Photo News

Bonavita Metropolitan 8-Cup brewer review - CNET

CNET Reviews - Sun, 01/21/2018 - 05:00
Bonavita's Metropolitan brews delicious drip coffee for just $100.
Categories: Photo News

Logitech Circle 2 review - CNET

CNET Reviews - Sun, 01/21/2018 - 05:00
Logitech's Circle 2 wired indoor/outdoor security camera has what it takes to keep watch in and around your home.
Categories: Photo News

Q Acoustics M2 review - CNET

CNET Reviews - Fri, 01/19/2018 - 14:29
The Q Acoustics M2 is a decent sound base that offers vocal clarity -- but not enough oomph.
Categories: Photo News

Google Clips smart camera will launch soon, appears in FCC documents

DP Review Latest news - Fri, 01/19/2018 - 12:37

During its October 2017 event, Google surprised the camera world by introducing a small AI-powered lifelogging camera named Google Clips. And now, thanks to some uncovered FCC documents, it looks like we're getting close to an official release date.

Google Clips is an interesting concept. Unlike other cameras that require a bit of input from the user, Google said Clips could analyze situations and automatically capture memorable moments, growing smarter over time—just place it on a shelf and it would 'learn' to capture your most important moments as they unfolded. Several months later, however, we still haven't heard anything from Google about a release date. We know it'll cost $250 USD when it launches, and the Google Clips product page offers prospective buyers the option to join a waitlist, but Google hasn't revealed anything more.

That's where the eagle-eyed folks at Variety come in. Earlier this week, they noticed that the camera recently passed through the FCC, indicating that a launch is imminent. In other words: if you're holding out for the Google Clips, your wait is almost over.

Categories: Photo News

This is the world's first variable graduated ND filter

DP Review Latest news - Fri, 01/19/2018 - 11:31

Aurora Aperture has just introduced a very interesting little piece of photography gear: the world's first variable graduated neutral density filter. Variable NDs are fairly common, as are graduated NDs, but until now nobody had thought to (or at least managed to) mix the two ideas into one.

Enter the Aurora PowerGXND: a variable hard transition graduated neutral density filter with continuously variable range of up to 5 stops (ND 0 - 1.5). Here's a quick intro video to get you familiar with the new filter family:

And a 4K demo video that shows the filter in action:

Aurora has introduced, and is funding, this filter family through Kickstarter, where the PowerGXND is being offered in three sizes and with a variety of mounting accessories. You can get the filters in Large (105mm), Medium (82mm), or Small (62mm) sizes, which can be mounted onto a camera using either a "slim lens adapter" or a square filter holder adapter plate.

The filter also features hard stops at either end of the scale, multi-layer nano coatings to repel water, oil and dust, and a direct reading scale to help you dial in the exact stop value you're looking for.

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To learn more about the Aurora PowerGXND, head over to the Kickstarter campaign where you can reserve your own (the project is already fully funded) for anywhere between $95 for the 62mm 'slim' kit to $340 for the 105mm w/ 130mm holder kit.

Press Release

Aurora Aperture Introduces World’s First Variable GND Filter Family

Irvine, California, January 15th, 2018 - Aurora Aperture Inc., a Southern California company specialized in photography filters, today has introduced the world’s first variable graduated neutral density (GND) filter family, the Aurora PowerGXND.

The PowerGXND family is an hard transition GND filter with a continuous range up to 5 stops (ND 0 - 1.5). GND filters are widely used in photography and videography for balancing a high contrast scene for proper exposure.

“The Aurora PowerGXND family is the world’s first variable GND filter,” said Jeff Chen, founder and CEO of Aurora Aperture Inc. “offering a wide range of light balancing capability for both photographers and videographers. Until now users need to carry multiple fixed stop GND filters with light reduction values of one, two, and three stop with no fractional stop value. With our variable GND filters, all you need is one filter and just rotate the filter until you see the desired result, it is truly that easy.”

The Aurora PowerGXND filter is based on the innovative Aurora PowerXND variable ND filter introduced in 2016. While keeping the original thin frame profile, a new hard stop feature is added to limit the filter rotation within the minimum and maximum settings. Another new feature is a direct reading scale so users can quickly dial the filter to a stop value easily.

