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Lancashire County Council

The UK's recent heatwave has provided a glimpse into Britain's history, revealing the outlines of ancient structures and buried features in the grounds of historical buildings.

The UK is home to multiple known prehistoric structures, but these new "phantom" henges are different, their presence only perceptible due to changes in grass color caused by drought. In a prolonged spell of very hot weather, stone or wood located beneath the earth stores heat, causing the grass above it to wither and brown at a faster rate than the grass surrounding it, effectively tracing the outline of the buried structures.

The warmer temperatures cause the grass above stone to wither, resulting in a tan outline in a brown field

According to the BBC, one such henge was discovered by aerial photographer Anthony Murphy, who was operating a camera drone over Newgrange, Ireland. Murphy spotted a circular imprint in a field near River Boyne, an otherwise invisible henge located near a different imprint spotted in 2010.

University College Dublin assistant professor of archaeology Stephen Davis confirmed to BBC that Murphy's image shows an "entirely new" henge with captivating features. Others like it have appeared in the withering UK landscape, including imprints revealing the former rooms and corridors of an 18th-century mansion called Clumber House.

Though the building no longer remains, stone from its foundation is still present beneath ground level. The warmer temperatures cause the grass above the stone to wither, resulting in a tan outline in a brown field. Other past structures have also become visible, including a Victorian-era garden in Lancashire (above) and the outlines of runways and dispersal pans at what was once Lasham Airfield, which was returned to farmland after World War 2.

Via: BBC

Posted: July 21, 2018, 1:00 pm

Palette System
$250-$550 | PaletteGear.com

The Palette system uses physical controls to manipulate software features in Lightroom Classic, Photoshop, and other applications.

Image editing applications are full of controls that mimic physical interactions. We could adjust a photo in Lightroom using nothing but numbers, but we’re conditioned to drag virtual sliders to see how the change affects the image. What we’re actually doing is repetitively positioning the mouse pointer over specific locations to work those controls.

Palette is a set of modular hardware pieces that can be assigned individual tasks and features.

If you’re tired of hitting those tiny targets or want to potentially speed up your editing workflow, perhaps you should consider the real-life physical controls of the Palette system. Palette is a set of modular hardware pieces that can be assigned individual tasks and features. Think of a sound-mixing board, but for editing photos (although Palette can also work with some audio and video software, too).

Key Features

  • Three physical controls: buttons, dials, and sliders
  • USB-powered
  • Controls many features of Adobe (and other) software
  • Modular controls snap together with strong magnets
  • Machined aluminum modules
  • Rubberized base so modules don’t shift during use
  • Mac and Windows compatible

Buying options

The modules can be like a mini puzzle: make sure the pins connect to pads so that power and data are distributed throughout the connected pieces.

The Palette system is sold in three kits:

  • Starter Kit ($249.98) includes the core, two buttons, one dial, and one slider.
  • Expert Kit ($349.98) includes the core, two buttons, three dials, and two sliders.
  • Professional Kit ($549.98) includes the core, four buttons, six dials, and four sliders.

The components are also available as separate add-ons: $29.99 for the button, or $49.99 each for the slider or dial.

Design

The system is based around a single Palette Core unit, which is 45mm (1.8in) square and connects to the computer via a Micro USB port. The core includes the processor and software for running the system, plus an OLED screen that indicates which mode it’s currently running. (It’s not a touchscreen, though; my smartphone-trained fingers kept tapping the display at first, expecting something to happen.)

At times I wish the controls offered some physical feedback, such as a dial that ticks as you turn it

The rest of the components connect to the core and to each other via strong magnets, with one side sporting spring-loaded pins to make data and power connections. There’s an arcade-style button, a dial that spins smoothly and can also be pressed like a button, and a slider. At times I wish the controls offered some physical feedback, such as a dial with detents that clicks as you turn it instead of just spinning smoothly; perhaps the company could offer such a module in the future.

Each piece includes an illuminated “halo” that can change color, which is helpful for visually identifying which application or feature you’re working with. Rubberized bases give the components a good grip so they don’t slip around while you’re working.

In use

I’ve used the Palette system and the PaletteApp software primarily with Lightroom Classic CC; it also supports Lightroom 6 and Lightroom CC 2015, but notably does not work with the newest Lightroom CC (which doesn’t offer the same hooks for other applications that the classic versions do).

It’s not a Lightroom-only tool, however. Adobe’s apps are well represented, with support for CC versions of Photoshop, Premiere Pro, After Effects, Illustrator, InDesign, and Audition. The software knows a few other applications, too, such as Final Cut Pro X, iTunes, Spotify, VLC, WMP, and Google Chrome. If PaletteApp can access the menu systems of other software, you can also set up some custom controls, although in my testing those weren’t as snappy as the interaction with supported apps. PaletteApp requires macOS 10.9, Mavericks, and higher, or Windows 7 and higher.

The software knows a few other applications, too, such as Final Cut Pro X, iTunes, Spotify, VLC, WMP, and Google Chrome

When you first begin using the Palette system, expect a lot of experimentation as you figure out which control layouts work for you. PaletteApp includes several pre-made profiles to get started, so as you snap modules together, functions are already assigned to them. You can also import downloaded profiles created by other Palette owners. That’s helpful, although I found myself wanting examples of physical layouts as starting points. I’d like to see recommendations of how other people work: do they use dials or sliders for controls like Exposure, for instance, and how are the modules arranged? I appreciate the freedom to piece modules together the way I want, but it’s almost too open-ended until you figure out what works for you.

Built-in profiles get you started.

The system’s modularity does have the advantage that one layout isn’t trying to accomplish everything; in Lightroom, for example, you can set up controls for reviewing and culling images, and then switch to a profile with controls for performing basic edits or even, say, landscape-specific editing tasks.

I’ve set up this profile and layout for reviewing and culling images after importing them in Lightroom Classic CC. Here’s the same layout with a profile designed to apply basic and frequently-used Lightroom Develop controls.

Of course, you can manually assign features to each module and in some cases, fine tune their performance. Depending on the control, dials and sliders may include a Sensitivity or Range value (or both) to set upper and lower limits to how much a control is applied. For example, pushing a white balance tint slider all the way to the right can max out at +50 instead of +100, since you’d probably never crank the setting that high toward purple.

Manually set a module’s task, and adjust aspects like sensitivity depending on which type of control it is.

