Articles: Digital Photography Review (dpreview.com)
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This week on DPReview TV, Chris and Jordan prepare for the summer holiday season by putting several popular waterproof cameras to the test, including the Olympus TG-5, Nikon W300, and Fujifilm XP130. They also take an early look at the brand new Panasonic TS7 (FT7).
If you're considering a rugged camera for the beach or pool this summer, or if you just want to see what a Chris and Jordan fishing show might look like, tune in.
For more information about some of these cameras read Carey Rose's take on the Olympus TG-5, as well as Jose Francisco Salgado's travelogue of the Olympus TG-5 and Nikon W300 in Puerto Rico.
Finally, make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Olympus TG-5 sample gallery
Nikon W300 in Puerto Rico sample gallery
Olympus TG-5 in Puerto Rico sample gallery
Soulumination is a non-profit organization that provides life-affirming legacy photography to families facing serious medical conditions, completely free of charge. In addition to the services donated by photographers, community volunteers make handcrafted photo albums and other gifts for the families. This video was made by Soulumination photographer Carrie Yuan of Yi Li Photography in order to share the work of Soulumination.
|Soulumination volunteers make hand-crafted photo albums and other gifts to give to the families (photo: Wenmei Hill)|
Volunteer photographers for Soulumination are invited in as families face serious illness, difficult treatment, joyous recovery and sorrowful loss. The photographer is there to capture those raw moments at times that are often private and filled with emotion. They are doing the most fundamental job of a photographer – ensuring that the family has something they can look back on, hold in their hands, share with others, fill in gaps in memories – in what can be the most difficult of circumstances.
As a volunteer photographer for Soulumination, I am often asked, "How can you do it?" After years of being invited to witness these important, beautiful, and often painful moments, I can't think of a better answer than photographer Randell Walton's: "How can I not?"
|Soulumination founder Lynette Huffman Johnson and one of the Soul kids show off their Wonder Woman skills (photo: Wenmei Hill)|
Although Soulumination is Seattle-based, there are several organizations throughout the world (such as Now I Lay Me Down to Sleep, Shoots for a Cure, and Flashes of Hope) that offer similar services. There are also a multitude of other ways individuals and organizations use photography for charitable causes. What are some groups you know of or participate in?
|The leaked X-T100 is basically an X-A5 with an EVF, 3-way tilting touchscreen, and a deeper buffer.|
Fujifilm EU accidentally leaked a complete specs page for an upcoming camera: the Fuji X-T100. The page was discovered by Nokishita and saved for posterity before it was removed, and though none of the sample images or photos of the camera survived, we basically got a rundown of what looks to be a Fuji X-A5 with a few extra features.
Nokishita is a reliable source of leaks, typically publishing accurate specs and even product images a few days to a week before a product is announced.
Taking a look at the full X-T100 specs (here), the leak seems legitimate to us here at DPReview. The camera shares most of its specs with the X-A5. The 24MP APS-C CMOS sensor (with a bayer array) is the same, as is the max video resolution (4K/15p max), the touchscreen resolution (3-inch 1.04M dot), and the continuous shooting speed max of 6fps.
|Unlike the X-A5 shown above, the X-T100 touchscreen will reportedly tilt three ways.|
Where the X-T100 distinguishes itself is with a deeper buffer (thanks to "newly equipped powerful memory"), 3-way adjustable touchscreen, and a built-in EVF.
The EVF will be the big selling point, but the deeper buffer—30 JPEG frames at 6fps or unlimited at 3fps for the X-T100, compared to only 10 frames at 6fps and 50 at 3fps for the X-A5—and adjustable touchscreen are definitely nice additions as well. Finally, while video resolution hasn't been improved, maximum recording time has. 4K15p and 1080/60p can both be recorded up to "approximately 30 minutes." For comparison, the X-A5 maxes out at 5 minutes of 4K15p and 14 minutes of 1080/60p.
Of course, it's not all good news. The battery life has suffered a bit—dropping to 430 from the X-A5's 450 while using the same NP-W126S battery pack—and the whole thing weighs almost 100g more than the X-A5. Trade-offs no doubt necessary in order to add that "powerful memory" and the EVF hardware.
According to Fuji Rumors, the X-T100 is scheduled for official announcement on Thursday May 24th. If that's indeed the case, you can be sure we'll bring you detailed announcement coverage next week. In the meantime, you can find the (translated) Nokishita leak here with links to the cached spec sheet and product page.
LA-based director and cinematographer Phil Holland of PHFX recently joined forces with Gotham Film Works to create something out-of-this-world. Using the first Shotover K1 Hammerhead Aerial Camera Array, Holland shot a flyover of New York City using not one, not two, but three 8K RED Weapon Monstro VistaVision cameras.
The result, once processed, is a 100MP motion picture made up of images "with a sensor size of approximately 645 medium format film." Put another way, the 12K by 8K footage above is 48.5 times the resolution of 1080p.
Holland explains how the rig was used and the footage captured in a short behind the scenes blog post, where he also shared some BTS images that he is kindly allowing us to repost for you here:
Holland's BTS post covers camera and lens selection, before moving on to explain what it takes to rig something like this up.
"On a technical level there's a lot that needs to happen in terms of proper spacing, finding the zero parallax point, lens selection, determining your overlap, rigging, payload balancing, etc." writes Holland. "Every RED Weapon 8K VV Monstro has a JETPACK SDI Module attached to sync genlock, provide power, control the camera, etc. This is actually one of the first times I've ever seen this bad boy used to maximum intent. WIthout this module something like this would be very difficult to pull off."
All of this allowed Holland to control the rig from a single "brain" and create "a quality stitch with pixel and frame accuracy."