Designed in California by Aurora Aperture, the Aurora PowerND filters are made from Schott B 270® i Ultra-White Glass. Filter surfaces are applied with PFPE hydrophobic and oleophobic coatings to repel water, soil, and dirt. With these multi-layer nano coatings, the Aurora PowerGNXD filters are capable of answering the demands of 4k videos and modern high density sensors.

There are three sizes available, S (62mm), M (82mm), and L (105mm) to cover lens filter thread size from 37mm to 82mm. Adaption plates and square filter systems (75mm, 100mm, and 130mm) are available for using the variable GND filters on different lenses.

Availability and Pricing

The Aurora PowerND family will be available through Kickstarter starting in January

2018. Dealers and general availability will start in May 2018. List price starts from US$149 to $329, depending on filter sizes.

Categories: Photo News

Learn about Photoshop blending modes in just 8 minutes

DP Review Latest news - Fri, 01/19/2018 - 09:36

Confused about what all those layer blending modes do in Photoshop? Well, you don’t need to be any more. Jesus Ramirez of the Photoshop Training Channel has made an excellent short video tutorial that explains each mode in simple and easily-understood terms, so even beginners will get the picture.

His 8-minute Crash Course uses a gray tone chart over a normal photograph to show how each blending mode alters the way the chart appears. Jesus also demonstrates how different brightness values blend together, and how to use layer blending to control color density and saturation. Finally, he also explains why the modes are grouped into six sections on the drop-down menu, so you can quickly find the mode you need depending on the situation.

Check out the full video above. It’ll only cost you eight minutes of your life, and you'll almost certainly learn something new unless you're already a Photoshop expert.

Categories: Photo News

Smartphone front cameras might soon be placed below the display

DP Review Latest news - Fri, 01/19/2018 - 09:15
Photo by Julián Gentilezza

With smartphone displays getting larger and moving to an 18:9 (or 2:1 if you prefer) aspect ratio and display bezels shrinking at the same time, there is hardly any space left at the front of new devices for physical controls or other components.

Physical home buttons and fingerprint readers have already largely disappeared from the front and moved to the rear or edges of devices; however, moving the front camera to the rear isn't really an option (for obvious reasons) which is why devices like the iPhone X or the Essential Phone have ended up with unsightly notches at the top of their displays.

A new patent by Samsung could offer a solution: moving the front camera and other components, such as the earpiece and proximity and ambient light sensors, below the screen. A camera that can see through the display would also offer an additional advantage, allowing manufacturers to place it towards the center of the screen so that the camera and the face of the person you're talking to would be roughly in the same spot.

While Samsung's idea definitely looks like an elegant answer to the space limitations at the front of modern smartphones, nobody has built a suitable camera yet. That said, an earlier patent that has been referenced by Samsung, Apple and LG among others, suggests using an OLED display with a very high refresh rate. The system could then activate and deactivate the screen at a very fast rate and allow for camera recording during the inactive periods.

As usual with patents, there is no way of knowing if and when the technology will make it into a production device, but the idea of a totally seam- and bezel-less display is certainly an appealing one.

Categories: Photo News

Panasonic DC-GH5S added to buying guides

DP Review Latest news - Fri, 01/19/2018 - 06:00

Now that we've spent some time with Panasonic's video-centric Lumix DC-GH5S, we've added it to our 'Best Cameras for Video' and 'Best Cameras over $2000' buying guides. When our review of the GH5S is complete – and if we think it's the best camera in one or both of those groups – the guides will be updated again.

Read our Best Cameras for Video
buying guide

Read our Best Cameras
over $2000 buying guide

Categories: Photo News

Meike's new battery grip for the Sony a9 and a7R lll comes with a wireless remote

DP Review Latest news - Thu, 01/18/2018 - 11:45

Accessories manufacturer Meike has released details of a new grip it will be selling for the Sony a9 and a7R lll bodies that can hold two batteries and double as a remote control.

The Meike MK-A9 Pro Battery Grip is designed to make vertical shooting more comfortable, and comes fitted with a shutter release, two custom buttons, an AF button, a joystick and two control wheels as well as its own on/off button. In addition though, the grip functions as a wireless radio remote receiver when it’s used with the remote controller that comes with the kit.