One of the best features of the Palette system is how responsive it is—not just in tracking a control’s physical movement with its onscreen setting, but switching between tools and modules. Activating a module switches to that editing control, regardless of where you were in Lightroom. For example, to straighten a photo, you could turn a dial assigned to Crop Angle. That switches to the Develop module if it’s not already active, selects the Crop Overlay tool, and starts rotating the image as you turn the dial.

At times the responsiveness can be jarring, though. A physical slider’s position dictates the software slider; imagine that the module for Exposure is set a quarter distance from the left following an edit in another application, but the Exposure slider in Lightroom is at the zero midpoint. As soon as you nudge the module’s slider, the Exposure value jumps down to –2.5 to match.

When you first begin using the Palette system, expect a lot of experimentation as you figure out which control layouts work for you.

There’s a preference called Optimize for Performance which, when turned off, shows the live status of the controls in the PaletteApp window. That can be helpful when the app is visible and you don’t want to take your eyes away from the screen, and it has the added benefit of including notches on the virtual dials that don’t exist on the physical ones. However, those notches are ultimately arbitrary: if you reset a control (by pressing the dial button), the notch doesn’t snap back to the center, so the next time you turn the dial, it starts from the last position.

One clever feature of the Palette system is the ability to rotate your setup in 90-degree increments. By repositioning the connected block of physical modules for other tasks, you can train your muscle memory to work in two different applications, for instance, and not take apart the layout you’ve set up and put it together into a new one each time.

The bottom line

If you spend a lot of time editing in Lightroom and Photoshop, and you have the desk space to dedicate to it, Palette is a good investment. That’s particularly true if your work involves processing hundreds of images and manipulating several key controls, such as editing batches of wedding photos.

That really gets to the whole point of using a system like this: to be able to let your hands take over while your attention is focused on the image you’re editing, not having to dart around the screen selecting every control using a mouse or touchpad.

What we like:

  • Build quality is exceptional
  • Color accents help differentiate tasks
  • Modularity lets you set up the controls how you like
  • Compatible with many applications
  • Granular sensitivity for the controls
  • Ability to rotate layout in 90-degree increments

What we don't:

  • Open-endedness of layout options can be daunting until you find a layout you like
  • Expensive, especially to buy extra individual components
  • No physical feedback, such as clicks as you turn dials, which would sometimes be helpful

Posted: July 21, 2018, 1:00 pm
Jashim Salam, Bangladesh
Grand Prize Winner, Photographer of the Year

The iPhone Photography Awards (IPPAWARDS), was founded in 2007, making it the longest running iPhone photo competition in the world. Now in its 11th year, the winners of the IPPAWARDS have just been announced, and looking at the winning image it should be pretty clear that you don't always need a DSLR and big lens to capture outstanding photographs.

The Grand Prize winning image is called “Displaced" and shows Rohingya children watching an awareness film about health and sanitation near Tangkhali refugee camp in Ukhiya, Bangladesh. It was captured by photographer Jashim Salam on an iPhone 7.

Swiss photographer Alexandre Weber's contribution "Baiana in yellow and blue" was captured on an iPhone 6S in Salvador de Bahia, Brazil and was awarded 1st prize in the Photographer of the Year category.

Alexandre Weber, Switzerland
1st Place, Photographer of the Year

Huapeng Zhao from China won the 2nd prize for his image "Eye to eye" showing a boy at the seaside in YanTai ShanDong province, China. Zhao used an iPhone 6 to record his award-winning photograph.

Huapeng Zhao, China
2nd Place, Photographer of the Year

The winners were selected from thousands of entries captured by photographers from more than 140 countries.

IPPAWARDS founder Kenan Aktulun said “iPhone users have become very fluent in visual storytelling. This year’s photos were technically impressive and many of them were very personal.”

On the IPPAWARD website you can see the winning images in all categories and find out more about all winning photographers. If you feel inspired, you'll also find more information about how to enter the 2019 competition.

Posted: July 20, 2018, 5:58 pm

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effects of different lighting conditions.

Our technical evaluation of the Panasonic GX9 has included a trip to the studio, where we put its 20MP Four Thirds sensor in front of our standard test scene. We've seen solid image quality from this sensor before, but Panasonic says that it has gone one step further and improved color rendition compared to both the 20MP GX8 and 16MP GX85. Take a closer look at its performance against its predecessors as well as its peers.

Posted: July 20, 2018, 1:00 pm

The Sony Cyber-shot DSC-RX100 VI earned high marks in our recent review and has earned a spot at the top of our Best Cameras for Travel buying guide, thanks to its long zoom and excellent still and video quality. Click through below to see all three of our updated buying guides:

Read our updated buying guide: Best Cameras for Travel

Read our updated buying guide: Best Pocketable Enthusiast cameras

Read our updated buying guide: Best Enthusiast Long Zoom cameras

Posted: July 20, 2018, 11:00 am

Fujifilm's widest X-series zoom to date, the XF 8-16mm F2.8 R LM WR, will ship in late November: just in time for Christmas. The lens has a total of 20 elements, including four aspherical, three ED and three Super ED, plus a Nano GI coating to reduce ghosting and flare. The lens has linear motors for responsive and quiet focusing, a nine-blade aperture and a minimum focus distance of 25 cm / 9.8". The lens is sealed against dust and moisture and operates down to -10°C/+14°F.

The XF 8-16mm F2.8 will be priced at $2000.

Press Release:

FUJIFILM ANNOUNCES NEW FUJINON XF 8-16MMF2.8 R LM WR LENS; FUJINON XF 200MMF2 R LM OIS WR TELEPHOTO LENS AND XF 1.4X TC F2 WR TELECONVERTER KIT

Ultra-wide angle zoom lens and super-fast telephoto lens with accompanying teleconverter for the X Series line of mirrorless interchangeable lens digital cameras; Latest development of the X Mount Lens Roadmap unveiled

Valhalla, N.Y., July 20, 2018 FUJIFILM North America Corporation today announced the new FUJINON XF8-16mmF2.8 R LM WR Lens, an ultra-wide angle zoom lens with a constant maximum aperture of F2.8 and focal length equivalent to 12-24mm (35mm format). Capable of providing outstanding edge to edge image-resolving performance, this lens is perfect for landscape and architecture photography such as interior and nightscape, and astrophotography.

FUJINON XF8-16mmF2.8 R LM WR Ultra-Wide Angle Lens

The new XF8-16mmF2.8 R LM WR features an optical construction of 20 elements in 13 groups, including 4 aspherical lens elements to control distortion and spherical aberration, and 6 ED lens elements including 3 super ED elements to control lateral chromatic aberration, a lens design that produces advanced image-resolving performances across the entire zoom range. Featuring a floating lens element that adjusts according to the position of the zoom, the XF8-16mmF2.8 R LM WR achieves edge-to-edge sharpness, and corrects field curvature that is typically found in ultra-wide angle lenses. The lens barrel is lightweight yet robust, sealed at 11 points, designed to be weather and dust-resistant and capable of operating in temperatures as low as 14°F/-10°C.

