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  • 2017 Roundup: Enthusiast Long Zoom Cameras

    Last updated: June 9, 2017

    While most of new 1″ sensor enthusiast cameras have been on the shorter end of the focal length spectrum, there are now quite a few long zoom models, as well. Whether you want something pocketable or want to shoot for the moon (pun intended), you’ll find it in this group.

    There are plenty of other long zoom compacts out there, some offering focal ranges reaching 2000mm though they use much smaller 1/2.3″ sensors. The larger sensors used in the cameras in this roundup completely eclipse those models, especially when it comes to image quality and control over depth-of-field.

    The models we’re looking at in this article include:

    • Canon PowerShot G3 X
    • Panasonic Lumix DMC-FZ1000
    • Panasonic Lumix DMC-FZ2500/FZ2000
    • Panasonic Lumix DMC-ZS100/TZ100
    • Sony Cyber-shot DSC-RX10
    • Sony Cyber-shot DSC-RX10 II
    • Sony Cyber-shot DSC-RX10 III

    With the exception of the Panasonic ZS100/TZ100, all of these cameras are pretty hefty, so don’t plan on stuffing those into a pocket. Focal ranges are all over the map, ranging from 200mm on the Sony RX10 I/II to 600mm on the Sony RX10 III and Canon G3 X. The vast majority of these cameras shoot 4K video, with some having more controls than others.

    To further help you pick the right camera in this class, we’ve created the chart below, which breaks down the equivalent aperture for each camera, as you work your way through the zoom range. Our article here explains the concept of equivalence, but at a high level all you need to know is that the lower the line is on the graph below, the blurrier the backgrounds you’ll be able to get and, typically at least, the better the overall low-light performance.