Operating on 2.4GHz radio signals, the grip can be instructed from a distance of up to 100m, and offers functions beyond simple triggering. The unit can also work as a timer, an intervalometer, and as a Bulb trigger for extended exposures.

The grip comes with a two-battery insert, but not the batteries themselves. It will begin shipping on January 31st, and will cost £95/$120 on Amazon. For more information, see the Meike website.

Categories: Photo News

Video: Watch a YouTuber disassemble his Canon 1D X Mark II to see what's inside

DP Review Latest news - Thu, 01/18/2018 - 11:36

Photographer and filmmaker Peter McKinnon's Canon 1DX Mark II recently took a tumble while he was out on an ATV ride. But rather than let this obviously traumatic experience scar him, he decided to use it as an opportunity. Before sending his camera to Canon for repair, he decided to disassembled the $6,000 DSLR himself... on video.

The teardown takes viewers through the careful process of removing the camera's front and back, something McKinnon at one point describes as potentially "the dumbest thing I've ever done." Not to put too fine a point on it, because we like Peter, but we totally agree with him.

Fortunately, everything ultimately ends well. McKinnon successfully disassembles and then reassembles the 1DX Mark II before sending it to Canon for repair. The camera maker even provided McKinnon with a loaner unit to use while his own camera was in the shop.

It's a neat video that gives you a peek inside the very expensive and advanced DSLR, but we definitely don't suggest you ever try this at home. As McKinnon notes in the video, disassembling a camera like this voids whatever warranties are covering it. In other words, if you're curious to see what's inside, watch this video... don't try it yourself.

Categories: Photo News

Apple will stop automatically slowing down your iPhone, will let you decide

DP Review Latest news - Thu, 01/18/2018 - 09:28
Photo by Suganth

Apple's iPhone slowdown controversy has reached what seems like its final stage last night, when Tim Cook announced in an exclusive interview with ABC News that the company would give users the option to keep their older iPhones running at full speed, even once the battery had become, in Cook's words, 'unhealthy.'

The controversy began a few weeks ago when several iPhone users online shared benchmarks that showed older phones—iPhone 6 and 6s models—were being slowed down to less than half their original CPU performance. This led to wild speculation about so-called 'planned obsolescence': the idea that Apple was slowing down phones to encourage users to upgrade to newer models.

Apple admitted to releasing an update that slowed down iPhones whose batteries had become older, but the company was vehement that it was done in the users best interest—a way to prevent unexpected restarts. Cook reiterated this point in last night's interview with ABC News.

"When we did put [the update] out, we did say what it was, but I don't think a lot of people were paying attention and maybe we should have been clearer as well," says Cook, explaining that Apple did notify users, probably in the update release notes. "And so we deeply apologize to anybody that thinks we had some other kind of motivation."

In the short cut of the interview above, this apology is all that's mentioned, but a longer version of the interview also revealed another very interesting tidbit: Apple's forthcoming battery update will let users choose whether or not their phones are slowed down once the battery becomes 'unhealthy.'

As MacRumors quotes from a longer cut they were able to embed:

We're also going to... first in a developer release that happens next month, we're going to give people the visibility of the health of their battery.

[...]

...we will tell someone we're reducing your performance by some amount in order to not have an unexpected restart. And if you don't want it, you can turn it off. Now we don't recommend it, because we think people's iPhones are really important to them, and you never can tell when something is so urgent. Our actions were all in service of the user. I can't stress that enough.

Whether or not these changes—and the discounted battery replacements announced a couple of weeks ago—will be enough to get Apple out of a few of the lawsuits currently being pursued against the company is yet to be seen. But for users who wanted more transparency from the company, it's definitely a step in the right direction.

Categories: Photo News

Tether Tools unveils TetherPro line of USB-C cables

DP Review Latest news - Thu, 01/18/2018 - 08:44

Tether Tools, a manufacturer of wired and wireless equipment for camera tethering, has introduced its line of TetherPro USB-C cables for photographers shooting tethered with cameras or computers that feature a USB-C connection.

