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Updated: 2 hours 50 min ago

The New York Times opens up free applications for its 7th annual portfolio review

2 hours 59 min ago

Tomas Roggero

The New York Times has opened up applications for its 7th annual New York Portfolio Review on March 30 and 31 in New York City, New York.

The applications, which are free to submit, are now open on The New York Times' website for the review, which is put on by The New York Times Lens column, the Craig Newmark Graduate School of Journalism at the City University of New York and United Photo Industries.

So long as the applicant is over 18 years old, they're free to apply. The New York Times says "all types of photography will be considered." The deadline for applications is December 10, 2018 at 11:59 p.m. Eastern Time.

"The first session, on Saturday, March 30, will be for photographers 21 and older," reads The New York Times announcement post. "Each participant will receive six private critiques. The second session, on Sunday, March 31, will be solely for photographers 18 to 27 and will consist of at least four private critiques for each participant, as well as free workshops on how to best present, promote and publish photographs. We will screen all applicants and choose 100 participants for Saturday and 60 for Sunday."

The New York Times specifically mentions anyone who attended last year's review is ineligible to apply. Also, if someone has attended more than twice in the seven years the portfolio review has been going on, they too are ineligible.

When a photographer is chosen for a portfolio review, they will be able to requiem their top choices for who is to review their work. The New York Times has provided a partial list of the reviewers on the bottom of its announcement page.

To enter, head over to The New York Times' application page and fill out the required form. In addition to personal details, such as first name, last name, age, contact information, and a short biography, applicants can upload up to 20 photos from one or two projects. The images must be JPEGs and no more than 1,200 pixels across at 72 DPI.

Applicants who have been selected will be notified by January 12, 2019. The New York Times warns "Be sure to triple-check the email address you submit, because in past years some people were accepted into the review, but couldn’t be contacted with the good news because of a typo in their address. Don’t be that person."

Categories: Photo News

Picfair launches 'Plus' subscription with custom online stores for photographers

5 hours 3 min ago

On September 10, stock image company Picfair introduced a new option for photographers to showcase their work called Picfair Stores. The online storefronts went live for all users a couple weeks later and are now joined by a new subscription option called Picfair Plus. Customers who sign up for Plus get access to new features, including support for custom templates and custom domains.

The free Picfair product enables users to create their own online store with custom prices for image sales. Picfair Plus builds upon that, enabling customers to connect the store to a custom domain, add social media profiles, eliminate Picfair branding, sort content into albums, choose design themes, and set up custom image ordering on the store's home page. Below is a comparison of the free and Plus versions of Picfair Stores.

In addition to the new features, Plus customers get early access to new future features and highest priority customer service. Picfair Plus is priced at £4.99 / $5.62 per month, but there's also a £49.90 / $64.66 annual subscription option. A sample Picfair Store with Plus features is accessible here.

Categories: Photo News

ON1 Photo RAW 2019 arrives with new UI, AI-powered Lightroom migration, and more

7 hours 33 min ago

ON1 has launched its new ON1 Photo RAW 2019 photo editor for macOS and Windows. The new software is a "major upgrade" to the existing ON1 Photo RAW editor, according to the company, which has added new features that include focus stacking, a non-destructive layers workflow, a new portrait tab, and more.

ON1 Photo RAW 2019 relies on AI-powered algorithms to bring "significant enhancement" for users who want to migrate from Adobe Lightroom. In addition to the batch of new features, the updated application also adds additional camera support and lens profiles, HEIC file support, and a new interface with reduced contrast, updated UI elements, and an overall modern look.

ON1 Photo RAW 2019 is available now with a 30-day free trial and $99.99 USD purchase price. Existing ON1 product owners are offered the upgrade at a discounted $79.99 USD. Alternatively, customers can get access to the new software via an ON1 Plus Pro membership, which is currently priced at $129.99/year with a regular annual price of $149.99 USD.

ON1 Photo RAW 2019 – An All-New Photo Editing Experience Now Available

ON1 Photo RAW 2019 – An All-New Photo Editing Experience Now Available
Portland, OR – November 13, 2018​​ – ON1, Inc announces that ON1 Photo RAW 2019, an all-new photo editing experience and a major upgrade to ON1 Photo RAW, is available today. ON1 Photo RAW 2019 includes all-new features and technologies along with a streamlined workflow that is elegant, powerful and easy to learn. Notable new features include a new non-destructive workflow for layers, auto-alignment of layers, focus stacking, a new portrait tab, a new text tool, new digital asset management updates and more. ON1 Photo RAW 2019 includes the tools photographers need in a single well thought out photography workflow application.

This all-new photo editing experience gives photographers the features they use the most from the Adobe® Lightroom® and Photoshop® worlds in a single application. ON1 Photo RAW 2019 also includes a significant enhancement to the migration process for customers looking to move away from Lightroom®. Version 2019 is the first solution to utilize AI-powered algorithms to transfer and display Lightroom edited photos in ON1 Photo RAW 2019. The transferred settings will also remain non-destructive and be re-editable inside ON1 Photo RAW 2019.

The ON1 community drives the development of ON1 Photo RAW based on what’s most important for their photo editing needs. Every new feature and improvement made in version 2019 is a direct result of community input through the ON1 Photo RAW Project.