Check out the final video up top to see the stunning results for yourself, and then head over to Holland's blog for even more details about how this beautiful creation was captured.
All photographs ©Phil Holland/PHFX and used with permission.
At its 2018 I/O developer conference Google presented a number of improvements to its Photos app, but there was no talk about an exciting feature that was demoed the previous year: an object removal tool that automatically removes obstructions like fences, window panes from your photos.
The feature caused quite a buzz when it was demoed in early 2017, and people have been waiting on it ever since... so why has it disappeared? The answer is simpler than you might think. According to an interview with the Google Photos team on XDA, object removal was simply de-prioritized in the development queue, giving way to other AI-powered features in Google Lens.
In the interview, Google team members said that the technology exists and could be deployed, but that Google prioritizes products based on what is most important for people, and other machine learning applications were prioritized over object removal. This means the technology might eventually be implemented into Google Photos or another Google app if the company changes its mind (and development queue), but we probably should not hold our breath.
When it was first demoed, object removal looked impressive and exceedingly useful. As you can see in the video above, the feature was shown as 100 percent automatic, without the need for any manual editing. Sure, professional photographers might want a bit more control over their cloning, but the vast majority of Google Photos users probably don't know what the Clone Stamp tool or Content Aware Fill even is.
If you've been waiting for object removal to finally make an appearance on your smartphone, knowing the source code is still stored on some hard drive at Google HQ might not be much of a consolation... but least we know the reason why it has never been released.
In a bid to clear up online speculation, surprise entrant to the full-frame cinema lens market Nisi has answered some questions about its relationship with brands marketing lenses very similar to its own recently-announced F3 series.
NiSi F3 Cinema Lenses
The company says that it owns the designs of its own lenses as it ‘took ownership’ of them from the ‘now dead’ Bokkeh Bokkelux project. Nisi also claims that it has made changes to the original optical and mechanical designs of the series to make the lenses more reliable, the assembly more accurate, and to reduce their overall weight. Nisi goes on to explain that it is a partner of cinema equipment company Kinefinity, and that it manufactures the brand’s Mavo Prime range of full-frame lenses.
The release doesn’t say it directly, but this is clearly a move that aims to end claims that Nisi is just copying existing lenses and marketing them under a different name.
Further details of the lenses have also been released, including that the five officially announced will be joined by 18mm and 135mm focal lengths in the second half of 2018. We should also expect a ‘new and innovative design for an optical accessory’ in the near future.
As the lenses will cover 46.5mm sensors, the F3 series will be compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF cameras (as well as ‘future’ models). Service centers are being established in Europe, USA and South Asia.
Allure Mist Filters
Nisi has also introduced a new series of filters to its cinema range. The Allure Mist filters will come in white and black versions and are designed to soften contrast in movie footage. The white version pulls back highlights and reduces the appearance of skin blemishes, while the black version diminishes the effect of flare and creates a misty atmosphere.
They will be available in 4x5.65in and 6.6x6.6in sizes and can be pre-ordered now
|A comparison of the effects of the Allure Mist filters, with the Black Mist on the left and the White Mist on the right. Click to enlarge the view|
And here's a demo of the filters in 'action':
For more information visit the Nisi website.
Five Fundamental Facts about the NiSI F3 Range of Full-Frame Prime Cine Lenses (and other news)
Since the announcement of the NiSi F3 range of full-frame lenses, NiSi’s headquarters have been inundated with questions and queries. In order to address some of these, we have compiled a list of answers around five key subjects. Read on for more, and to discover news in our announcement of the new NiSi Allure Mist Black/White Filters
1. Where does the name F3 come from?
The ‘F’ in F3 stands for ‘Full-Frame’. The lenses are all designed for full frame cameras and are extremely versatile, coming complete with PL, Canon EF and Sony E-Mounts. Mounts for other systems will need to be purchased separately, although NiSi will provide shims to ensure consistent filmmaking.
The number ‘3’ simply means ‘third generation’ and also refers to the range’s three key design characteristics, i.e. high resolution, low dispersion and retro flare.
2. What exactly is the relationship between the NiSi F3 range and Bokkelux?
Let’s be clear; the F3 prime lenses belong solely to NiSi since the company took ownership from Bokkelux. Since this time, NiSi are pleased to report that numerous improvements have been made and, being based on the original Bokkelux design, NiSi’s optical and mechanical design engineering experts have re-optimised some key elements to deliver the excellent new range.
- Improved accuracy with assembly and improved supply chain for the optical elements
- Improved physical attributes, i.e. the weight and calibre of the lenses have been improved with reliability and user assurance being of primary importance
- Along with these significant improvements, NiSi has developed a new and innovative design for an optical accessory for F3 range. Once this is completed, we will release information, but you can be assured that it will meet the unique needs for many filmmakers.
3. OK, so what about the relationship between the NiSi F3, Kinefinity and Mavo Prime?
That’s simple, really. Kinefinity is partner of NiSi. Our specialist engineers have modified the industrial design for the Mavo Prime while retaining the same performance and quality. The new F3 range and Mavo Primes are manufactured exclusively by NiSi.
4. Will the NiSi F3 Primes come with both imperial and metric markings?
Absolutely. Markings will be in feet and metres.
5. What are the details for the F3 sales warranty policy and can we expect additions to the focal lengths this year?
NiSi is currently in the process of setting up special service centres, specifically for sales warranties. Bases will be in Europe, North America and in South Asia. We will make further announcements about the details of the certified sales warranty suppliers after the third quarter. You can expect to see 18mm and 135mm primes coming to light in the second half of this year.