With faster data-transfer rates and the ability to insert connectors in any direction, USB-C is a great improvement over previous versions of the USB-standard. However, the variety of existing cables and connectors means that photographers using USB-C cameras or laptops often have to revert to using adapters, hubs or dongles to connect devices.

The TetherPro line has been designed to eliminate the need for all those adapter solutions. It features 12 cables, all available in either black or orange and purely intended for data transfer—meaning they are not suitable for powering USB-C devices. Tether Tools says its cables are constructed to the highest possible USB specifications, allowing for fast and reliable data transfer.

“Our goal is to provide photographers with the optimal cable to meet their unique needs for tethered photography, without the use of dongles, whether they have a USB-C port on their camera, computer, or both,” said Josh Simons, Tether Tools CEO. “We've worked diligently to optimize the performance and are excited to bring TetherPro USB-C cables to the market after extensive development and testing.”

The line includes USB-C to USB-C versions and USB-C to USB-A cables for those using USB-C Cameras, such as the Hasselblad H6 or X series, Panasonic GH5 or Sony a7R III. There are also TetherPro USB-C cables for photographers using USB-C computers with USB 2.0 or 3.0 cameras. And if you'd like a longer cable, the 15-foot USB-C to USB-A adapter might be worth a closer look.

All of the cables all retail for between $25 and $57 depending on configuration and length. For more information or specific pricing, visit the Tether Tools website.

Categories: Photo News

Review: The Handevision Iberit 35mm F2.4 is a budget option for Leica users

DP Review Latest news - Thu, 01/18/2018 - 06:00
Handevision Iberit 35mm F2.4 (Leica M-mount)
$640 (~$600 in Fujifilm X / Sony E-mount)
www.handevision.com

I've been curious about Handevision's small range of Iberit primes since Dan and I saw them in person at last year's CP+ show in Yokohama. Street prices for the lenses range between $640-800 for 24mm, 35mm, 75mm, and 90mm primes in Leica M-mount, and a little less for Fujifilm X and Sony E-mount versions, making them relatively affordable by the standards of all three systems.

Designed in Germany and made in China ('Handevision' is a portmanteau term - ‘Han’ signifies 'China' in Mandarin, while the following two letters ‘De’ represent the first two letters of 'Deutschland') the Iberit line is intended to be a low-cost alternative to 'own-brand' lenses and established third-party primes, for photographers dipping their toes into manual focus photography.

Key specifications:
  • Focal length: 35mm
  • Format: Full-frame (Leica M, Fujifilm X, Sony E-mount)
  • Manual focus
  • Aperture range: F2.4-16 (In 1/2 stops)
  • Filter thread: 49mm
  • Close focus: 0.7m (0.35m for E/X-mount versions)
  • Hood: Included, bayonet
  • Length / Diameter: 35 / 58mm (1.4 / 2.3in)
  • Weight: 220g (7.7oz)
  • Optical construction: 6 elements in 6 groups

Since I tend to shoot mostly at 35mm, I was most interested in the Iberit 35mm F2.4. So when I found a used copy in Leica M mount in my local camera store recently I decided to take a chance and buy it, mostly out of curiosity. If it turned out to be really good, maybe it would find a place in my permanent camera kit. If it ended up being a dud, I had 30 days to return it for a refund.

Design and handling

Of course, when it comes to lenses, things aren't that simple. Most lenses shine in some situations and fail in others. Few are stunning at every aperture at every focal distance, and even fewer can shine in every environment in which they could possibly be used – lens design, after all, is an exercise in compromise. And while I was very curious about the Iberit 35mm F2.4 after handling the roughly-machined prototypes at CP+ last year, I will admit that my expectations were modest.

The Iberit 35mm F2.4 can be 6-bit coded to be read as whatever lens you like, with the addition of some dabs of black and white paint into the pre-engraved spaces on the lens mount.

It's up to you how (or if) you choose to code the Iberit but the Leica Summarit 35mm F2.5 is closest in terms of specification. The 6-bit code is 101011 (1 = black, 0 = white) when the code is positioned at 12 o'clock.

Here I've filled in the black spots with craft paint, as an example. The chrome of the lens mount stands in for white because I'm lazy.

