360Photography

Blog

  • Sony a6600 review: Amazing autofocus, acceptable ergonomics

    Introduction

    $ (document).ready(function() { SampleGalleryStripV2({“galleryId”:”0784641798″,”isMobile”:false}) })

    Sample photoSample photoSample photoSample photoSample photo
    Silver Award

    83%
    Overall score
    Jump to conclusion

    The Sony a6600 is the company’s top-of-the-line APS-C mirrorless camera, with 24MP of resolution and 4K video capture. It looks a lot like Sony’s other a6000-series models at first glance, but this one has the biggest battery and the best build quality of the bunch, even if the images it produces are broadly comparable to the less expensive options.

    The a6600 further differentiates itself by offering in-body image stabilization, which is still a rarity among APS-C cameras. This should help with stills shooting in low light, to be sure, but also combines with excellent autofocus tracking to make it the best crop-sensor video shooter Sony currently sells.

    Despite its refinements, we still think the a6600 could benefit from some ergonomic updates to make it an easier camera to take control over.

    Key features:

    • 24MP APS-C CMOS sensor
    • Advanced, capable subject-tracking autofocus
    • In-body image stabilization
    • 2.36M dot OLED electronic viewfinder
    • 0.9M dot tilting touchscreen
    • Wi-Fi for image transfer, and NFC
    • 4K video capture with log profiles
    • USB charging
    • 810-shot battery life (per CIPA)

    The Sony a6600 will be available on November 29th, 2019, at a suggested price of $ 1400/€1600 body-only, and $ 1800/€2000 with an 18-135mm F3.5-5.6 kit lens.

    What’s new, how it compares

    Check out how the a6600 stacks up against its closest competition here.

    Read more

    Image quality

    The a6600’s familiar sensor produces clean, pleasing images in a wide range of situations.

    Read more

    Autofocus and performance

    With an industry-leading autofocus implementation, the a6600 is a capable sports-and-action shooter, but we have some reservations.

    Read more

    Video

    Oversampling 4K footage from 6K capture, the a6600 churns out really detailed video footage, but rolling shutter remains a problem.

    Read more

    Conclusion

    The a6600 is a supremely capable camera, but it just misses out on earning our top award – find out why.

    Read more

    Sample galleries

    Check out some of our samples from across North America in our a6600 sample galleries.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • Our favorite gear, rewarded: DPReview Awards 2019

    DPReview Awards 2019

    If 2018 was the year that full-frame mirrorless went mainstream, 2019 was the year when all of the major manufacturers really doubled-down on their mirrorless strategies. Canon pumped out a series of very high quality RF lenses, alongside the world’s cheapest full-frame mirrorless camera. Nikon went all-in on its range of affordable F1.8 primes, and Sony pulled out all the stops – yet again – in the a7R IV.

    Meanwhile, Olympus threw all of its technological know-how into the sports-oriented OM-D E-M1 X, Fujifilm reinvented medium-format with the GFX 100 and Ricoh’s GR III and Leica’s Q2 offered a welcome refresh for fans of fixed-focal length compacts.

    That’s a lot, and it’s only a small taste of what happened this year. At the end of every year we get together as a team to recognize the standout products of the past 12 months in our annual DPReview Awards. Take a look through the slides above to find out which products made our list of the best gear of 2019!

    Best accessory

    Shortlist:

    • DJI Osmo pocket
    • DJI Ronin SC
    • Gnarbox 2.0 SSD
    • Peak Design Travel Tripod

    Runner up: Peak Design Travel Tripod

    The role of photography accessories is to play support to your creative endeavors. That can mean support in the traditional sense, like a well-designed travel tripod or 3-axis gimbal rig. Or it can mean support in the form of peace of mind, like a rugged file back-up device.

    Our runner-up for best photography accessory, the Peak Design Travel Tripod, falls into the former category. Travel tripods aren’t new, but Peak Design has managed to radically rethink the concept to create a package that’s significantly more compact than the competition and just as stable, if not more so. Its Arca Swiss-compatible, dual-locking ball head in particular is worth calling out for its clever low-profile design. Available in both aluminum and carbon fiber, this is the travel tripod we’ll likely be reaching for in 2020, whenever space is tight.

    Read more about the Peak Design Travel Tripod

    Winner: GNARBOX 2.0 SSD

    The Gnarbox 2.0 brings calm to the often chaotic world of photography. It’s the friend in the field you always wanted: a rugged (weather, dust and impact-resistant) SSD (available in 256GB, 512GB and 1TB) with built-in SD reader and super-fast transfer speeds (up to 350MB/s). It’s there to protect all your precious data until you get it home for a full backup.

    One-touch copying and an info LCD make it effortless to start transferring and confirm files have been properly duplicated. And for those eager to get ahead on their edits, Gnarbox will pair with a smart device so that you can sort and tag (using Photo Mechanic’s image engine). But that’s not all: Gnarbox also has swappable batteries and can even be used to charge other devices via a Micro-USB port. It’ll also play nice with Apple’s iPad Pro, with support for programs like Adobe Lightroom and Affinity Photo, when connected via its USB-C port. What more could you ask for?

    Read more about the GNARBOX 2.0 SSD

    Best smartphone camera

    Shortlist:

    • Apple iPhone 11 Pro
    • Google Pixel 4
    • Huawei P30 Pro
    • Samsung Galaxy S10 5G

    Runner up: Apple iPhone 11 Pro

    The iPhone 11 Pro is a significant step forward for Apple, and from a pure experience standpoint, is the nicest smartphone camera to use today. Its bright screen combined with HDR playback of photos makes the on-device experience of shooting and enjoying photos industry-leading. And unlike any other smartphone camera to-date, iPhones since the iPhone X utilize the wide P3 color space, meaning more life-like color capture and rendition.

    A new ultra-wide lens allows for dramatic perspectives, and wide angle portrait mode – utilizing the main camera module – makes it easy to shoot more intimate perspectives of your loved ones and pets, with better image quality than the standard portrait mode offers. Editing photos, depth effects, and video is pleasing thanks to the Photos app updates, and clever features like ‘capture outside the frame’ offer creative uses of the phone’s three lenses. Video quality is superb, with HDR capture up to 4K/60p.

    We have some reservations over the warm and green-shifted colors, overly-processed faces from semantic rendering choices, significant lag in portrait mode, and image quality artifacts including banding, aggressive noise reduction and over-sharpening, but as an all-rounder, the iPhone 11 Pro is hard to beat.

    Read more about the Apple iPhone 11 Pro

    Winner: Google Pixel 4

    The Pixel 4 offers compelling still image quality. If you shoot Night Sight – even during daylight hours – you’ll be rewarded with some of the best detail retention and balanced noise reduction we’ve seen from a smartphone. It only gets better in Raw, since the DNGs produced by the Pixel 4 are the result of aligning and merging multiple frames. A new astrophotography mode is not just cool but inspiring, and also benefits any nighttime scene where longer exposures can be used. The combination of super-res zoom and a new telephoto module make ‘zoomed in’ photos better than many peers. And unlike the iPhone, you can continue to use the telephoto module in dim light.

