Articles: Digital Photography Review (dpreview.com)

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Whether you're headed to the beach or the ski slopes, a rugged, waterproof camera lets you focus on your adventure instead of worrying if the camera will survive. Find out which model is the best-in-class in our waterproof camera buying guide.

Posted: June 17, 2019, 1:00 pm

Meet FlexTILT Head 3D, a version of Edelkrone's popular tripod head that can be 3D-printed and pieced together as a DIY project for a fraction of the cost of Edelkrone's FlexTILT Head 2.

As we noted in our review, the Edelkrone FlexTILT Head 2 is a wonderful little tool for both videos and stills. The articulating head allows for unique possibilities, especially when paired with dollies and other motion units—but it doesn't come cheap.

The areas in red are the components that are 3D printed, while the dark grey components and silver screws are those Edelkrone ships to you for $29.

Edelkrone's solution to this is a new line of products called ORTAK. The ORTAK lineup is a co-manufacturing collection that will allow you to 3D print the basic components of Edelkrone products and buy the more integral pieces from Edelkrone at a much lower cost than the fully-produced version.

For the FlexTILT Head 3D, Edelkrone will handle manufacturing the metal components required, including the hex screws, washers, brackets and mounting points, which will sell for $29. The body of the FlexTILT Head 3D is up to you to print using the files provided, for free, by Edelkrone on its ORTAK webpage. In addition to a document detailing the building process, Edelkrone has also created a detailed video:

Edelkrone specifically mentions the ORTAK FlexTILT Head 3D has been tested on the Ultimaker S5, Ultimaker 3 and Zaxe 3D printers. However, the STL file Edelkrone provides is more than capable of being printed with other units. Even if you don't own a 3D printer yourself—or know someone who does—there are other options, including online platforms like Shapeways—not to mention many libraries now offer access to 3D printers at low or no cost if you're a member.

Regardless of how you get the components printed, it's safe to say the end result should come out for a good bit less than the $149 Edelkrone's FlexTILT Head 2 retails for.

Posted: June 16, 2019, 8:53 pm

Nikon D3500 vs. Canon T7: Which one should you buy?

You don't need to know much about photography to know that Canon and Nikon are two of the major brands in the business of selling photographic equipment. And there's a good reason why those names have so many fans: they make really good cameras and lenses, and have done so for generations.

It makes sense that many beginning photographers would turn to those same companies when looking for an inexpensive DSLR for the first time. The Canon EOS Rebel T7 / 2000D and Nikon D3500 are certainly two of the least expensive interchangeable lens cameras (meaning the lens comes off as opposed to being fixed to the body) you'll find on the market now: at the time of writing, they're each selling for about $400 with an 18-55mm kit lens.

So which one is better for a beginning photographer? We think that the Nikon D3500 will be the better choice for most people. The bundled 18-55mm F3.5-5.6G VR kit lens is superior to Canon's, battery life is more robust and users who plan to do significant post-processing will find Raw files more malleable. But as usual, there's more to the story than just that.

Read on for a detailed feature-by-feature comparison and find out how we came to our conclusion.

Photo quality vs. a smartphone

If you're considering either of these cameras, there's likely one question at front of mind: How much better will it be than my smartphone? The answer is a bit complicated.

Both the D3500 and T7 use 24 megapixel APS-C sensors, which are many times larger than anything found in a modern smartphone. Bigger sensors come with benefits: more flexibility processing image files, and all things being equal, better low light performance.

But things aren't exactly 'equal' anymore. Smartphones are now using computational techniques to reach beyond the limitations of a smaller sensor: Night Sight in the Google Pixel is an example of this. In short, the advantages of a big sensor are somewhat diminished, especially if your photos will only ever be viewed on a computer screen or a mobile device.

However, 24MP of resolution comes in handy if you'd like to make large prints, or if you plan on making substantial post-processing edits. And there's the potential for zoom: the bundled kit lens provides a bit more reach than the telephoto lens on most smartphones, and there's always the option to buy additional, longer zoom lenses.

The advantages of a big sensor are somewhat diminished, especially if your photos will only ever be viewed on a computer screen or a mobile device

And then there's bokeh: the lovely blurry background effect imitated by portrait mode. Without getting too in-depth, smartphones with portrait mode will generally produce synthetic bokeh that looks close enough to the real deal to satisfy most users, and in many cases will produce a stronger blurred effect than either camera's kit lens is capable of.

If highly convincing bokeh is a priority though, you can add an inexpensive 50mm F1.8 lens to either camera and the results will (for now, at least) outperform a smartphone. And if you don't have a recent smartphone with a good portrait mode, a camera with additional lens will cost quite a bit less than a $1000 flagship smartphone.

This is a long way of saying that yes, the 24MP sensor in either the D3500 or T7 is better than what's in your smartphone, but that doesn't necessarily translate to the image quality advantage that you might expect.

Photo quality vs. each other

Comparing the two cameras, you won't see any dramatic differences in image quality. The Nikon offers a higher ISO sensitivity, which will allow for shooting in very dark conditions without a flash (and quite a bit of unpleasant splotchy noise as a result). Some people prefer Canon's out-of-camera color rendition and tendency toward deeper reds, but the differences are subjective and subtle.

The Nikon does offer more malleable Raw files if you intend to push shadows in post-processing, but it's not something we find a lot of beginning photographers wanting to do.

Each camera sells with an 18-55mm F3.5-5.6 lens, which will be wide enough for landscapes and long enough to frame a head-and-shoulders portrait. While they both offer stabilization and cover roughly the same focal range, the lenses are quite different in age: Nikon's 18-55mm is about three years old, surprisingly sharp and collapsable when it's not in use. Canon's lens dates back to 2011 and isn't as sharp.

Viewfinder and Live View

Both the T7 and D3500 offer 3" 921k-dot non-touchscreens primarily for image review and navigating menus. It's possible to use the screens for still image composition and shooting, but live view (as it's called) on both cameras uses a much slower autofocus system. Shooting with your eye to the optical viewfinder means you don't get a live preview of your exposure, but you do get a faster autofocus system.

The viewfinders on these cameras are comparatively small, and less comfortable to use than that of a bigger, more expensive DSLR. There's plenty to be said for having an optical viewfinder at all: they're much easier to use in bright light than a rear screen, and provide a sense of 'being there' that many photographers prefer.

There's no clear winner in this category: neither provides a great viewfinder, and for live image composition on an LCD (perhaps even with tap-to-focus!), you'll want to look elsewhere.


There's not much to separate the T7 and the D3500 in terms of video recording capabilities. Both offer 1080p recording; the T7 provides up to 30 fps, the D3500 records up to 60 fps, which will represent fast motion better. However, you'll be using live view to record video on these cameras and as we've already established, autofocus while shooting via the rear screen is not very good.

Both will record decent video clips, but if you own a smartphone that was launched in the last couple of years, chances are your phone will do just as well (or in some respects, even better).

