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

20 Mar

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)

 
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3 Ways Photography Can Ease Anxiety

20 Mar

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.


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Tamron 20mm F2.8 sample gallery from DPReview TV

20 Mar

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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)

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

20 Mar

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)

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

20 Mar

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.


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

20 Mar

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)

 
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LEE Filters’ new LEE85 Filter System is designed specifically for mirrorless camera systems

20 Mar

LEE Filters has revealed its upcoming LEE85 Filter System designed for smaller cameras and lenses. The system features a Holder component with a locking dial for use with the related Adaptor Ring, which will be available in sizes from 37mm to 72mm, according to the company. The Holder is made from aluminum and works with the LEE85 ND Graduated and Standard filters and a clip-on Polariser.

LEE Filters presents the new LEE85 Filter System as lightweight and ideal for photographers who use small cameras and who want a compact, easily deployed filter system. The Locking Ring makes it possible to lock the Holder at a specific angle or allow it to freely rotate, depending on shooting needs. As with the larger LEE100 system before it, the LEE85 Holder can be configured with 1 – 3 filter slots using modular guide blocks.

The compatible ND filters have been designed with large tabs on the top; these feature clear labels and make it easier to insert and remove the filters from the Holder without leaving fingerprints. The LEE85 Polarizer, meanwhile, clicks directly onto the Holder and can be rotated. The entire system, including the Polarizer and up to four filters, can be stored in the included System Pouch with strap and belt loop options.

The company will offer the LEE85 Filter System in multiple bundle options: Discover Kit, Develop Kit, Aspire Kit and Deluxe Kit. All four options include the 58mm, 67mm and 72mm adaptor rings, as well as the LEE85 Holder, System Pouch and 0.6 Medium ND Graduated filter. Depending on the kit selected, buyers will also get things like the ‘Big Stopper,’ the LEE85 Polarizer, a 0.9 Medium ND Graduated filter and a cleaning cloth.

Buyers who need adaptor rings in other sizes will be able to purchase them separately. It’s unclear how much each LEE85 kit will cost at this time; the company says that its new filter system is due for release in the second quarter of this year.

Articles: Digital Photography Review (dpreview.com)

 
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Skylum releases Luminar 4.2, includes AI Augmented Sky and new portrait enhancements

19 Mar

Skylum has announced a new version of its Luminar 4 software, Luminar 4.2. The free update includes a major new feature, AI Augmented Sky. The new AI Augmented Sky feature allows photographers to place various objects directly into the sky, leading to new ways to create digital art. In addition to AI Augmented Sky, Luminar 4.2 includes new portrait tools and general performance improvements.

The new AI Augmented Sky feature can be found in Luminar 4’s Creative tab. This tool allows users to select objects from Luminar’s database or import their own. The included objects are: Aurora, Balloons, Birds (three choices), Clouds (six), Eagle, Fireworks (three), Lightning (two), Moon (two), Mountains (four), Plane (two), Planet (four) and Rainbow (two).

Luminar leverages its artificial intelligence to automatically detect the sky in a selected image and place the chosen object, including creating masks for foreground objects such as trees or buildings. Luminar also includes content-aware technologies, allowing the object and overall image to blend together naturally.

In the before and after comparison above, my original image had a completely bare sky. Using Luminar 4.2’s new AI Augmented Sky functionality, I added clouds and mountains to the image. The software did a good job masking out the trees along the horizon and matching the clouds and mountains to the existing scene.

You have control over the placement and size of the chosen object. You can also adjust its opacity, the color temperature and the strength of the software’s blending tools. If you have any issues with the automatic masking, you can also customize the mask manually with brush, radial, gradient and luminosity mask tools. The mask refinement strength and defocus can be adjusted as well through sliders.

In this before (top) and after (bottom) comparison, you can see that I added clouds and an additional hot air balloon to my image. I resized the added hot air balloon and placed it where I wanted for my preferred composition. When adding the clouds, the software identified the blue panel on the balloon as sky, which resulted in clouds appearing on the balloon. This was easily addressed by manually erasing that part of the balloon using the mask brush tool.

During my time with the software ahead of its public release, I experienced varying levels of success using the AI Augmented Sky feature. In some cases, the feature worked well, especially for adding clouds to an otherwise bland sky. Even when working around trees and other fine details, the software did well, especially when working with a blue sky. Around very fine branches, even when adjusting the strength of the mask, there were some occasional problems. I experienced less success when working with darker skies, including dark gray skies. Also, the software doesn’t automatically detect and mirror objects for reflections in water, which can make it difficult to create a convincing image in some cases.