    New ‘dual exposure controls’ allow you to fine tune the ‘look’ of the resulting HDR image in real-time. Portrait mode has been improved to yield bokeh similar to what you’d expect from ILCs, with fewer depth map errors and virtually no shutter lag. As such, the Pixel 4 is truly an enthusiast’s smartphone camera. We have reservations over its video quality, display, as well as certain metering and image processing choices, but its strong core competency in stills makes it our winner.

    Read more about the Google Pixel 4

    Best zoom lens

    Shortlist:

    • Canon RF 70-200mm F2.8L IS USM
    • Canon RF 24-70mm F2.8L IS USM
    • Nikon Z 24-70mm F2.8 S
    • Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH
    • Sony E 16-55mm F2.8 G

    Runner-up: Nikon Z 24-70mm F2.8 S

    Every year we struggle to narrow down the number of lenses released to a shortlist of just four or five. This year saw a lot of action in the lens space, with both Canon and Nikon putting considerable energy into building out their native mirrorless lens lineup, and Sigma, Sony and Tamron doing the same.

    One of the zoom lenses that has most impressed us this year is Nikon’s Z 24-70mm F2.8 S. Built for use in difficult conditions, the Z 24-70mm is tough and weather-sealed, but more than that, it’s optically outstanding. Sharp, virtually aberration-free and extremely flare-resistant, the Z 24-70mm F2.8 really lets Z7 shooters make the most out of their camera’s resolution, for anything from landscapes to portraiture.

    Read more about the Nikon Z 24-70mm F2.8 S

    Winner: Canon RF 70-200mm F2.8L IS USM

    We really, really like the Canon RF 70-200mm F2.8L IS USM. It’s small (at 70mm), relatively lightweight, autofocus is lightning fast and silent, and its optical image stabilization system is excellent.

    The 70-200mm represents the first time we’ve seen Nano USM technology incorporated in fast L-series glass, and the increase in focus speed is dramatic compared to ring-type USM on EF lenses. But perhaps the most impressive thing about this lens is its optical quality. Contrast and sharpness are class-leading wide open at all focal lengths, bokeh is smooth with no distracting patterns, and both longitudinal and lateral forms of chromatic aberration are very well controlled.

    This is the most impressive 70-200mm F2.8 lens we’ve ever seen, in a surprisingly compact form factor, and a worthy winner of our award for best zoom lens of 2019.

    Read more about the Canon RF 70-200mm F2.8L IS USM

    Best prime lens

    Shortlist:

    • Tamron SP 35mm F1.4 Di USD
    • Sigma 35mm F1.2 DG DN | Art
    • Sony FE 135mm F1.8 GM
    • Nikon Nikkor Z 85mm F1.8 S

    Runner-up: Sony FE 135mm F1.8 GM

    There were so many great prime lenses released this year, and inevitably, it’s near-impossible to reduce the list to just four. This ‘shortlist’ could have been at least twice as long and we would still have had to omit some great lenses. But the primes listed above represent our favorites of 2019, not only because of their optical quality, but also their versatility and overall value for money.

    Among the most impressive lenses of any type released this year was the Sony FE 135mm F1.8 GM. Designed for portrait fans, the 135mm F1.8 is stunningly sharp and delivers beautiful images at its widest apertures. It’s virtually aberration free, and is the fastest-to-focus lens of its kind. Sony’s optical science has improved by leaps and bounds in recent years and the FE 135mm F1.8 is an excellent example of the company’s current state-of-the-art. While 135mm isn’t necessarily an everyday focal length, the Sony FE 135mm F1.8 GM is arguably the best option on the market right now for portrait shooters.

    Read more about the Sony FE 135mm F1.8 GM

    Winner: Nikon Nikkor Z 85mm F1.8 S

    Nikon’s S-series prime lenses for the Z system have impressed us this year with their performance, not to mention their versatility and value. All sub-$ 1000 and all relatively small and lightweight, the best of Nikon’s new F1.8 options outperform many faster lenses that cost considerably more.

    The Z 85mm F1.8 S is a great example. Sharp, virtually aberration-free and still nicely portable, this portrait prime isn’t as fast as some of its competitors, or as polished as (say) the Sony FE 135mm F1.8 which takes the runner-up spot, but it’s a supremely practical, useful lens. With its smooth bokeh, the Z 85mm F1.8 S is, of course, a fantastic portrait lens for Z6 and Z7 shooters, and a nifty 135mm equivalent on the APS-C Z50. But its size and weight, plus its superb sharpness make it just as useful for landscape and candid work.

    Read more about the Nikon Nikkor Z 85mm F1.8 S

    Best compact/fixed lens camera

    Shortlist:

    • Canon PowerShot G5 X Mark II
    • Leica Q2
    • Ricoh GR III
    • Sony Cyber-shot RX100 VII

    Runner-up: Sony Cyber-shot RX100 VII

    This is always a tricky category, spanning multiple sensor formats and including both zoom and fixed focal length lenses. This year saw the release of some very impressive – and very different – compact / fixed-lens compact cameras, from the high-end Leica Q2 to the more consumer-friendly Canon PowerShot G5 X Mark II.

    Despite their different shapes, sizes and prices, all of the cameras in this section cater to the same basic need: high quality imaging, in a compact form factor. Our runner-up this year is Sony’s best RX100-series camera yet. A small, powerful zoom with a high-quality EVF, great video and formidable autofocus, the RX100 VII is a near-perfect camera for travel and everyday photography and video. Inevitably it’s not cheap, but this kind of technology never is.

    Read more about the Sony Cyber-shot RX100 VII

    Winner: Ricoh GR III

    First announced in 2018, the GR III was released this year and quickly became one of our favorite compact cameras. Small and lightweight, but with a stabilized sensor and capable of stunning image quality the GR III is – like the Sony Cyber-shot RX100 VII – a wonderful camera for travel and everyday photography.

    Yes, the lens is a fixed 28mm equivalent. No, the video mode isn’t great, but this is a pure photography camera, capable of getting you images that larger, heavier or more complicated models simply won’t.

    Read more about the Ricoh GR III

    Best consumer stills / video camera

    Shortlist:

    • Fujifilm GFX 100
    • Panasonic Lumix DC-S1
    • Panasonic Lumix DC-S1H
    • Sony Cyber-shot RX100 VII

    Runner up: Sony Cyber-shot RX100 VII

    While the RX100-series has always been primarily about stills photography, Sony has evolved its range of high-quality 1-inch sensor compacts into powerful video tools, as well. The Mark VII captures oversampled UHD 4K video, Full HD at up to 120 fps and lower resolution video with a top frame rate of almost 1000 fps. Unlike its predecessor, the RX100 VII has a built-in mic input.

    In short: the RX100 VII offers excellent 4K video, very good autofocus and a handy built-in finder, making it exceptionally versatile for photographers that need to capture both stills and movie footage.