  • A New & Faster Editing Workflow ​​–​ ​​All of the editing modules from previous versions have been combined into the Edit module to create a single place for editing photos. The former editing modules are now available as tabs to allow you to work in each seamlessly without changing the application appearance. These include Develop, Effects, Portrait, and Local Adjustments tabs.
  • A New Workflow for Layers​​ – ON1 Layers is no longer a separate module. Instead, the power of layers is accessible within the non-destructive workflow in the new Edit module. This allows for creating or editing multi-layered files, including raw files, and keeping non-destructive settings for each photo layer. Customers can also move, size and mask each layer. More importantly, and a new concept, each layer has its own non-destructive settings, all the way back to the original file. What’s most exciting is if you are working with raw files, powerful adjustments like exposure, highlights and shadows can now be processed using the raw data in a layered photo workflow. All without having to change modules or applications.
  • New Lightroom Photo Settings Migration​​ – New AI-powered algorithms give customers the ability to transfer Lightroom edited photos, keep the non-destructive settings, and move them into ON1 Photo RAW 2019. The updated Lightroom Migration Tool in version 2019 transfers almost every edit you can make in Lightroom including raw processing, crop, retouching and local adjustments along with folders, photos, collections, and metadata.
  • New Focus Stacking​​ – Automatically blend a series of photos at different focus distances to increase depth-of-field. It’s so fast, you can adjust the focus in real-time, just like changing the focus on your lenses. Think of it like HDR, but for focus instead of exposure.
  • New Auto-Align Layers​​ – Easily combine multiple photos as layers, then automatically align them based on image content, making it easy to mask and blend them together.
  • New AI Masking Tool (coming Winter 2019)​​ – This new tool, powered by machine learning, will allow customers to easily identify areas of their photos to create a selection or mask and the AI technology detects your subject matter and automatically creates a beautiful mask.
  • New Portrait Tab ​​– The new Portrait tab automatically detects faces in your photo allowing you to easily retouch, smooth skin, brighten and sharpen eyes, and whiten teeth.
  • New Text Tool​​ – The new text tool is perfect for creating posters, postcards, or adding your byline or watermark. Easily control font size, color, position, and more and then save a preset to add the same text overlay to a batch of photos quickly.
  • New Master Keyword List​​ – Now you can see every keyword you use in a single, searchable list. You can quickly apply, clear, edit, or delete keywords.
  • Enhanced Local Adjustments​​ – Local adjustments have been enhanced to use the raw processing data. This allows for more highlight and shadow details with more tonal range. This also includes new controls like haze, whites and blacks.
  • New Layered HDR Workflow​​ – With the powerful new non-destructive layers you can combine other photos, text or alternate exposures with your HDR photos. Use the powerful masking tools to combine multiple HDR renditions even.
  • New Filter Options in Effects ​​–​ ​​We have added dedicated film grain, curves and color adjustment filters to Effects. These let you add film grain to color photos and make advanced, targeted color and tone adjustments faster. There’s even a new filter selector that allows you to search for filters, learn what they do and even view a sample before you add them.
  • New User Interface​​ – The new user interface has a fresh and modern feel. Overall contrast has been reduced to make photos stand out along with a new font to help increase readability. Updated icons, tabs, and sliders will also take up less visual space.
  • Other Updates ​​– including support for HEIC files, keyboard shortcuts for changing modules, more accent color options, color labels on folders and more.
  • Additional Camera Support​​ – Added support for the Fujifilm XF10, Fujifilm X-T3, Nikon P1000, Nikon Z7, Panasonic LX100 II, Leica M10-P.
  • Additional Lens Profiles​​ – Added lens profiles for: Canon EF35mm f/1.4L II USM (750), Chinon Auto Chinon 35mm f/2.8, KMZ Helios-40 85mm f/1.5, Nikon 200-500mm F5.6 174, Panasonic LEICA DG 8-18/F2.8-4.0, Panasonic LEICA DG NOCTICRON 42.5/F1.2, Pentax Pentax SMC Takumar 50mm f/1.4, Sigma Sigma 17-50mm f/2.8 EX DC HSM, Sony FE 24-105mm F4 G OSS, Sony FE 50mm F1.8, Tamron 14-150mm F/3.5-5.8 DiIII C001, Tamron SP 24-70mm F/2.8 Di VC USD G2 (A032), Voigtländer Voigtlander Super Wide Heliar III.

Price and Availability

ON1 Photo RAW 2019 is available today for $99.99. Previous owners of any ON1 product can upgrade for $79.99. ON1 Photo RAW 2019 is also available as part of an ON1 Plus Pro membership for a for $129.99/year (Reg: $149.99/year). ON1 Plus Pro includes a perpetual license of ON1 Photo RAW along with in-depth post-processing and photography education from the industries best trainers such as Matt Kloskowski, Hudson Henry, Tamara Lackey and many more. All of it is easy to follow along and fun. For a limited time, a purchase of ON1 Photo RAW 2019 includes some great bonuses. These include the ON1 Photo RAW 2019 Foundations video course, which provides the perfect get up and running training and the ON1 Looks eBook and series of 25 videos and practices files and to help you master ON1 Photo RAW 2019.

A 30-day free trial of ON1 Photo RAW 2019 is also available for download from the ON1 website.

A single purchase of ON1 Photo RAW 2019 includes both macOS and Windows installers and activation for up to five computers. It comes with a 30-day money-back guarantee, world-class customer support based in Portland, Oregon USA, hundreds of free video tutorials, and free ON1 Loyalty Rewards every month.

What’s Ahead for ON1

ON1 Photo RAW 2019 will include several free updates over the next year with all-new photo organizing and editing features, AI-powered algorithms to enhance workflows, other feature refinements, as well as updates for cameras and lenses. The first free update will in Winter 2019.
ON1 is also working on solving additional problems for customers who share files across multiple computers or work environments as well as those customers who are shooting video as part of their photography process.
"As we’ve said before, we have big plans at ON1. Our team is already busy working on the next free updates to version 2019. These will include dual display support, an editing history, and additional capabilities and enhancements to Focus Stacking," says Craig Keudell, President of ON1.

About ON1 Photo RAW – An All-New Photo Editing Experience

ON1 Photo RAW 2019 is a game changer. Version 2019 includes everything photographers look for when editing their photos including an integrated photo organizer, raw processor, pixel editor, and layered file workflow. It’s like having Lightroom and Photoshop® in one application without paying a monthly subscription. ON1 Photo RAW 2019 will also use ON1's

state-of-the-art processing engine providing a fast, smooth, comfortable, and fun photo editing experience while producing the highest quality results for your photos.

Photo RAW seamlessly integrates the features of photo organizing, non-destructive editing, layering capabilities, the best masking and selection tools, portrait retouching, hundreds of photo effects, text, HDR, automated panorama stitching, photo resizing, and more into one powerful yet easy-to-use software application.

ON1 Photo RAW 2019 supports RAW files from over 800 cameras, but it isn’t just for raw files. It also supports file formats include JPEG, TIF, PSD/PSB, PNG, HEIC and DNG are supported and benefit from the speed, performance, and abundance of editing tools in the app. Photo RAW 2019 will also integrate as a plug-in to Adobe® Lightroom Classic CC and Photoshop CC as well as Apple Photos and will continue to work as a standalone photo editor and rival the Adobe Photography Plan. Like the current version, version 2019 will integrate with the major cloud services to allow for uploading, managing, and editing photos across multiple computers. This enables users to sync photos and their edits across multiple computers or in a studio setting.