Wireless image sharing

As is required of a digital camera in 2019, both the T7 and D3500 provide the means to beam images wirelessly from your camera to your phone. They go about this in slightly different ways. Canon has built Wi-Fi into the T7 which will connect with the company's app. If you have an Android phone with NFC, the connection process is made even simpler.

Nikon takes a different approach, including only Bluetooth rather than Wi-Fi. This allows the camera to maintain the wireless connection and transfer 2MP images as you're shooting, something not possible with Wi-Fi. The downside is that 2MP is your only image size option: which to be fair, is big enough for social media and 4x6" prints.

For most users, the benefits of the constant connection will probably outweigh the need for high-resolution images, and we'd recommend the Nikon if easy image transfer and sharing is a priority.


At last! A category in which either of these cameras will run circles around a smartphone. If you rely mostly on the optical viewfinder for shooting, the T7 or the D3500 will get you through days of shooting without ever flashing the dreaded low-battery signal. The T7 is officially rated to 500 shots per charge (which tends to be lower than most people's real-life results) which is quite good, so the D3500's 1550 shots per charge rating is insanely good.

Relying heavily on live view or recording a lot of video footage will drain the battery faster, but as we've established, these aren't strong suits for either camera so that's kind of a moot point.

The D3500 comes out on top but both cameras are really winners here.


If you tally up the 'points' for the D3500 and you'll see how we drew our conclusion that it's the better pick between the two. However, the two cameras are incredibly similar in most ways, so it's really only details like a nicer 18-55mm kit lens and incredibly robust battery life that tip the scale.

It's pretty remarkable what both of these cameras offer for their price, but it's also worth noting what you aren't getting, like a touchscreen, faster autofocus in live view, robust continuous autofocus, subject tracking for sports and action photography, 4K video... you get the idea.

It's pretty remarkable what both of these cameras offer for their price, but it's also worth noting what you aren't getting

If any of those features strike you as important, and you aren't too attached to having an optical viewfinder, then it would be in your interest to consider options like the Canon EOS M100: we think it's actually your best bet for under $500.

But there is something quite appealing about an optical viewfinder, the ergonomics of a DSLR and the way a traditional camera engages you in the process of taking pictures that smartphones can't touch. If it's these qualities you're after, then we think the D3500 is well worth your time.

Posted: June 16, 2019, 1:00 pm

A Texas appeals court has ruled that the University of Houston does not have to pay the photographer of a picture it has been using in online and print promotional materials. Houston photographer Jim Olive says the university removed copyright markings from an image downloaded from his stock library, failed to credit him when it was used and wouldn’t pay when he sent a bill, but the university claims it has sovereign immunity and that it can’t be sued.

The case surrounds an aerial image Olive shot from a helicopter hired specifically for making pictures for his library. In an online image search, he found the university was using it on its website and then in printed materials. When it failed to pay an invoice he sent for the usage Olive tried to sue the university, but it claimed that under the Eleventh Amendment it couldn’t be sued as it is a state institution.

In an attempt to get around this Olive tried to sue the University of Houston for taking his property – in which case even government agencies would have to compensate the owner. The Court of Appeals though has said that the university’s actions didn’t comprise ‘taking’ and that Olive will have to pay the university’s legal costs.

The Court of Appeals though has said that the university’s actions didn’t comprise ‘taking’ and that Olive will have to pay the university’s legal costs.

According to a report in the Houston Chronicle, which described the success of the university as ‘a big win’, Olive said 'It just doesn’t seem fair to me.'

If this ruling is allowed to stand it would seem that any state institution can use images and other intellectual property without having to pay the originators, a precedent that would be damaging to photographers across the country, because if that's the case in Texas, it may well be true in all other states covered by the Eleventh Amendment.

The detailed ruling concerning the appeal heard in the Court of Appeals for The First District of Texas by Justice Richard Hightower can be read on CaseText, and the applications from the start of the case can be seen on the Copyright Alliance website. Ironically, the university has a page on its site to allow users to report copyright infringements – and to request permission to use UH intellectual Property.

Posted: June 15, 2019, 8:30 pm

It's back to basics in this week's episode as Chris and Jordan break down some common photographic terms that might not be familiar to newer photographers. Learn all about IBIS, BSI and CIPA, as well as a, shall we say, 'creative' origin story for the word 'bokeh.'

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

Posted: June 15, 2019, 1:00 pm

Japan's parliament passed a law this week outlawing the operation of a drone while under the influence of alcohol. If authorities catch anyone flying an unmanned aerial vehicle while intoxicated, offenders will face up to a year in prison and a fine of 300,000 yen (roughly $2,763.00). 'We believe operating drones after consuming alcohol is as serious as (drink) driving,' a Japanese transport ministry official told the AFP news agency.

This latest legislation was passed to also address the growing popularity of drones coupled with the reckless and illegal activity taking place in the country's more tourist-friendly areas. Dangerous stunts, which have become more common, including quickly plunging a drone towards crowds, can result in a fine of up to 500,000 yen ($4,607).

Areas where drones are now banned include a distance within 985 feet of Japan's armed forces, U.S. military personnel, and 'defense-related facilities' without prior permission from the Minister of Land, Infrastructure, Transport and Tourism. The new restrictions follow an earlier ban on approaching nuclear power plants, Japan's parliament buildings, and the prime minister's office. Stadiums and other sites hosting the forthcoming 2020 Olympic festivities are also off-limits.

The new law covers drones weighing more than 200g (close to half a pound). Operating a drone in Japan does not require a license. However, remote pilots much abide by a series of regulations including:

  • Staying below 150 meters (492 feet)
  • Avoiding airports
  • Avoiding crowded areas
  • Only flying during daylight
  • Keeping the drone in sight at all times

Anyone who is caught violating any of the established regulations could face a fine of up to 500,000 yen (or $4,607).

Posted: June 14, 2019, 9:14 pm

Researchers with Adobe Research and UC Berkeley are working together on the development of a method for identifying photo edits made using Photoshop's Face Aware Liquify tool. The work is sponsored by DARPA's MediFor program, which funds researchers who are working to 'level the digital imagery playing field' by developing tech that assesses the 'integrity' of an image.

Both DARPA and Adobe highlight the issue of readily available image manipulation technologies, including some tools that are offered by select Adobe software. The company says that despite being 'proud of the impact' these tools have had, it also recognizes 'the ethical implications of our technology.'

Adobe said in a blog post on Friday:

Trust in what we see is increasingly important in a world where image editing has become ubiquitous – fake content is a serious and increasingly pressing issue. Adobe is firmly committed to finding the most useful and responsible ways to bring new technologies to life – continually exploring using new technologies, such as artificial intelligence (AI), to increase trust and authority in digital media.

As such, Adobe Research and UC Berkeley researchers have published a new study detailing a method for detecting image warping edits that have been applied to images of human faces. The technology involves a Convolutional Neural Network (CNN) trained on manipulated images that were created using scripts with Photoshop and its Face Aware Liquify tool.

To ensure the method can detect the types of manipulations performed by humans, the image dataset used to train the AI also included some images that were altered by a human artist. 'This element of human creativity broadened the range of alterations and techniques used for the test set beyond those synthetically generated images,' the study explains.