    Read more about the Sony Cyber-shot RX100 VII

    Winner: Panasonic Lumix DC-S1

    It might seem odd having both the Panasonic Lumix DC-S1 and S1H on the same list, for best stills / video hybrid camera and have the S1 beat its more video-centric stablemate, but this is precisely the point. With the S1H in the pipeline, Panasonic didn’t need to make the S1 as good for video as it did, and it certainly didn’t need to make it even better with a paid firmware update.

    With the paid update, the S1 becomes a formidable camera for video, even to the extent that the costlier S1H may prove unnecessary for many filmmakers. We’ve done a lot of shooting this year on the S1 and it’s an impressive machine from a manufacturer that perhaps more than any other, really knows how to do video right.

    Read more about the Panasonic Lumix DC-S1

    Best entry-level ILC

    Shortlist:

    • Canon EOS M200
    • Fujifilm X-A7
    • Olympus PEN E-PL10
    • Sony a6100

    Runner-up: Fujifilm X-A7

    While a lot of attention gets paid to the high-end and professional market segments, often the most important cameras in a manufacturer’s lineup are at the entry-level. The reason they’re so important is that these are the products which – it is hoped – will attract new customers into a system.

    The Fujifilm X-A7 is a significant camera for Fujifilm, and a great all-round option for beginner photographers in general. Significant for Fujifilm because it’s the company’s first entry-level offering that has really impressed us, and a great entry-level camera because it does exactly what a camera aimed at first-time buyers and smartphone upgraders should. It’s simple, streamlined, reliable and responsive, and can easily transition between stills and high-quality video.

    Read more about the Fujifilm X-A7

    Winner: Canon EOS M200

    If there’s one thing Canon knows how to do it’s make an attractive, sensibly-designed entry-level ILC. The EOS M200 is the company’s latest, and while it doesn’t represent a massive upgrade compared to the M100, the changes are very welcome including one change in particular – Eye Detect autofocus. Assuming that a lot of us (and arguably most beginners) will take a lot of pictures of friends and family, the addition of eye detection to the M200’s autofocus mode really does make a big difference. Canon has also added 4K video capture and ‘CRaw’, for Raw format shooting without the massive file sizes.

    Overall, the Canon EOS M200 doesn’t bring much to the table which is genuinely ‘new’ but its combination of features, easy to operate design, and reliable image quality make it a great entry-level ILC, and our favorite of 2019.

    Read more about the Canon EOS M200

    Best midrange ILC

    Shortlist:

    • Canon EOS M6 Mark II
    • Fujifilm X-T30
    • Nikon Z50
    • Sony a6600

    Runner-up: Nikon Z50

    We define ‘midrange’ cameras as those transitional models between entry-level and enthusiast / pro which need to be able to work for inexperienced and more seasoned photographers alike.

    Nikon’s first APS-C format mirrorless camera is also one of its most user-friendly. Intended to be picked up by first-time ILC buyers and smartphone upgraders, the Z50 is designed to be simple and straightforward to use, but isn’t ‘dumbed down’. Featuring a high-quality electronic viewfinder, twin control dials and photographer-friendly ergonomics, the Z50 is a camera that leaves plenty of room for a beginner to experiment and grow creatively.

    Read more about the Nikon Z50

    Winner: Canon EOS M6 Mark II

    Canon has been making good, solid interchangeable lens cameras for a really long time, and this experience shows in products like the EOS M6 Mark II. A really great camera doesn’t need to do everything better than its competitors, it just has to do everything well enough, without getting in the way of your creativity.

    The EOS M6 Mark II reaffirms Canon’s commitment to its compact, mirrorless EF-M system. After years of competent but usually beginner-focused models, the M6 II comes out swinging as a convincing option for more advanced users. Its new 32.5MP sensor has impressive resolution and dynamic range, the 14 fps maximum burst speed with autofocus is competitive, and its 4K video uses the full width of the sensor.

    It doesn’t hands-down beat any of its competitors in any specific area, but as an all-around package, the M6 Mark II easily won us over for best midrange ILC of 2019.

    Read more about Canon’s EOS M6 Mark II

    Best high-end ILC

    Shortlist:

    • Fujifilm GFX 100
    • Olympus OM-D E-M1X
    • Panasonic Lumix DC-S1R
    • Sony a7R IV

    Runner-up: Panasonic Lumix DC-S1R

    The Lumix DC-S1R will tick a ton of boxes for a ton of photographers, which is all the more impressive given that it’s Panasonic’s first full-frame offering (alongside the lower-resolution DC-S1). It’s built like a tank and all of the buttons and dials feel like they’re in just the right place.

    The 47MP sensor at the heart of the S1R isn’t class-leading at this point, but it’s still capable of producing excellent image quality in almost any situation. Unfortunately, the DC-S1R falls somewhat short in terms of autofocus and tracking. While it can drive focus very quickly using Panasonic’s DFD technology, it just can’t quite keep up with competitors’ on-sensor phase detection systems for accuracy when photographing moving subjects.

    Read more about the Panasonic Lumix DC-S1R

    Winner: Sony a7R IV

    The fourth iteration of Sony’s high-resolution mirrorless full-frame camera is the most capable, well-rounded interchangeable lens camera on the market today. It shoots 60.2MP files, offers industry-leading autofocus tracking, is capable of 10fps continuous bursts and shoots the best 4K video of any high-resolution camera you can buy. Plus, Sony claims weather-sealing has been improved, battery life is well above average and ergonomic tweaks have made it more comfortable and enjoyable to use than previous models.

    The a7R IV is a camera that you really can shoot just about anything with, from action sports to billboard-ready landscapes, and because of that, it earns the distinction of being our high-end ILC of the year.

    Read more about the Sony a7R IV

    DPReview innovation award

    Shortlist:

    • Canon RF 70-200mm F2.8L IS USM
    • Fujifilm GFX 100
    • Olympus OM-D E-M1X
    • Peak Design Travel Tripod

    Runner-up: Canon RF 70-200mm F2.8L IS USM

    Optically the RF 70-200mm F2.8L IS USM is stunning, but it’s also a marvel of engineering. At its short end, it collapses down to a barrel size not much longer than that of the RF 24-70mm F2.8L IS USM. At 1070g, it’s 26% lighter than its EF equivalent, and feels surprisingly light in one’s hands, and well-balanced on an EOS R body. Optical image stabilization offers an impressive CIPA rating of 5 stops. Combined with dual-sensing IS on EOS R bodies, you can expect tack sharp handheld shots on the long end at shutter speeds as low as 1/13s.

    If that’s not innovative, we don’t know what is.

    Read more about the Canon RF 70-200mm F2.8L IS USM

    Winner: Fujifilm GFX 100

    While very little about the GFX 100 is new or unique to this model, what counts is how all the ingredients are mixed together. The addition of in-camera stabilization, impressive video capture and hybrid on-sensor PDAF to the medium format world makes the Fujifilm GFX 100 among the most capable and most innovative cameras out there.