FUJINON XF8-16mmF2.8 R LM WR Key Features:

  • FUJIFILM X Mount is compatible with all FUJIFILM X Series interchangeable system cameras
  • Weather-sealed at 11 points for weather and dust-resistance; operates in temperatures as low as 14°F/-10°C
  • 20 elements in 13 groups including 4 aspherical elements, 3 ED elements and 3 super ED elements
  • Uses linear motors for quiet and ultra-fast AF
  • Nano-GI coating applied to rear surface of two front lens elements to eliminate ghosting and flare caused by oblique light

Availability and Pricing

The new FUJINON XF8-16mmF2.8 R LM WR Lens will be available in late November 2018 in the U.S. and Canada for USD $1,999.95 and CAD $ 2,599.99.

Fujifilm XF 8-16mm F2.8 R LM WR specifications

Principal specifications
Lens typeZoom lens
Max Format sizeAPS-C / DX
Focal length8–16 mm
Image stabilizationNo
Lens mountFujifilm X
Aperture
Maximum apertureF2.8
Minimum apertureF22
Aperture ringYes
Number of diaphragm blades9
Optics
Elements20
Groups13
Special elements / coatings4 aspherical + 3 ED + 3 Super ED elements, Nano GI coating
Focus
Minimum focus0.25 m (9.84)
Maximum magnification0.1×
AutofocusYes
Motor typeLinear Motor
Full time manualYes
Focus methodInternal
Distance scaleNo
DoF scaleNo
Physical
Weight805 g (1.77 lb)
Diameter88 mm (3.46)
Length122 mm (4.8)
MaterialsMagnesium alloy
SealingYes
ColourBlack
Zoom methodRotary (extending)
Power zoomNo
Zoom lockNo
Hood suppliedYes
Tripod collarNo
Posted: July 20, 2018, 5:30 am

Fujifilm has added three new lenses to its X-mount roadmap. The most interesting of the lenses is definitely the XF 33mm F1.0 R WR, a weather-sealed lens that, when mounted on an X-series body, is equivalent to 50mm F1.5 on full-frame.

Also in the pipeline are a 16mm F2.8 prime and a stabilized 16-80mm F4 zoom, both of which are weather-resistant.

Click for larger view

The 16mm prime and 16-80mm zoom lenses are expected in 2019, with the 33mm F1.0 arriving sometime in 2020.

Press Release:

Updated X Mount Lens Roadmap Unveiled

Also announced is the latest development roadmap of interchangeable lenses for the X Series line of mirrorless digital cameras. The latest roadmap adds three new lenses to the lineup: a compact wide angle lens, XF16mmF2.8 R WR, perfect for landscape and travel photography; a standard zoom lens, XF16-80mmF4 R OIS WR, which boasts a 5x zoom range with a broad focal range, providing a versatile lens capable of covering a wide range of shooting scenarios; and a large aperture prime lens XF33mmF1 R WR, an ultra-fast lens that stands to be the first mirrorless lens with a maximum aperture of F1.0 with AF capability. With the expansion of the high performance X Mount lens lineup, Fujifilm continues to cover more focal lengths to support a wide range of photography styles and shooting scenarios.

Posted: July 20, 2018, 5:30 am

Fujifilm has announced its Fujinon XF 200mm F2 R LM OIS WR telephoto lens, which will be bundled with a matching 1.4x teleconverter. The lens has a 'matte silver' magnesium alloy body with an eye-catching green hood and is sealed against dust and moisture. The 200mm F2 has a total of 19 elements, including one Super ED and two ED elements, and the front glass has a fluorine coating to keep away fingerprints and water. Linear motors keep focus quick and quiet and the image stabilizer reduces shake by up to five stops, according to Fujifilm.

The XF 1.4X TC F2 WR teleconverter boosts the focal length of the lens to 280mm, with the maximum aperture rising a stop to F2.8. As with the lens, the teleconverter is weather-sealed.

The lens and teleconverter kit will be available in late October for just under $6000.

Press Release:

FUJIFILM ANNOUNCES NEW FUJINON XF 8-16MM F2.8 R LM WR LENS; FUJINON XF 200MM F2 R LM OIS WR TELEPHOTO LENS AND XF 1.4X TC F2 WR TELECONVERTER KIT

Ultra-wide angle zoom lens and super-fast telephoto lens with accompanying teleconverter for the X Series line of mirrorless interchangeable lens digital cameras; Latest development of the X Mount Lens Roadmap unveiled

Valhalla, N.Y., July 20, 2018 FUJIFILM North America Corporation today announced the new FUJINON XF8-16mmF2.8 R LM WR Lens, an ultra-wide angle zoom lens with a constant maximum aperture of F2.8 and focal length equivalent to 12-24mm (35mm format). Capable of providing outstanding edge to edge image-resolving performance, this lens is perfect for landscape and architecture photography such as interior and nightscape, and astrophotography.

Also announced today is the new FUJINON XF200mmF2 R LM OIS WR Telephoto Lens, the first super-fast telephoto lens in the XF lens lineup, offering a fast maximum aperture of F2.0 and a focal length equivalent to 305mm (35mm format). This lens boasts exceptional image clarity with the ability to produce beautiful bokeh, making it an ideal lens for shooting sports and wildlife.

The XF200mmF2 R LM OIS WR lens will only be available as a kit, paired with the high performance XF1.4X TC F2 WR Teleconverter to extend the focal length by 1.4 times to cover a focal length equivalent to 427mm at F2.8 (35mm format).

FUJINON XF200mmF2 R LM OIS WR Telephoto Lens and XF1.4X TC F2 WR Teleconverter Kit

The XF200mmF2 R LM OIS WR Telephoto Lens is made of 19 elements in 14 groups, including one large-diameter super ED lens element and two large-diameter ED lens elements to minimize chromatic aberration. High-precision polishing technology, developed for broadcast lenses, was applied to the large-diameter lens to achieve outstanding image-resolving performance and beautiful bokeh. The lens also features a new Focus Preset function that instantaneously changes the focus to a preset position, enabling photographers to capture the main subject with ease, and without having to make focal readjustments.