Categories: Photo News

Tamron SP 15-30mm F2.8 Di VC USD G2 sample gallery

10 hours 3 min ago
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We got our hands on Tamron's second-generation SP 15-30mm F2.8 a couple of months ago at Photokina, and we've just started shooting with a copy for Nikon mount. The lens sports a number of internal enhancements, such as the addition of a second processor so that autofocus and stabilization are each handled by their own chip. See how we've gotten along with the lens so far.

See our Tamron SP 15-30mm F2.8 G2 sample gallery

Categories: Photo News

Gear Offer is an online marketplace for buying and selling used camera gear

Mon, 11/12/2018 - 15:30

When it comes to buying used photography gear, there are plenty of options around the web: eBay, Amazon, KEH, B&H, and Adorama. Now, there's a new option — Gear Offer, a photography-specific marketplace for selling and buying used camera equipment.

Based out of Scottsdale, Arizona, United States, Gear Offer is a self-proclaimed "marketplace just for photographers that's hassle free, priced fairly and continually improving" founded in March 2017.

Trusting a new online marketplace isn't always easy, but Gear Offer clearly lays out its terms of service and guidelines on how selling and buying items works.

Listing items on Gear Offer is free. There's even a built-in pricing tool that uses recent sales of identical products as a guideline for what price you should set your item(s) at. Once the gear is listed, it's a matter of waiting for someone to click the "buy now" button on the product page or make an offer that's accepted.

Once an item is purchased, the funds from the buyer will be transferred to their Gear Offer account. The seller then packs up the item, ships it off, and adds the tracking number to the purchase on Gear Offer. The buyer will then receive updates until the item (hopefully) safely arrives on their doorstep. After the payment has cleared, which Gear Offer claims is "typically in 2 business days" the seller will receive their funds. Below is a chart provided by Gear Offer that illustrates the timeline of the buying and selling process.

To protect against fraudulent accounts and activity, Gear Offer says it uses machine learning to continually evaluate the risk of certain sales and transactions. It also relies on reviews from buyers and sellers to help build trust between frequent users. In the event something does go wrong, Gear Offers says customer service is provided by "real live humans," and not ones in offshore call centers.

To confirm this claim DPReview tested the Gear Offer contact line by calling at roughly 4pm ET on a Saturday and after stating its name via a Google Voice operator service, DPReview was connected to a line that was eventually directed to a voicemail that said we would hear back "as soon as possible" regarding its inquiry. DPReview called again five minutes later in a secondary effort to contact the Gear Offer team and was immediately connected with a representative from the company.

Gear Offer makes its money is through a 6.9% processing fee when an item is sold, similar to how eBay and Amazon works, although at a lower rate — Gear Offer notes that eBay charges 12.9% (plus a standard $.30 fixed processing fee).1 The 6.9% fee comes from the income of the seller of the item.

Head over to Gear Offer to find out more and browse around the current listings. A Gear Offer spokesperson informed DPReview inventory is low at the moment, but is always looking for more sellers to help build its collection of gear. To list or purchase photography gear sign up for an account.

1 The eBay processing fee is 10% and the PayPal processing fee is 2.9%, which makes for the 12.9% total fee.

Categories: Photo News

Award-winning film shot through Hasselblad 500CM warns of photo obsession dangers

Mon, 11/12/2018 - 15:04

I think there may be more than a few of us who have been told that we spend too long looking through a viewfinder instead of experiencing life first hand. And there will be plenty of us who know that sometimes we don’t get to experience an event because we are constantly looking for the best angle and thinking photography rather than feeling the moment as everyone else is.

Filmmaker Casey Cavanaugh has made a really cool film on the subject, and has created a wooden rig that allowed him to mount his Sony a7S above the viewfinder of a Hasselblad 500CM so he could record the movie through the viewfinder of the medium format film camera. I won’t spoil the story for you, but it doesn’t end well for the Hasselblad! Cavanaugh also shared the main actress in the film, Corrina VanHamlin, tragically passed away after it was made.

View this post on Instagram

Link in bio || We all had a really amazing time making this short film for the Capital City Film Festival. Watching it now is a little more difficult for me as well as anyone who might have known the amazing lead actress, Corrina VanHamlin. She tragically passed away this year and her performance in this film is but a glimpse into the wonderful and talented person she was. I’m extremely grateful that we were able to make this piece of art together. Huge thanks to the rest of the team, @xiaoxinghan @ryanzern @danhartleyvideo @lukepline • • • • • • #cinematic #shortfilm #hasselblad500cm #hasselblad #fujiframez #framez #sonyframez #fujifilm #sonya7sii #sonya7riii #sonya7iii #fullframe #atomosshogun #groundglass #mediumformatfilm #mediumformat #mediumformatphotography #mediumformatcamera @hasselblad @hasselbladfeatures @hasselbladculture @hasselblad.japan @petapixel @phoblographer

A post shared by Casey Cavanaugh (@gxace) on Nov 12, 2018 at 7:00am PST

See the GxAce YouTube channel to watch Casey's other films. Cavanaugh is the same guy behind the DIY XPan camera video DPReview shared last week.

Categories: Photo News

The New York Times' massive photo archive is being digitized with Google's help

Mon, 11/12/2018 - 11:23

The New York Times has millions of printed photographs stored in an underground archive nicknamed "the morgue," and it has begun the arduous task of digitizing this collection. Google is part of the project, according to a post on one of the company's blogs, where it explains that its machine learning and cloud technologies will help The New York Times store, process, and search its archive.

The morgue houses between 5 and 7 million photographs dating back to the late 19th century, all of them stored in folders within file cabinets. Many of the photos haven't been viewed in decades and all of them are at risk of damage. In 2015, for example, the morgue experienced minor damage after water leaked in from a broken pipe.

The New York Times' CTO Nick Rockwell said in a statement to Google:

The morgue is a treasure trove of perishable documents that are a priceless chronicle of not just The Times's history, but of nearly more than a century of global events that have shaped our modern world ... Staff members across the photo department and on the business side have been exploring possible avenues for digitizing the morgue’s photos for years. But as recently as last year, the idea of a digitized archive still seemed out of reach.