    Fujifilm has been working hard to democratize digital medium format for a couple of years, but with the 100 megapixel GFX 100, the company completely changed our understanding of what a medium format camera could be.

    Read more about the Fujifilm GFX 100

    DPReview product of the year, 2019

    Shortlist:

    • Apple iPhone 11 Pro
    • Canon RF 70-200mm F2.8L IS USM
    • Fujifilm GFX 100
    • Sony a7R IV

    Runner-up: Fujifilm GFX 100

    As we wrote in the previous slide, the GFX 100 really did turn our idea of what a medium format camera could do on its head. While the MSRP of almost ten grand puts it out of reach to most non-professional photographers, there is an audience out there for cameras like this, and Fujifilm has done a great job of catering to them.

    Pro wedding and event photographers, portrait and lifestyle shooters, and even a certain type of videographer have kept the GFX 100 on more or less continuous backorder since it was released. You may not need 100MP, but some people do. And the GFX 100, with Fujifilm’s range of excellent GF lenses, makes 100MP shooting practical and enjoyable.

    Read more about the Fujifilm GFX 100

    Winner: Sony Alpha a7R IV

    Sony is one of the more divisive brands on our site, partly because of a perception that it gets more attention than other manufacturers. This perception stems from two factors: firstly, Sony has released an astonishing number of high-end products in the past handful of years. Secondly, they have tended to be very good.

    Taken as a whole, the a7R IV is Sony’s best mirrorless camera yet. The enthusiast-focused a7 III continues to top the best-seller lists but if you want the highest resolution, the best autofocus system and some of the best video features on the market (not just in Sony’s own product lineup) the a7R IV is where it’s at. A true ‘flagship’, the a7R IV has undoubtedly benefited this year from no direct competition from Canon or Nikon, but it will take an unusually good product from either manufacturer to make the a7R IV look uncompetitive in 2020.

    Read more about the Sony a7R IV

    Articles: Digital Photography Review (dpreview.com)

  • Sotheby’s Space Photography auction includes NASA ‘Red Number’ prints

    Sotheby’s auction house is holding an online Space Photography auction that includes multiple NASA ‘Red Number’ photographs, as well as vintage silver gelatin and other chromogenic prints featuring spacecraft, astronauts, and more. Sotheby’s estimates the prints will sell for between around $ 600 and $ 9,000 each, depending on the print.

    The Space Photography auction features more than 200 lots featuring vintage prints, some of which are signed by Jack Fletcher, Buzz Aldrin, LMP Fred Haise and others. A large percentage of the photos are original NASA ‘Red Number’ prints, which means they’re chromogenic color photographs that include unique NASA image ID numbers printed in red in the photo’s margin.

    Some of the space prints include a watermark, such as ‘This Paper Manufacturered by Kodak,’ as well as press captions printed on the back of the prints in purple ink. NASA ‘Red Number’ prints include the launch of the Skylab 4/Saturn 1B space vehicle, pre-launch preparations, the launch of Space Shuttle Columbia (STS-1), various shots of the Space Shuttles Discovery, Atlantis, and Challenger, and more.

    The auction includes other non-Red Number vintage space prints, including three that feature UFO sightings that happened in Switzerland in the 1970s, vintage large format prints of iconic NASA lunar photos, and more. The NASA ‘Red Number’ prints come from the collection of Philip Kulpa.

    A total of 140 photographs are available as part of ‘The Vintage NASA Photo Collection of Philip Kulpa,’ and they’re joined by a selection of prints from the estate of Bill Taub, NASA’s first senior photographer who covered all major NASA missions from the launch of Mercury to the end of Apollo. The online auction is open to bids until December 3, 2019, at 12 PM EST, according to Sotheby’s.

    Articles: Digital Photography Review (dpreview.com)

  • Here are the winners for Red Bull Illume’s Image Quest 2019 competition

    Red Bull Illume Image Quest 2019 Winners

    At the beginning of this month, 260 semi-finalists were selected out of nearly 60,000 entries for Red Bull Illume’s photography and videography contest. The 5 finalists for each category attended the Winner Award Ceremony hosted at the LUMEN – Museum of Mountain Photography on November 20th. The Overall Winner, 11 Category Winners, and Top 60 finalist images were revealed at the ceremony hosted by Italian sports journalist Zoran Filicic.

    Ben Thouard was this year’s Overall Winner.

    This year’s Overall Winner is Ben Thouard for his underwater image of surfer Ace Buchan riding a massive wave in Teahupo’o, Tahiti. Here is Thouard’s story behind his winning image: ‘I‘ve dedicated the last few years to shooting underwater, looking for new angles and a new way to shoot surfing and waves. Shooting surfing from underwater is a whole new world and I love it! Tahiti has some of the clearest water in the world so it was easy for me to take advantage of it and explore it as much as I could. This photo was shot during a freesurf session right before the WCT event in Teahupo‘o. This is Ace Buchan kicking out from the barrel through the wave, a technique to escape a close-out wave.’

    He continues, ‘luckily I was right below, breathless with my [underwater housing] waiting for this moment and I was able to capture the whole sequence of it; this frame from the beginning of the sequence is the most powerful one because of the water around his face and body.’ Thouard was a Red Bull Illume semi-finalist in 2013 and a finalist in 2016 before becoming the Overall Winner this year.

    60 finalist images were on display outside the LUMEN.

    Once all the winners and finalists were announced, attendees were able to view the 60 finalist photos illuminated with 2mx2m lightboxes outside the LUMEN. The winners for each category are:

    Overall Winner 2019: Ben Thouard, French Polynesia

    Category Winners 2019

    Best of Instagram by SanDisk: Baptiste Fauchille, France
    Creative by Skylum: Denis Klero, Russia
    Emerging by Red Bull Photography: JB Liautard, France
    Energy: Ben Thouard, French Polynesia
    Innovation by Sony: Laurence Crossman-Emms, United Kingdom
    Lifestyle: Alexander Wick, Germany
    Masterpiece by EyeEm: Lorenz Holder, Germany
    Moving Image: Rupert Walker, Canada
    Playground: Lorenz Holder, Germany
    RAW: Noah Wetzel, USA
    Wings: Philip Platzer, Austria
    Best Mountain Sports Image by Salewa: Kamil Sustiak, Australia
    SanDisk Extreme Award: Philip Platzer, Austria

    For those interested, a Limited Edition Red Bull Illume Photobook featuring 260 semi-finalist action and adventure sports images submitted to the competition is now available to order. 4,000 copies were made, each individually numbered and stamped, and they come with a SanDisk Ultra SD Memory Card containing the Moving Image Category videos plus the full Luminar 4: Creative Photo Editor suite from Skylum.

    Energy & Overall Winner: Ben Thouard, France

    About this photo: As the quotes in the introduction to this series illustrate, Thouard was in the right place at the right time, underwater, when he captured athlete Ace Buchan kicking out from the barrel through the wave in Teahupo’o, Tahiti.