To test the deep learning method's assessment skills, the researchers used image pairs featuring the original unedited image and the image that had been altered. Humans presented with these images could only detect which had been altered with 53% accuracy, whereas the neural network was able to pick the manipulated image with accuracy as high as 99%.

In addition, and unlike the average Photoshop user, the technology is able to pinpoint the specific areas of a face that had been warped, which methods of warping had been used, and calculate the best way to revert the image back to as close to its original state as possible.

Adobe researcher Richard Zhang explained, 'The idea of a magic universal 'undo' button to revert image edits is still far from reality. But we live in a world where it’s becoming harder to trust the digital information we consume, and I look forward to further exploring this area of research.'

The research is described as still in its 'early stages,' and is only one part of Adobe's body of work on image integrity and authenticity. The results come amid the growing sophistication of artificial intelligence technologies capable of generating highly realistic portraits and performing complex edits to images.

Posted: June 14, 2019, 6:13 pm

Sony's semiconductor division (which makes its image sensors) has for years been one of the most successful business units within the Japanese company, generating 16 percent of Sony's total operating profit in the fiscal year ended in March. It was spun off as a separate company in 2015 but remained a wholly-owned subsidiary of Sony that’s under its full control and direction.

Now several business publications report that American activist investor Daniel Loeb who runs a fund that owns a $1.5 billion stake in Sony is calling on the company to separate its sensor business completely 'to unlock the Japanese group’s true worth as a global entertainment powerhouse.'

The investor wants the business unit to become a completely independent public company with its own stock listed in the Japanese stock exchange.

The investor wants the business unit to become a completely independent public company with its own stock listed in the Japanese stock exchange. This would allow Sony to focus on its entertainment businesses, including gaming, music, movies, and television while the image sensor business could thrive on its own.

'When you think of Sony, you think of the Walkman, you think of the consumer electronics business, you know they own a movie studio and some music, but you don't think of them as a Japanese national champion in technology, with a $20 billion going to $35 billion valuation business in sensors,' Loeb told the Financial Times. He later says:

'As a standalone public company listed in Japan, Sony Technologies would be a showcase for Japan’s technology capabilities. Rather than just an uncut rough stone buried inside Sony’s portfolio, Sony Technologies would be visible as a Japanese crown jewel and technology champion.'

However, a Reuters report lists a few reasons why a total separation could not be such a great idea. 90 percent of Sony’s chips revenue comes from smartphones which makes the unit particularly vulnerable to the business dispute that is currently being fought out between Washington and Beijing. Chinese smartphone maker Huawei, which has been banned from working with US technology firms is a major Sony customer, which is why recently analysts at Jefferies have decreased the Sony chip business' operating profit forecast by 45%.

On the other hand, smartphones use more and more cameras per device and the demand for cameras and image sensors is increasing in other sectors as well, for example automotive.

Posted: June 14, 2019, 5:22 pm

2019 National Geographic Travel Photographer of the Year winners

Cities 1st place – and Grand Prize winner
Photo and Caption by Weimin Chu / National Geographic Travel Photographer of the Year Contest | GREENLANDIC WINTER

National Geographic has revealed the Grand Prize winner of this year's Travel Photographer of the Year contest. Photographer Weimin Chu has taken home the Grand Prize award—as well as 1st place in the Cities category—with a moody image from a small fishing village in West Greenland. The caption of the winning photo reads:

Upernavik is a fishing village on a tiny island in west Greenland. Historically, Greenlandic buildings were painted different colors to indicate different functions, from red storefronts to blue fishermen’s homes—a useful distinction when the landscape is blanketed in snow.

In addition to Chu's winning photograph, National Geographic has announced the winners, runner-ups and honorable mentions in three other categories: Cities, Nature and People.

The above gallery takes a look at the final photographs from each of the categories alongside the photographer, title and caption of each image. In addition to a full gallery of images on its own site—which allow you to download the winning photographs as wallpapers—National Geographic has a feature on the winning image and the photographer behind the camera.

Photo credit: images used with permission from National Geographic

2019 National Geographic Travel Photographer of the Year winners

Cities 2nd Place
Photo and Caption by Jassen Todorov / National Geographic Travel Photographer of the Year Contest | IN THE AGE OF AVIATION

There are four runways at San Francisco's International Airport (SFO). This is a rare look at the approach end of runways 28 left and right. I had dreams of documenting the motion at SFO and [arranged] permission to fly directly overhead. What a windy day it was. Winds atSFO were 35-45 miles per hour, which meant a bumpy flight, and itwas much harder to control the plane while photographing. The flight was challenging, but it was also so thrilling that I couldn't sleep for several days afterward.

2019 National Geographic Travel Photographer of the Year winners

Cities 3rd Place
Photo and Caption by Sandipani Chattopadhyay / National Geographic Travel Photographer of the Year Contest | STREETS OF DHAKA

People pray on the street in Dhaka, Bangladesh during Ijtema. Bishwa Ijtemais one of the major Islamic religious gatherings which is [observed] annually in Dhaka and millions of Muslims visit [during this time]. Dedicated prayer grounds are not [large] enough to handle this huge number of people, so large numbers of people come to [Tongi], the main street of Dhaka. All the ground transportation and [pedestrian crossings] are suspended during that time.

2019 National Geographic Travel Photographer of the Year winners

Nature 1st Place
Photo and Caption by Tamara Blazquez Haik / National Geographic Travel Photographer of the Year Contest | TENDER EYES

A gorgeous griffon vulture is seen soaring the skies in Monfragüe National Park in Spain. How can anyone say vultures bring bad omens when looking at such tenderness in this griffon vulture's eyes? Vultures are important members of the environment, as they take care of recycling dead matter. Vultures are noble and majestic animals—kings of the skies. When looking at them flying, we should feel humbled and admire them.

2019 National Geographic Travel Photographer of the Year winners

Nature 2nd Place
Photo and Caption by Danny Sepkowski / National Geographic Travel Photographer of the Year Contest | Geometry of the Sun

What happens before a wave breaks? That question has been my assignment this past year. On this particular day, I decided to shoot the sunset on the east side of Oahu, Hawaii. About 100 photographers were out in the morning, but I had the evening to myself. The textures from the trade winds [created] subtle colors from the west and blended well using my 100mm lens. I had to look into my viewfinder while this wave was breaking. Not an easy task when a wave is about to crush you.

2019 National Geographic Travel Photographer of the Year winners

Nature 3rd Place
Photo and Caption by Scott Portelli / National Geographic Travel Photographer of the Year Contest | DUSKY

Dusky dolphins often travel together in great numbers in the deep canyons of the Kaikoura, New Zealand in search of food. They glide through the ocean effortlessly, coming up only to breathe. Dusky dolphins are fast and will often keep pace with a speeding boat. I waited on the bow of the boat as the Dusky dolphin almost broke [through the surface]. Their elegance and streamlined bodies are built for speed and maneuverability—accentuated by the smooth, clear water of the New Zealand coastline.