Cosmetically, the Iberit 35mm F2.4 (or my copy, at least) is a lot better than those early prototypes. The focus helicoid operates with an impressive smoothness – not quite up there with a new Leica or Zeiss prime but nicely-damped and with no wobble. An integrated focus tab is a welcome addition to the M-mount version of the lens.

The Iberit's aperture dial is a little dry and could use stiffer detents at its 1/2 stop settings, but it moves between apertures positively enough that I can tell what I'm doing when operating it with my eye to the viewfinder. The lens coatings are bright and even, and nothing rattles when the lens is shaken.

This image shows the view through the Leica M10's finder with the Iberit at its close focus position. As you can see, it intrudes considerably on the lower-right of the scene, even without a hood.

As you can also see, Carey is a man who enjoys his lunch.

Considering its relatively modest maximum aperture this is a big lens though, (especially by the standards of M-mount primes) and while nicely balanced on an M10, it does block a portion of the camera's viewfinder – even without the hood attached. Obviously this won't be a problem with the mirrorless versions.

I didn't experience any problems with focus accuracy or focus shift - at least none that I can blame on the lens

Despite its low cost and fairly light (220g) weight, there is some brass inside the 35mm. This is most visually obvious in the focusing cam, which communicates focus distance mechanically to the camera's rangefinder. My sample of the Iberit is perfectly calibrated on our M10 (ie., the camera's rangefinder and lens's markings agree at infinity). Throughout my shooting with this lens, I didn't experience any problems with focus accuracy or focus shift – at least none that I can blame on the lens.

The mirrorless versions doesn't need the complicated and precisely-calibrated mechanical focus cam mechanism, which probably explains their slightly lower cost.

Image quality

Optically, the Iberit 35mm F2.4 pleasantly surprised me. At F5.6 and F8, this lens is at least as sharp as anything else I regularly shoot with on the M10. There is some very modest vignetting at F2.4-2.8 but it's barely noticeable in normal photography, even with no lens profile assigned. Barrel distortion can be found if you go looking for it, but it's unlikely to trouble you except in close-up images of flat planes (i.e., test charts).

The M10's built-in 35mm F2 (pre-ASPH) profile applies little or no noticeable distortion correction, so this image (shot at F4) is essentially 'uncorrected'. As you can see, with a medium-distance subject, there's virtually no distortion to correct.

For the sake of convenience, I manually assigned a 35mm F2 pre-aspherical profile in-camera (the v4 'bokeh king' to be specific), so I could organize my files more easily in Lightroom, but if you want to, you can paint in whatever 6-bit code you like (see the table above for how to do that).

Barrel distortion is trivial to correct manually in Photoshop or Lightroom

The closest lens to the Iberit's specification in Leica's current lineup is the Summarit 35mm F2.5 and painting in this 6-bit code leads to effective correction of the Iberit's close-range barrel distortion when the M10's lens profiling setting is left on 'Auto'. If you don't want to go that route (and I would probably recommend you don't, given the lack of distortion at normal subject distances), the barreling is trivial to correct manually in Photoshop or Lightroom.

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Central sharpness at infinity is decent at F2.4, and good by F2.8, becoming more even at F4, before reaching its full potential at F5.6, with good consistency across the frame and more than enough resolving power to create moiré in fine textures. Wide open though, there's a significant dip in sharpness about two-thirds of the way across the frame, which suggests either complex field curvature or significant astigmatism in that region. At close focusing distances of less than ~1m the Iberit is still capable of resolving plenty of detail wide open, but contrast drops. If you've ever shot arm's length portraits on a Fujifilm X100-series camera you'll be familiar with the effect.

Shot almost straight into the sun without a hood at F5.6, this image demonstrates the Iberit's impressive resistance to flare. The lens's simple 6-bladed aperture creates pretty boring specular highlights (take a look at the sunlight sparkling on the water in the foreground) but CA and fringing are practically non-existent.

Flare is well-controlled, and bokeh wide open is reasonably smooth in the center, although things can get pretty busy and distracting depending on what's in the background, especially towards the edges of the frame. The Iberit's simple 6-bladed aperture is more or less circular until around F3.5 before becoming more angular when stopped down. Sunstars are (unsurprisingly given there are only six aperture blades) not among the lens' strengths.