    Category Winner, Best of Instagram by SanDisk: Baptiste Fauchille, France

    About this photo: This is a shot from a buddies trip with a business goal showing biker Alex Bibollet’s shadow in the bowl of Fillinges, France. In Fauchille’s words, ‘We were a team of riders, photographers, and videographers, leaving for the very first trip of the new BMX clothing brand linked to the BMX: ‘Unicorn, we are legends’. We travelled for 5 days in the middle of summer, through different spots in different cities; it was a buddies trip with a business goal.

    This photo was taken at the bowl of Fillinges. I remember the heat was insane like it rarely had been in the Alps. When I arrived on the spot the first thought I had in mind was to make a top- shot video with the drone: a fixed plan with a rider who makes his line with the intention of creating a loop. Then I realized that the bowl was really clean: no tags, no dust. I was able to have the rider and his shadow to come out well. I asked Alex Bibollet — one of the riders — to do what he did best, and I immortalized this moment!’

    Category Winner, Creative by Skylum: Denis Klero, Russia

    About this photo: In Klero’s own words,’last year‘s trend reports have shown that as soon as the first snow starts falling the social media community bursts in excitement and instantly shares videos and photos showing the first flakes of the year. I didn‘t want to miss out on the trend and started working on a concept to show the change of seasons. To attract the attention of the social media world it had to be something that would make one stop and stare. Consequently, I developed an idea of a series of three main pictures with some supporting detail shots, which had to be visually strong and inherent to the world of Red Bull. This picture with Pavel (Alekhin, the athlete in this photo) is one of those.’

    Category winner, Emerging by Red Bull Photography: Jean-Baptiste Liautard, France

    About this photo: ‘Two things that I love when it comes to photography are silhouettes and reflections and I wanted to use both in a single frame for a long time. After a lot of drawings, I knew what I wanted but it took me six months to get the perfect conditions and final ideas.
    Jeremy‘s trail is a piece of art and this jump is definitely a highlight. I knew I wanted to shoot it from the side and get that reflection but it was really dry at this time of the year and of course there was no water around,’ says Liautard.

    ‘When I saw a wheelbarrow hanging around by the jumps, I had the idea to fill it up with water to create a mirror. We didn‘t have any water hose that day, so I had to do round trips with water cans to a little ditch by the road. After spending a lot of time adjusting the wheelbarrow and cleaning the water in the afternoon, my mirror was finally ready for the evening shoot.’

    We were lucky enough to have a few friends helping us with the fire that night and adjusting the smoke just as we needed. The hardest job was Jeremy‘s as he had to ride the trail almost blind. Riding bikes at night is so scary and I can‘t thank the athletes enough when they are in these kinds of conditions. After a few attempts, we got this one, just as I imagined it at the very beginning, and it was a great feeling to finally see the image I had in my head for months, displayed on the back of my camera.

    Category Winner, Innovation by Sony: Laurence Crossman-Emms, United Kingdom

    About this photo: In Laurence’s own words, ‘Blaenau Ffestiniog was once described as the wettest place in Wales, this is no lie. Even when the sun shines, the puddles are plentiful. I’ve always been attracted to their animations when struck by a bicycle at full steep. The tyres of Katy Winton making the perfect parting of this muddy sea. The combination of dynamic action and the silk-like curtains made me try each time more determined. There are always challenges when shooting bikes and water close up … don’t get run over and don’t get wet.

    This concept had always been in the back of my mind but finding the perfect location and it aligning with both the weather and sufficient puddle depth was tough. This breathless day at Antur Stiniog with Katy proved ideal. You can never guess how water reacts when you hit it with force, sometimes the results exceed your expectations … this was one of those times.’

    Category Winner, Lifestyle: Alexander Wick, Germany

    About this photo: In Wick’s words, ‘Together with my boys Phil and Chris I went on a US West-Coast climbing trip. Obviously Yosemite is a must and so we tested our very humble European crack climbing skills right away on El Capitan‘s Salathé Wall. A climb I‘ve been dreaming of for quite a while.

    The first Ascent of this line was a master piece way ahead of its time. Climber and photographer Tom Frost was part of the three man team back then. His photography of the same climb is just breathtaking. The picture of Royal Robbins napping on a rock atop El Cap Spire with loads of exposure is one of my favorites, so of course I planned on getting a tribute shot to the old masters once we reached the spot. As we got stuck behind another climbing party just up on El Cap spire I used the moment, aided my way up the next pitch and took the shot as the boys and our new friend Luke actually took a nap.

    No old hemp ropes and linen haul bags like in 1961 but modern nylon and Dyneema this time. No uncharted terrain but a well known and established route. Having a rest amidst a sea of granite: probably almost as amazing as back in the days.’

    Category Winner, Masterpiece by EyeEm: Lorenz Holder, Germany

    About this photo: ‘The first time I saw this location was when I was watching Game of Thrones and I was blown away by the pure magic this road generated in me. First, I thought that it‘s of course a CGI composition, but after a little research I found out that this place is actually real and located in Northern Ireland. A year later I was actually standing there with Senad Grosic and trying to get a bunny-hop-tailwhip on camera.

    It was early in the morning with the first sun rays hitting the road and we managed to get a pretty cool shot, but somehow I knew that there was pure potential in the spot. So, we decided to stay a couple days longer and waited for some kind of rain, fog or other particles in the air, so I could use one flash from behind and create a white background to make Senad stand out a bit more and get the focus a bit more on the action. The rain came on our last day and I still remember the goose-bumps I had when I saw the image appearing on the screen of the camera. That‘s when I felt the same magical feeling I got when I watched Game of Thrones for the first time.’

    Category Winner, Moving Image: Rupert Walker, Canada

    About this photo: This is a still from Walker’s award-winning video. Here’s his explanation for getting all the key shots: ‘It was particularly challenging because it required extreme precision from the FPV drone pilot, Jonny Durst, and during this shoot, we experienced very heavy rains, which caused the track to be nearly unrideable. From the moisture, the track was riding much slower than anticipated and caused the athletes to struggle at performing their best. The dig crew was all hands-on deck with tiger torches and shovels to dry up any wet spots and dig out any soft spots. With hard work from all, a solid shot plan, and great coordination between the drone pilot and the athletes, the shot was accomplished.’

    Category Winner, Playground: Lorenz Holder, Germany

    About this photo: Lorenz Holder’s reputation as a stellar location scout continues (he was a winner in this year’s Masterpiece by EyeEm category). Holder talks about his latest find: ‘The Ouse Valley Viaduct is pretty cool old railway bridge in the South of England. When you approach it from the side, you can‘t really see the secret this bridge has to offer, but once you get underneath of one of the arches you can‘t believe your eyes. You are caught in a place that could easily be in the movie Inception. The arches create a very surreal visual effect – when you are taking a picture, you don‘t understand if you are looking down into something or at least you get very confused about what you‘re actually seeing. I was blown away by this fact, but also blown away that this looked like a pretty good spot for skateboarding.