2019 National Geographic Travel Photographer of the Year winners

Nature Honorable Mention
Photo and Caption by Jonas Schafer / National Geographic Travel Photographer of the Year Contest | KING OF THE ALPS

A herd of ibexes in Switzerland’s Bernese Oberland cross a ridge above Lake Brienz. Their powerful and impressive horns show who the king of the Alps are. Ibexes are ideally adapted to live at dizzying heights. The continuing ridge path and the rising fog show the natural habitat of these animals. After a few hours of observing the animals, I spotted the ibex herd on one side of the ridge. Several ibexes stopped at the transition [to view the world around them].

2019 National Geographic Travel Photographer of the Year winners

People 1st Place
Photo and Caption by Huaifeng Li / National Geographic Travel Photographer of the Year Contest | SHOWTIME

Actors prepare for an evening opera performance in Licheng County, China. I spent the whole day with these actors from makeup to [stage]. I’m a freelance photographer, and the series “Cave Life" is a long-term project of mine. In China's Loess Plateau, local residents dig holes in the loess layer [to create cave living spaces, known as yaodongs] and use the heat preservation properties to survive cold winters. This series mainly records the life, entertainment, belief, labor, and other [daily] scenes of the people living in the caves.

2019 National Geographic Travel Photographer of the Year winners

People 2nd Place
Photo and Caption by Yoshiki Fujiwara / National Geographic Travel Photographer of the Year Contest | DAILY ROUTINE

This photo was taken at a public park at Choi Hung House in Hong Kong. When I visited during the afternoon, it was very crowded with many young people taking pictures and playing basketball. But when I visited at sunrise, it was quiet and a different place. [The area] is [designated] for neighborhood residents in the early morning, and there was a sacred atmosphere. I felt divinity when I saw an old man doing tai chi in the sun.

2019 National Geographic Travel Photographer of the Year winners

People 3rd Place
Photo and Caption by José Antonio Zamora / National Geographic Travel Photographer of the Year Contest | HORSES

Every year on the feast of Saint Anthony the ceremony of the purification of animals, called Las Luminarias, is celebrated in Spain. In the province of Avila, horses and horsemen jump over bonfires in the ritual that has been maintained since the 18th century. The animals [are not hurt], and it is a ritual that is repeated every year. To make the photo, I moved from Seville to San Bartolomé de Pinares because I am very interested in photographing ancestral rites.

2019 National Geographic Travel Photographer of the Year winners

People Honorable Mention
Photo and Caption by Navin Vatsa / National Geographic Travel Photographer of the Year Contest | MOOD

I captured this layered moment during sunrise along the banks of the Yamuna River in Delhi, India. This boy was thinking silently, and visitors were enjoying the loud musical chirping of thousands of seagulls. The early morning golden light from the east mixed with the western blue light, creating a [ethereal atmosphere]. I am a regular visitor [here] and have photographed this place for the past three years. Now, many national and international photographers have begun visiting [too].

Posted: June 14, 2019, 4:56 pm

Ultra-wide-angle lenses are becoming increasingly popular on smartphones in both rear and front cameras. Especially the latter are frequently used for portraiture in the shape of selfie images of both single subjects and groups.

Unfortunately when capturing people pictures with a wide-angle lens a problem becomes apparent: faces that are located close to the edges of the frame are distorted, showing signs of unnatural stretching, squishing, and/or skewing, an effect that is also known as anamorphosis.

A group of researchers at Google and MIT led by YiChang Shih has now found an efficient way of dealing with the issue. In their paper titled “Distortion-Free Wide-Angle Portraits on Camera Phones,” they describe an algorithm that is capable of correcting the effect, making for more natural selfies and wide-angle portraits.

Previous solutions were capable of correcting distortion on faces but in turn introduced other artifacts to the background and other elements of the image. The new method works around this by creating a content-aware warping mesh and applying corrections only to the part of the frame where faces are detected and maintaining smooth transitions between faces and the rest of the image.

The researchers say good results were achieved on photos with a wide field-of-view ranging from 70° to 120° and the algorithm is fast enough to work “at an interactive rate”. More information is available on the project website.

Posted: June 14, 2019, 3:07 pm

Yesterday, the Hong Kong Police Force (HKPF) witnessed an unusual sight as they held a press conference following a series of city-wide protests regarding a controversial extradition bill. Photographers and journalists who attended the meeting were clad in various riot and protest gear, including high-visibility vests, helmets, gas masks and more following a request from the Hong Kong Journalist Association as a means of meta-protesting the HKPF's treatment of citizens and journalists throughout the month-long protests taking place in the city.

Photojournalists in full protective gears attend police chief’s presser in protest of police violent treatment against the press during their clash with protesters who demand withdrawal of china extradition bill. (Sunny Mok/EYEPRESS) #press #police #ChinaExtradition pic.twitter.com/thOLnMDLUU

— EYEPRESS NEWS (@eyepressnews) June 13, 2019

The bill, officially called the 'Fugitive Offenders and Mutual Legal Assistance in Criminal Matters Legislation (Amendment) Bill' was first published by the Government of Hong Kong on March 29. Immediately, the bill faced backlash, as Hong Kong residents, civil rights organizations, journalist organizations and foreign governments fear the bill will require the city and its residents to abide by Chinese law and subsequently subject them to a China's court system if suspected of a crime, even if the individual has never stepped foot on Chinese territory.

Protests have been ongoing since the bill was first revealed, but on June 9, hundreds of thousands of protestors took to the streets of Hong Kong to object to the bill and call for for the resignation of Hong Kong Chief Executive Carrie Lam. In the days following, the Hong Kong Free Press has reported the HKPF has used excessive force on photojournalists, journalists and protestors, including the use of more than 150 rounds of tear gas and multiple instances of firing bean bags at protestors.

The Hong Kong Journalist Association called on reporters to wear protective gear at a press conference with police chief Stephen Lo on Thursday to protest police's treatment of journalists during clashes the day before.

👉 In full: https://t.co/kmLJLFCnSX #NoToExtradition pic.twitter.com/vOBl1pYySS

— Hong Kong Free Press (@HongKongFP) June 13, 2019

The solidarity to show up to the press conference covered in riot gear came after the Hong Kong Journalist Association called upon the media to show up in protective gear, according to a report (tweet embedded above) from the Hong Kong Free Press.

Posted: June 13, 2019, 6:47 pm

Samsung Portugal has detailed a unique project that involved its Galaxy S10+ smartphone, a boat trip and the creation of a panorama featuring 943 kilometers (585 miles) captured from the cities Moledo to Monte Gordo. The panorama, which is available to view on Samsung's website, was created from images of the coastline captured from the water over an eight-day trip.

The Galaxy S10+ photography project boat trip involved José Gomes as skipper, Carlos Bernardo as 'chronicler' and André Carvalho as photographer. Entries from the trip's logbook detailing each of the 8 days can be found—written in Portuguese—here. The final result is intended to highlight the flagship smartphone's triple-lens camera, which Samsung refers to as 'pro-grade.'