Conclusion

In summary, the Handevision Iberit 35mm F2.4 is a good lens, which offers solid performance on the Leica M10. It's relatively sharp in the middle and at the edges of the frame wide open, but not to the point you'd expect from even cheap modern lenses with even faster apertures like the Nikon full-frame 35mm F1.8G. Modern lens design has moved optics forward, naturally. But the Iberit is still a pleasant surprise for non bokeh-fanatics.

It's very sharp across the frame by F5.6. Vignetting is negligible, distortion is simple and easy to deal with, and I can't see lateral CA anywhere in my test shots, even with all profiling turned off. There's a tiny bit of longitudinal CA that shows up as green and purple fringing wide open, but it's never distracting. Flare was a non-issue in my shooting, which made me happy, because I don't much like the Iberit's bulky bayonet-mount hood.

By the standards of lenses made natively for the Leica M mount, the Iberit is something of a bargain

In terms of performance, by the standards of lenses made natively for the Leica M mount, the Iberit is something of a bargain, provided you can live with its size. This is my only serious complaint. For a rangefinder lens, the Iberit is big, with a large 49mm threaded filter ring. In fact while markedly lighter, it's not that much smaller than Leica's 35mm F1.4 Summilux ASPH FLE and only about a filter's height shorter than the 28mm F2 ASPH. Considering it can be picked up new for a fraction of those lens' MSRP though, I can live with it.

Shot from about 1m away, wide-open, this image demonstrates the Iberit's rather busy bokeh. Specular highlights get progressively less circular, further away from the center of the image.

The value proposition on mirrorless is rather different. $600 is a lot to pay for a manual focus lens from a fairly obscure third-party manufacturer, when so many other options for X-mount and E-mount exist. Canon's 35mm F2 IS, for example, is easily adaptable to Sony E-mount without significant penalty, and actually costs a little less than the Iberit (not including the cost of a smart adapter, of course...). Sony also makes an FE 35mm F2.8 that will set you back $599 and an E 35mm F1.8 OSS for $450, while Fujifilm's 35mm F2 is available for under $400.

Ultimately, for photographers putting together an M-mount lens collection on a film or digital rangefinder body, the Iberit 35mm F2.4 is worth a serious look. I found mine used and in good condition for less than $300. It's hard to find any (functional) M-mount glass for that price, even second-hand. For mirrorless ILC photographers though, better value options exist.

What we like:
  • Good standard of construction
  • Pre-milled 6-bit coding pattern
  • Decent central sharpness wide open (becoming excellent across the frame at F5.6-8)
  • Practically no vignetting and CA, minimal distortion at normal subject distances
  • Resistant to flare
What we don't
  • Large (for an M-mount 35mm lens): partially blocks M10's viewfinder
  • Soft off-axis wide open (before sharpening up again towards the edges)
  • Busy bokeh at wide apertures (especially towards the edges of the frame)
  • Distortion at close distances
  • Slight softness at close distances
Categories: Photo News

Video: Using a $50 lens on a $12,500 5K RED cinema camera

DP Review Latest news - Wed, 01/17/2018 - 15:40

YouTuber Potato Jet recently had a ridiculous idea (not out of character...): what would happen if you slapped a super-cheap 50mm photography lens onto an ultra-expensive cinema camera? That's how we ended up with this video, in which he pairs a beautiful 5K RED cinema camera with Yongnuo's 50mm F1.8 knockoff of Canon's already-cheap nifty fifty.

As best we can tell—Potato Jet doesn't reveal what camera he's actually using—the cinema camera in question is the Scarlet-W RED Dragon 5K. That camera body alone retails for $12,500 on the RED store. On the other end of the spectrum, the Yongnuo nifty fifty knockoff retails for under $50, and even if you go for the official Canon version, you can usually find it for around $100 (or $125 brand new without any discounts).

So, can the RED camera redeem what is pretty widely accepted as a lackluster lens? Or does the lens 'ruin' what is otherwise a glorious camera body?

You can watch the video above—starting at around 0:46—to see the sample footage for yourself, but Potato Jet's conclusion is surprisingly positive. Sure, the Yongnuo falls far short of almost any other 50mm F1.8 lens you could adapt, and getting focus with so little focus ring travel was a nightmare, but it turns out RED's ultra-high quality sensor can still capture good quality footage in a variety of challenging situations, even behind such mediocre glass.