    When I showed Vladic an image of the viaduct, he was on fire to try it out. To be honest it was super hard to ride and Vladic‘s quote that got stuck in my mind was: “This is so hard, when my brain is going down in the transition, my body is already going up again – this will be difficult to get something done here.“ A couple of hours later, when his brain and body came together, he landed this kickflip while the sun was just at the perfect angle as well.’

    Category Winner, RAW: Noah Wetzel, USA

    About this photo: ‘After weeks of preparation and creative conception, I loaded my Subaru and headed North to Wyoming for the Total Solar Eclipse in August of 2017. Arriving a couple days before the eclipse, I linked up with athletes Chris Brule, Evan Grott, and Blake Sommer. The imagery goal was to capture the Eclipse and showcase mountain biking utilizing an in-camera double exposure – a very complex process.

    The morning of, we loaded our packs well before sunrise with light stands, powerful flashes, extra camera gear, and two magnum bottles of champagne to celebrate. After capturing the first image successfully during two minutes of totality, all we had to do was endure the midday sun, waiting for twilight and the attempt at the second frame.

    Unfortunately, I was unaware I had damaged the hot shoe connection on my camera four weeks prior while shooting fly fishing, preventing me from triggering my flashes.
    Our only option required athlete Chris Brule to hit the feature in near darkness at 9pm, allowing me to set the camera to a 2.5 second exposure, manually firing the flashes and freezing Chris mid-air. Nearly escaping complete failure, we hiked out in darkness while sipping on champagne, truly in awe of the total solar eclipse and thankful we were able to capture something special.’

    Category Winner, Wings: Philip Platzer, Austria

    About this photo: Here is how Platzer captured athlete Marco Fürst flying hot air balloon swing in Austria: ‘Together with the Red Bull Skydive Team, I did this crazy Project called Megaswing back in 2016. After my assignment I already knew this had to be a tricky one: Two hot air balloons, one with a long rope attached and the other one to jump out with the swing, and of course the skydiver with his parachute.

    After the first couple of jumps I realized that I wouldn’t get the perfect shot by simply shooting from the inside of the basket they where jumping out of. Lucky me, I had my monopod in the car as well as a pair of radio-triggers. My solution to get the right angle was to hold the camera, that I had attached to my monopod, as deep under the basket and just hope to get the perfect framing.

    Another thing, I asked the athlete Marco Fürst to turn a little bit towards my direction to avoid getting an ass-shot and to get this playful mood in the image. In the end it was the very last try which gave us the moneyshot.’

    Articles: Digital Photography Review (dpreview.com)

  • How to Print a Professional Portfolio So You Can Impress Your Clients

    The post How to Print a Professional Portfolio So You Can Impress Your Clients appeared first on Digital Photography School. It was authored by Darina Kopcok.

    how-to-print-a-professional-portfolio

    Marketing yourself as a commercial or editorial photographer means that you need to print a professional portfolio and promotional materials to show clients such as ad agencies, magazines, and major brands that you want to work with.

    There seems to be a perception out there that marketing is done solely online these days and that photographers no longer need to print a professional portfolio.

    This is not true.

    How to Print a Professional Portfolio So You Can Impress Your Clients

    Some established photographers have a roster of repeat clients that they rely on to keep their businesses afloat. But if you’re looking for new clients, or just entering the industry, you need a printed book to show prospective clients your work. 

    Yes, a website is an important selling tool, but bringing an iPad to an agency meeting can be perceived as amateurish.

    These kinds of top-echelon clients want to see how your work holds up in print, which is far less forgiving than a computer screen. They also enjoy experiencing your work directly through a tangible medium like a printed book.

    Maybe you’re not a commercial photographer but shoot consumer, like wedding or portrait photography. In this case, having prints or a printed book to show your clients can also have a positive impact. It can drive your client to buy from you and they are likely to perceive you as a photographer who is head and shoulders above the rest.

    how-to-print-a-professional-portfolio

    Types of books

    Before we dive into the variables around printing your work, let’s talk about the portfolio itself.

    As a commercial photographer, your best bet is to purchase a screw-post portfolio where you can add and subtract pages every time you update it with new work.

    My portfolio, pictured above, is a bamboo cover screw-post portfolio manufactured by Shrapnel Design. The company is based in Vancouver, Canada, but ship to most countries via FedEx or TNT.

    Other companies make similar portfolios for photographers, so do your research and find the best one for you.

    The point is that you want to be able to update your portfolio periodically by printing pages of new work and swapping them out.

    You can also get a portfolio printed in a photo book. This is a less expensive option, but you’ll need to re-do the whole thing if you want to update your portfolio. Which you should do periodically.

    Just be sure to get a high-quality book printed. The design and paper are very important. It needs to be a visual and tactile experience.

    A couple of suggestions are the books by Artifact Uprising and Saal Digital.

    Get a lay-flat book in landscape orientation and in a large size, such as 14X11.

    how-to-print-a-professional-portfolio

    Choice of paper

    Your choice of paper for your printed book is very important.

    The type of paper you choose will really depend on the genre you shoot and which paper will show your work to the best advantage. There are a variety of finishes and weights available.

    For my portfolio, I used Smooth Matte Pina Zangaro paper by MOAB. It’s scored and punched for use in all standard format screw-post binders. The paper is archival quality, pH neutral and water-resistant.

    Archival quality paper is meant to last. Your prints will not fade and shift quickly when exposed to light.

    Some might argue that archival paper is not necessary because you’ll be routinely swapping out your pages if you get a screw-post portfolio. But most good papers are archival quality anyway. Archival paper is more important when you’re selling prints to hang on a wall.

    Before you settle on a paper, order some samples from the supplier to check quality or go to the printer you wish to use and take a look at their papers.

    Also, make sure that they’ll punch and score the paper for you if it doesn’t already come that way. Otherwise, you can make a mess out of your prints if you don’t know how to do this yourself.

    If you purchase a photo book, Eggshell matte paper, like Mohawk Superfine, is a great choice.

    how-to-print-a-professional-portfolio

    Where to print

    Unless you’re already a printing dynamo and have an awesome printer that you paid at least $ 1K for, get your book printed by a professional printer that caters to photographers.

    Do your research and, if you can, ask other photographers you might know in your community for their recommendations.

    It’s important that you don’t spare expense. Get the best quality printing that you can. The quality of inks can make a big difference in the portrayal of your work.

    There are a lot of great online services, but a professional printer in your community can give you personalized service that will make the difference in how your prints turn out. They can advise on papers and inks and any potential problems.

    Make sure that you print one of the spreads as a proof before committing to handing over the whole project.

    how-to-print-a-professional-portfolio

    Monitor calibration

    Before you start designing your portfolio, you have to prepare your images.

    It goes without saying that you should be working on a calibrated monitor.

    This is a step that a lot of people tend to skip, but unless you’re working on a monitor that is rendering colors correctly, you can end up with tones and colors that are way off base once you print them.

    Each device will display colors differently. Calibrating your monitor will make sure what you’re seeing is correct, and that you and your printer are both following a standard that will ensure the same result.