To help preserve this visual history, Google has stepped in to provide The New York Times with its cloud storage product for storing high-resolution digital copies of the photographs. The New York Times has developed a processing pipeline for the digitization project that includes resizing images using Google Kubernetes Engine and storing metadata using PostgreSQL, in addition to the open source command-line software ExifTool and ImageMagick.

Google's machine learning technology augments the system to offer insights into the digitized content. The company's Cloud Vision API is used to detect text, logos, objects, and more within photographs, while the Cloud Natural Language API uses the detected text to categorize the images. This data makes it possible to search the digitized collection for specific images that would otherwise be lost in the vast archive.

Categories: Photo News

The Lastolite HaloCompact is a new reflector, diffuser with a collapsible design

Mon, 11/12/2018 - 09:08

Lastolite, a subsidiary of Manfrotto, has launched a new lighting tool it calls the HaloCompact.

The HaloCompact is a collapsible reflector/diffuser tool that comes in two versions: a double-sided reflector (with silver on one side and white on the other) and a two stop diffuser.

The defining feature of the HaloCompact is its RapidExoframe, a lightweight aluminum frame that slots together multiple sections to create a 85cm/33.5in base when fully constructed. When packed down, alongside the folding reflector/diffuser material, the HaloCompact is small enough to put inside your camera bag or attach to the outside.

The HaloCompact also has standard quarter-inch tripod threads along the frame so it can be attached to various arms and accessories for when you need an extra hand. Below is a video from Lensvid showing off the HaloCompact in person at Photokina 2018.

Both version of the HaloCompact has an MSRP of £71.95, but there's no mention of availability and at the time of publishing this article the HaloCompact isn't listed on the UK or US version of Lastolite's online store. DPReview has contacted Lastolite for more information regarding US pricing and availability and will update this article accordingly when it receives a response.

Lastolite by Manfrotto Launch HaloCompact 85cm (33.5”)

Lastolite By Manfrotto, the world’s leading manufacturer of backgrounds and lighting control systems is proud to announce the launch of the HaloCompact Reflector and Diffuser.

The HaloCompact is a completely new, patent pending design concept that makes the everyday reflector and diffuser panel even more portable than ever!

Unlike many traditional reflector/diffuser panels that incorporate a steel rim pop up design, the 85cm (33.5”) HaloCompact is constructed using Lastolite By Manfrotto’s new innovative RapidExoframe™ technology. The collapsible lightweight aluminium frame quickly slots together and the reflector or diffuser fabric simply clips onto the frame. The cleverly designed RapidExoframe™ construction allows the frame to breakdown into small multiple sections and along with the folded fabric packs into a carry case measuring only 6.5 x 27 x 6.5cm (6” x 6” x 6”) weighing only 335g (reflector and case).

The ultra-compact folded dimensions make the HaloCompact the perfect solution for Photographers on the move or with very limited carrying space. It now means a reflector/diffuser can always be carried in the camera bag rather than having to consider whether to take an extra bag or not. A handy carabiner style clip also allows the user to clip the HaloCompact to their belt if out on location with their camera only and no camera bag.

The HaloCompact also features an ergonomically designed handle so it can easily be held and accurately positioned with one hand. The handle also incorporates a very useful ¼” thread (plus a ¼” to ¼” adaptor), enabling it to be easily attached to various different support systems, to offer secure positioning further away from camera position.

The HaloCompact is available in two versions – the first is a double-sided reflector, with silver one side and white the other. The second version is as a 2 stop diffuser.

The HaloCompact Reflector Silver/White (LL LR3300) has an RRP of £71.95.

The HaloCompact Diffuser 2 stop (LL LR3301) has an RRP of £71.95.

For more information, please visit www.manfrotto.co.uk/lastolite

Categories: Photo News

Photokina 2018: Nikon interview - 'We love feedback, because it leads to better products'

Mon, 11/12/2018 - 06:00
Two cameras, two lens-mounts, separated by almost six decades. The new Nikon Z7 (left) is the first of a brand-new breed of Z-mount full-frame Nikon cameras, just as the original Nikon F (right) debuted the legendary F mount in the late 1950s.

This interview comprises on-record portions drawn from several conversations with multiple Nikon executives dating back to August, primarily those which took place in Tokyo following the launch of the Z system, and in Cologne, Germany, during the Photokina trade show.

Please note that responses to our questions were provided variously by multiple high-level executives, engineers and marketing specialists. These exchanges happened at different times, and in all cases, our conversations were conducted via an interpreter. As such, since individual attribution is impossible, responses have been combined and anonymized. The following interview has been edited for clarity and flow.

What were the biggest challenges you faced when developing the Z mount?

For the mount, the biggest challenge was to finalize the specifications. This is a new system and we’re looking ahead into the future for our users. We want them to use the Z mount for a long time, so we wanted to make sure that the specifications would [support] use for the long-haul.

For lenses, taking the Z 35mm F1.8 for example, we were determined to exceed the [previous] performance level, which was very challenging. Manufacturing was challenging too because we wanted to exceed [previous] lens specifications and performance.

In the camera bodies, we had to maintain robustness, while making them smaller and lighter. This was a challenge for us.

The Nikon Z mount is intended to be at least as futureproof as the legacy F mount - hopefully, according to Nikon representatives - it will still be current in 100 years' time. Nikon Z-mount lenses are designed for cameras that are capable of high resolution video as well as stills - how does this requirement affect the design?

Our optical design had to change. There are five elements that are improved significantly. One, we minimized aberrations, in a very well-balanced manner. Secondly, we improved resolution, towards the edges of the frame - not just the center. Thirdly, we improved point image performance [coma] towards the edges of the frame. Fourth, bokeh is natural, and beautiful. And finally we minimized ghosting and flare effects as much as possible. All of these improvements allow us to render sharp, very ‘real’ images.

Mechanically speaking, we improved focus speed, and focus is very quiet and very smooth in movie recording. That smoothness is really improved, and also movie users can adjust focus speed, from slow to fast.

We’ve tried to maintain the same level of operability between the D850 and the Z7 One of the concerns that we have with the Z6/7 is that their autofocus behavior and user experience is so different to DSLRs like the D850. Why did Nikon make this decision?

The D850 has a dedicated autofocus sensor, but in the Z7 we have on-sensor phase-detection autofocus. Each system has its own distinct features and its own strengths. We looked at the differences between the two, so that we could satisfy our customers’ needs by utilizing the strengths of each system. It’s not a question of which system is better, each has its own strengths.