Utilizing linear motors, the XF200mmF2 R LM OIS WR achieves fast, silent and high-precision AF performance, and also features a new mechanism that fixes the motor group when the camera is not in use to reduce movement of the focusing group. In addition, the lens offers 5-stop image stabilization performance that recognizes shooting conditions and automatically applies optimum image stabilization control. With magnesium alloy construction, the lens is lightweight yet robust, and is sealed at 17 points and designed to be weather and dust-resistant, and operates in temperatures as low as 14°F/-10°C.

FUJINON XF200mmF2 R LM OIS WR Key Features:

  • FUJIFILM X Mount is compatible with all FUJIFILM X Series interchangeable system cameras
  • Weather-sealed at 17 points for weather and dust-resistance; operates in temperatures as low as 14°F/-10°C
  • 19 elements in 14 groups including 2 ED elements, and 1 super ED element
  • Uses linear motors for quiet and ultra-fast AF
  • Focus Preset Function instantly changes focus to a preset position to capture main subject without readjustments
  • Optical Image Stabilization system achieves 5-stop image stabilization
  • Fluorine coating applied to front lens element for improved durability
  • Matte silver color for reduced risk of overheating

FUJINON XF1.4X TC F2 WR Key Features:

  • 7 elements in 4 groups including 1 aspherical element

Fujifilm XF200mm F2 R LM OIS WR specifications

Principal specifications
Lens typePrime lens
Max Format sizeAPS-C / DX
Focal length200 mm
Image stabilizationYes
CIPA Image stabilization rating5 stop(s)
Lens mountFujifilm X
Aperture
Maximum apertureF2
Minimum apertureF22
Aperture ringYes
Number of diaphragm blades9
Optics
Elements19
Groups14
Special elements / coatings1 Super ED + 2 ED elements, fluorine coating
Focus
Minimum focus1.80 m (70.87)
Maximum magnification0.12×
AutofocusYes
Motor typeLinear Motor
Full time manualYes
Focus methodInternal
Distance scaleNo
DoF scaleNo
Focus distance limiterYes
Physical
Weight2265 g (4.99 lb)
Diameter122 mm (4.8)
Length206 mm (8.11)
MaterialsMagnesium alloy
SealingYes
ColourWhite
Filter thread105 mm
Hood suppliedYes
Tripod collarYes
Posted: July 20, 2018, 5:30 am

HumanEyes Technology has announced the Vuze XR camera, a product the company describes as a 'dual camera' since it can be used for two distinctly different applications.

The Vuze XR captures standard 360° spherical video in 5.7K resolution. Like the Rylo Camera or the GoPro Fusion, it appears to provide editing tools that will allow users to create 16:9 videos from the 360° footage or zoom out to a 'tiny planet' view, allowing for a lot of creative choices to be made after video is recorded.

By flipping both of its cameras outward, the Vuze XR transforms into a camera that captures 180° stereoscopic video similar to the Lucid VR or Yi Horizon VR180 camera, providing an immersive 3D experience to viewers when used with VR goggles.

While the Vuze XR doesn't appear to break significant ground in either area, it presents an interesting option for 360°/VR content creators. Instead of having to purchase and carry two separate cameras, each of which may require different software and workflows, the Vuze XR promises to wrap both capabilities into a single camera.

Additionally, the camera will support live streaming to social media, which may make it an attractive choice for activities such as travel where you want to keep things light but retain the flexibility to share your adventure in different ways.

HumanEyes did not provide a specific release date, but says the Vuze XR will be available in the coming months at a price in the '$400 range'.

HUMANEYES TECHNOLOGIES DEBUTS THE VUZE XR DUAL CAMERA, GIVING ANYONE THE POWER TO CREATE AND SHARE IMMERSIVE EXPERIENCES IN 360° (2D) OR VR180 (3D)

With the touch of a button, the Vuze XR transforms from a 360° camera to a VR180 camera, enabling content creators to spontaneously tell any story, from every angle.


NEW YORK CITY, July 19, 2018 – Consumers and prosumers alike will be able to capture and share engaging content, life’s adventures and memorable moments in stunning 360° (2D) or stereoscopic VR180 (3D), all from one innovative device.

HumanEyes Technologies today announced its upcoming Vuze XR Camera, designed to capture, create and share both high-resolution photos and full motion video, in either 5.7K 360° or VR180 formats.

Available in the fourth quarter of 2018, the Vuze XR Camera will transform storytelling by providing the visual dynamics of a full 360° camera, and with a single click, convert to an immersive VR180 format. The unique dual-camera design is portable, simple-to-use and seamlessly combines two advanced capture systems into one pocketable device, giving content creators, social media enthusiasts, world travelers, adventure seekers, families and creators of all types the power and convenience to record or share live to mobile phones, computers and VR headsets alike.

The Vuze XR Camera allows users to:

  • Capture and share full 360° or immersive VR180 video or photos.
  • “Click” between standard 360° mode (when the camera is closed) and 3D VR180 mode (when the camera is open).
  • Enjoy industry leading, high-resolution, 5.7K video.
  • Live stream to popular social media channels.

"The Vuze XR Camera is a must have for anyone with a story or special moment to share, from consumers to prosumers. With powerful 360° and VR180 5.7K camera technology built in, along with instant sharing and a live streaming mode, anyone can enjoy the freedom of shooting their story, the way they want,” said Shahar Bin-Nun, CEO of HumanEyes Technologies. “One camera can now live stream in 360° from a concert, take immersive VR180 pictures of the band, and record your friends singing along to edit and share the full experience later. We’re giving users the freedom to spontaneously shoot content from all angles, or only a few, and we can’t wait to see what’s created with it.”

The Vuze XR Camera is the latest innovation from the company’s award-winning VR camera line, which includes the Vuze and Vuze+ VR cameras, the first cost effective 3D-360° VR camera solutions has made content creation accessible to anyone.

The Vuze XR Camera will be available for purchase in the $400 price range. Additional camera details, specifications and pricing will be available in the coming months. To see the Vuze XR Camera in action and register to be the first to hear more, visit VuzeXR.com.

Posted: July 19, 2018, 8:04 pm

Huawei has launched the world's first photography contest with both AI and human judges. The company invites photographers to submit their best images to its 'Spark A Renaissance' competition, during which time both Huawei's P20 Pro smartphone AI and Leica pro photographer Alex Lambrechts will review the images.

The contest revolves around the P20 Pro, Huawei's smartphone co-engineered with Leica. The handset features a triple-camera system and Huawei's Master AI, which works in real-time to determine which of 19 categories any particular scene belongs to, automatically adjusting the settings in an effort to produce the ideal image.