    LensEquivalentApertures([“Equivalent focal length (mm)”,”Panasonic FZ1000″,”Sony RX10 II”,”Canon G3 X”,”Panasonic ZS100″,”Sony RX10 III”,”Panasonic FZ2500″], [[24,null,””,7.6363636363636367,”Sony RX10 II at 24mm: F7.6″,7.6363636363636367,”Canon G3 X at 24mm: F7.6″,null,””,6.5454545454545459,”Sony RX10 III at 24mm: F6.5″,7.6363636363636367,”Panasonic FZ2500 at 24mm: F7.6″],[25,7.6363636363636367,”Panasonic FZ1000 at 25mm: F7.6″,null,””,null,””,7.6363636363636367,”Panasonic ZS100 at 25mm: F7.6″,6.8181818181818183,”Sony RX10 III at 25mm: F6.8″,7.9090909090909092,”Panasonic FZ2500 at 25mm: F7.9″],[26,7.9090909090909092,”Panasonic FZ1000 at 26mm: F7.9″,null,””,null,””,7.9090909090909092,”Panasonic ZS100 at 26mm: F7.9″,null,””,null,””],[27,null,””,null,””,8.7272727272727284,”Canon G3 X at 27mm: F8.7″,8.1818181818181834,”Panasonic ZS100 at 27mm: F8.2″,null,””,null,””],[28,null,””,null,””,null,””,null,””,7.6363636363636367,”Sony RX10 III at 28mm: F7.6″,8.1818181818181834,”Panasonic FZ2500 at 28mm: F8.2″],[30,8.1818181818181834,”Panasonic FZ1000 at 30mm: F8.2″,null,””,null,””,8.7272727272727284,”Panasonic ZS100 at 30mm: F8.7″,null,””,8.454545454545455,”Panasonic FZ2500 at 30mm: F8.5″],[32,null,””,null,””,null,””,9.0,”Panasonic ZS100 at 32mm: F9.0″,null,””,8.7272727272727284,”Panasonic FZ2500 at 32mm: F8.7″],[34,8.454545454545455,”Panasonic FZ1000 at 34mm: F8.5″,null,””,null,””,9.2727272727272734,”Panasonic ZS100 at 34mm: F9.3″,null,””,null,””],[35,null,””,null,””,9.5454545454545467,”Canon G3 X at 35mm: F9.5″,null,””,8.7272727272727284,”Sony RX10 III at 35mm: F8.7″,9.0,”Panasonic FZ2500 at 35mm: F9.0″],[36,null,””,null,””,null,””,9.5454545454545467,”Panasonic ZS100 at 36mm: F9.5″,null,””,null,””],[39,null,””,null,””,null,””,null,””,null,””,9.2727272727272734,”Panasonic FZ2500 at 39mm: F9.3″],[41,8.7272727272727284,”Panasonic FZ1000 at 41mm: F8.7″,null,””,null,””,null,””,null,””,null,””],[43,null,””,null,””,null,””,null,””,null,””,9.5454545454545467,”Panasonic FZ2500 at 43mm: F9.5″],[47,9.0,”Panasonic FZ1000 at 47mm: F9.0″,null,””,10.90909090909091,”Canon G3 X at 47mm: F10.9″,null,””,null,””,null,””],[49,null,””,null,””,null,””,null,””,null,””,9.81818181818182,”Panasonic FZ2500 at 49mm: F9.8″],[51,9.2727272727272734,”Panasonic FZ1000 at 51mm: F9.3″,null,””,null,””,null,””,null,””,null,””],[56,null,””,null,””,null,””,null,””,9.5454545454545467,”Sony RX10 III at 56mm: F9.5″,10.090909090909092,”Panasonic FZ2500 at 56mm: F10.1″],[58,9.5454545454545467,”Panasonic FZ1000 at 58mm: F9.5″,null,””,null,””,null,””,null,””,null,””],[60,null,””,null,””,12.272727272727273,”Canon G3 X at 60mm: F12.3″,null,””,null,””,null,””],[63,9.81818181818182,”Panasonic FZ1000 at 63mm: F9.8″,null,””,null,””,null,””,null,””,null,””],[69,null,””,null,””,null,””,null,””,null,””,10.363636363636363,”Panasonic FZ2500 at 69mm: F10.4″],[70,10.090909090909092,”Panasonic FZ1000 at 70mm: F10.1″,null,””,null,””,null,””,null,””,10.636363636363637,”Panasonic FZ2500 at 70mm: F10.6″],[79,null,””,null,””,null,””,null,””,null,””,10.90909090909091,”Panasonic FZ2500 at 79mm: F10.9″],[81,null,””,null,””,13.636363636363637,”Canon G3 X at 81mm: F13.6″,null,””,null,””,null,””],[84,10.363636363636363,”Panasonic FZ1000 at 84mm: F10.4″,null,””,null,””,null,””,null,””,null,””],[91,null,””,null,””,null,””,null,””,null,””,11.181818181818182,”Panasonic FZ2500 at 91mm: F11.2″],[100,null,””,null,””,null,””,null,””,10.90909090909091,”Sony RX10 III at 100mm: F10.9″,null,””],[102,null,””,null,””,null,””,null,””,null,””,11.454545454545457,”Panasonic FZ2500 at 102mm: F11.5″],[105,10.636363636363637,”Panasonic FZ1000 at 105mm: F10.6″,null,””,null,””,null,””,null,””,null,””],[144,null,””,null,””,null,””,15.818181818181818,”Panasonic ZS100 at 144mm: F15.8″,null,””,null,””],[151,null,””,null,””,null,””,null,””,null,””,11.727272727272728,”Panasonic FZ2500 at 151mm: F11.7″],[157,null,””,null,””,null,””,16.090909090909093,”Panasonic ZS100 at 157mm: F16.1″,null,””,null,””],[163,null,””,null,””,15.272727272727273,”Canon G3 X at 163mm: F15.3″,null,””,null,””,null,””],[170,10.90909090909091,”Panasonic FZ1000 at 170mm: F10.9″,null,””,null,””,null,””,null,””,null,””],[200,null,””,7.6363636363636367,”Sony RX10 II at 200mm: F7.6″,null,””,null,””,null,””,null,””],[208,null,””,null,””,null,””,null,””,null,””,12.000000000000002,”Panasonic FZ2500 at 208mm: F12.0″],[250,null,””,null,””,null,””,16.090909090909093,”Panasonic ZS100 at 250mm: F16.1″,null,””,null,””],[262,null,””,null,””,null,””,null,””,null,””,12.272727272727273,”Panasonic FZ2500 at 262mm: F12.3″],[400,10.90909090909091,”Panasonic FZ1000 at 400mm: F10.9″,null,””,null,””,null,””,null,””,null,””],[480,null,””,null,””,null,””,null,””,null,””,12.272727272727273,”Panasonic FZ2500 at 480mm: F12.3″],[600,null,””,null,””,15.272727272727273,”Canon G3 X at 600mm: F15.3″,null,””,10.90909090909091,”Sony RX10 III at 600mm: F10.9″,null,””]])

    With its F2.8 constant aperture lens, the Sony Cyber-shot RX10 I & II capture more total light and offer more control over depth-of-field compared to its peers, by 1 or 2 stops. The trade-off is that its focal length caps out at 200mm equiv. The Canon PowerShot G3 X and Sony RX10 III have the longest lenses, with the latter being about 2/3-stop faster once hitting around 100mm. The Panasonic FZ2500 splits the difference between the G3 X and RX10 III.