F3 Lens Range Highlights – (a recap):
- Covers Full-Frame Format
- PL Mount/Canon EF Mount/Sony E-Mount
- T2.0-T22 Click-less Aperture Range
- Ultra Low Dispersion
- High Resolution
- Retro Cinema Style Housing
- 12-Blade Iris
- Same physical attributes across the lens range
- Geared Focus and Iris Control Rings
- Pure Performance in Film
Launching in 25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0 and 100mm CF T2.0 formats, the new range of premium lenses from NiSi debuted during NAB 2018, which took place between the 7th -12th April in Las Vegas.
The new F3 prime lenses cover full-frame format which is compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF, along with 'future-proofing' for other cameras that we will see arriving in the future. They cover 46.5mm format sensors, allowing filmmakers full creative control, opening up a wide range of cinematic possibilities.
Pure Performance in Film
The new F3 lenses offer filmmakers advanced resolution and perfect dispersion control, image contrast and flare; all optimised by their stylish, retro housing.
The entire F3 series of lenses share the same physical attributes, allowing for the simple and time-efficient fitting of lens accessories, along with the native ‘Sensed presence’ technology, which provides users with the ability to shoot with a beautiful bokeh. The native apochromatic optical design results in excellent ratio/axial dispersion performance, giving a pure and natural colour, with almost no purple/green fringing within focus and in bokeh.
NEW: NiSi Announces Allure Mist Black/White Filters
Allure Mist White – Highlights:
* Reduces highlights and lowers contrast* Softens wrinkles and blemishes
Allure Mist Black – Highlights:
* Reduces overall flare and contrast* Produces mist effect
To coincide with the exciting launch of F3 full-frame prime cine lenses, NiSi has also released Allure Mist White/Black and anamorphic filters; adding to their already burgeoning range of cinema filters.
Available in sizes 4x5.65”, 6.6x6.6”, the new filters will further assist filmmakers to capture their intended artistic expression with every shoot.
Preorders for individual filters available from May 7th 2018
Special kit launch
Along with individual lenses, NiSi has announced that all lenses will be available as a specially designed F3 kit, which will include a complete set of lenses, from 25-100mm, along with a NiSi 4x5.65 Allure Mist white 1/4 filter, a NiSi 4x5.65 Allure Mist Black 1/4 filter and a NiSi 4x5.65 Polarizer, all packaged in a tough NiSi hardshell case.
Now that we've completed our review of Panasonic's Lumix DC-ZS200 (TZ200), we've updated its entry in our Best Cameras for Travel, Best Pocketable Enthusiast Cameras and Best Enthusiast Long Zoom Cameras buying guides. We liked the how Panasonic stuffed a 15X zoom into the ZS200's compact body as well as its feature set, though the sharpness of its lens was a disappointment.
Head to our buying guide hub for help finding the right camera by both price and use case.
Photography tutorial website The Slanted Lens has published a useful YouTube video guide on how to fly with lithium-ion camera batteries. These batteries are known for their volatility, an issue that reached mass public awareness during the Samsung Galaxy Note 7 recall. The FAA likewise raised concerns last year over lithium-ion batteries in checked luggage, citing their potential fire risk.
In its video, The Slanted Lens outlines all of the different types of batteries photographers may fly with, including ones installed in devices and standalone/spare li-ion batteries. Though some devices with built-in lithium-ion batteries can be packed in checked luggage, the team explains, the TSA requires others—such as a spare/standalone battery—to be packed in a carry-on.
It's a useful guide if you ever fly with your camera, and especially if you fly to shoots with multiple cameras, spare batteries, drones, etc. Check it out for yourself up top, see a written version of the guide here, and if you're even more curious, the FAA also has a guide on batteries, which you can find here.
Dustin Dolby of workphlo is great at creating professional product shots using just one or two speedlights and some compositing in Photoshop. In this tutorial, he combines that approach—it takes just two speedlights to light these bottles, and he could have made due with one—with some simple smartphone light painting to create a dynamic and colorful soft drink product shot.
Here are the four exposures he composited together to light just the bottle. One shot using a stripbox through a diffusion panel on the right, one with a reflector added in on the left, another to light the label, and a fourth to give the bottle a bit of pop from behind:
Combine that with a long-exposure light painting shot done in darkness by simply waving a smartphone with a solid color background around behind your product, and you get these two final images—one for each flavor:
Check out the full video up top to see how all of these images were composited together to create the final product photos. And if you're just getting into product photography and enjoy simple, one or two-light setups, definitely give the whole workphlo YouTube channel a look.
Ricoh has released a software development kit (SDK) for Pentax cameras that allows third-party developers to create mobile and desktop apps that can control the camera remotely via USB cable or Wi-Fi.
The wireless package is available for Android and iOS. The USB-version can be downloaded for Microsoft .NET Framework and for C++ (Linux, Windows or MacOS). Both variants offer functions for controlling Pentax’s DSLRs and medium format cameras remotely, including photo and video capture, live view and adjustment of camera settings.
The SDK should allow for straightforward development of sophisticated remote control apps and other, more specialized, camera software, without any need for reverse engineering.
Free downloads and comprehensive documentation are available on Ricoh's dedicated API website.
Last week, Fujifilm released firmware version 4.0 for the Fuji X-T2, which brought the two-year-old camera almost on par with the newly-released Fuji X-H1. The update was hailed as yet another phenomenal example of Fuji's 'Kaizen' policy, but we may have all jumped the gun. Today, Fuji rolled back the update after users who had updated discovered some major issues with v4.0.
The roll back was announced in a note on Fuji's website, where General Manager Toshi Iida writes:
It has been brought to our attention that there are a few issues with the recently released X-T2 ver 4.00 firmware update. We have therefore taken the difficult decision to remove the update from the website until we are confident that all the issues have been completely fixed.