Of the new AI Augmented Sky feature, Co-Founder and Chief Product Officer of Skylum, Dima Sytnyk, said, “We’re really excited to see how photographers use the AI Augmented Sky to create digital works of art. AI Augmented Sky can be used to make everything from subtle tweaks, like moving the moon in the sky, or to totally transform the world around us. The possibilities are endless!”

In addition to AI Augmented Sky, Luminar 4.2 includes enhancements to its built-in portrait tools. The software includes new architecture for the Face Features Detection Neural Network, which allows for the software to better detect different faces in multiple positions, bad or mixed lighting and faces with heavy makeup. Luminar 4.2 can also detect multiple faces in a group photo. By utilizing the software’s improved face detection technology, Luminar 4.2 can now help users restore skin in overly shiny areas and slim faces via a slider adjustment.

In this before (top) and after (bottom) comparison, you can see the impact of the new Shine Removal tool inside Luminar 4.2’s AI Skin Enhancer. The result was subtle in each image I processed.

These portrait enhancement tools join existing tools such as AI Skin Enhancer, face lighting, eye whitening, eye enhancement, dark circles remover, eye enlargement, eyebrow improvement, lip saturation, lip redness, lip darkening and teeth whitening. As with the AI Augmented Sky feature, the shine removal and Slim Face 2.0 features have automatic masks but can be manually edited.

The new shine removal tool can be found in the AI Skin Enhancer section of the Portrait tab in Luminar 4.2 and works on a 0-100 slider scale. The tool works well on different skin types and in my experience, did a good job of convincingly reducing the shine without adversely affecting texture or color balance in the image. It works better than simply reducing highlights in an image.

In this before (left) and after (right) example, I utilized the new Slim Face 2.0 tool. Even using 100 percent slimming, the final result is quite subtle. In this example, I was particularly impressed by how the software handled the model’s hand against her face and her hair partially obscuring her right eye. The face detection technology is highly impressive.

The new Slim Face 2.0 adjustment is found in the AI Portrait Enhancer section and is also a 0-100 sliding scale. While I’m unlikely to use this feature when processing portraits, its implementation is very good. The software does an excellent job of convincingly slimming a face while keeping proportions looking natural and maintaining the overall quality of the image file. I tried it on a variety of portraits and found it to do a good job in every instance. Alongside the existing AI Portrait Enhancer tools, the new Slim Face 2.0 function fits in nicely.

In addition to the key new features of Luminar 4.2, the software includes various upgrades and other enhancements. The Relight Scene technology in the AI Sky Replacement tool has been improved, providing better and more natural colors. There are also improvements to the ML Cache, which will increase the speed of interaction with the machine’s processor. Windows users will find faster previews on multi-core systems and third-party plugin implementation to be able to use plugins such as Aurora HDR, DxO Nik Collection and Topaz plugins inside Luminar 4.2. Luminar 4.2 also includes a new user manual, making it easier for users to find information on the software’s included tools and functionality.

In Luminar 4.2, the Relight Scene technology has been reworked, resulting in more natural colors. In the example above, I replaced the original sky with a very different sky and the software did a nice job changing the overall image to represent the change. It’s impressive how Luminar 4.2 is able to deal with not only the objects in the scene, but the reflection as well, including the ripples in the water.

Luminar 4.2 is available now as a free update for existing Luminar 4 users. If you are interested in trying Luminar 4 for the first time, you can download a free trial from Skylum. For a limited time, if you purchase Luminar 4 for $ 89 USD, you will also receive the Inspiration Looks pack, a $ 49 value, free of charge. You can also upgrade to the Plus Edition, which includes the Inspiration Looks pack and the California Sunset skies for $ 99. There is also a bundle with Luminar 4 (with bonuses) plus Aurora HDR 2019 for $ 169. You can learn more by visiting Skylum.

Articles: Digital Photography Review (dpreview.com)

 
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The dPS At-Home 7-Day Photography Challenge – Week One

19 Mar

The post The dPS At-Home 7-Day Photography Challenge – Week One appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

The dPS at-home, 7-day photography challenge feature graphic

Since many of us are self-isolating and stuck indoors due to the Coronavirus (Covid-19), we thought we’d make it a little less boring and stressful and give you (and us) an “At-Home, 7-Day Photography Challenge.”