    And with that out of the way, let’s get right into exploring the enthusiast long zoom cameras!

    Articles: Digital Photography Review (dpreview.com)

  • Shootout: Pro with amateur gear vs amateur with pro gear

    Mango Street lab put together a fun video where two individuals, one a pro and one an amateur, shoot the same model and compare results. The catch? The pro is shooting with a kit costing around $ 500 used: a Canon T3i and 18-55mm kit lens, plus a 40mm F2.8 pancake. The amateur on the other hand is using a kit costing nearly 10x as much: a Canon 5D Mark IV and 35mm F1.4L II.

    In the end, both photographers get great shots – it turns out the amateur had more skill than he let on. Despite this, the point is clear: gear alone can’t make up for actual photographic skill – something that comes largely from time spent behind the lens. And a good photographer can usually make strong images, regardless of the camera used.

    Now stop reading about gear and go shoot! It’s the best way to improve.

    Articles: Digital Photography Review (dpreview.com)

  • CIPA figures for April illustrate steadying of the digital camera market and continued mirrorless growth

    DSLR sales continue to decline, but great news: the overall camera market seems to be stabilizing.

    The latest figures released by the Camera and Imaging Products Association (CIPA) show that the total camera market remained mostly steady year-on-year for the month of April, and that mirrorless sales are growing against a decline in the number of DSLRs sold. CIPA’s data demonstrates that its member companies produced almost the same number of cameras this April as they did in April 2016, but that they were worth fractionally more.

    During the period from January to the end of April CIPA members actually produced more cameras than they did in the same period last year, and even though the difference was only 3-4% by volume and value, it is still very positive news.

    The decline in the Japanese market rather drags the worldwide shipping figures down from 8.4% by value, when Japan is excluded, to just under 4% when looking at the whole world. Outside of Japan the market grew year-on-year for the period Jan-April by 3% by volume and 12% by value, indicating the cameras being shipped are higher in price than last year.

    While the interchangeable lens camera market grew by 7.4% in volume and 4.5% in value for the month, the bulk of that growth came from the ‘non-reflex’ sector. CIPA includes mirrorless cameras, compact system cameras and rangefinder cameras in these figures, though without the membership of Leica or Hasselblad we can assume that most of the category is compact system and other mirrorless cameras that have interchangeable lenses – such as Fujifilm’s GFX.

    Asia remains by far the largest market for these cameras and sold almost as many bodies as Japan, Europe and America combined.

    This non-reflex category jumped in value by 37.5% in Japan but in the rest of the world that growth hit 80.5%. An area designated by CIPA as ‘Other’, that doesn’t include Asia, Europe, Japan or the Americas, saw mirrorless growth of 141% by volume and 136.5% by value – though the actual figures are relatively small. Asia remains by far the largest market for these cameras and sold almost as many bodies as Japan, Europe and America combined.

    While only 89% of last April’s SLRs shipped this April, the worldwide market for these cameras is still just less than twice the size of the mirrorless segment, though in Japan the value of DSLR market was only 57% of what was managed last April – a really significant drop.

    The good news, of course, is that the market didn’t shrink.

    For more information see the CIPA website.

    Articles: Digital Photography Review (dpreview.com)

  • 4 times when a Hail Mary might be the right move

    4 times when a Hail Mary might be the right move

    A bee hops between blackberry flowers on a sunny day in North Tacoma. By holding the stem of the flower in one hand and camera (with a full-frame fisheye) in the other, I could adjust the composition quickly and blast frames whenever the bee appeared close. My slow noggin just couldn’t keep up. July 2014. Photo and caption by Peter Haley.

    More often than not, the ‘decisive moment’ doesn’t happen exactly where you want it. Sometimes the best angle is one that’s impossible to achieve with the camera to your eye – players huddling on a field, a crowd on a dance floor. For such occasions, there’s what’s known as a Hail Mary.

    The Hail Mary takes its name from a long shot pass in American football, a low-percentage shot when there are no other options. It’s a last ditch effort, but you don’t have much to lose by trying. In photography, the Hail Mary is most often thought of as holding your DSLR far above your head and pointing it down toward your subject, but the term can apply to any shot you take with the camera away from your body, pressing the shutter button and hoping for the best.