This is one of many massive panoramas, past examples including a 600,000 pixel panorama of Tokyo and NASA's 360-degree panorama of Mars published earlier this year.

Posted: June 13, 2019, 6:14 pm
The European Aviation Safety Agency's (EASA) logo as shown on its social media pages.

On June 11th, common rules on European drones, Commission Delegated Regulation (EU) 2019/945 and Commission Implementing Regulation (EU) 2019/947, were published to ensure the safety and security of unmanned aircraft operations across countries in the European Union (EU) going forward. The European Aviation Safety Agency (EASA) wants to establish the free circulation of drones and a level playing field within the EU.

'Europe will be the first region in the world to have a comprehensive set of rules ensuring safe, secure and sustainable operations of drones both, for commercial and leisure activities. Common rules will help foster investment, innovation and growth in this promising sector' said Patrick Ky, Executive Director of EASA.

The new set of rules will be uniform so that drone operators – both recreational and professional – will have a clear understanding of what is permitted and what is illegal. Each type of operation will be covered in detail, from those not requiring any permission to the most advanced performed by certified remote pilots. Minimum pilot training requirements will be established as well.

Operators have a year to prepare for a new set of common drone rules that will transcend borders. Remotes pilots are currently required to abide by each country in the EU's specific set of differing regulations. By eliminating confusion on a country-by-country basis, innovation and growth will flourish.

'Once drone operators have received an authorisation in the state of registration, they are allowed to freely circulate in the European Union. This means that they can operate their drones seamlessly when travelling across the EU or when developing a business involving drones around Europe.'

'Once drone operators have received an authorisation in the state of registration, they are allowed to freely circulate in the European Union. This means that they can operate their drones seamlessly when travelling across the EU or when developing a business involving drones around Europe,' states EASA in a blog post.

While the EU regulation will enter into force in the next 18 days, it will officially be applicable in one year. This gives Member States and operators time to prepare and implement it. As of June, 2020, drone operators will need to register in the Member State, where they have their residence, or their main place of business.

There are some technical requirements as well. According to the same EASA blog post, new drones will have to be individually identifiable, allowing the authorities to trace a particular drone if necessary. A timeline of developments and applicability can be accessed on the EASA drone page.

Posted: June 13, 2019, 5:28 pm

Phase One has launched a new version of its Capture One image editing software application that is designed to assist workflow processes in busy studio environments. Capture One Studio allows central control for operations that use multiple photographers shooting high volumes of images that need to be edited and catalogued as quickly and efficiently as possible.

The application is highly customizable, and allows certain tools to be locked off and others to be set up to be consistent across the whole studio. New automatic processes can color-correct, name images, store them and send them for back-up as they leave a tethered camera, while scripts can be created to determine processing paths and issues such as sizing, cropping and output destinations.

Businesses will be able to create on-screen guide lines and grid lines to ensure compositions suit specific layouts which can be shared to all photographers and which can be exported and used in Adobe’s Photoshop as well. Capture Pilot will also be able to display these custom guides and grids so composition can be checked remotely on a tablet or smartphone.

The company says that Capture One Studio can be tailored for individual businesses, and that its experts come as part of the service to help set up the software and to maintain it. For more information see the Capture One website.

Press release:

Capture One launches Capture One Studio

An all-new, customizable, and automation-ready solution for today’s high-volume photo environments; It is Capture One performance at scale

COPENHAGEN, June 13th, 2019: Capture One, the world’s premier name in image processing software, has announced a new product: Capture One Studio. With capabilities that focus on efficiency at scale, workflow management, and automation, Capture One Studio brings all the power, flexibility, and unbeatable quality of Capture One to an enterprise level production unlike anything else.

Capture One Studio adds new features backed by scriptable enhancements and advanced automation technologies, allowing anyone to build custom workflows. There is native barcode scanner support for error-free and expedited data entry; backup on capture for automatic data redundancy; workspace and tool locks to prevent errors; advanced guides for precision set-up of brand guidelines; Capture Pilot enhancements to aid collaborative workflow, and more.

“We’re excited to present the first ever photo editing and asset management solution specifically designed for high-powered workflows and multi-user teams.” said Jan Hyldebrandt-Larsen, VP Software Business at Phase One. “Developed together with leading e-commerce and high-end brands, Capture One Studio merges industry-leading photo editing tools with automation technology, accurate color profiling, and advanced asset management to meet the specific needs of fast-paced photo production, and eliminate the costly mistakes and time-consuming processes holding studios back.”

Building on Capture One’s industry-leading standards of precision and quality, Capture One Studio’s robust new offering allows brand and studio operations to be easily managed, offering greater efficiency across the board, and higher ROI. Saving time on arduous processes enable the team to focus on photography and deliver the best possible images.

The pressure to create more content is relentless, and it has to work across multiple channels, be on-brand, original, personalized, and timely. Studios must be incredibly efficient to manage that level of demand, rethinking processes, and implementing the best tools. The right software collaboration can be critical to ensuring brand consistency and performance. This level software is not only about the system capabilities that enable efficiency and reduce administrative burden, but also the end-to-end experience, which includes premium support and consultancy.

Capture One Studio is a strategic partner that allows services to accommodate the various people in the organization, from creatives to studio staff, management and business.

By combining the very best software and support solutions, Capture One Studio makes for an unbeatable imaging solution for your organization, whether a 10-person studio or 100-person team. Capture One Studio is built to scale and deliver new workflow opportunities for your business, and the endless possibilities for bespoke solutions make Capture One Studio both time and cost saving.

Capture One Studio - Feature Set

Automation Technology
A powerful scripting language allows you to customize actions, streamline data entry and build intuitive workflows that align perfectly with your team’s needs. (Mac only)

A single license key
Easily add and remove users with a centralized license system and eliminate extra costs due to staff turnaround. Accurately forecast expenses with a pay-as-you-go subscription model.

Advanced Guides and Grid
Create Guides as presets for faster work. Transfer guides in the processed files for quality assurance approval or include them as Photoshop guides when exporting to PSD, so retouchers and other users stay compliant with the master specification.

Create guides and grids as presets for faster work and utilize them in Photoshop. Streamline multi-user workflows and minimize composition mistakes when multiple team members work on the same image.

Sync Grids, Guides, and Overlays with the Capture Pilot app
Capture Pilot integration for Grids, Guides, and Overlays allow multiple team members to remotely, review composition, and sizing specifications during shoots, while clients can pick their favorite shots off-set.

Native Barcode Scanner support
Save endless man hours and redefine your workflow as a hands-free experience by connecting a barcode scanner to automatically name captures as you shoot. Mac users can script actions to further enhance the scanning workflow.

Next Capture Metadata and Next Capture Keywords
Accelerate workflows and reduce data entry with new tools for applying metadata ahead of the shot during tethered shooting. Combine the tools with barcode scanners and spreadsheets to instantly scan metadata. (Mac only)

Backup on capture
Reduce risk, save on back-up software costs and protect your assets as you shoot with automatic back-up from a tethered camera to a chosen destination.