When we think about usability of the autofocus systems, we’ve tried to maintain the same level of operability between the D850 and the Z7. Our priority is to make sure that our [Z7] customers feel that they have the same level of functionality and usability [as they do with the D850].

The Nikon Z7, pictured here with the 35mm F1.8, one of three compact lenses announced at the debut of the new Z mount, in August. Do you intend to be more proactive in the Z-series, to respond to feature requests via firmware?

We need to look at our camera models, their features and characteristics, and our customers’ needs. With some models it’s better that we update their functionality more often than others.

But upgrading a camera isn’t easy. Also, as functionality evolves, software becomes even more complicated to design and update. However, the environment is changing rapidly, and due to the accelerated evolution of the functions, maybe we have to accelerate our response. We will make sure that we develop and upgrade [our cameras’] functionalities in order to satisfy our customers’ needs.

Our goal is to become number one in the full-frame market Do you have an internal target for percentage of sales represented by Nikon mirrorless versus DSLR?

We have internal sales targets for each model, but we cannot disclose the figures. Our goal is to become number one in the full-frame market for both mirrorless and DSLRs.

What is your target timeframe for achieving this goal?

That’s a difficult question to answer - we cannot disclose the specific timeline, but we will make every effort to hit the target of being number one as soon as possible. We believe that we can achieve the number one position maybe quite soon. A lot of manufacturers have launched full-frame mirrorless cameras, but sales of our Z6 and Z7 are really robust, which gives us confidence.

Since DSLR and mirrorless have their own benefits and merits, they can co-exist How do you expect the Z6 and Z7 to affect sales of Nikon’s DSLRs?

Since we launched the Z6 and Z7, demand for the D850 has remained very robust and stable. Since DSLR and mirrorless have their own benefits and merits, they can co-exist, and they will. However, its unavoidable that the market will shift more and more towards mirrorless. Right now, mirrorless market share is around 40% but by 2020 and afterwards we expect that mirrorless will surpass DSLR. For now we think they can co-exist.

At launch, the Z system is a full-frame system. Could it support DX (APS-C) format cameras in future?

We are not thinking about other formats yet. But we’re monitoring market trends, and we’re not ruling anything out [in future].

From left to right: The Nikon D850, the new Z7 and it's main competitor, the Sony a7R III. When you were developing the Z6 and Z7, what were your key benchmarks, and measures for success?

In one word, our benchmark for the Z7 was the D850. We wanted the Z7 to be at least on the same level as the D850. We have a lot of accumulated knowledge from our DSLRs, and we gathered information from our customers to make sure that we really met their needs and their demands. For example a comfortable grip, a good viewfinder experience, and the operational feel of pressing the shutter. We have to make sure that we can match or exceed these qualities [of our DSLRs] before putting a [mirrorless] product on the market. These are the expectations that people have of Nikon as a camera maker.

In-body V.R. is a new concept in the Z6 and Z7, and we set a very strict target for the number of stops of correction. When it comes to lenses, we can’t disclose the exact numerical performance targets, but we’ve already talked about the five ways in which we aimed to improve the lenses, plus operability and user-friendliness. We actually set some very ambitious targets.

These are high-performance cameras and lenses - how long has the system been in development?

We cannot disclose the specific number of years.

How important was it to Nikon to incorporate high-quality video features in the development of the new Z-mount cameras?

An increasing number of customers are looking at stills and video and they want both of them. Therefore we focused on improving video performance, which also affected body and lens design. We wanted to make sure that the new cameras would have very good still and video qualities.

We want to be recognized as a company that provides tools for video professionals

We love feedback, because it leads to better products. We want to be recognized as a company that provides tools for video professionals. If we hear from professionals that now, finally, they can do the kinds of jobs they want to with our products, that would be great. We’ve provided a set of functions, including N-Log, and if any of them can be useful, we’re very happy about that.

We are now starting to communicate with the community of professional videographers because we have really improved the video performance of our cameras and lenses and we’re proud of that, so we want to communicate this to the community.

The Nikon 1 V3 was the last - and arguably best - of the erstwhile 1 System mirrorless camera lineup. Although the 1 System didn't last, Nikon tells us that a lot of the technologies pioneered in cameras like the V3 was utilized in the development of the full-frame Z mount. How much technology and experience gleaned from creating the 1-system was brought into the new Z system?

That’s a hard question to answer. There’s a lot we could say, but it’s hard to put into words. The basis of the technology comes from Nikon 1. Especially the technology behind the imaging sensors. Not the [hardware] technology itself but definitely the concept and basic principles.

Of course, the the F system and the 1 system represent the basic foundation of everything that we do, but with the Z system the goal was to go beyond those predecessor products. The larger volume of data being communicated [between camera and lens] is a huge benefit, and that’s one of the biggest improvement between previous models and the new Z-series.

The F system and the 1 system represent the basic foundation of everything that we do, but with the Z system the goal was to go beyond

The concept for the development of the new series, although obviously to some extent they are based on the F and 1 systems that came before it, is to listen to those users and hear what they like and don’t like, and look into the future. People might be happy with what they have right now, but maybe those technologies won’t work in the future. We can’t be myopic about it.

It’s very important to us that our F mount customers can use their lenses with the Z mount, for example. We had to consider that.

Did any of the engineers that worked on the 1 system go on to work on the Z6 and Z7?

Yes - part of the development team from the Nikon 1 was involved in developing the Z6 and Z7.

With the next generation of Z mount cameras, is it more urgent to target professionals, or beginners?

While we are focusing on mid-to-high end models, entry-level users who have never used an interchangeable lens camera are very important to Nikon. Both entry-level and professional users are equally important to us, and we aim to expand the Z mount system lineup to appeal to a wide audience.

The iPhone X/S, and other smartphones of its ilk are small, powerful, water-resistant and take great photographs. According to the Nikon executives that we spoke to, the threat to traditional camera manufacturers from mobile devices, jam-packed with computational photography technology, is acute. Will future Z series cameras offer optical V.R. in addition to in-body stabilization?

We intend to continue with the development of optical stabilization. If there is a benefit of the functionality, we will continue to employ [optical V.R.] as an option. For telephoto lenses, optical stabilization is very beneficial. When it comes to wide-angle zooms, in some cases it is also beneficial.