We deeply apologize for any inconvenience and disappointment this has caused.
The malfunctions listed include issues converting RAW files captured by the X-T2 before firmware 4.0 was released, live view flickering under certain conditions, and the rare chance of a "hang-up" while shooting.
The good news is that Fuji has "identified the problem" and are planning to re-release the much-anticipated update "as soon as we can." The bad news: for now, it's highly recommended you "update" to version 4.01, which is actually a roll back to the stable version 3.0.
Finally, due to this hiccup, Fujifilm has also announced that planned firmware updates for the GFX 50s, X-H1, and X-Pro2 that were due out later this month have been delayed so Fuji can more thoroughly test them.
Read the full release notes for this roll back below, or visit the Fujifilm website to download Firmware v4.01.
To all loyal Fujifilm X Series customers and photographers,
It has been brought to our attention that there are a few issues with the recently released X-T2 ver 4.00 firmware update. We have therefore taken the difficult decision to remove the update from the website until we are confident that all the issues have been completely fixed.
We deeply apologize for any inconvenience and disappointment this has caused.
Optical Device and Electronic Imaging Products Division
Fujifilm Corporation, Tokyo, JAPAN
Details of the Problem
We have discovered malfunctions in the firmware ver.4.00 released on May 8 2018. They are as follows:
- When RAW files, which were taken by X-T2 (before firmware ver.4.00), are converted in camera (ver.4.00) or by “FUJIFILM X RAW STUDIO”, they are not converted properly.
- When pressing the shutter button halfway under certain conditions, the live view can flicker.
- In rare cases, a hang-up can occur.
We have identified the cause and plan to release the upgraded firmware to address the malfunctions as soon as we can.
In the meantime, for customers who have upgraded the firmware to ver.4.00, the firmware ver.4.01*, whose functions are same as ver.3.00, have been posted on our website. Please download it and update your camera.
- *Ver.4.01 doesn’t include the additional functions of ver.4.00.
Again, we sincerely apologize for the inconvenience caused.
[ X-T2 Ver.4.01 Download page ]
We announced the firmware update for GFX 50S, X-H1 and X-Pro2, which was planned in May 2018, on the Global website on 12 Apr 2018. However, it will be postponed because we need more time to check the firmware for the three models. For detail, we will inform you later.
The Laowa 9mm F2.8 Zero-D is an ultra-wide lens for APS-C mirrorless cameras designed with minimal distortion. Available in Canon M, Fujifilm X and Sony E-mount it provides a 13mm equivalent focal length and a surprisingly fast F2.8 maximum aperture, given its wide angle of view. We took an E-mount version of the lens out for a spin on the a6500 – take a look at the results.
Sticking to its usual 6-month product cycle, Chinese manufacturer OnePlus today announced its latest flagship device, the OnePlus 6. Compared to its predecessor, the OnePlus 5T, the new model is a fairly incremental update.
It comes with the newest Qualcomm top-end chipset, the Snapdragon 845, and the screen size has been boosted to 6.28-inch while, thanks to a new 19:9 aspect ratio, more or less maintaining the overall dimensions of the predecessors. The body also now covered with Gorilla Glass at front and back, and while there is a headphone jack, there's no memory expansion port.
The specifications of the dual-camera are very similar to the 5T, but at 1/2.6" the 16MP sensor in the main camera is a touch larger and now equipped with optical image stabilization. The lens aperture remains at F1.7. The 20MP secondary imager measures 1/2.8" and also comes with an F1.7 aperture. The equivalent focal length is 27mm and PDAF is the AF system of choice.
As before, image data from the secondary sensor is computationally merged with the main camera image for advanced digital zooming, as well as better detail and lower noise levels.
The background-blurring portrait mode now works on front and rear cameras, and in video mode you can capture footage at 4K resolution. A 720p/480fps slow-motion option is on board as well.
These are solid but not specifically exciting features and specifications. However, as is typical with OnePlus, the new model will be competing on price by offering high-end specifications at a lower price point than the more established competition.
The base model with 6GB of RAM and 64GB of storage is $530, a $580 middle option offers 8GB of RAM and 128GB of storage, and a new premium version that expands storage to 256GB will set you back $630.
The new models will be available in North America and Europe starting May 22nd.
Presenting the OnePlus 6 – The Speed You Need
6.28” Full Optic AMOLED Display with 19:9 aspect ratio, and Qualcomm® Snapdragon™ 845 deliver immersive viewing experience and smooth performance in a sleek flagship smartphone
London – May 16, 2018 – OnePlus today announced its latest premium flagship device, the OnePlus 6
The OnePlus 6 – the first in OnePlus' line of flagships to feature an all-glass design – is the company's most sophisticated handset to date.
With a 6.28-inch Full Optic AMOLED 19:9 display – OnePlus' largest-ever screen – the OnePlus 6 offers an immersive viewing experience, while keeping a similar form factor to that of the OnePlus 5T.
Combining new technology from Qualcomm® with OnePlus' engineering, the OnePlus 6 is the fastest handset the company has ever produced.
"With the OnePlus 6, we challenged ourselves to deliver an external design as smooth and elegant as the work we've done inside the device," said OnePlus Founder and CEO Pete Lau. "We're proud of what we've accomplished, and we hope our users are too."
Fast and Smooth Experience
Addressing a common pain point among smartphone users, OnePlus is committed to ensuring its phones remain as fast and smooth as the day they came out of the box. OnePlus achieves this goal through a combination of powerful hardware and intelligent software which work seamlessly together.
The OnePlus 6 is powered by one of the most powerful processors on the market, the Qualcomm® Snapdragon™ 845, which improves performance by 30%, while being 10% more power efficient.
