options, and movie shooters can more easily find the options they want, with audio and timecode options broken out into their own menu tabs.

    What about the X-H1?

    Of course the X-T4 isn’t the first Fujifilm camera to offer in-body stabilization. The X-H1 was a stabilized sister model to the X-T2 and, like the X-T4, appeared to offer most to video shooters. With the last of the X-H1s still available new at knock-down prices, how does it stack up?

    Looking back (and it’s not really that far), it’s impressive how far the X-T4 brings us, compared with the X-H1. The underlying still image quality hasn’t changed radically, but just about everything else has continued to creep forward.

    It’s impressive how far the X-T4 brings us, compared with the X-H1

    The X-T4’s IS is rated as being significantly more effective (though we’re not able to formally test that, yet), and the autofocus is significantly better, not least in that the phase-detection capability extends across the whole sensor, rather than being confined to a central square.

    On the video side, the X-T3 and 4 both offer full-width 4K video, which makes it easier to shoot wide-angle than the X-H1’s 1.18x cropped version. They also offer 10-bit internal capture, which is especially valuable for Log shooting. Both of the newer cameras also include the ability to shoot 4K/60p, either to represent fast action or to allow for 50% or 40% slow-mo playback, and both can continue recording for around twice the time the X-H1 can.

    We tended to find the X-H1’s shutter button over-sensitive but this and the camera’s quiet shutter had their fans. For us the X-T4’s shutter is quiet enough, and now comes with the added reassurance of a 300,000 lifespan rating.

    Upgrades to the X-T3

    The question hanging over a much of this article is whether Fujifilm will implement any of the X-T4’s features in the X-T3.

    Having established a reputation for providing feature additions and improvements (onto often already well-specced cameras with good performance), Fujifilm has now put itself in a position where its users have come to expect to continue to receive the benefits of its ongoing R&D in their cameras, for free.

    There’s an argument to be made that Fujifilm has already provided X-T3 users with an reasonable level of post-launch support

    The X-T3 is now 18 months old, so is probably getting towards the end of its life cycle, yet its feature set remains competitive. It’s received a series of updates improving its performance and making small feature additions throughout its life so far. At which point, there’s an argument to be made that Fujifilm has already provided users with an appropriate level of post-launch support. Obviously it would be nice if the company decided to make add some of the additional features it’s developed for the X-T4. But whether it’s a reasonable expectation is another matter.

    It’s likely to hinge on whether Fujifilm really does plan to maintain the X-T3 and X-T4 concurrently. Sony clearly believes there’s room for both its a6400 and a6600 models which, aside from battery size and image stabilization, have feature parity, but Fujifilm may decide not to upgrade the X-T3 up to X-T4 level in order to make the X-T4 more attractive.

    Should I upgrade?

    Ultimately, the choice of whether to upgrade from the X-T3 to the X-T4 depends on your specific needs. Given how competitive the X-T3 is, we believe both could happily co-exist – it’s still an excellent camera, offering tremendous capability for both stills and video shooters. Paired with a $ 500 DJI Ronin SC, it’s still one of the best video cameras under $ 2000. For those reasons many users might quite legitimately follow Dan’s advice, and settle for a bit.

    But the X-T4 does have a lot going for it. Image stabilization, a bigger battery, improved autofocus and a host of performance and handling tweaks that will really add up for some photographers. I’m certainly looking forward to getting a change to test a full production version.

    Until we get a chance to test the fine detail, we hope this article helps you assess whether it’s an upgrade you need to make, or whether it’s better to save your money for an extra lens or perhaps even the conjectured X-H2.

    Articles: Digital Photography Review (dpreview.com)

  • Yes, the Canon EOS R5 Will Have True 8K Video (And Much More!)

    The post Yes, the Canon EOS R5 Will Have True 8K Video (And Much More!) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    Yes, the Canon EOS R5 Will Have True 8K Video (And Much More!)

    When Canon officially announced its next mirrorless camera, the EOS R5, a number of specifications stood out.

    The camera promised to right the wrongs of the EOS R/RP pair, by including in-body image stabilization, 20 frames-per-second shooting with an electronic shutter, and dual card slots.

    But as impressive as these features seemed, most incredible of all was Canon’s claim that the EOS R5 would offer 8K video.

    Note that the current standard for mirrorless cameras is 4K/30p shooting, with cameras offering 4K/60p considered especially suited for more serious videographers.

    And while the best of these cameras produce 4K video using the full width of the camera sensor, others are plagued by a crop factor, one that turns wide-angle lenses into standard focal lengths.