Studio workspaces
Our dedicated team of experts delivers customizable workspaces and craft the ultimate workflows to match your organization’s productivity needs.

Workspace and Tool locks
Prevent users from altering the interface with Workspace and Tool locks and an admin pin lock for extra security. Eliminate costly interruptions and ensure compliance across multi-user workflows.

Color reproduction and color profiling (Canon and Nikon Only)
Reduce editing time and save on retoucher costs with fine-tuned color profiling for the most popular e-commerce cameras. Minimize color discrepancies and meet the demands of specialist product photography with more accurate colors out of the box.

Posted: June 13, 2019, 4:49 pm

While on assignment in Japan, Chris and Jordan had a couple days to shoot with the Fujifilm XF 200mm F2 telephoto lens, which Chris nicknamed 'The Big White Sharp'. To make things more interesting, Jordan filmed this entire episode using the new Fujifilm GFX 100 medium format camera.

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Sample gallery from this episode:

Posted: June 13, 2019, 2:00 pm

Sony has released firmware version 2.00 for its a6400 mirrorless camera, bringing with it Animal Eye AF, support for the RMT-P1BT wireless remote commander and other improvements to help with stability.

It's been roughly two months since Sony launched firmware updates for its a7R III and a7 III, which brought with them, amongst other things, Sony's new Animal Eye AF. Now, Sony has brought the system to its crop sensor mirrorless cameras.

As a refresher, Animal Eye AF is an autofocus mode that uses AI-trained algorithms to find and focus on the eyes of wild animals and pets. It works with AF-C focus mode and is activated when the shutter is half-pressed or when assigned to the AF-ON button.

As with the firmware updates for the a7R III and a7 III, Animal Eye AF can't be used at the same time as Human Eye AF and, due to the extra processing power required to get the job done, it won't be nearly as fast as the Human Eye AF. Sony has put together a full documentation page detailing the intricacies of Animal Eye AF.

Firmware version 2.00 has also added support for Sony's RMT-P1BT wireless remote commander and a number of other bug fixes that improve the overall stability and functionality of the a6400.

Firmware version 2.00 can be downloaded from Sony UK's website for macOS and Windows computers. Installation instructions can be found on the respective download pages.

Posted: June 13, 2019, 1:54 pm

Apollo Global Management LLC (AGM), an American private equity firm, has agreed to acquire online photo hosting and printing platforms Shutterfly and Snapfish in a multi-billion dollar deal.

According to a report from Reuters, AGM is shelling out $2.7 billion for Shutterfly, which includes approximately $900 million in debt, some of which is likely to be from Shutterfly's $825 million acquisition of school and family portrait franchise Lifetouch last year. The report further specifies Apollo is paying '$51 per share in cash for Shutterfly, a 13% premium to the company's value on Feb. 5, the last trading day before it announced it would explore a sale.'

No specific financials were given on the acquisition of Snapfish, but Reuters reports Apollo plans on merging the two companies together.

A screenshot from Shutterfly's homepage at the time of writing this article. It shows mugs, photobooks and graduation cards that can be made with the service, in addition to dozens of other trinkets and stationary items.

Both Shutterfly and Snapfish are online platforms that allow consumers to publish images online and create various objects and stationary with their photographs. In addition to basic editing tools in the browser, both Shutterfly and Snapfish allow images to be printed into books, calendars, cards and more, as well as printed on mugs, glasses, tiles and more.

For the time being, both the Shutterfly and Snapfish websites are up and operating as usual. There doesn't appear to be a timeline for when the merge will happen or how it will go down.

Posted: June 12, 2019, 10:27 pm

Fujifilm’s next Instax mini model has a 5MP sensor, saves images to a memory card and allows users to record a ten-second audio clip that can be played when the printed picture is viewed. The Instax mini LiPlay, Fujifilm’s smallest and lightest Instax to date, produces the usual credit card sized prints but can print a QR code in the corner that links to the audio that was recorded to go along with the picture.

The idea is that users can record a message to a friend with whom they will share the picture taken with the camera. The friend scans the QR code using Fujifilm’s Instax mini LiPlay app and the audio clip plays through the phone. The audio could be a spoken message or the sounds from the place the picture was taken – Fujifilm suggests the sound of the sea to accompany pictures from the beach.

The camera uses a 5MP sensor and allows users to review images before deciding to print them or not. Images can also be saved to internal memory or to a removable MicroSD card, and images taken with other devices can be printed on the camera via a smartphone with a Bluetooth connection. The camera’s lens has an angle of view to match a 28mm lens on a full frame system and has a maximum aperture of F2. The lens has an AF system and shutter speeds run from ¼ - 1/8000sec, while the auto ISO feature moves between ISO 100 and 1600.

The Instax mini LiPlay will come in three colors and textures, and will begin shipping immediately depending on your region. It will cost $159.99/£149.99. For more information see the Fujifilm website.

Press release:

Hybrid instant camera “Instax mini LiPlay”

  • New-generation instax with sound-recording capability!
  • Capture memories in an instax print with audio message
  • Mini-format film “CONFETTI” and square-format film “Star-illumination” with metallic frame also available to add a touch of flamboyance to your pictures

FUJIFILM Corporation (President: Kenji Sukeno) has announced that it will release a hybrid instant camera “instax mini LiPlay” (hereinafter “LiPlay”), which supports credit-card-size film, on or after June 14, 2019 on a market-by-market basis. The model is a new addition to the lineup of “instax” instant cameras, which allows you to enjoy photo prints on the spot. The camera's main unit is the smallest and most lightweight in the history of the instax series for outstanding portability. Yet, at the same time, the camera is packed with new features such as the “Sound” function* to convey a voice message or other audio data in the form of a QR code** included in a photo print, and the “Direct Print” function*1 to print images in your smartphone on instax film -- broadening the scope of situations the camera can be enjoyed.

Fujifilm has also announced new metallic instax mini film “CONFETTI” and instax square film “Star-illumination,” available in two designs, adding a touch of creativity to your photos.

Overview of the instax series

The “instax” series of instant cameras, launched in 1998, is affectionately called “Cheki” in Japan, where it has enjoyed wide popularity for over 20 years. Today, it is sold in over 100 countries around the world, including Europe, Americas and Asia Pacific, with the cumulative number of shipments topping 45 million worldwide. It has been particularly loved by the digital-native generation in their teens and young adults who have embraced it as a communication tool, saying “It is fun to share those precious moments in life in the form of photo prints. When I hand photo prints to my friends, it gives me a real sense of connection with them.”

Overview of the new product, “instax mini LiPlay”

The new “LiPlay,” is a hybrid instant camera that allows you to review photos captured on the device via the LCD monitor on the back of the camera and choose images you want to print. The camera's “Sound” function is capable of recording up to ten seconds of audio. The function converts the audio data into a QR code and adds it to a photo to be printed out together. The audio can be replayed*** by scanning the printed QR code with a smartphone*4. This allows you to give a photo together with your description about the pictured scene. The camera also features the “Direct Print” function, which transfers a photo taken with your smartphone to the LiPlay for printing. You can print your favorite picture in your smartphone easily on instax film and share it with your friends. To make it easy to take a group photo, the camera also offers the “Remote Shooting” function so that you can use a smartphone operation to release the shutter while standing away from the camera itself.