Coupled with the Adreno 630, which is 30% faster than the previous generation, the OnePlus 6 is a powerhouse for everything from streaming HD video to playing graphically intense games.
With up to 8 GB of LPDDR4X RAM, the OnePlus 6 effortlessly switches between multiple apps running at the same time without a single second of lag, allowing users to multitask with ease. The OnePlus 6's dual-lane storage, based on UFS 2.1, ensures faster app loading and read/write speeds.
As with any OnePlus device, the OnePlus 6 is beautiful and functional in equal measure – now, with more screen than ever before. To provide users with as much screen real estate as possible, OnePlus designed the navigation bar so that it can be replaced with gesture control, freeing up even more viewing space for a cleaner look.
OnePlus has experimented and innovated with glass to deliver its boldest design to date. Donning an allglass design, the OnePlus 6 facilitates better transmission of radio waves, providing users with up to 1 gigabit of download speed. Due to its strength and malleability, OnePlus used Corning Gorilla Glass 5 on both the front and the back of the device, shaping it with slight curves to create an uninterrupted look and feel.
OnePlus' meticulous attention to detail is reflected in each of the OnePlus 6's color variants: Mirror Black, Midnight Black and a limited-edition Silk White. For the Mirror Black and Midnight Black variants, OnePlus embedded a thin layer of film underneath the glass to create a sense of depth as light and shadow move on the device. A jagged texture was etched onto the film of the Midnight Black to produce a subtle S-shaped line when the phone is reflected in light. The limited-edition Silk White uses pearl powder to create a subtle shimmering effect.
High-speed Dual Camera with Optical Image Stabilization
The OnePlus 6’s dual camera system features a 16MP main camera, supported by a 20MP secondary camera. With an f/1.7 aperture, the 16MP main camera has been bolstered by a 19 percent larger sensor and OIS for outstanding performance in a range of lighting conditions. With Advanced HDR, OnePlus' improved High Dynamic Range algorithm, the OnePlus 6 brings out shadows and enhances lighting in photos.
Portrait Mode will be available on the OnePlus 6's front camera as well as its rear. Using AI, the front camera is able to apply a depth of field effect to selfies. Newly added bokeh effects, including circles, hearts and stars offer new ways for users to customize their portraits.
The OnePlus 6 marks the introduction of OnePlus' Slow Motion mode, which can capture high-definition video frame-by-frame with astonishing detail, ensuring users never miss the action.
Android Refined – OxygenOS
OnePlus’ operating system, OxygenOS, offers a refined Android experience that is faster, cleaner and more customizable than other Android experiences.
Like its approach to hardware, OnePlus' approach to software is centered around an experience that is refined, efficient and minimalistic. New features are vetted by OnePlus users through channels like the OxygenOS Beta Program and only added once OnePlus is confident the features can improve the way users use their phone.
A Day’s Power in Half an Hour
The OnePlus 6's fast charge – a favorite feature amongst OnePlus users – offers one of the fastest charging solutions on the global market. A half-hour charge gives the OnePlus 6 enough power for the entire day.
Price and Availability
The OnePlus 6 in 64 GB, 128 GB and 256 GB storage options will be available on oneplus.com in North America and in Europe on May 22nd starting from USD 529 / EUR 519 / 469 GBP. The limited-edition Silk White with 128 GB of storage will be available for purchase on June 5th.
|Photo by OsitaLV via Twitter|
The DJI Phantom 5 drone is allegedly featured in two newly-leaked images—as well as a few sketches—that claim to reveal details about the unannounced model. The leak comes from Twitter account "OsitaLV," which also leaked images that allegedly showed the Phantom 5 camera in March. The images in the most recent leak, however, include the full drone, lenses, and controllers.
One of the two newly leaked images (below) shows the same camera featured in the March leak, though with the lens removed and featured at a new angle:
|Photo by OsitaLV via Twitter|
OsitaLV also shared three sketches showing the camera and lenses, one claiming the DJI Phantom 5's interchangeable lens camera has a 1-inch CMOS sensor. Another sketch claimed four F2.8 lenses will be available: 15mm, 24mm, 35mm, and 50mm. Finally, the second new image shows the complete drone with the same grey body color and dark landing gear visible in the March leak.
It's getting close. pic.twitter.com/bEfnA281yr— OsitaLV (@OsitaLV) April 27, 2018
OsitaLV previously claimed the Phantom 5 will feature a plastic GPS antenna cover, aluminum shell, and plastic landing gear. In a tweet shared on April 26th, the same Twitter user claimed that DJI has moved the motor cooling holes to the bottom of the drone and added more sealing rings to the battery, effectively making the drone "rainproof."
Of course, none of this is considered confirmed or official until DJI makes it so, but leaks this substantial are rarely far off the mark. Keep an eye out for the official DJI news in the coming weeks or months—it shouldn't be long now.
The Panasonic ZS200 (known as the TZ200 outside of North America) is a compact travel zoom camera with a 24-360mm equiv. lens and a 20MP, 1" sensor that's larger than what you'd find on a typical long-zoom camera. In addition to capturing 20MP stills, it can also record decent quality UHD 4K video. In general we like what the ZS200 has to offer in terms of spec and performance, though lenses in this class of cameras are often on the soft side. While the ZS200 has the longest zoom of any nearly pocketable enthusiast compact, most people will be better served by the less expensive ZS100, if they don't mind less zoom range.