The contest began on July 12 and will run for 8 weeks. During this time, photographers can submit their images via a Facebook Messenger chatbot, where Huawei explains that its P20 AI will evaluate it in multiple ways:

Trained using 4,000,000 images taken by professional photographers and picture editors the AI will then give each photo a personalised AI score based on parameters such as focus, jitter, deflection, colour and composition.

Huawei's competition will revolve around five themes total, including "Deep in Detail" and "A New Renaissance," with the winner in each category receiving a P20 Pro smartphone. A total of 10 winners from the themed categories will be given a trip to Florence, Italy, where they'll attend a Leica masterclass.

Both Leica photographer Alex Lambrechts and Huawei's AI will review the images taken during the Florence trip. The final winner chosen from them will receive the Grand Prize, a tour of three European countries. As well, Huawei says the top photos from the contest "will be sold to raise money for a local charity."

Huawei is currently accepting entries for the contest's first theme: A New Renaissance. The next theme, After Dark, starts on July 24, followed by three more with the final theme starting on August 28. All five themes can be found here.

Photographers must submit their images to the Huawei Spark A Renaissance Facebook Messenger chatbot, which guides users through the submission process:

Deadlines, eligibility requirements, and more can be found in the contest's Terms and Conditions. The contest is only open to legal residents in Europe.

Via: Light Stalking

Posted: July 19, 2018, 5:00 pm

Fujifilm has announced the XF10, an APS-C sensor compact camera with a fast prime lens. It retains the same 28mm equivalent F2.8 lens as the X70 but now uses a 24MP Bayer color filter rather than X-Trans.

The XF10 appears to be a simplified X70 with a higher resolution sensor. The XF10 has a mode dial in the place of the X70's shutter speed control and it also loses the focus mode switch from the front plate and the tilting screen that made the X70 attractive to street shooters.

Like the Fujifilm X-E3, the XF10 has an AF joystick on the back, and uses directional swipes on the rear touchscreen instead of offering a four-way controller. One of the functions that can be accessed this way is 'Square Mode', which is a quick way to jump to shooting in the Instagram-tastic 1:1 aspect ratio.

Sadly the XF10 appears to use the previous generation processor meaning that, although it says '4K' in the press release, it can only shoot at 15 fps, which doesn't really count as video in our opinion. We're also a little worried about what this might mean for the camera's responsiveness. It also continues to use the older, smaller NP-95 battery.

The XF10 weighs 280g / 9.8oz with card and battery, making it around 18% lighter than the X70. It will go on sale in August for around $500.

FUJIFILM INTRODUCES THE NEW XF10, AN ULTRA-LIGHTWEIGHT, TRAVEL-FRIENDLY PREMIUM COMPACT CAMERA

Featuring an APS-C sensor and enhanced Bluetooth® connectivity for seamless transfer of images to a smartphone after shooting

Valhalla, N.Y., July 19, 2018 FUJIFILM North America Corporation has announced the latest addition to the X Series lineup, the FUJIFILM XF10, a premium compact digital camera with a high quality FUJINON 18.5mmF2.8 fixed lens. Weighing only 280g, the XF10 combines simple touchscreen operation with superior image quality and versatile settings in a pocket-sized body, making it the perfect companion for photo enthusiasts and smartphone users alike.

“We are excited to introduce the XF10 as a premium, ultra-lightweight compact camera that delivers high quality images and new features in a body small enough to travel with, and possesses functionality to instantly transfer images to your phone to share,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation.

Available in August 2018, the XF10 has wide dynamic range and produces sharp, high resolution images. Combined with Fujifilm’s proprietary color reproduction technology, its 24.2 megapixel APS-C sized sensor allows the XF10 to produce high quality images in a wide range of settings. In addition, both 4K movie and Full HD high speed video are available on the XF10.

The new FUJIFILM XF10 is the first X Series camera to offer the new “SQUARE MODE,” which allows users to switch to a 1:1 format with a single flick of the touchscreen. Combined with a method for seamless transfer of images to a smartphone, this camera enhances compatibility with social media where the 1:1 format has become a popular image format for posting photos. Available in Black or Champagne Gold, the XF10 is a stylish and portable tool for everyday creatives.

High Quality FUJINON Lens Covers a Wide Range of Subjects from Landscapes to Snapshots

The XF10 features an 18.5mmF2.8 FUJINON lens (equivalent to 28mm on 35mm format) that ensures every image is sharp from center to edges. The optical design of the lens is perfectly matched to the sensor in the XF10, to ensure there is no compromise in quality due to the camera’s compact size. With the Digital Teleconverter function, the camera is capable of taking photos with equivalent focal lengths of 35mm and 50mm on a 35mm format.

Enhanced Creativity with Unique Film Simulation and Advanced Filter Modes

The XF10 offers 11 unique FUJIFILM Film Simulations and 19 Advanced Filters, providing photographers with the ability to enhance their creativity. The camera also introduces two new Advanced Filters – “Rich & Fine” and “Monochrome [NIR]” – to easily add artistic flair or film-like color tones to photos. The new “Rich & Fine” filter provides brighter and more vivid color at the center of the image, and a slight shadow at the corners in order to emphasize the subject, perfect for food and other tabletop photography. The “Monochrome [NIR]” filter simulates a monochrome effect as taken by near-infrared cameras.

FUJIFILM XF10 Key Features:

  • 24MP APS-C CMOS sensor
  • 3.0-inch” (approx. 1,040K-dot) color LCD touchscreen, aspect ratio 3:2
  • Standard output sensitivity of ISO200 – ISO12800
    • Extended output sensitivity of ISO100 – ISO51200
  • Bluetooth® version 4.1 low energy technology
  • New “SQUARE MODE” for 1:1 format
  • 4K 3840 x 2160 15P, continuous recording up to approx. 30 min.
    • Full HD 1920 x 1080 59.94P / 50P / 24P / 23.98P, continuous recording up to approx. 30 min.
    • HD 1280 x 720 59.94P / 50P / 24P / 23.98P, continuous recording up to approx. 30 min.
    • High Speed Movie 1280 x 720 1.6x / 2x / 3.3x / 4x
  • Accessories include:
    • Li-ion Battery NP-95
    • AC-5VG AC adapter
    • USB Cable
    • Hand Strap
    • Lens Cap
    • Owner's Manual

Availability and Pricing

The new FUJIFILM XF10 will be available in August 2018 in the U.S. and Canada for USD $499.95 and CAD $649.99