The camera body boasts a streamlined and stylish design. Its compact and lightweight form factor makes it easy to carry. Buttons and dials for basic operations such as shutter release and “Sound” function are laid out for advanced operability. Extra attention has been paid to perfect the camera's texture. The camera comes in three colors, each of which has different surface processing, such as embossed or smooth finish.

Fujifilm will continue to broaden the world of the “instax” instant photo system for on-the-spot photo printing.

* * The free “instax mini LiPlay” app must be downloaded and installed on your smartphone to use the Sound and Direct Print functions.
* ** QR Code is a registered trademark of Denso Wave Inc.
* *** Recorded audio data is stored for one year from the time it is uploaded to the server together with its linked photo image via a special smartphone app.
* *4 Smartphones with the QR Code scanning capability are required to read the QR code.

1. Product Name

(1) Hybrid instant camera “instax mini LiPlay”

(2) Mini-format film “CONFETTI”

(3) Square-format film “Star-illumination”

2. Release Date

On or after June 14, 2019, on a market-by-market basis

3. Price

Open price

4. Main features

(1) “instax mini LiPlay”
1. Smallest and most lightweight hybrid instant camera in the history of the instax series
The LiPlay is a highly-portable hybrid instant camera that incorporates digital technology. Featuring a 2.7-inch LCD monitor at the rear, the camera allows you to shoot photos while checking the monitor and choose pictures to print. The camera also offers brightness adjustment capability based on exposure compensation as well as six filters for processing photos, e.g. in sepia tone or in monochrome, to create a different impression.

2. New “Sound” function
The camera's audio-recording capability means you can record up to 10 seconds of sound. The function converts sound data into a QR code and prints it on your photo. Scan the QR code with a smartphonoe's QR Code reader and replay the audio message. Printing a photo with a recorded message allows you to convey your sentiments to the person receiving the photo, making the scene more memorable. Alternatively, photograph a beach and attach the sound of waves, for example, to create a print that reminds you of the photographed situation, so that your memory of the precious moment stays vivid.

3. “Direct Print” function to use the camera as a smartphone printer
Images stored in a smartphone can be transferred to the camera via Bluetooth*5 for printing. You can enlarge or rotate images before transferring them.
4. “Remote Shooting” function for taking pictures while standing away from the camera
This function allows you to release the shutter with a smartphone operation while standing away from the camera. Remotely-taken images can be also printed on the spot. This function is particularly useful for a group photo or when you want to achieve a dynamic effect by taking photos from high or low angles.
5. Wide variety of design frames on offer
The camera comes pre-installed with ten design frames, which can be selected during or after taking a picture so that they are incorporated into the image for printing. Download the “instax mini LiPlay” smartphone app (free) to enjoy 20 additional design frames, bringing the total number of design frames available to 30.

6. Stylish camera body design
The streamlined shape of the camera body is complemented with a different surface finish for each of the three color variations in a design approach that even pays close attention to your tactile sense. The Stone White version has a rough, stone-like surface achieved with a special spray coating. The Elegant Black version features an eye-catching embossed finish on the camera surface, while the Blush Gold version dazzles with a smooth lustrous finish. Metallic parts are used for the lens ring, etc. for a premium look.

(2) New instax film
1. Mini-format film “CONFETTI”

  • Compatible with all “instax mini” series models that support the mini format
  • Colorful metallic frame that adds a touch of flamboyance to your photo
  • 10 prints per pack

2. Square-format film “Star-illumination”

  • Compatible with all “instax SQUARE” series models that support the square format
  • Elegant design of the night sky scattered with colorful stars to make your photo look stylish
  • 10 prints per pack

* *5 Bluetooth® work mark and logo are registered trademarks of Bluetooth SIG, Inc. FUJIFILM Corporation uses these marks based on a license agreement.

Posted: June 12, 2019, 10:04 pm

Leaked renderings of the upcoming Pixel 4 seem to have prompted Google to get ahead of its own story by tweeting an image of the device well ahead of its expected fall launch date. Prominently featured is a square "bump" that appears to house two rear-facing cameras, a flash and two smaller sensors, one of which is visible if you raise the image's shadows.

We imagine that the small sensor to the right of the flash is a spectral + flicker sensor, something that helps avoid banding with flickering light sources and also helps the auto white balance algorithm estimate the dominant illuminant for better color reproduction. The Pixel 3 has one of these sensors next to its flash, too.

The fourth sensor, positioned above and centered between the two main cameras, appears too small to be another camera unit. We've often wondered about the future inclusion of a Time-of-Flight (ToF) camera in the Pixel lineup. Competitors like Huawei and Samsung have been adding these sensors to their devices to help with depth mapping. The Pixel 3's portrait mode images were already among the best from current mobile devices, so we're interested to see what the addition of a secondary camera – and whatever that additional sensor is – might add up to.

Posted: June 12, 2019, 9:06 pm
MS Optics Vario Prasma 50mm F1.5 lens

MS Optics, the niche lens manufacturer based in Japan, has released two new lenses for Leica M-mount cameras: the Vario Prasma 50mm F1.5 and the ISM 50mm F1.0. The new Vario Prasma lens is described as 'a modern interpretation' of the Kino-Plasmat, whereas the ISM 50mm F1.0 is an ultra-fast lens that's also exceedingly small and light.

The MS Optics Vario Prasma 50mm F1.5 lens is based on the Plasmat lenses designed in 1918 by Paul Rudolph. In what is referred to as a modern interpretation, Miyazaki san's rendition includes 'unique improvements,' including improved focus dampening, separate aperture, and the inclusion of an adjustable spherical aberration ring.

Below are a few sample images captured with the MS Optics Vario Prasma 50mm F1.5 lens:

The lens features 6 elements in 4 groups, 0.8m to infinity focus, multi-coating on all surfaces, a 52mm focal length, and both Silver Chrome and Black Chrome finishes. According to Japan Camera Hunter, the lenses are currently in production with anticipated shipping in 'weeks.' The model can be pre-ordered now for $1,200 USD.

MS Optics ISM 50mm F1.0 lens

'Miyazaki wanted to challenge himself to make an ultra fast lens in the same range as the greats such as the Noct, Xenon and Angenieux,' Japan Camera Hunter explains. The result is the new ISM 50mm F1.0 lens for Leica M-mount, the creator's fastest lens to date.

The ISM 50mm F1.0 lens is small and lightweight with a length of 40mm, diameter of 50mm, and a 178g (6.2oz) weight. The lens features 7 elements in 5 groups, 16 rounded aperture blades, 55mm filter size, and a reversible hood with an O-ring for storage.