So, did we learn anything? No, not really. But if you're like us, you're still curious what that final footage looks like. Go ahead, hit play... we won't tell anyone.

Categories: Photo News

DJI teases new folding drone announcement for January 23rd

DP Review Latest news - Wed, 01/17/2018 - 15:06

DJI is getting ready to unveil a new... something... on January 23rd. We know this because the Chinese drone maker (and camera company) just released a teaser video that hints at a live product announcement that morning. The tagline, Adventure Unfolds, implying that it might be a new folding drone, possibly a replacement for the Mavic Pro that only recently got some real competition.

The video is made up mostly of stock video footage with epic music playing in the background, but DJI does offer a few tantalizing closeups of a sleek looking new drone (we assume... at least). The photos don't reveal anything at all, really, but here are a couple of screenshots just in case you want to get speculating:

The description of the video reads, "Your next great journey begins at 10 am EST on Jan 23, 2018," and it looks like DJI will be streaming the announcement live at this link.

Categories: Photo News

Wedding photography inspiration: MyWed reveals 2017 Award winners

DP Review Latest news - Wed, 01/17/2018 - 13:52
Photo by Ken Pak, MyWed Photographer of the Year 2017

MyWed has announced its MyWed Award 2017 winning wedding photographers and their award-winning images. Awards span 21 different categories, including ones like "Cake Cutting," "Getting Ready," "Wedding Guests," "Rings," and more.

Photographer Ken Pak ultimately won the contest's "Photographer of the Year" award, receiving a Nikon D5 camera and some serious bragging rights as his prize. The series below won Pak both the Best Wedding Story category, and the title of Photographer of the Year (you can see the full photo series here):

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MyWed Award 2017 ran from October 1st to November 2nd, 2017, later revealing its shortlist and judging rounds before ultimately announcing the winners on December 20th.

Check out all of the 21 winning images in the gallery below:

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To see all of the winning images, visit the MyWed Awards website, or click on any of the links in the list below to visit individual photographer and category pages:

Jorge Romero, the winner of the Engagement category
Gustavo Liceaga, the winner of the Getting Ready category
Vormkrijger Be, the winner of the Details category
Soven Amatya, the winner of the Wedding Guests category
Andreu Doz, the winner of the Ceremony category
Aleksandr Vasilev, the winner of the Rings category
Roman Matejov, the winner of the Family Portrait category
Egor Zhelov, the winner of the Heroes of the Day category
David Hofman, the winner of the Wedding Party category
Alejandro Gutierrez, the winner of the First Dance category
Jorge Romero, the winner of the Bouquet Toss category
Soven Amatya, the winner of the Cake Cutting category
Pablo Macaro, the winner of the Gadgets category
Vinci Wang, the winner of the Camera Angle category
Arjan Van Der Plaat, the winner of the Moment category
Vinci Wang, the winner of the Framing category
Aleksey Malyshev, the winner of the Recognizable World's Places category
Rino Cordella, the winner of the Traditions category
Ilya Rikhter, the winner of the Rotated Photographs category
George Stan, the winner of the Higher and Higher category
Ken Pak, the winner of the Best Wedding Story category

All photos courtesy of MyWed

Categories: Photo News

Structure: Moving 4K close-ups shot at up to 1000x magnification

DP Review Latest news - Wed, 01/17/2018 - 12:23

District 7 Media owner Drew Geraci recently published a short film titled "Structure" that takes viewers on an up-close journey inside everyday objects. The video was shot with a Sony A9 camera, as well as an AmScope Microscope with a camera attachment, Kessler Second Shooter control unit with a Stepper Motor, and Manfrotto Lykos Lights.

Geraci uploaded the video to Vimeo, where he explains that "Structure" presents organic objects magnified up to 1000x. Those objects include a variety of fruit, bell pepper seeds, mushrooms, carbonated water, soap bubbles, beet leaf, and more.