    Sure, cameras with tilting LCDs can give you an advantage nailing the shot, but especially when time is of the essence, sometimes the best you can do is point your lens in the right direction and pray.

    Photojournalist Peter Haley has found himself in more than one situation that called for a shot from a tricky angle. Whether it’s for an unexpected angle of a familiar subject, or an effort to keep your distance, here are a few occasions that call for a long shot.

    1. When body language would tip-off the subject

    I had seen her umbrella blow backward once, and thought it might happen again. I didn’t want her to see that I was focusing on her, so I walked in front of her, glancing over my shoulder, with the camera held down at my side and already pointed back toward her. When the umbrella blew, my camera was shooting even before I finished turning my own body around. January 2007. Photo and caption by Peter Haley.

    Says Haley, ‘If you don’t want a subject to notice that you’re taking photos, not pulling your camera up to your eye is helpful.’

    1. When body language would tip-off the subject

    The photojournalism didn’t stop even during a break in a cramped bathroom at the King County Fair. July 1989. Photo and caption by Peter Haley

    2. When your body would be in the way

    A largemouth bass is tossed back. For an interesting composition the camera needed to be against the stomach of the fisherman. No room for my body there. May 2008. Photo and caption by Peter Haley.

    ‘A good angle is often from the point-of-view of the subject, so sometimes I hold the camera against the person’s chest where there’s no room for my body. Or the camera needs to move farther back, but I’m up against a wall, so I hold the camera flat against the wall.’

    2. When your body would be in the way

    The Washington DOT avalanche crew at Snoqualmie Pass fires a 105mm recoilless rifle. Everyone must huddle close to the center of the length of the barrel to minimize the concussion. But the camera needed to be farther away, so I held it up in classic ‘Hail Mary’ position. February 1999. Photo and caption by Peter Haley.

    3. When you need to get lower, closer, or farther away

    The camera needed to be forward of the gun, but my own body didn’t. I suppose my hand took a slight risk. Note the usefulness of the dimly-lit pistol range and a slow shutter speed. January 2013. Photo and caption by Peter Haley.

    ‘I don’t like to lay down on a wet beach if I don’t have to. I prefer to keep my body away from snarling dogs, even if the camera needs to be close with a wide angle lens. Or I don’t want to put my whole body close to the line of fire, so I’ll risk only a hand.’

    3. When you need to get lower, closer, or farther away

    The teeth look better from close up with a wide angle, but I didn’t want to risk getting cut. So I held the camera at arm’s length. April 2010. Photo and caption by Peter Haley.

    4. When you need to move quickly

    I was standing below a cornice, off of which I expected some young skiers to jump, but I didn’t know exactly where. I was sure that it would be very close to where I was, so I was able to use a very wide lens. I needed all my peripheral vision in order to see as soon as possible where they were going to pop into view. I had only a fraction of a second to point the camera that way– not enough time to acquire sight through a viewfinder. November 2012. Photo and caption by Peter Haley.

    ‘Sometimes the camera needs to bob, weave and dip quickly to stay close to a moving subject. Keeping my eye attached to the viewfinder – which would necessitate my whole upper body to move with it – slows the camera’s movements too much, so I just move the camera at the end of my arm.’

    Peter Haley grew up in Tacoma, studied science at UC Berkeley, but forged his career from a passion for photography. He’s shot for The News Tribune (Tacoma) since 1986.

    Like all photographers, he’s won plenty of awards (photographers love contests), and his work has appeared in coffee-table photo books (A Day in the Life of…, etc). He has been embedded with the army in Iraq three times and Afghanistan once.

    His favorite things to shoot: Live events. People doing ordinary things. No posed photos! Outside of family, his passions include skiing, and… well… more skiing.

    Articles: Digital Photography Review (dpreview.com)

  • In photos: a bucket-list trip to the Serengeti

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    The Serengeti is on many-a photographer’s bucket list, but it’s not a cheap trip to make. If you’re wondering whether it’s worth making the investment, photographer Michael Bonocore gives a resounding ‘yes.’ He made the trip to Tanzania last year and returned with stunning photos from the region.

    Michael says:

    ‘It’s hard to really explain the adrenaline rush that will hit you like a ton of bricks the first time you see a herd of elephants or a pride of lions start to walk your way. Staring blankly in awe of such powerful creatures, it can be hard to get your camera at the ready and your settings dialed in before the moment passes. But eventually, you learn that these magnificent animals are indifferent to your presence.’