That’s right – these are all things you can try in and around your home.

And, as always, we would love to see your results in the comments section. That way, we can connect and share, and keep ourselves occupied with something positive and creative!

At-Home, 7-Day Photography Challenge – Week One

Day 1

This one is great. How to Create Beautiful, Artistic Photos Using a Book

Day 2

Making the Shot: Your Guide to Creating Stunning High-Speed Splash Photos Without Flash

Perhaps if you can’t try this in your yard, try it in the bathroom ?

Day 3

How to Create Abstract Photos with Oil and Water and a Little Dish Soap

Day 4

Taking fun self-portraits in the mirror. 13 Fun Self Portrait Mirror Shots

Day 5

Onto the computer now. Play with overlaying textures onto your some of your favorite (or not so favorite) images. If you don’t have any textures, try Unsplash and download some to play with. How to Use Textures to Create Compelling Photographs

Day 6

Still on the computer – How to Turn Your Images into Kaleidoscope Patterns. This is a fun one.

Day 7

Now, most of us have one of these (though not me at the moment as I live in a tent – a story for another time…) – A refrigerator, or simply, the fridge. Show us what’s inside in a creative way. How to Take Cool Food Photos in Your Refrigerator

I can’t wait to see your images! And, also, feel free to share your stories too. Many of us are feeling isolated, so it’s so great to have this community to be a part of ?

The post The dPS At-Home 7-Day Photography Challenge – Week One appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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DxO PhotoLab 3.2 introduces improved local adjustment tools, new camera support and more

19 Mar

DxO PhotoLab 3 has been updated to version 3.2. The free update includes numerous improvements plus raw file support for five new cameras. Long known for its local adjustment tools, DxO PhotoLab 3.2 introduces new Duplicate and Rename features in the Local Adjustments Palette. The Repair Tool, used to remove distracting elements from your image, has a new display mode for better visibility. DxO PhotoLab 3.2 includes new multi-image keywords, plus Windows users now have access to renaming functionality.

Regarding improved local adjustment mask management, with the new Duplicate and Rename features, users can reproduce masks from image to image. Once applied to a new image, the mask can then be adapted as needed for each image. To aid in easy identification of individual masks you have created, DxO PhotoLab 3.2 adds the ability to rename your masks. You can also quickly move each mask with a single click when using the brush tool.

DxO PhotoLab 3.2 introduces new Duplicate and Rename functionality for local adjustment masks. Image credit: DxO

The simplified Repair Tool display mode interface has been redesigned to allow the user to see more of the background when removing objects. This means that it will be easier to make accurate and realistic looking repairs to your images. The area being retouched is now outlined with a thin line, as can be seen in the screenshot below.

The Repair tool in DxO PhotoLab 3.2 has a simplified repair tool user interface. This introduces a new thin white outline surrounding the area being retouched. Image credit: DxO

In prior versions of DxO PhotoLab 3, users could add and delete individual keywords. In PhotoLab 3.2, users can now differentiate between keywords that are tagged to multiple images. As mentioned earlier, Windows users can also now rename keywords.

In DxO PhotoLab 3.2, users can differentiate between keywords that are tagged to multiple images. Image credit: DxO

DxO PhotoLab is well regarded for its excellent and powerful optical corrections, which are customized by the DxO team for different camera and lens combinations. DxO PhotoLab 3.2 introduces support for five new cameras: The Canon EOS-1D X Mark III, Nikon D780, Olympus E-M1 Mark III, Leica D-Lux 7 and Leica Q2. Nearly 770 new optical modules have been added in DxO PhotoLab 3.2, which now includes more than 60 million different camera and lens combinations.

For existing DxO PhotoLab 3 users, the 3.2 update is available free of charge. For new customers, DxO PhotoLab 3.2 is available in Essential and Elite editions. To learn more about which version is best for you, click here to see a breakdown of version differences. With the new 3.2 update, DxO has introduced special pricing for new users. Until March 31, new users can purchase DxO PhotoLab 3.2 Essential for $ 99.99 USD or the Elite edition for $ 149.99. These are savings of $ 30 and $ 50 respectively. For more information or to download a free trial of the software, visit DxO.

Articles: Digital Photography Review (dpreview.com)

 
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