    A color calibration device like Color Munki is easy to use. Calibrate your screen regularly and definitely before you print anything or send images to clients. If they complain that the images don’t look right, you’ll know that what you sent them is correct.

    How to Print a Professional Portfolio So You Can Impress Your Clients

    Color management and resolution

    You need to prepare your images properly when sending them to a printer.

    Always check with your printer before preparing your files. Ask them the format and color space that they need your files in.

    This will be dependent on the type of printer they use. If they use a printing press, they will likely require your file in CMYK.

    However, if they use large format printers with up to 10-inks, they may require anything from Adobe RGB through to ProPhoto.

    Using the TIFF file format is usually better than using the JPG format, as it does not compress the image data. But again, check with your printer.

    You’ll also need to send the printer high-resolution images, with at least 300 dpi (dots-per-inch). The more dots, the higher the quality of the print in terms of detail and sharpness.

    For more in-depth information on this, read: How to Prepare Images For Publication – Part One

    How to Print a Professional Portfolio So You Can Impress Your Clients

    Conclusion

    To print a professional portfolio can be very costly. This is a case where you need to spend money to make money. If you want to attract the clients with the deeper pockets, you’ll need to get in front of them with a professional-looking book that shows your beautiful photography in the best light.

    Do you have any other tips on how to print a professional portfolio that you’d like to share? Do so in the comments section!

     

    The post How to Print a Professional Portfolio So You Can Impress Your Clients appeared first on Digital Photography School. It was authored by Darina Kopcok.


    Digital Photography School

  • Google explains its Night Sight astrophotography mode in detail

    Ever since Google launched its Night Sight feature on the Pixel 3 series the low light photography feature has been very popular with users. On the new Pixel 4 Google has updated Night Sight with a specific mode for astrophotography. The team behind it has now authored a blog post to explained the function in more detail.

    In order to capture as much light as possible without using shutter speeds that would require a tripod and/or lead to blur on any moving subject, Night Sight splits the exposure across multiple frames that are aligned to compensate for camera shake and in-scene motion. In a second step the frames are averaged to reduce noise and increase image detail.

    The astrophotography feature uses the same approach in principle but uses longer exposure times for individual frames and therefore relies on tripod use or some other kind of support.

    Image with hot pixels (left) and the corrected version (right)

    The team decided exposure times of individual frames should not be longer than 16 seconds to make the stars look like points of light rather than streaks. The team also found that most users were not patient enough to wait longer than four minutes for a full exposure. So the feature uses a maximum of 15 frames with up to 16 seconds exposure time per frame.

    At such long exposure times hot pixel can become a problem. The system identifies them by comparing neighboring pixels within the same frame as well as across a sequence of frames recorded for a Night Sight image. If an outlier is detected its value is replaced by an average.

    In addition the feature uses AI to identify the sky in night images and selectively darken it for image results that are closer to the real scene than what you would achieve with a conventional long exposure.

    This image was captured under the lighting of a full moon. The left half shows the version without any sky processing applied. On the right the sky has been slightly darkened for a more realistic result, without affecting the landscape elements in the frame.

    Night Sight is not only about capture, though, it also includes a special viewfinder that is optimized for shooting in ultra-low light. When the shutter is pressed each individual long-exposure frame is displayed as it is captured, showing much more detail than the standard preview image. The composition can then be corrected and a new Night Sight shot triggered.

    Some of the results we have seen have been impressive. For more more technical detail head over to the original post on the Google blog. A n album of full-size sample images can be found here. The team has also put together a helpful guide for using the feature in pdf format.

    Articles: Digital Photography Review (dpreview.com)

  • 8 Tips to Minimize Memory Card Problems

    The post 8 Tips to Minimize Memory Card Problems appeared first on Digital Photography School. It was authored by Megan Kennedy.

    minimize-memory-card-problems-tips

    Memory cards are a crucial component of digital photography. Here are 8 tips to help minimize memory card problems.

    glitch

    The unfortunate result of a memory card issue

    What is a memory card?

    minimize-memory-card-problems-tips-CF-card

    A memory card is a storage accessory that records the image data you make while taking photographs with a digital camera.

    Square or rectangular in shape, a memory card slots into your camera and reads/writes each image file you create.

    At the end of a shoot, the memory card can be removed from the camera and connected to a computer where images are then transferred for viewing, editing and storage.

    There are many different memory cards built to suit different needs, camera models and budgets.

    To have an in-depth look at memory card specifications, check out our article here.

    Memory cards are no doubt an amazing piece of technology, but they do require care. Fortunately, a bit of research can help minimize memory card problems.

    1. Use a good card reader

    As I mentioned before, there are various types of memory cards, each with different specifications and levels of quality. There are also card readers of different qualities to match.

    Card readers are the devices that transfer data from the memory card to your computer.

    While card readers seem like a pretty straight-forward piece of equipment, you don’t want to run the risk of corrupting files as you upload them to the computer.

    Investing in a good memory card reader can save a lot of stress down the road.

    2. Purchase quality cards

    example-of-cheap-equipment

    Uh, oh…the result of using a cheap memory card. Unfortunately, this image couldn’t be saved.

    Purchasing a good memory card is key to safeguarding your images. While quality cards may be more expensive, a cheap memory card can compromise your photography.

    Brands like SanDisk and Lexar are a go-to for professional photographers. Steer away from deals that look ‘too good to be true’ or obscure brands with poor reviews.

    3. Eject your memory card from the computer safely

    8 Tips to Minimize Memory Card Problems

    While it might seem harmless to remove your memory card from the computer without ejecting, you could be putting your next shoot at risk.

    Not ejecting your card may result in corrupted data or card failure. To minimize memory card problems, always eject your card through the computer before removing it.

    4. Turn your camera off before removing your memory card

    Another simple way to minimize memory card problems is to turn your camera off before removing your card. Removing your memory card while the camera is still on can interrupt the writing process and potentially corrupt your image files.

    In addition, avoid shooting while your camera battery is low. If your camera runs out of power while reading/writing it can be detrimental to all the data on your memory card.

    5. Don’t completely fill your card with images

    It sounds counter-intuitive, if you have the space, why not fill the card…right?

    The fact is, just like a maxed-out hard drive, a card nearing capacity under-performs, and this can compromise your images.

    To avoid this issue, invest in a large memory card, keep an eye on your image-count, don’t fill your card over 85-90% capacity, and always have a spare card at the ready.

    6. Don’t switch devices without formatting

    minimize-memory-card-problems-tips

    Switching a memory card into different camera devices risks compatibility issues that can corrupt the data of the whole card.

    If you need to change equipment, formatting a card before use or using a new memory card is the safest way to go.

    7. Don’t delete files in-camera

    If you take a photograph you aren’t too keen on, it’s tempting to erase the image then and there. However, deleting photographs individually in-camera can result in corrupted images.

    Going through and deleting images can also soak up valuable shooting time. Wait till you have uploaded your files to the computer before you start deleting content.