Fujifilm XF10 Specifications

Price
MSRP$499
Body type
Body typeCompact
Sensor
Max resolution6000 x 4000
Image ratio w:h1:1, 3:2, 16:9
Effective pixels24 megapixels
Sensor sizeAPS-C (23.5 x 15.7 mm)
Sensor typeCMOS
Color spacesRGB
Color filter arrayPrimary color filter
Image
ISOAuto, 200-12800 (expands to 100-51200)
Boosted ISO (minimum)100
Boosted ISO (maximum)51200
White balance presets7
Custom white balanceYes (3 slots)
Image stabilizationNo
Uncompressed formatRAW
JPEG quality levelsFine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (Fujifilm 14-bit RAF)
Optics & Focus
Focal length (equiv.)28 mm
Maximum apertureF2.8–16
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lampYes
Digital zoomYes (1.25x, 1.8x)
Manual focusYes
Normal focus range10 cm (3.94)
Macro focus range10 cm (3.94)
Number of focus points91
Screen / viewfinder
Articulated LCDFixed
Screen size3
Screen dots1,040,000
Touch screenYes
Screen typeTFT LCD
Live viewYes
Viewfinder typeNone
Photography features
Minimum shutter speed30 sec
Maximum shutter speed1/4000 sec
Maximum shutter speed (electronic)1/16000 sec
Exposure modes
  • Advanced SR Auto
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flashYes
Flash range5.30 m (at ISO 100)
External flashNo
Flash modesAuto, Forced Flash, Suppressed Flash, Slow Synchro, Rear-curtain Synchro, Commander
Drive modes
  • Single
  • Continuous
  • Bracketing
  • Self-timer
Continuous drive6.0 fps
Self-timerYes
Metering modes
  • Multi
  • Average
  • Spot
Exposure compensation±5 (at 1/3 EV steps)
AE Bracketing±3 (2, 3, 5, 7 frames at 1/3 EV steps)
WB BracketingYes
Videography features
FormatMPEG-4, H.264
Modes
  • 3840 x 2160 @ 15p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p, MOV, H.264, Linear PCM
MicrophoneStereo
SpeakerMono
Storage
Storage typesSD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB chargingYes
HDMIYes (micro HDMI)
Microphone portYes
Headphone portNo
WirelessBuilt-In
Wireless notes802.11b/g/n + Bluetooth 4.1 LE
Remote controlYes (via smartphone or wired remote)
Physical
Environmentally sealedNo
BatteryBattery Pack
Battery descriptionNP-95 lithium-ion battery & charger
Battery Life (CIPA)330
Weight (inc. batteries)279 g (0.62 lb / 9.84 oz)
Dimensions113 x 64 x 41 mm (4.45 x 2.52 x 1.61)
Other features
Orientation sensorYes
Timelapse recordingYes
Posted: July 19, 2018, 5:00 am
©Darrel Frost/CJR. Used with kind permission

It won't come as a surprise to anyone that there are some unpleasant, predatory men within the photography industry. However, a long-form, extensively researched special report in the Columbia Journalism Review about sexual harassment in photojournalism is still a depressing, eye-opening read. As the report bluntly spells out: "Photojournalism has a sexual harassment problem."

"An issue that’s long been discussed in private was catapulted into the open: Photojournalism has a sexual harassment problem."

The article details multiple female photographers' experiences of being harassed by men in the industry: "many women in the industry say the behavior is so common that they have long considered it simply one of the realities of working as a woman in the profession," it says. But looking beyond the specific examples, the insights it offers about the way the structure of the industry leaves young photographers (and particularly young female photographers) vulnerable to harassment are especially troubling. As the industry moves more and more towards the use of freelancers, young photographers are left with little support and no mechanism to prevent it happening to others.

"Many women in the industry say the behavior is so common that they have long considered it simply one of the realities of working as a woman in the profession"

Moreover, the individual examples given not only highlight that there are some male photographers willing to abuse their position, but also that there are plenty of other photographers willing to look away and say nothing when it happens.

Even if you don't work in the industry, it's worth a read.

Read the CJR Special Report on sexual harassment in photojournalism


A sample of some deleted comments on this article:

From the Editorial team: The following is an anonymized selection of some of the comments that DPReview admins deleted from this article within a day of its publication. They are presented verbatim and unedited, although some are excerpted from longer comments.

Sadly, we have come to expect comments like this (and worse) on articles which even tangentially relate to gender equality, or sexual and racial politics. As an Editorial team, we made the decision to preserve some representative samples here in an attempt to show why things like the CJR report referenced in this article get written in the first place.

"Every woman who tried to flirt her way to an extra payday will now re-invent herself as a victim."

"Fake News"

"It will continue for as long as women allow it to happen and continue to work with people who do it. They are free to put a stop to it and walk out of any job. Men, society, laws, articles are not going to fix it for them."

"This is just more trash. There are better things to discuss. Me Too is a very opinionated and political topic. No sense posting this trash here."

"This garbage isn’t going to win you guys a Pulitzer. It’s been beaten to death. Give it a rest."

"So what? Life is not fair and women are not special."

"I came here today to read up on the LX10, not for yet more SJW PoundMeToo garbage and fake accusations"

Posted: July 18, 2018, 7:03 pm

Nikon now lists its KeyMission action cameras as discontinued on its UK and Japan websites, a change first spotted by Nikon Rumors. The maker's UK website lists the KeyMission 80 as "discontinued," though neither the KeyMission 170 or 360 models show the same notice. The Nikon Japan website lists the KeyMission 360 as an "old product," but doesn't include the KeyMission 80 or 170 models under its discontinued action camera page.

The Nikon USA website does not currently list any of the KeyMission cameras as discontinued and is still selling all three models. The Nikon UK website is still selling the KeyMission 360 model, but lists the 170 as out of stock and the 80 as discontinued. Existing inventory is still available to purchase through online retailers like B&H Photo.

We have reached out to Nikon for an official statement.

Via: Nikon Rumors

Posted: July 18, 2018, 4:30 pm

As far as camera makers go, Leica and Light could not be further apart. Leica has a rich photographic heritage and, at least in the minds of many photographers, stands for beautifully manufactured mechanical devices. Light is a very new company and with its 16-sensor L16 camera is by many regarded as a spearhead of innovation in digital imaging.

Nonetheless - or maybe because of those differences - Leica is now an investor and shareholder in Light. The latter just announced a $121 million Series D funding round led by SoftBank Vision Fund. Leica is one of the participants in the round as well, investing an undisclosed amount.