    Canon EOS R5
    The soon-to-be-released Canon EOS R5

    Given the current state of the market, 8K video would be impressive. And true 8K video, using the full width of the sensor, would be more than that; it would be groundbreaking, especially considering the fact that Canon has consistently failed to produce true 4K video in its mirrorless bodies. Both the EOS R and the EOS RP, Canon’s current main mirrorless bodies, incorporate a frustrating 1.7x crop.

    Even the Canon 1D X Mark III, Canon’s brand new flagship DSLR, can only shoot true 4K/60p video.

    So when Canon’s initial announcement included the mention of “8K video capture,” photographers were understandably skeptical. Most thought it was a marketing ploy, and that the 8K capabilities would be significantly hobbled in some way.

    In fact, photographers were so vocal in their skepticism that Canon has stepped up to dismiss such rumors.

    The imaging company stated in a recent press release:

    Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest EOS R camera is set to redefine mirrorless with its market-leading features.

    Canon goes on to indicate that the EOS R5 will offer Dual Pixel autofocus in 8K, and that the camera will also include “advanced animal AF,” which will allow it to recognize “dogs, cats, and birds.”

    If Canon was hoping to make a splash with this announcement, they’ve certainly succeeded. The Canon EOS R5 will undoubtedly be groundbreaking on all fronts, for still shooters and videographers alike.

    Now over to you:

    What do you think of this announcement? Will you be purchasing the EOS R5? Do you see a need for 8K? Share your thoughts in the comments!

    The post Yes, the Canon EOS R5 Will Have True 8K Video (And Much More!) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


    Digital Photography School

  • ON1 Photo RAW 2020.1 released, delivering improved user interface and better performance

    ON1 has announced that the new version of ON1 Photo RAW 2020 is available now. ON1 Photo RAW 2020.1 includes new user interface updates, new features, performance enhancements, and new camera and lens support.

    For photo editing improvements, ON1 Photo RAW 2020.1 includes improved highlight recovery. The software utilizes a new algorithm, which promises better recovery in highlight areas while maintaining more accurate hues. Further, ON1 Photo RAW 2020.1 now includes the ability to quickly edit a single image. You can drag the photo onto the application to edit a single image, with results saved non-destructively. A finished file is then ready to share without any fuss.

    ON1 Photo RAW 2020.1 includes a new highlight recovery algorithm. The algorithm has been designed to deliver better highlight recovery with more natural colors.

    If you enjoy using focus stacking techniques, ON1 Photo RAW 2020.1 includes a new focus stacking algorithm. The focus stacking tool also provides users with additional options to control the output.

    The user interface has seen numerous improvements. There is a new and improved map view, which incorporates higher quality maps and improved search results. In the metadata pane in the new version of Photo RAW 2020, there is now a location tab and users can sync location metadata across multiple selected photos.

    Inside the Browse section of the user interface, fast browse mode and cataloged folders mode now have their own tabs. There is also a new Copy to Catalog Folders option, which works like a quick import function to copy your photos from one location to another.

    To help you find your images faster than ever before, ON1 Photo RAW 2020.1 has enhanced search features. There is now a simple search at the top of the Browse section. Users can now choose which cataloged folders to search as well, rather than searching all of them simultaneously.

    Browsing large folders of images, such as hundreds or thousands of images from a single shoot, should be quicker in ON1 Photo RAW 2020.1. It is now faster to scroll through large groups of thumbnails images, rather than needing to wait for the thumbnails to appear on your screen.

    Other speed improvements include a much simpler and quicker initial setup for first-time ON1 Photo RAW users. There’s also a new ‘getting started’ dialogue that guides new users through the process of finding images and making the first edit.

    ON1 Photo RAW 2020.1 adds support for a number of new cameras and lenses. Newly supported cameras include the Fujifilm X-T4, Olympus OM-D E-M1 Mark III, Olympus OM-D E-M5 Mark III, Nikon D780, Nikon Z50, Canon EOS 1D X Mark III, Panasonic Lumix S1H, Sony A9 II and more. New lenses from Canon, Fujifilm, Leica, Meike, Minolta, Nikon, Panasonic, Sigma, Sony, Voigtlander and Zeiss are now supported as well. To view the full list of new cameras and lenses supported in ON1 Photo RAW 2020.1, click here.

    To celebrate the launch of ON1 Photo RAW 2020.1, ON1 is offering a special promotional 20 percent discount for new users. Upgrades from prior versions of ON1 Photo RAW can be purchased for $ 63.99 USD. New users can buy ON1 Photo RAW 2020.1 for $ 79.99. If you already have ON1 Photo RAW 2020, the latest 2020.1 update is available for free. Release notes and download links are available here. For more information on ON1 Photo RAW 2020.1, visit ON1.

    Articles: Digital Photography Review (dpreview.com)