    Serengeti National Park has the ‘big five’ animals typically seen on safari: rhinos, elephant, buffalo, lion and leopard. An estimated 3000 lions can be found in the park alone. What’s harder to find are critically endangered black rhinos and stealthy leopards. Bonocore also spotted ‘wildebeest, zebra, giraffe, warthog, hyenas, jackals, monkey, birds, and even crocodiles.’

    You can see Michael Bonocore’s full writeup of his trip to Africa, as well as some truly stunning sunset photos, over at Resource Travel.

    Articles: Digital Photography Review (dpreview.com)

  • Video: tips for black-and-white processing in Lightroom

    This tutorial provides useful advice for getting the most out of Lightroom when it comes to converting images to grayscale and making edits. The narrator notes that it is OK to push sliders way more than you might be use to when editing color images, which is definitely important to remember! He also offers quality advice on using the color sliders to improve the tonality of b/w images.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-A3 added to studio scene comparison

    The Fujifilm X-A3 sits on the low-end of their mirrorless lineup, with only the X-A10 carrying a lower MSRP. Where the X-A3 really differentiates itself, though, is that it comes with the latest 24MP sensor from higher-end Fujifilm cameras, but with a traditional Bayer filter array instead of X-Trans. What does that mean in terms of image quality? Well, see for yourself.

    See the Fujifilm X-A3 on our studio scene

    Articles: Digital Photography Review (dpreview.com)

  • OPPO R11 Plus comes with 2x tele dual-cam

    Back at the Mobile World Congress in February Chinese Manufacturer OPPO was demonstrating a smartphone camera module with a 5x optical zoom that was developed in cooperation with the Israeli company CorePhotonics. This technology still has not made it into a production device but today the company has launched the R11 Plus which features a dual-cam with 2x zoom factor and all around impressive camera specifications.

    The main lens is coupled with a 16MP Sony IMX398 1/2.8″ sensor and a fast f/1.7 aperture. The telephoto module features a 20MP Sony IMX350 sensor with f/2.6 aperture. The Qualcomm image signal processor applies image fusion algorithms and offers a background-blurring portrait mode, similar to what we’ve seen on the iPhone 7 Plus or the Xiaomi Mi6. 4K video recording is possible with both cameras. The front camera has a 20MP sensor and F2.0 aperture.

    Other specifications include a 6″ 1080p AMOLED display, 6GB of RAM, a Qualcomm Snapdragon 660 chipset and a 4,000mAh battery, all wrapped up in a metal unibody. No information on launch data and pricing has been revealed yet.

    Key specifications:

    • Dual-camera
    • Wide angle camera with 16MP Sony IMX398 1/2.8″ sensor and f/1.7 aperture
    • Telephoto camera with 20MP Sony IMX350 sensor with f/2.6 aperture
    • 4K video on both cameras
    • Portrait mode
    • 20MP front camera with F2.0 aperture.
    • 6″ 1080p AMOLED display
    • 6GB RAM / 64GB storage
    • Qualcomm Snapdragon 660 chipset
    • 4,000mAh

    Articles: Digital Photography Review (dpreview.com)

  • Tenba updates Roadie line of rolling cases

    Bag manufacturer Tenba has updated its Roadie line of rolling cases which come with features such as a removable camera inserts and an exterior pocket for a portable battery. The Air Case model features a rigid shell that can be safely shipped or checked at the airport. Tenba says the Roadie bags were designed with a high-end luggage aesthetic to ensure they look professional yet don’t draw unwanted attention to the gear inside.

    The cases come with a water-repellent exterior of 1680-denier ballistic nylon, YKK RC-Fuse zippers and aircraft-grade aluminum luggage handles. A rain cover provides additional protection in wet weather and the wheels are user-replaceable.

    The new Roadie Roller 18, 21, Hybrid 21 and Air Case 21 all comply with most international and U.S. domestic carry-on regulations, while the Roadie Roller 24 is suitable for non-airline use only but can carry cameras and lenses along with flash and lighting systems. 70-200mm 2.8 lenses will fit standing vertically to maximize interior storage. More information is available on the Tenba website.