Everything was shot in 4K using the Sony A9, according to Geraci's video description, where he explains that the process took place over 30 days, after which the shots were edited into the two minute video using Adobe Premiere Pro CC 2018 and After Effects CC 2018. In describing the inspiration for "Structure," Geraci said:

It all started with a single shot—a small frozen snowflake I captured using a 100mm macro lens. I’ve shot plenty of macro photography in the past, but for some reason this image ignited my imagination and passion to shoot. So I did what any sane person would do—bought a microscope with camera capabilities and started to shoot everyday objects at 1000x+ magnifications.

Categories: Photo News

2018 Japan BCN camera rankings: Canon dominates DSLRs, tops Sony in mirrorless

DP Review Latest news - Wed, 01/17/2018 - 12:02
Photo by Mario Calvo

The 2018 Japan BCN camera rankings are in, and they show that (surprise, surprise) Canon is still veritably dominating the DSLR space with 61.1% marketshare, only a slight drop from its previous 63.3% share. More impressive is Canon's performance in the mirrorless category where Canon took the number 2 position, hitting 21.3% versus Sony's 20.2%. Olympus beat both to take top slot in mirrorless at 27.7%, though, a small increase over its previous 26.8% marketshare.

According to BCN, Canon also topped the "digital camera with integrated lens" category, holding 27.9% of marketshare over Nikon's 25.5% and Casio's 17.2%. The BCN rankings also look at action cameras, which saw GoPro take top slot with 67.2% marketshare (not that this has helped the company's outlook lately...), as well as digital video cameras, which has Panasonic on top with a 42% marketshare.

Editor's Note: These numbers represent the Japan camera market, using about 50% of the sales data out of Japan. While Japanese market numbers are typically a good indicator of worldwide market, mirrorless numbers are often very different in the Asian market, where the technology caught on much faster than in Europe and the Americas.

When looking at previous figures, the rankings show Nikon growing in DSLR sales while Canon and Ricoh both saw decreases. Olympus, Canon, and Sony all experienced growth in the mirrorless category, while Canon and Nikon both experienced growth in the integrated lens digital camera market.

Notably, Canon continues to show strong growth in Japan's mirrorless market despite Sony's recovery from the disruption caused by the 2016 Kumamoto earthquake.

That earthquake had impacted Sony's nearby image sensors facility, which supplied sensors for both Nikon and Olympus, among others. In its early 2017 fiscal quarterly results, Olympus had noted that the 2016 Kumamoto earthquake had a negative impact on its Imaging Business sales. Likewise, Nikon had revealed its own Imaging Products Business impact during the same time, resulting in downwardly revised forecasts.

However, despite Sony's facility restoring operations in the many months since the earthquake, Canon is still outpacing Sony in the mirrorless segment.

Though Nikon saw DSLR marketshare growth in 2017, whereas Canon saw a slight decrease, the latter company still trounces its closest competitor at 61.1% versus Nikon's 34.4%. Whether Canon's biggest competitors will see any significant 2018 gains on the company in their respective categories is anyone's guess.

Categories: Photo News

Hestan Cue Cooktop Release Date, Price and Specs - CNET

CNET Reviews - Wed, 01/17/2018 - 10:39
The induction cooktop connects to the company's Bluetooth-enabled cookware and iOS/Android app to guide you through recipes.
Categories: Photo News

Nikon D850 firmware 1.01 fixes long exposure green cast and other minor bugs

DP Review Latest news - Wed, 01/17/2018 - 09:54

Nikon has released the first firmware update for its 45.7 MP full-frame D850 DSLR. Firmware version 1.01 comes with fixes for the following issues:

  • Users exiting the Clean image sensor menu entry after adding it to and entering it via My Menu would be returned not to My Menu but to Setup Menu.
  • Photos taken with On selected for Long exposure noise reduction would sometimes have increased noise or shadows with a greenish cast.
  • Slight aperture reset lag would sometimes occur after shooting at shutter speeds under 1/10 s (type E and PC-E lenses excluded).

These all sound like minor issues, but it is reassuring to know Nikon is taking the continuous improvement of its products seriously. If you own a D850 and want to update to the new firmware, you can find all information and download links on the Nikon website. If you are considering the D850 as your next camera, check out our full review bellow:

Nikon D850 Full Review

Categories: Photo News

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