Below are a few sample images captured with the ISM 50mm F1.0 lens:

In describing the lens' performance, JCH explains:

At full aperture there is a drop in contrast due to flare, but resolution is high. At f1.25 flare in the center goes away, and at f1.4 contrast out to midframe increases dramatically. At f2-f2.8 coma flare quickly decreases, and apart from the corners you can expect high imaging performance with sufficient contrast. While spherical aberration of 0.15 is a bit high, the S-M astigmatic planes line up perfectly resulting in very good image quality. From f4 onward both contrast and sharpness need no excuses.

The MS Optics ISM 50mm F1.0 M-mount lens can be ordered in Black Chrome and Silver Chrome for $1,700 USD.

Posted: June 12, 2019, 6:41 pm

Most current high-end smartphones come with multi-camera modules with integrated ultra-wide-angles that typically offer an equivalent focal length of approximately 16mm, but if you need something even wider, or are using an older single-camera phone, Shiftcam's latest offering could be worth a closer look.

The company, which has previously completed several successful smartphone lenses on Kickstarter, is back on the crowdfunding platform, this time with a 12mm ultra wide aspherical lens.

Like other lenses in the Shiftcam Pro line, the 12mm can be attached to iPhones via a specific case or to all other phones with a universal lens mount. The company also offers a counterweight for use on gimbals and a filter adapter.

The lens itself features six elements in four groups. The body is made from aluminum, the front element comes with a nano-coating to reduce flare and Shiftcam says the lens is practically distortion-free.

Pledges start at $89 for the early-bird lens and mount and go up all the way to $299 for the entire Shiftcam Pro lens kit. The funding goal has already been exceeded multiple times, so the project will go ahead. Delivery is estimated for August 2019. You can find more information including a full list of compatible device's on the project's Kickstarter page.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there's always the risk of the product or service never coming to fruition

Posted: June 12, 2019, 4:27 pm

In September 2018, Fujifilm made the official announcements that it was working on a 100-megapixel medium format mirrorless camera—the Fujifilm GFX 100. Since then, we've had exclusive hands-on time with the behemoth, published our first-impression video review and shared pre-production photo samples.

We're yet to get our hands on a fully-reviewable version of the GFX 100, but to tide you over in the meantime, we're sharing a little documentary from Cinema5D that takes a behind-the-scenes look at the development process of Fujifilm's latest medium-format mirrorless camera system.

A screenshot from the mini-doc showing how the IBIS is pieced together in the factory.

Titled 'Birth of a Camera: Fujifilm GFX 100,' this 17-minute video is part one of a two-part series that takes an exclusive inside look at the development process of the GFX 100. Throughout the video, Cinema5D co-founder Johnnie Behiri travels to various Fujifilm locations in Japan to talk with the executives, engineers and designers that had a part in bringing the GFX 100 to life.

The video addresses how the development process took place, from the initial conception to the final mock-up. Little by little, Behiri follows the vague chronological timeline of the creation process, from talking with the initial Fujifilm 'CLAY' designers who sketched up the original form of the camera to the engineers who created countless mock-ups to ensure the required components could fit inside the frame of the camera.

A screenshot from the mini-doc that shows how testing is done on the face-detection autofocus.

It's a bit of a long watch, but well worth it if you have some free time over your lunch break or before bed.

Behiri notes in the accompanying blog post for this video that while Fujifilm does run a paid banner campaign on its website, the project was initiated and its production costs entirely self-funded by Cinema5D.

Posted: June 12, 2019, 2:16 pm


The Canon EOS Rebel SL3 (also known as the EOS 250D) is the the latest in the company's lineup of ultra-compact DSLR cameras, and comes with a 24MP APS-C sensor that has accurate and easy-to-use Dual Pixel autofocus.

Not only does the SL3 have one of the best beginner-friendly guide modes we've seen on a camera (the same as Canon's very similar, but bigger Rebel T7i), but it's capable of taking great images under a wide range of circumstances. It's also fun to use, comfortable to hold, and has insane battery life, provided you use the optical viewfinder.

Key specifications:

  • 24MP APS-C sensor with Dual Pixel on-sensor Autofocus
  • Optical viewfinder with secondary 9-point autofocus system
  • 4K video recording (with 1.7x crop)
  • Fully articulating rear touchscreen
  • Excellent 'guide' mode for beginners
  • Wi-Fi with Bluetooth for image transfer and remote camera control
  • Impressive 1,070 shot battery life (CIPA rating) using optical viewfinder
  • Passable 320-shot battery life (CIPA rating) in live view with Dual Pixel AF

Even as the mostcompact DSLR model Canon offers, the Rebel SL3 shares its sensor, processor and much of its feature set with Canon's existing (and much smaller) EOS M series of mirrorless cameras. So why would you opt for the SL3 over, say, the Canon EOS M50, which will offer almost identical image quality? It comes down to a handful of personal preferences, particularly when it comes to viewfinders. The SL3 has an optical viewfinder, compared to mirrorless cameras' electronic ones.

Put simply, an electronic viewfinder allows you to easily preview your exposure settings, but some people prefer the more 'natural' and immediate view of the world that an optical viewfinder provides. We'll look at the differences in more depth in just a bit.

Features that matter

Why should you buy the Rebel SL3 over so many other options? Well, let's take a look.

Read more

Using the Rebel SL3 on vacation

Turns out the SL3 makes for a pretty great vacation camera - provided you can look past a few caveats.

Read more


The Rebel SL3 is a fine photographic companion, if not an absolute standout in today's marketplace.

Read more

Sample gallery, image quality, lens quality

Click through to look at some pretty pictures from New Orleans, or get the details on the SL3's image quality in our studio test scene.

Read more

Posted: June 12, 2019, 1:00 pm

We're looking to add a Software Development Engineer and a Senior Product Manager to our team! Each role is uniquely positioned to help shape the future of the site. The Senior Product Manager will own DPReview's product roadmap, working closely with our engineering and editorial teams. The Software Development Engineer will help build the next generation of web and mobile experiences for DPReview, shaping products from concept to delivery.

If you're passionate about photography and ready to help build the future of DPReview, take a look at the full job descriptions linked below and learn how to apply.

Apply now: Senior Product Manager

Apply now: Software Development Engineer

Posted: June 12, 2019, 12:00 pm

Skylum has updated its photo editing software Luminar to version 3.1.1, bringing improvements and new features to both the Windows and Mac versions of the application. The company says the new version of its software improves navigation on Windows and Mac by enabling users to right-click on an image and go straight to the folder in which it is stored.

For Windows users, right-clicking on an image also now presents the option to view other images that were taken on the same day. Skylum presents these two features as a way to easily find other content that may be related to a current project, such as other images taken during the same photo shoot.

For Mac users, Luminar version 3.1.1 can create albums faster and now supports changing the software's language independent of the operating system's settings. Both the Windows and Mac versions of the software have received launch time improvements, as well, drastically reducing the software's startup time.

Luminar version 3.1.1 is available now. Windows users can find the update by clicking 'Help > Check for update' in the top toolbar; Mac users can update by clicking 'Check for updates' in the Luminar 3 menu option in the system's top bar.

Posted: June 11, 2019, 6:40 pm


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