What are the biggest challenges facing Nikon in the future?

This is a hard question to answer. Because of the advent of the smartphone, the digital camera has shrunk. However, the mirrorless camera market has been revitalized, and we believe that Nikon can expand this market. Another challenge is that if computational photography technology advances rapidly, maybe smartphones will be be able to produce images that are as good as interchangeable lens cameras. If this happens, it will be a real challenge.

The number of people taking photos is growing, and the number of photos being taken is also growing

However, because of smartphones, the number of people taking photos is growing, and the number of photos being taken is also growing. So maybe we can combine hardware and imaging technologies where we can see a business opportunity to expand into camera, software applications, b to b [etc.] there are many possible opportunities for us.

So many people take photos with their smartphones because they want to post them to Instagram or Facebook, or other social networking services. However, some of these people are not really satisfied by the quality of the photos taken on their phones. This segment of people are looking for a camera which can give them better quality images, but maybe they’ve never used a dedicated camera ever in their lives. I am sure that this segment of the audience is growing and [they represent] a great opportunity.

Will we see fewer DSLRs released by Nikon in future?

Our strategy is to [market] both DSLR and mirrorless. We launched the D3500 [alongside the Z6/7] and we’re planning to launch more DSLR models in the future.

The F mount was Nikon’s premier lens mount for 60 years - how far into the future are you looking for the Z mount? Another 60 years?

At least another 60 years! I was about to say 100. Hopefully it will last indefinitely - that’s why it’s so important for us to look into the future, and why such a high volume of data communication [in the Z mount standard] is so important.

Editors' note: Barnaby Britton

This has been a big year for Nikon, and I suspect one that Nikon's engineers and executives have been eagerly awaiting for a long time - to say nothing of their customers. Nikon did a fine job of maintaining and updating the F mount for as long as it did, but the question was never if the company would replace it with a redesigned standard for mirrorless, but when.

The Z mount of course is Nikon's second mirrorless camera mount, after the 1 mount, designed around the 1" sensors used in the company's various 1-series ILCs from 2011 until the discontinuation of the lineup earlier this year. It was interesting when speaking to executives to learn that some of the technologies from Nikon's 1 System (and in fact some of the engineers that worked on it) were integral to the development of the Z mount.

The resulting mount is a very, very different standard to Nikon 1, and different again to the 60-year old F mount, despite being designed around the same sensor format. Clearly the company is looking ahead - a long way ahead, judging by the '100 years' comment in our interview - and it will be interesting to see how Nikon develops its Z-mount lens lineup in the coming months and years. Unlike Canon, Nikon publishes roadmaps, and I suspect that the Z7 and Z6's true potential (and that of their inevitable successors) will become clear once lenses like the planned 24-70mm F2.8 start to become available.

The Z7 really is intended to replicate as far as possible, the performance and durability of the D850

So what did we learn from this interview? For one thing, we learned that Nikon wants to be the number one full-frame manufacturer, and it hopes to achieve that position fairly soon. That's a lofty goal, and a bold statement, but the Z6 and Z7 are bold products. As far as Nikon's executives are concerned, the Z7 really is intended to replicate as far as possible, the performance and durability of the D850 - a very popular camera which has been backordered almost since the day it was announced.

To the company's credit, we think that the company has largely succeeded in this goal (although there are some things we'd like to see improved) and that's no small feat. It's a bit disingenuous to call the Z6/7 first-generation cameras, but they're certainly first attempts at something very new for the company, and compared to Canon's more cautious approach with the EOS R, straight out of the gate they're powerful, highly competitive ILCs. Whether there is any room for APS-C products in Nikon's future Z-mount lineup, however, is unclear.

The challenge of building a reputation as a video manufacturer is one that Nikon hasn't really been faced with tackling up to now

While Nikon has made some overtures towards videographers before now (lest we forget, the D90 was the first DSLR to shoot video and the D850 is a very capable 4K video camera) the challenge of building a reputation as a video manufacturer is one that Nikon hasn't really been faced with tackling up to now. The Z7 and (especially) the Z6 have a lot to offer these users, and it will be interesting to see how Nikon approaches the challenge of becoming a major player in this space, alongside more experienced competitors like Sony, Canon and Panasonic. It's reassuring to see that whatever challenges Nikon faces in the future, a lack of confidence doesn't seem to be one of them.

Categories: Photo News

Almost human: photographing critically endangered mountain gorillas

Sun, 11/11/2018 - 06:00

I've recently returned from a visit to Africa, where I spent three days photographing mountain gorillas in Uganda. It had been a long while since I'd last photographed animals. I started my way in the photography world shooting wildlife, but for many reasons I quickly became obsessed with landscape photography and went on to devote most of my time, attention and resources into this field. I have been wanting to revisit wildlife photography for ages, and when two friends of mine mentioned they were going to photograph mountain gorillas, it seemed like a sign that the time had come for me to take the first step back into that world.

Mountain gorillas are a critically endangered species only found in central Africa (Rwanda, Uganda and DR Congo). After coming back from the brink of extinction with numbers as low as 254, massive conservation efforts have resulted in their numbers slowly rising, and they have recently topped the 1000 figure. Still, these numbers are very, very low and they are dependent on conservation efforts to survive.

A silverback mountain gorilla in a striking pose. Their similarity to humans, in so many aspects, is astounding.

To avoid too much human contact, the Uganda Wildlife Authority (UWA) allows people to be with the gorillas for no more than one hour a day. That hour comes at a cost of hundreds of dollars. Multiply that by the number of shoots you want to conduct, and you get the cost for the permits. Not cheap at all, and keep in mind that hotels, food and a car with a driver have to be added to the cost, not to mention (well-deserved) tips for the gorilla tracking crew.

A mountain gorilla toddler trying its strength at eating the bamboo shoots his elders love so much.

Every morning, after a drive to the park, we met our porters, handed them our photo bags, and walked for a few minutes to reach the ranger's hut. After undergoing a safety briefing, we started the hike. A gorilla tracking team had already located the gorillas, and were in touch with the ranger to let him know where to go.

The hike isn't particularly difficult, but it is uphill. We usually reached the gorillas after 1.5 or 2 hours, depending on the gorillas' location and on the pace of hiking. When getting closer to the gorillas, we could hear the chest-pounding and smell the overwhelming and unmistakable gorilla body-odor (wow).