The company confirms that we will see Light-powered smartphones later this year

In the announcement the company confirms that we will see Light-powered smartphones later this year and says it is planning to use the funding to expand in sectors beyond consumer imaging.

“The new funding will allow Light to expand the reach of its imaging platform beyond consumer photography and into security, robotic, automotive, aerial and industrial imaging applications,”

Leica on the other hand seems to be hoping to get its hands on on some of the computational imaging technologies that Light is developing.

“With the rapid development of the computational photography, partnering with the innovators at Light [allows] Leica to extend its tradition of excellence into the computational photography era.”

Posted: July 18, 2018, 4:21 pm

Have you ever wondered how your DSLR's autofocus works? Wonder no more! YouTuber ZY Productions has created a succinct video that details how phase detection autofocus (PDAF) systems work inside DSLR cameras.

As noted in the video, the phase detection autofocus mentioned in this video applies specifically to DSLRs, since it relies on a dedicated autofocus sensor and a translucent section of a DSLR's mirror to achieve focus — components you won't find inside a mirrorless camera.

The exact type of autofocus system depends entirely on what camera you have. Newer DSLRs have robust autofocus systems, with more image coverage and more cross-type focus points — the importance of which is documented in the video — while older cameras might not have as much coverage or as many cross-type focus points (if any at all).

One note we'd add is that Canon's dual cross-type AF points aren't primarily for detecting detail along more axes, but for increasing the precision of these points: with F2.8 and faster lenses, these dual cross-type points allow for more precise focus thanks to their longer baselines.

Regardless of what DSLR you use and how capable its autofocus system is, knowing how your camera's autofocus works and what its shortcomings are should help you to overcome any issues and limitations you come across.

If you'd like a more robust explanation, Photography Life has a great article explaining the process in more detail.

Posted: July 18, 2018, 1:29 pm

The Leica X-U (Typ 113) inherits the 16MP APS-C sensor and 35mm-equivalent, F1.7 lens from the company's 'X' compact camera into a waterproof, ruggedized, go-anywhere body. Although the X-U was released in early 2016, our recent experience with waterproof compact cameras got us thinking - how much more performance would $3000 extra buy us? We've been putting the X-U through its paces, from lakes in the foothills of the Cascade Mountains all the way to the 1950m / 6400ft Sunrise viewpoint in Mount Rainier National Park.

Click through our sample gallery to see the sorts of images the Leica X-U is capable of, and keep an eye out for our more detailed impressions in the coming weeks.

Posted: July 18, 2018, 1:00 pm

As part of a collaboration between Vitec Group and Sony, Gitzo has introduced a new pair of products designed specifically for Sony α7 and α9 cameras: the Traveler α Tripod and the L-Bracket α.

The new products 'feature a tailored design to perfectly fit Sony α7 and α9 camera models, helping to increase grip and stability for precise framing and extraordinary composition,' according to Vitec Group.

Gitzo's new Traveler α is a 'premium travel tripod' featuring a new design and monochromatic color scheme to match the appearance of Sony α-series cameras. It weighs just 1.43kg/3.15lbs, opens to 165cm/64.96in and holds up to 10kg/22lbs of gear. Like Gitzo's other travel tripods, the Traveler α folds down to just 43cm/16.93in when using the 180-degree leg-folding system.

The legs themselves are constructed of Carbon eXact tubing and use the Traveler G-lock system for securing the proper height. The Traveler α is paired with Gitzo's 'most compact professional carbon fiber tripod head [...] engineered to provide the ultimate smoothness and precision of movement and secure locking with independent pan/tilt lock.' To wrap it all up, the special-edition tripod includes a genuine Italian leather carry strap designed to mimic the aesthetic of carbon fiber.

The second new product is the L-Bracket α, which Gitzo calls 'the lightest of its kind on the market,' weighing in at just 77g/2.7oz. The bracket is milled from a single piece of aluminum 'to become one with the most high-level professional mirrorless cameras on the market.' Its design includes four attachment points for camera straps, an open design for easy access to ports and cables. There's also a dedicated spot for the hex keys and accessories so you don't need to carry another bag of tools around.

The Gitzo Traveler α costs $999.99, while the Gitzo L-Bracket α will set you back $199.99. They are available now on Gitzo's online shop and authorized dealers.

Posted: July 17, 2018, 3:49 pm

There have now been seven variants of the Sony RX100 series, and at least six of them are still current models. Confused? Here's an updated look at their differences, and our recommendations among them now that we've tested the Mark VI.

Posted: July 17, 2018, 1:00 pm

The Kodak-branded 'Kashminer' Bitcoin mining scheme announced at CES has apparently collapsed, with Eastman Kodak distancing itself from the company behind it.

This is distinct from the Kodak-branded 'Kodak Coin' cryptocoin and 'Kodak One' IP blockchain scheme announced by Wenn Digital Inc at CES.

Eastman Kodak is saying that the Kashminer scheme, where investors could effectively rent Bitcoin mining hardware which would be located at Rochester NY, and use Kodak's on-site power station for cheap electricity, was never actually a licensee of the Kodak name. This is despite the hardware appearing on Kodak's stand at CES, bearing the company's name.

The company behind the Kashminer says that the US Securities and Exchanges Commission had prevented the scheme from going ahead

The Kashminer scheme was immediately ridiculed at the time, since its promised consistent rate of return would appear impossible, given the increasing difficultly of 'mining' that is inherent to Bitcoin.

The BBC is reporting that Spotlite - the company behind the Kashminer - says that the US Securities and Exchanges Commission (SEC) had prevented the scheme from going ahead. It says it is now looking to establish a Bitcoin mining system in Iceland.

Posted: July 17, 2018, 10:00 am

Kandao, a maker of professional-grade 360° cameras has launched a new software product called Kandao Raw+. The tool was designed to boost image quality of the company's own camera models Obsidian and QooCam, but also works with most DSLRs and other Raw-capable cameras that are supported by Adobe Camera Raw.

Kandao Raw+ uses computational photography techniques, similar to what we are seeing in many high-end smartphones, to create images with increased detail and dynamic range, as well as lower noise levels. To achieve that it combines a burst of Raw images into one single DNG file that can then be further edited with a Raw converter of your choice.

The software aligns shots automatically which means there is no need for shooting on a tripod. It is also capable of minimizing blur on any moving subjects in the scene. You can import up to 16 frames images of a burst into Kandao Raw+. You then pick one image as a reference for the auto-alignment.

The rest of the process is fully automated and will get you a DNG file with a 16-bit color depth and dynamic range that (theoretically) has been increased by almost 4EV, offering much more latitude in post-processing.