- 20.1MP 1"-type BSI CMOS sensor
- F3.3-6.4 24-360mm equiv. zoom lens
- 2.33M-dot EVF with 0.53x equiv. magnification
- 10 fps burst (focus locked on first shot), 6 fps burst (continuous AF)
- UHD 4K video at 30p and 24p
- 5-axis Hybrid IS for 1080p video
- 3" toucscreen LCD
- Depth from Defocus AF
- Wi-Fi with Bluetooth
- 4K Photo with new Sequence Composition feature
- USB charging
To put it simply the ZS200 seems to take the excellent pedigree of the ZS100 (one of our picks for best travel camera), makes some slight improvements and adds a longer, slightly slower lens. Combined, these two cameras fill a gap in the 1" -type compact camera market, providing significant telephoto reach beyond that of other pocket friendly models, such as the Sony RX100 series, without being bulky like Panasonic's FZ1000 and FZ2500.
The ZS200 is now available for $799, while the TZ200 (its non-US name) is £729 and €799 in the UK and Europe, respectively. The color choices are black and an attractive gunmetal/silver.
What's new and how it compares
Here are the differences between the ZS200 and its predecessor - the ZS100 - plus how it compares to existing models from other companies.
Body and design
The ZS200 has a sleek design with a usable grip, though the LCD can't tilt and the EVF isn't great.
What's it like to use
From landscapes to portraits, we've spent plenty of time shooting with the ZS200 in several different situations.
The one consistent thing we found in our lab tests is that the ZS200's lens quality isn't very consistent. That aside, image quality is competitive.
The ZS200 uses Panasonic's Depth from Defocus system, which allows for speedy focus speeds and good, but not great, subject tracking. It does tend to hunt, though.
You can capture UHD 4K video on the ZS200, plus high speed 1080/120p footage. It offers a decent set of controls, though 'jello' and focus hunting can be issues.
The ZS200 is worth considering, but unless you need that extra 110mm of zoom, the old ZS100 performs just as well for less money.
Fujifilm X-Series and GFX users can now tune in to the latest Fuji offers and inspiration via a new website and app created by Fujifilm USA. The site will host interviews with X and GFX professionals, run technique articles to help users get the most from their kit, and showcase collections of images shot with Fujifilm equipment.
FujifilmXGFX.com was launched yesterday by Fujifilm USA, but there are no actual geographic restrictions on access to the content, so it can be enjoyed by anyone. An app, launched at the same time is essentially a mobile version of the site, and will carry the same articles formatted for the small screen. The company promises give-aways and news of special deals, as well as a finder function to help users locate their closest Fujifilm dealer.
In addition, the company has launched a printed newspaper called Fujifilm X/GFX USA Bulletin that will feature highlights from the website, and which will be given away free in camera stores.
To see the new site visit fujifilmxgfx.com
Fujifilm Launches New FUJIFILM X/GFX USA Website and Mobile App
Offering Exciting News, Local Events, Inspirational Photography, Tutorials, and Regular Sweepstakes for FUJIFILM Digital Camera Users in the United States
Valhalla, N.Y., May 15, 2018 – FUJIFILM North America Corporation today announced the launch of its new website and mobile app for FUJIFILM digital camera users in the United States. The newly designed website brings together the latest FUJIFILM X Series and GFX system news, information about upcoming photography events, and inspiring features to help FUJIFILM photographers stay up to date and creatively energized.
Recent articles include a photographic trip to Antarctica with Dan Westergren and his FUJIFILM GFX 50S, a gallery of images shot by professional photographers using the new FUJIFILM X-H1 camera, and detailed rundowns of the exciting new features being added to FUJIFILM cameras via firmware updates.
Created by FUJIFILM North America Corporation, FUJIFILMXGFX.com brings together the finest photography, latest news, and essential techniques. It also helps visitors to find information on their nearest Authorized GFX system and X Series Dealers, including X Series Premier Dealers, making it the ultimate website experience for Fujifilm photographers.
As well as hearing about promotions and events, photographers who register on the website will be the first to learn about the regular competitions, sweepstakes and promotional offers that are featured in the Promotions & Giveaways section. These include photography gear giveaways, limited-time deals, Education Program information, and other great benefits that are not to be missed.
“We are excited to launch a platform that displays the image quality and creative possibilities of the GFX system and X Series line of digital cameras,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “It’s basically a go-to website and app offering a range of resources, for all FUJIFILM photographers.”
The mobile app, FUJIFILM X/GFX USA, encompasses all features of the FUJIFILM X/GFX USA website and formats them especially for smart devices. It is available for download on iTunes for Apple users and Google Play for Android users.
App users are able to activate notifications, so they’ll never miss out on the latest news and promotions. Like the FUJIFILM X/GFX USA website, the app also includes FUJIFILM Focus, a special space dedicated to the latest information about Fujifilm-supported events, product announcements, FUJIFILM X-Photographer profiles, promotions, giveaways and much more.
And the next time you visit an Authorized X Series Dealer, keep your eyes open for your free copy of the FUJIFILM X/GFX USA Bulletin. This is a regularly printed newspaper featuring a selection of the best content from the FUJIFILM X/GFX USA website, including news, interviews and beautiful images to inspire you. Pick up your free copy of the FUJIFILM X/GFX USA Bulletin while stock lasts.
Huawei has just launched the latest flagship model of its sub-brand Honor, and at 400 Euros (approximately $475) for the 64GB version or 450 Euros (approximately $530) for the 128GB variant, the Honor 10 offers the same Kirin 970 top-end chipset as Huawei's flagships P20 and P20 Pro at a significantly lower price point.
The camera specifications are different to the Huawei models—unfortunately, there is no P20 Pro-like triple cam—but, at least on paper, the specs still look pretty good. The Honor 10 features a dual-camera setup that comes with a 16MP/F1.8 main camera and a 24MP monochrome secondary chip.