Two mountain gorilla toddlers play-fighting over a branch. They are developing their skills for years later when they’re adult silverbacks fighting for life itself and the right to procreate.

After years without doing any serious wildlife photography, I was a bit concerned that the learning curve would be too moderate. On one hand, my composition skills have been well trained by shooting landscapes. On the other hand, landscape doesn't move that much or face away, and wildlife shoots are much more dynamic. I made peace with the possibility that some of the precious time with the gorillas would be partially wasted on regaining my wildlife shooting instincts. I knew I had to try to learn on the fly as well as I could, and most importantly, be very focused on the mission and make the best out of my time among the gorillas.

This juvenile mountain gorilla was trying on a tough stance and some chest-pounding. Others in the group were not impressed.

The gorillas are much more incredible in real life than can ever be shown with an image. The sheer size of the silverback males is astounding – they weigh in at over 200kg, without a gram of fat on them. Their heads are as big as watermelons, and their hands are huge. To maintain that bulk, they have to eat about 35kg of vegetation every single day.

The toddlers and juveniles love fooling around, dangling from branches and making funny faces. You are not allowed to approach the gorillas too closely, but that doesn't mean a curious youngling can't take interest and inspect the strange creature with the shiny thing!

With his mother lazily watching, this toddler came very close to my lens when I was lying on the ground, trying to get an angle. This resulted in an interesting wide-angle perspective.

The very dynamic and playful nature of the toddlers often made the situation very chaotic. It was difficult following them when dangling from the branches, getting a focused shot while maintaining good composition. This was the biggest challenge, and I feel I didn't perform perfectly in this aspect. Still, I got a few lucky shots.

A seemingly frustrated mountain gorilla mother frowns as her very mischievous toddler dangles from nearby branches.

The conditions were not easy. A thick cloud cover offered beautiful soft light, but also made it quite dark, with the thick vegetation not helping. To add to this, the gorillas often stay beneath trees. High ISO is extremely important in such conditions – I often found myself shooting at 3200, 6400 and even 12800. Even that was often not enough.

I had brought most of my lens arsenal to this shoot, but found myself mostly shooting with my Canon 70-300mm F4-5.6L IS (for faraway animals and for close portraits) and with my Canon 16-35mm F2.8L III (for closer encounters and for multiple gorillas in one shot). I almost always used wide open aperture, for obvious reasons.

I took this image at ISO 12800, and to get a proper exposure, a shutter speed of 1/25 sec was needed at 70mm, F4.

To get interesting shots, good compositions are important. While in landscape photography compositions are relatively easy to pre-visualize, wildlife doesn't always cooperate. It is up to the photographer to find the opportunities when the animals position themselves in a compelling way within their surroundings.

This silverback male sat in a way that framed him with leaves.

It's important to use the nearby elements, to connect the subject with its surroundings.

I think the most captivating thing that the gorillas offer is a glimpse into us as a species. In my personal opinion, there is simply no way you can see them in reality and still think we're not related. The look in their eyes, their grumpiness after the rain, their fingerprints – everything about them is so (almost) human.

All in all, photographing the gorillas was an excellent experience for me, a perfect return to the world of wildlife photography and one that encouraged me to shoot much more wildlife in the future. The excitement and many challenges kept me focused and helped me give it my best efforts. I hope you've enjoyed the images, and perhaps you will consider making the effort and visiting these magnificent relatives of ours yourself.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the most fascinating landscapes on earth with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

Selected Articles by Erez Marom:
Categories: Photo News

Video: 5 tongue-in-cheek camera tricks for cheapskate photographers

Sat, 11/10/2018 - 15:42

There are very likely more hours of video in the form of camera tips on YouTube than a person could ever watch in their lifetime. But few, if any, of these videos will make you laugh (or cringe) as hard as the most recent video from I Did A Thing.

In his latest video, titled 5 Camera Tricks for Cheapskates, Alex spends four-and-a-half minutes sharing a collection of satirical camera tricks you can use to make the most of your camera equipment.

From butter sliders to a beer goggle filter, the video covers some of the most ridiculous tricks you could possibly think of. The absurd thing is, some of these tricks actually produce impressive results, as you can see from the buttery-smooth slider shot above.

We very much suggest you don't try these at home for the sake of your floors, countertops, and camera equipment. But you're free to live your life as you see fit.

Categories: Photo News

DPReview TV: Time-lapse photography

Sat, 11/10/2018 - 06:00

Digital cameras have made it incredibly easy to do time-lapse photography, thanks to the ability to take hundreds—or even thousands—of photos without interruption. However, creating a time-lapse sequence that achieves your artistic intent may require a bit of planning or even some camera accessories. This week, Chris and Jordan walk us through the process of planning and shooting compelling time-lapse videos.

Click the links below to jump to a topic in the video.

An introduction to timelapse photography with Chris Nichols Advanced technique with Jordan and Dale

Also, make sure to read our article Behind the scenes: Shooting a motion time-lapse in the Canadian wilderness.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

Categories: Photo News

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Fri, 11/09/2018 - 14:08
Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Three Men © Moises Levy

Framing and composition are two of the most basic tools in every photographers arsenal, but they can also be some of the most powerful.

In his recent of photographs, Mexico City photographer Moises Levy shows how simple black and white photographs on the beach can be turned into wonderfully juxtaposed images with the help of perfect timing, great composition, and clever framing.

In speaking with DPReview about the ongoing series, Levy said "Human condition is the main subject of my photography. I use several resources to express my ideas in photography like perspective and scale. My images are intimate too — I believe being close to my subject helps me to create powerful images."

Levy says he works with only one camera and one lens at a time — either his Leica or Fujifilm with a 28mm r 35mm lens.

"I prefer to create anonymous subjects and for that I like to work with backlight to create high contrast black and white images in a more graphic sense," Levy tells DPReview. "I also like to shoot very minimal and clean images and for that I use very low angles in places with almost no distractions, like beaches and open spaces."

You can keep up with Levy's work by checking out his website or following him on Instagram, Flickr, and Facebook.

Photographs by Moises Levy, used with permission.