Best of all, Kandao Raw+ is free to download and use. You can find more information, technical detail and download links on the Kandao website.

Posted: July 16, 2018, 5:59 pm

Fujifilm has taken an unusual departure from its regularly scheduled programming to bring you...instant noodles?

Yes, you read that correctly — as part of a promotional giveaway, Fujifilm Korea has created Fujifilm Film Simulation Instant Noodles, a line of instant noodles that's wrapped with the same branding used on Fujifilm's Provia 100 color reversal film packs.

According to the description, the Provia 100-branded noodles taste like 'hot and tangy kimchi.' For those unfamiliar with kimchi, Wikipedia describes it as 'a staple in Korean cuisine [...] a traditional side dish made from salted and fermented vegetables, most commonly napa cabbage and Korean radishes.'

It appears as though you won't be able to get the instant noodles outside of South Korea. If you happen to be reading this from South Korea — or plan on taking a trip there soon — you can jump over to Fujifilm Korea's promotional page and secure yourself some film-inspired instant noodles.

Posted: July 16, 2018, 3:24 pm

The Leica Noctilux-M 75mm F1.25 ASPH is a fast, high-quality and decidedly heavyweight short telephoto prime lens, designed for use with Leica's digital M-series rangefinders. A companion to the company's existing 50mm Noctilux-M 50mm 0.95, the new 75mm is better suited to classic portraiture. Its nine-element, six-group construction is comprised exclusively of high anomalous partial dispersion and low chromatic dispersion glass, and contains two aspherical elements.

The incredibly shallow depth of field at F1.25 (not to mention its sheer size) make it tough to shoot with a conventional optical rangefinder

As you might expect, as well as being very pricey the 75mm F1.25 is also quite a handful, with a 67mm filter thread and weighing in at a total weight of 1055g (2.3 lb). While natively an M-mount lens, the incredibly shallow depth of field at F1.25 (not to mention its sheer size) make the 75mm Noct very tough to shoot with a conventional optical rangefinder. As such, we've mostly been shooting it on an M10 coupled with Leica's Visoflex electronic viewfinder, and on an SL via an adapter.

We've been grappling with the 75mm F1.25 for a little while, and we're working on a short shooting experience article. In the meantime, take a look at our sample images and let us know what you think.

Posted: July 16, 2018, 1:00 pm

70-200mm F4 zoom lenses may not get as much attention as their faster F2.8 siblings, but for many photographers these lenses hit the perfect sweet spot of price, performance, and weight.

This week, Chris and Jordan go to the Calgary Stampede with pro photographer Kyle Marquardt to shoot the new Tamron 70-210mm F4, available in Canon and Nikon mounts, alongside the Canon and Nikon equivalents. How does the Tamron hold up, and is it a good alternative to the OEM glass? Watch the episode to find out what they think.

Also, make sure to read our recent review of the Tamron 70-210mm F4.

Read the Tamron 70-210mm F4 review

Make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Subscribe to our YouTube channel

Posted: July 15, 2018, 2:00 pm

Australian digital cinema company Blackmagic recently worked with Apple to develop Blackmagic eGPU, an external GPU that brings "desktop-class graphics performance" to the new MacBook Pro laptops with Thunderbolt 3 ports.

The Blackmagic eGPU features an AMD Radeon Pro 580 graphics processor with 8GB of GDDR5 memory, one HDMI 2.0 port, four USB 3 ports, two Thunderbolt 3 ports, and an 85W power supply. Thunderbolt 3 provides a 40Gb/s connection over a single cable, enabling rapid data transfers between the external graphics processor and MacBook Pro.

Graphics performance speed improvements depend on the laptop model; The Verge reports that the 13-inch MacBook Pro experiences an 8x boost, while the 15-inch model experiences a 2.8x increase.

As a first for external GPUs, the eGPU's second Thunderbolt 3 port provides optional connectivity with the LG UltraFine 5K Display, the model Apple offers directly, and other Thunderbolt 3 displays. A second monitor can be connected via the HDMI port; peripherals, such as a mouse and keyboard, can be plugged into the eGPU's USB hub.

Users must be running macOS 10.13.6 High Sierra or later to use the Blackmagic eGPU. Apple is exclusively offering the device through some of its retail stores and online for $699 USD.

Via: The Verge

Posted: July 14, 2018, 12:00 pm

Skylum, the company previously known as Macphun, has released Luminar 2018 update 1.3.0. The Lightroom alternative has received numerous changes across both its Mac and Windows versions, primarily improvements to existing features, as well as support for additional cameras from Fujifilm, Sony, Olympus, Panasonic, Canon, and Pentax.

Luminar 2018 is the latest evolution to Skylum's image editor for Mac and Windows. The 2018 version added a variety of features, improvements, support for Photoshop plugins, and UI changes. Update 1.3.0 builds upon this, adding additional plugin support for Mac, DNG Camera Profiles (DCP) and new features for Windows, and more than a dozen improvements that vary based on operating system.

The Windows version of Luminar 2018 can open Raw files faster post-update due to Raw engine improvements. This version also brings a new White Balance feature with eyedropper to Develop, Raw Develop, and the Color Temperature filters, better filter performance, simplified blending mode selection, and more.

The Mac 1.3.0 version, meanwhile, brings improvements across eight features in addition to support for plugins from the following software: Imagenomic Noiseware 5, Imagenomic Portraiture 3, Imagenomic Realgrain 2, and DxO FilmPack 5. Luminar 2018 for Mac also now has improved support for eight languages, additional file format export options for batch processing, better filter and JPEG controls, and more.

In addition, Luminar update 1.3.0 adds support for the following cameras:

  • Canon EOS 3000D / Rebel T100 / 4000D
  • FujiFilm X-H1
  • FujiFilm X-A20
  • FujiFilm X-A5
  • FujiFilm X-E3
  • Olympus E-PL9
  • Pentax K-1 II
  • Panasonic DC-GF10 / Panasonic DC-GF90
  • Panasonic DC-GX9 / DC-GX7MK3
  • Panasonic DC-TZ200 / DC-ZS200 / DC-TZ202 / DC-TZ220 / DC-ZS220 / DC-TX2
  • Sony A7 III

The full changelogs for the Mac and Windows update are available here. Existing Luminar 2018 users can update from within the software by choosing the "Check for updates" option, which is found under the "Help" menu on Windows and the "Luminar 2018" menu on Mac. Luminar 2018 is available from Skylum for $69 USD.

Via: PhotoRumors

Posted: July 14, 2018, 11:00 am

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