Image data from the latter is merged computationally with the main camera for advanced digital zoom, lower noise levels and better detail. And, of course, there's a native monochrome mode as well.
Huawei puts a lot of emphasis on the camera software, too. As is currently en vogue, AI is used for object recognition, and the Honor 10 has 22 shooting modes that recognize and adjust to different objects and scenes in real time. However, the Honor 10 goes one step further than most similar systems.
It can identify several elements of a scene and optimize them individually, according to the context of the image. This can happen in real-time, thanks to dedicated Neural Processing Unit (NPU).
Finally, the Honor 10 also includes an Apple-like Portrait Lighting mode that works with both the rear cameras and the 24MP/F2.0 front-facing cam.
Other specs for the affordable flagship smartphone include 4 GB RAM, a 5.84-inch IPS LCD panel with Full HD+ resolution and 19:9 aspect ratio, and a 3,400 mAh battery. A 3.5mm headphone jack is included as well, but the phone does lack a memory expansion slot.
The Honor 10 is available in Europe starting today. No information for availability in other regions has been provided yet. To find out more, watch the video below or visit the Honor website.
Photographer Robert Hall sent us his latest video, because he's found some interesting things about the way the live view and EVF on recent Sony full-frame mirrorless cameras respond when you attach a flash or flash trigger to the hot shoe. And, usefully, he's also found a workaround.
Like many mirrorless cameras, the Sonys offer a choice of whether the preview display reflects your settings (to help assess exposure) or ignores them to give a consistently bright preview (useful if you're working with strobes in a studio). This is one of the key advantages a digital preview can offer over an optical viewfinder. You select this by turning "Setting Effect" On or Off in the Live View Display menu.
However, when you attach a flashgun or trigger, this setting is over-ruled, automatically switching to a 'corrected' preview simulating the metered exposure. This is a behavior we quite liked when we tested the camera, but Hall points out that it's not very helpful if you want to assess the contribution of ambient light to your scene. It essentially surrenders the advantage of using a digital preview.
This, in turn, led Hall to work out what the 'Shot Result Preview' option—assignable to a custom button—is for. It lets you work around the camera's enforced behavior when you have a flash or trigger attached, albeit at the cost of one of your custom buttons. We checked with some other brands and found Panasonic cameras do the same thing as Sony, but without any kind of workaround.
From our perspective, it would be much simpler to add a second option after the 'Settings Effect' On/Off option in the menu: one that lets you define what happens when you add a flash. That way you can accommodate the preferences of both kinds of photographer, but without the need for workarounds.
It also goes to show: for all that we criticize the complexity of menus in current cameras, it's extremely difficult to build a camera that works the way every user will want. It also highlights the occasional need to re-assess the way cameras work, from the ground up, rather than gluing patches and workarounds on top of what's already there.
Microsoft has expanded its Surface product line with the new Surface Hub 2, a sequel to the original Surface Hub introduced in early 2015 (and which you probably never heard of).
The Surface Hub 2 is a large 50.5-inch 4K+ collaborative display with portrait/landscape modes and pen support. Microsoft says Surface Hub 2 was designed for teams "regardless of location," enabling them to video chat, view content, write directly on the screen, and daisy-chain multiple displays together.
Surface Hub 2 brings together Office 365, Microsoft Teams and Whiteboard, and Windows 10. Up to four displays can be used together in either portrait or landscape mode; the user can also toggle between those modes by manually rotating the screen. In addition to wall mounts, Steelcase worked with Microsoft to create rolling stands for Surface Hub 2.
Microsoft confirms that Surface Hub 2 supports multi-touch and features 4K cameras that rotate with the device. Far-field microphone arrays and speakers enable communicating with remote team members, plus there's support for multi-user sign in so that multiple people can be authenticated on the workspace.
The company decided to use an atypical 3:2 aspect ratio versus the more common 16:9; the exact resolution hasn't been stated. Though many details are still missing, it's clear that Surface Hub 2 is designed to help anyone who engages in collaborative—particularly visual—work. Content such as images can be immediately shared with others, for example, without a break in the workflow.
Microsoft plans to start testing Surface Hub 2 with "select commercial customers" some time this year, and the product will go on sale in 2019, though the price hasn't been provided at this time. Interested potential buyers can sign up for updates on Microsoft's Surface Hub 2 website.
Do you see a photography use for the Surface Hub 2? Maybe as an in-studio display for tethered shooting and collaborative photo editing? Maybe something else? Let us know in the comments.
If you are the kind of photographers who likes backing up your images and other data in the cloud, you should have a closer look at the new cloud storage plans that have just been announced by Google.
The new plans are called Google One, and they replace the existing Google Drive plans. There is a 100GB option for $2 a month, $3 a month get you 200GB of storage and a full 2TB will set you back $10 a month. The latter represents a 50% price reduction compared to the equivalent Google Drive plan.
As a consequence, the existing 1TB/$10 plan is discontinued but, as before, you can still get up to 30TB for $300 a month if you're really storage hungry. Storage space can be used for storing any kind of files on Google Drive, attachments and emails in Gmail, and original quality images and videos (including 4K resolution) in Google Photos.
The new plans all come with live chat support—which previously exclusive to G Suite business account users—and will roll out in the US "in the coming months" before migrating to other regions shortly thereafter.
The Tamron 28-75mm F2.8 Di III RXD for Sony FE cameras made a big splash when it was first teased back in February. People were intrigued by its small size and the new Rapid eXtra-silent stepping drive (RXD) AF motor; it even came up in our CP+ interview with Tamron, and we got to see the lens in person at the show.
The lens isn't going to be officially available for another week; however, photographer David Oastler was able to get his hands on a copy and, while he wasn't allowed to take photos with it, he was allowed to put it through it's autofocus paces to see how that RXD motor holds up.