    8. Format your memory card before using it

    8 Tips to Minimize Memory Card Problems

    At the start of a new shoot, you want a memory card that is ready to read/write plenty of new data.

    To do this properly, it’s a good idea to format your card in-camera first.

    Selecting the format option in your camera menu will clear the card, readying it for new image files.

    Formatting before a shoot also minimizes the likelihood of scrambling new images with lingering data left on the card from previous shoots.

    Conclusion

    Memory cards are amazing little pieces of technology. With a few simple steps, you can minimize memory card problems, allowing you to focus your attention on image-making instead!

     

    Do you have any other tips for minimizing memory card problems? Or have you had corrupted cards and lost files? Share with us your tips and stories in the comments.

    The post 8 Tips to Minimize Memory Card Problems appeared first on Digital Photography School. It was authored by Megan Kennedy.


    Digital Photography School

  • Canon EOS M6 Mark II review: Our favorite Canon mirrorless camera yet

    Introduction

    $ (document).ready(function() { SampleGalleryStripV2({“galleryId”:”0757003519″,”isMobile”:false}) })

    Sample photoSample photoSample photoSample photoSample photo
    Gold Award

    85%
    Overall score
    Jump to conclusion

    The Canon EOS M6 II is an enthusiast-targeted 32.5MP APS-C mirrorless camera built around the company’s EF-M mount. In many respects it’s a more compact mirrorless variant of the EOS 90D DSLR that was announced simultaneously.

    Physically, it closely resembles the original M6 but brings a host of speed and feature upgrades. These include a higher resolution sensor, the ability to capture 4K video and a mode that shoots bursts of Raw files at up to 30 fps. The result is a capable and pleasantly engaging enthusiast camera.

    Key features:

    • 32.5MP Dual Pixel AF CMOS sensor
    • 14 fps continuous shooting
    • 30 fps Raw Burst mode (with AF Tracking and pre-shot buffering)
    • UHD 4K video at 30p and 25p with no crop / full width
    • 3.0″ rear touchscreen flips up by 180° or down by 45°
    • Optional electronic viewfinder
    • USB 2.0 port with Type-C connector

    Canon says it will add 4K/24p shooting to the M6 II with a firmware update in 2020.

    The EOS M6 Mark II is available in a series of kits. The official body-only price is $ 849. Adding the retracting 15-45mm IS STM lens and EVF (pictured) boosts the price to $ 1099, while an 18-150mm IS STM and EVF kit will set you back $ 1349.

    What’s new and how it compares

    The M6 II brings 4K video and 30 fps Raw bursts. We look at the new features and how it stacks up against its peers.

    Read more

    Body, handling and controls

    The M6 II gains some direct controls over its predecessor and features the latest iteration of the Canon menu system. There’s also a good degree of customization available.

    Read more

    Early impressions

    The M6 II has a couple of nice improvements over the original version, but it’s the state of the EF-M lens range and the future of the EF mount that change out perspective the most.

    Read more

    Image quality

    The 32.5MP sensor in the M6 II (shared with the EOS 90D) is the first new sensor design from Canon we’ve seen in a while – check out how it performs.

    Read more

    Autofocus

    The EOS M6 II has a reliable Dual Pixel autofocus system with eye detect. It’s not quite the best in the business, but it’s not at all bad, either.

    Read more

    Video

    With full-width 4K recording and a microphone input, the M6 II looks like a capable little video camera. Find out how it compares with its peers.

    Read more

    Conclusion

    The EOS M6 Mark II is one of our favorite APS-C cameras of 2019 – it may not be the very best at any one thing, but it’s very good at many things.

    Read more

    Sample galleries

    We had the chance to shoot with the M6 Mark II and have some sample images to show what it can do.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • Facebook explains how its AI helps Instagram users discover new images

    In a new technical post on its Artificial Intelligence blog, Facebook details the technology that determines which images Instagram users see in the platform’s Explore tab. According to the company, it had to develop ‘novel engineering solutions’ in order to select a relatively minuscule number of recommended images, videos, and Stories out of the billions of options each time the Explore tab is opened.

    Instagram’s Explore tab is found by tapping the magnifying glass icon within the service’s mobile app. The content presented within this tab is a small selection chosen from the billions of images and videos uploaded by users. Instagram uses machine learning (ML) to determine which content is most relevant to the user, helping them discover the types of images and videos they’re most likely to care about.

    Facebook explains in its new post that Instagram’s Explore tab is powered by a three-part ‘ranking funnel’ system that is capable of making 90 million model predictions in a single second. Engineers developed multiple systems to ensure that Instagram’s Explore recommendations are ‘both high quality and fresh,’ among other things.

    Facebook explains:

    After creating the key building blocks necessary to experiment easily, identify people’s interests effectively, and produce efficient and relevant predictions, we had to combine these systems together in production.

    The overall recommendation system first engages in what Facebook calls Candidate Generation, which determines the accounts (‘seed accounts’) an Instagram user may be interested in based on the accounts they already follow. Using these seed accounts, the AI then uses embedding techniques to find other accounts similar to the first batch it found.

    Using this entire batch of accounts, Instagram’s system then determines which images and videos those users engaged with (likes, shares, etc.), as well as the content they posted. Thousands of candidate posts are identified for each average person using the platform, according to Facebook.

    Once the candidates are identified, the system takes 500 of them and ranks them using a three-part ranking infrastructure. The first pass in this ranking system uses a distillation model to select 150 of the highest-quality posts from the 500 candidates.

    The second pass utilizes a lightweight neural network to pick 50 of the highest-quality posts from the batch of 150. Finally, the third and final pass uses a deep neural network to pick 25 candidates that are both most relevant to the user and of the highest quality. Those 25 candidates appear on the first page of the Instagram Explore tab.

    The selection process isn’t quite as simple as it sounds. Facebook explains that its system predicts which individual actions users will take on any given post, such as whether they’ll ‘like’ or share it — or, alternatively, whether they’ll have a negative response, which is something like choosing to ‘see fewer posts’ like the one they were recommended. The system can be designed to give more weight to certain predicted actions than others.

    Instagram’s Explore tab factors in the intention of showing users posts related to new interests in addition to their existing interests, according to Facebook, which explains:

    We add a simple heuristic rule into value model to boost the diversity of content. We downrank posts from the same author or same seed account by adding a penalty factor, so you don’t see multiple posts from the same person or the same seed account in Explore.

    The ultimate goal of Instagram’s Explore tab is helping users find new, relevant, and interesting content from other users. Facebook says that its engineers are ‘continuously evolving’ the discovery tab.

    Articles: Digital Photography Review (dpreview.com)

  • Help build the future of DPReview!

    We’re looking for a Front End Engineer, Software Development Engineer and a Senior UX Designer to join our team. These roles will all help build the next generation of mobile and web experiences for DPReview readers and community members, shaping the future of the world’s most popular digital camera website.

    See all of the details – and links to apply – below.

    Front End Engineer

    Software Development Engineer

    Senior UX Designer

    Articles: Digital Photography Review (dpreview.com)