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

5 Guys © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Action 5 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Action 8 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Action 11 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Arch © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Ave en tres palos © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Beer Man © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Chapuzon © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Communication © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Fisherman Net © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Fly © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Ghost © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Giraffes 1 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Horses 2 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Horses 1 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Jump 1 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Jump 2 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Kid © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Kiss © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Looking For Turtles © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

My Dog And I © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

On Place 1 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Perro Garza Y Hombre © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Play © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Resting © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Running 1 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Shadow And Fisherman © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Soul © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Trapped 2 © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Volley © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Ball Head © Moises Levy

Friday Feature: Framing, timing bring juxtaposed beach scenes to life

Game 1 © Moises Levy

Categories: Photo News

Video: DIY Hasselblad XPan camera combines Hasselblad 500cm and anamorphic lens

Fri, 11/09/2018 - 12:02

Cinematographer Casey Cavanaugh of GxAce has published a video detailing the creation of his own Hasselblad XPan, a DIY camera he calls the GX-Pan. "I always wanted an XPan, the anamorphic dream," Cavanaugh narrates in his video. "But it has always been out of my reach, so I built my own."

The DIY GX-Pan features a custom machined adapter design to mount an anamorphic lens onto a Hasselblad 500cm camera. "What makes this better than an XPan, in my opinion, is that it gives a true anamorphic widescreen image," Cavanaugh explains. Viewers are given both technical details and brief looks at the creation process.

View this post on Instagram

X-Pans are too damn expensive. So I built my own. Link to the video is up in the bio. #hasselbladxpan #xpan #anamorphiclens • • • • • • #anamorphic #anamorphiles #hasselblad #hasselblad500cm #fujiframez #fujixt3 #500cm #mediumformat #mediumformatfilm #cinematic #cinematography #cinebible #photocinematica #filmisnotdead @japancamerahunter @emulsivefilm @petapixel @phoblographer @35mmcblog @camerafilmphoto #panoramic #fujitx2 @hawkanamorphic @hasselblad @hasselbladfeatures @hasselbladculture

A post shared by Casey Cavanaugh (@gxace) on Nov 6, 2018 at 8:30pm PST

Cavanaugh's work can be found on his personal website, Flickr, and Instagram.

Categories: Photo News

7Artisans shows off new 35mm F5.6 E-mount lens designed for drone photography

Fri, 11/09/2018 - 08:26

Chinese lens manufacturer 7Artisans has introduced a new 35mm F5.6 E-mount lens designed specifically for drone photography.

The unusual-looking lens features an E-mount for full-frame Sony cameras and weighs just 49 grams. Its optical construction is specifically designed to reduce perspective distortion and minimize any vignetting around the edge of the image frame.

7Artisans also notes that the lens can be locked to infinity focus by using three screws to lock the lens into place. The below image is the only sample image 7Artisans has supplied.

7Artisan lenses can be purchased through B&H, but the 35mm F5.6 FE lens isn't yet posted on B&H and 7Artisans doesn't mention pricing or availability on its website (translated). We have contacted 7Artisans regarding these details and will update accordingly when and if we hear back.

Categories: Photo News

Nikon Z6 sample gallery

Fri, 11/09/2018 - 06:00
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The Nikon Z6 is the lower-resolution, faster sibling to the Z7, and has already shown impressive results in our studio tests. This week we joined Nikon in Orlando, Florida for some shooting with the Z6 outside of the studio. Take a look at the results and keep your eyes peeled for more from the Z6 soon.

See our Nikon Z6 sample gallery

Categories: Photo News

Rylo software update increases video resolution from 4K to 5.8K

Thu, 11/08/2018 - 10:32

The Rylo is a consumer-grade 360-degree camera that allows you to capture 360-degree video and later select a region of the image from which to create a standard 16:9 HD video. In our review of the device we found the concept to work pretty well but had one point of criticism: the camera's 4K resolution wasn't quite enough to create standard video with good detail.

Thanks to a software update this pain point should now be at least mitigated. Starting today, Rylo owners can download a new software version that increases camera video resolution from 4K to 5.8K, just edging out the Insta360 One X, one of the Rylo's closest rivals which offers a 5.7K resolution.

To apply the update the camera needs to be connected to an iOS or Android device. In the mobile app you then get the option to update. In addition to the increased resolution Rylo now also offers a desktop app that comes with the same editing tools and features as the mobile variant but lets you create your videos on a large screen.

More information is available on the Rylo website.

Categories: Photo News

Photopea online image editor is a free Photoshop clone with advanced tools

Thu, 11/08/2018 - 08:32

Programmer Ivan Kutskir of the Czech Republic has created an online-based Photoshop clone called Photopea. The web app was created solely by Kutskir in his free time during college, according to a Reddit AMA the developer held on Wednesday. Photopea features a Photoshop-like interface and is supported by advertisements.

The Photoshop clone offers a wide variety of image editing tools, including advanced features like spot healing, a clone stamp healing brush, and a patch tool. The software supports layers, masks, smart objects, layer styles, filters, vector shapes and masks, and more. A full rundown of Photopea's tools is available on the app's website, as well as tutorials for select basic activities.

Photopea took more than 7,000 hours of work, according to Kutskir's Reddit post. The web app had 1.5 million visitors in October and offers a premium subscription for customers who want to support the product. Free usage includes PSD importing and exporting, as well as access to the editing tools. The premium version includes those features, eliminates the advertisements, and helps support the developer.

A single-user premium subscription is $9/month or $20 for 90 days. The developer also offers team and distributor options. Photopea joins other free photo editing programs, including the web app Pixlr Editor and desktop application GIMP.

Categories: Photo News

Fujifilm X-T3 sample gallery updated

Thu, 11/08/2018 - 06:00
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We've been seriously impressed with the Fujifilm X-T3: not only did it receive a gold award, it's also our top pick in three buying guides. Since publishing our full review we've continued shooting with it – sometimes on assignment, and sometimes because we just like it so gosh darn much. Take a look through our freshly-updated X-T3 sample gallery.

See our updated Fujifilm X-T3
sample gallery

Categories: Photo News

Fujifilm X-T3 is three-time winner in our updated buying guides

Thu, 11/08/2018 - 05:00

We've updated fifteen of our camera buying guides and the Fujifilm X-T3 came out on top in three of them. We now consider it the best camera under $1500 and a good alternative to more expensive cameras for video and 'people and events'.

If you're in the market for a new camera then head on over to our buying guide hub page, which is also where you'll find our new lens buying guides.

View all DPReview Buying Guides

Categories: Photo News

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