What Oastler really wanted to see is how well the Eye and Face-detect autofocus from the Sony FE body would perform through this third-party lens that was, ostensibly, designed from the ground up to work on this full-frame mirrorless system. While the video isn't the best quality (a bit of glare) you can still see, and Oastler tells you, that the lens performs exceptionally well. In fact, Oastler goes so far as to say he noticed no performance difference between the Tamron and his own Sony-native lenses.
Tamron promised as much when it released the lens, calling it "quiet, precise, and exceedingly quiet." But it's nice to see a real-world test confirm these claims.
We'll be trying to get our hands on a Tamron 28-75mm F2.8 Di III RXD as soon as humanly possible for our own in-depth testing. But in the meantime, if you're interested in picking up this $800 USD lens when it ships at the end of next week and you want to see how its AF motor performs IRL, check out Oastler's video at the top.
Canon Rumors is reporting some big news if you're in the market for a new 70-200mm lens. According to the rumor site, it's a near certainty that Canon will be debuting two new 70-200mm lenses in early June: the Canon EF 70-200mm F4L IS II, and the Canon EF 70-200mm F2.8L IS III.
Both of the current versions—the Mark I of the F4L and the Mark II of the F2.8L—are certainly due for an upgrade. The 70-200mm F2.8L IS II was released in 2010 and the F4L IS even farther back in 2006. Meanwhile, third-party manufacturers like Tamron and Tokina have released their own 70-200mm F2.8 and F4 lenses more recently, and Sigma confirmed to DPReview that it will release its much-anticipated 70-200mm F2.8 Art lens "not too far in the future."
The good news is, this isn't just a thin rumor. Canon Rumors says they can "100% confirm" that the 70-200mm F4L IS II is coming, and "95% confirm" that the 70-200mm F2.8L IS III will join it. Of course, as the rumor site points out, lens announcement and release dates can change at the last minute, but we'll be keeping our fingers crossed for both these announcements in the coming month.
Photographer Henry Stuart has created a 24-hour panoramic timelapse image of London that combines 6,240 raw photographs to form a picture that contains over 7 billion pixels.
Captured through a Nikon D850 and AF-S Nikkor 300mm F2.8 lens using a robotic mount by Nikon-owned robotics company Mark Roberts Motion Control (MRMC), the 155° view presents the city in an incredible amount of detail, with Nikon claiming that you can read signs up to 5 miles away from where the image was captured.
|The full frame|
|A fully zoomed-in frame from the center of the picture above|
The Twenty Four Hour London project was taken on by Visualise—a company of virtual reality filmmakers—in partnership with Nikon UK and MRMC. The camera was supported and moved by MRMC’s Ulti-Head robotic camera mount, which allowed Stuart to repeat the exact shooting position—to pixel level, according to the release —for 260 shots per hour over the course of the 24-hour sequence.
Once processed and stitched together, the resulting image allows viewers to pick the time of day and to zoom into the image to see the details of distant buildings—and even people relaxing inside their apartments!
The concept was a commission for Lenstore, a UK vision-care company, to promote eye health. To see the full 7 gigapixel 'timelapse' for yourself, and explore London in all its glory, head over to the 24 Hour London website.
World's first 24-hour Gigapixel time-lapse panorama, captured with the Nikon D850 and MRMC’s robotic Ulti-Head
24 Hour London is a unique collaboration between Lenstore, Nikon, Visualise and the Nikon-owned robotics company MRMC. Together they have created the biggest ever time-lapse of London’s skyline, taken from the roof of Canary Wharf’s One Canada Square.
In total, over 6,240 photos were taken across a 155-degree view over 24 hours, and subsequently stitched together to create an incredibly detailed panorama, and the first gigapixel timelapse of London. This level of detail was achieved by combining a Nikon D850 and AF-S NIKKOR 300mm f/2.8 lens with MRMC’s robotic Ulti-Head to precisely repeat the same pattern of detailed photos 260 times an hour for 24 hours. The finished product allows you to see London change colours across the hours, from sunrise to sunset, with all the shades the capital has to offer in between.
Commenting on the collaboration, Jeremy Gilbert, Marketing Director for Nikon Northern Europe said:
We’re thrilled to be involved with this unique project. The Nikon D850 captured London in incredible detail in challenging conditions. Finding the best combination of camera, lens and precise motion-control was essential for this project and we are proud to have been integral to its success.
The project was shot by Henry Stuart from Visualise, he had the following to say:
Shooting gigapixel photos is hard – we have been shooting them for the Olympics, the World Cup, for events and places all around the globe. Each panorama is so large it needs specially built computers to process it. In this case, we had to build a special server system and network all of the workstations in our studio to the content so that we could stitch five of the photos at a time.
To capture a photo like this you need a really capable camera – we used the Nikon D850. It has this beautiful big sensor and captures a huge range of light and dark (large dynamic range). This is so important when shooting panoramas where one part of the image is bright, such as towards the sun, and another is dark such as over the Thames. We shot everything on the camera’s ‘RAW’ setting, which keeps loads of extra information in the shots that you would usually lose.
The 24 Hour London ‘Gigalapse’
- The image is 7.3 Gigapixels (7,300 Megapixels or 7bn pixels), which is over 1000x more powerful than the camera on an iPhone X.
- The Nikon D850 and Nikon AF-S NIKKOR 300mm f/2.8 lens combination delivered phenomenal detail – you can even read signs which are up to 5 miles away in the photo!
- The robotic motion control technology using the MRMC Ulti-Head used to create the pinpoint accuracy of images, leading to every single pixel of every point in the panorama being the exact same position as the photos 24 hours earlier.