    Press Release:

    Tenba Updates Roadie Line of Rolling Cases Including a Flagship Checkable, Shippable, Uncrushable Model

    NORTH WHITE PLAINS, NY (PRWEB) JUNE 08, 2017

    Tenba Roadies are sleek, discrete cases for uncompromising photographers and filmmakers that include some key “industry first” features like a removable camera insert, an exterior pocket for a portable battery, and an Air Case model with a rigid shell that can be safely shipped or checked at the airport. Roadies were designed with a high-end luggage aesthetic to ensure they look professional yet don’t draw unwanted attention to the gear inside.

    Tethered Case Lid
    Interior straps keep the lid upright when opened so it works as a mobile workstation, and they help the Roadie maintain a small footprint in tight environments.

    Drop-In Tripod Carrier
    This is Tenba’s quickest and simplest tripod carrier ever. Virtually any size tripod can be stored in just a few seconds. Also holds light stands when Roadie is being used for lighting gear.

    Extra Bag Strap
    A quick and hands-free way to attach a second bag to the Roadie, just like pilots and flight attendants do.

    Leather Trimmed Handles
    Padded top and side handles make the Roadie comfortable to carry even when fully loaded, and waterproof full-grain leather trim improves the grip.

    Integrated TSA-Approved Security
    The Roadie includes an integrated lock for the zipper on the camera compartment, plus an additional security cable and padlock to secure the case on location. Both locks are TSA approved.

    Professional Features
    Roadies are built to deliver on Tenba’s promise for durability, with a water-repellent exterior of 1680-denier ballistic nylon, YKK® RC-Fuse zippers and aircraft-grade aluminum luggage handles. For additional protection in wet weather, each bag includes a WeatherWrap rain cover. The user-replaceable wheels combine shock absorbing TPU with high carbon steel bearings so they are sure to roll smoothly and quietly over any surface.

    The Roadie Roller 18, 21, Hybrid 21 and Air Case 21 all comply with most international and U.S. domestic carry-on regulations, while the Roadie Roller 24 is suitable for non-airline use. Roadies are available now at Tenba authorized resellers.

    Introducing Roadie Air Case Roller 21, Roadie Roller 24, Roadie Hybrid Roller 21, and a Few Industry First Features

    Introducing Our Checkable, Shippable, Uncrushable Carry-on Rolling Case
    One model in the Roadie Collection, the Roadie Air Case Roller 21, utilizes Tenba’s patented layered wall construction to provide the protection of a hard-shell case at a fraction of the weight. It can withstand more than 400 pounds stacked on top, so it will ensure equipment protection when the case needs to be checked unexpectedly, like when airline overhead space has filled up, or when flying on a small regional jet.

    Introducing the Roadie Roller 24
    Due to its larger-than-carry-on dimensions, the Roadie Roller 24 can efficiently carry large systems in a single case. Cameras and lenses can be stored along with flash and lighting systems, and 70-200mm 2.8 lenses will fit standing vertically to maximize interior storage.

    Introducing the Roadie Hybrid Roller 21
    A comfortable backpack harness enables the Roadie Hybrid Roller 21 to be carried when terrain is not especially “wheel friendly,” such as on stairs or over sand or dirt.

    Quick Access Battery Pocket
    Available in all models except Roadie Hybrid Roller 21 and Roadie Air Case 21
    The rear zippered pocket can hold a battery for charging mobile phones and other portable devices. Twin zippers allow cables to be easily threaded out of the pocket.

    Removable Padded Camera Insert
    Included with all Roadie Roller models except Roadie 18
    The removable insert allows a camera and 2-3 lenses to be carried independently inside a smaller shoulder bag. The insert can be paired with Tenba’s Packlite 10 travel bag to create a portable camera bag solution, allowing the user to leave the rolling case behind and just carry a core camera kit.

    Articles: Digital Photography Review (dpreview.com)

  • Google Photos now auto-suggests images for archival

    Google has launched a new smart archiving feature in Google Photos on iOS, Android and desktop that helps users quickly select photos to archive as a way to declutter the main gallery. The new archiving suggestions are found in the Assistant tab, where photos are pre-selected for archiving. Users are given control over the selections, though, being able to remove some suggested photos and add others.

    The company announced the new feature in a post on its Google Plus page, explaining that users can also archive individual photos by tapping the three-dot ‘…’ button on the image, then selecting ‘Archive.’ Archived photos, though removed from the main gallery, are not deleted. The archived photos can be viewed anytime by opening the left-side navigation pane and selecting ‘Archive’ or by using search.

    Via: Google Plus

    Articles: Digital Photography Review (dpreview.com)