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Accessory Review: Peak Design Slide Camera Sling strap

DPReview News - Sun, 05/01/2016 - 04:00
Peak Design Slide Camera Sling
$59/£45 | www.peakdesign.com | Buy Now

I admit, I'm generally not much of a camera strap user. Oh sure, I have a few straps, but they tend to be utilitarian affairs more there for emergencies or #dadlife convenience ('What do you mean your feet hurt and I have to carry you the rest of the way through the zoo?'). Even when I was in the thick of my years as a working pro, I tended to work out of a bag far more often than I worked off my shoulder.

That said, shoulder straps have a lot going for them. They protect your camera from accidental drops, allow you to use both hands without putting your camera away, provide a way to keep multiple bodies at hand and the ease of access they offer cuts down on shots missed because you were digging your camera out of a bag or pack. So when I was asked to take a look at the Slide sling strap from Peak Design, I figured it was time to give straps another try.

Specifications
  • Maximum Length: 145cm/57in
  • Minimum Length: 99cm/39in<
  • Weight: 171g/6oz
  • Width: 45mm/1.8in
  • Strength Rating: 200lb (This is the rating for the Dyneema-corded Anchor Link anchors. The 45mm seat belt webbing could probably lift up your car.)

It is worth noting that Peak Design also offers a narrower version of the Slide, the SlideLITE, for mirrorless systems and other smaller cameras. Specs are virtually the same save for the width being 32mm/1.25in and the weight being cut to 141g/5oz. The reduction in weight is likely due to the narrower width and the fact that the SlideLITE is unpadded.

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Attaching the Slide took less time than any strap I have ever installed. The Anchor Link connector design is clever and quick. So much so, even when I wasn't using the strap, I left the Anchor Link anchors installed on my camera. Sure, they look a little silly and flap around like little ears, but they don't get in the way and allow me to install the strap again in seconds. With four anchors included, it would be easy to move the Slide between bodies. The anchors loop around your camera body's strap eyelets and then click the anchor into the connector at the end of the Slide strap. To remove, you press down on the anchor and slide it back out again. You could easily do it in the dark and yet there is virtually no chance of it happening accidentally. 

There are two different options to connect the Slide to your camera. The first is the traditional connection to your body's strap eyelets, suitable for the classic 'neck strap' style with the camera hanging down in front of you. The second makes use of the included Arca-Swiss compatible tripod plate.

The plate has small cutouts in each corner that allow attachment of an anchor. When connected to a strap eyelet and the plate, the camera hangs more naturally at your side when worn across your shoulder/chest as a sling. There are other products on the market that allow you to attach a strap to your camera's tripod mount, but virtually all of them must be removed if you wish to use a tripod. Integrating an Arca-Swiss compatible plate into its design means that users of the Slide can easily tripod mount their camera without making any changes to the strap setup. 

The Slide is surprisingly comfortable. The wide soft seatbelt material combined with the internal padding makes carrying even heavy DLSRs manageable. It has been a long while since I've had a 'padded' camera strap. I have either found them exceedingly bulky or made out neoprene that allowed the camera to 'bounce' on my shoulder more than I liked. The Slide's padding is only 1/4 of an inch thick or so, but it has enough firmness to it that it can support and distribute the weight of the camera. One side of the padded section is smooth and the other has rubberized 'gripper' lines added, allowing you to choose between the two options.

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The one drawback to the Slide's padding is that it is somewhat stiff and doesn't fold up particularly well. This isn't noticeable on your shoulder, but can be a little awkward when putting your camera into a bag. I suspect that the padding will soften up with age and be more flexible, but I wonder if that will take away any of the cushioning abilities. Only time will tell I suppose.

Length adjustment is quick and easy, even one-handed. You just pull up on the quick adjust handle to release the strap and slide up or down to the desired length. It's really handy to be able to lengthen the strap for when you are actively shooting and to tighten it back up again when you've got some hiking to do. This does, however, bring me to the most glaring problem with the Slide.

While the metal adjustment handles are nice looking and give a sense of quality to the strap, they are also a significant hazard to equipment for those of us who put our cameras in bags. I was constantly afraid that the handle was going to scratch a body or LCD or worse, chip a lens that had somehow been put away without a cap on. As far as I'm concerned, there is no way that the Slide should have used metal in this design. The added weight was unneeded and the danger to camera gear too great. I would love to see this exact design, but with plastic adjustment handles. 

What's the Bottom Line?

The Peak Design Slide Sling Strap is a well-made, innovative camera strap with a premium price tag. Its construction and materials show quality. The namesake 'slide' feature works exceedingly well, the minimal padding and wide strap width tames even heavy DSLR/lens combos and the Anchor Link connectors are a clever and quick way to install and remove a strap.

However, for all the good points about the Slide, the fear that the aluminum quick adjustment handles will scratch or chip expensive equipment is a significant drawback. This is particularly true for those of us who tend to work out of a bag more often than we carry a camera around our shoulder or neck. If you are in that boat and want a strap that still offers many (though not all) of the Slide's features, it might be worth checking out the Peak Leash strap. 

What we like:
  • Ease of length adjustment, even one handed
  • Innovative hidden non-bulky padding
  • Wide enough to be comfortable
  • Easily installed/removable, can use on multiple cameras
  • Versatile attachment system
  • Material is soft and flexible
  • Arca-Swiss style tripod plate attachment 
What we don't like:
  • Stiffness of padding makes it difficult to put in bag
  • Metal adjustment buckles can bang against camera/gear in bag
  • Most would consider it expensive for a camera strap
Final Rating:

Categories: Photo Gear News

Let's take a look: Canon PowerShot G16 iFixit disassembly guide

DPReview News - Sat, 04/30/2016 - 04:00
Canon PowerShot G16 iFixit disassembly guide

Before Sony ever put a 1"-type sensor in a compact, there was the Canon PowerShot G series. If you wanted extensive controls without all the weight of a DSLR, the G-series compacts were where you looked. The PowerShot G16 was the last in that line, sporting a 12MP 1/1.7" sensor before Canon ushered in a series of 1" compacts with a similar form factor.

The G16 may be gone from retailer's shelves, but it is not forgotten. It's also the subject of a recently published iFixit disassembly guide. The good people at iFixit publish product-specific disassembly guides, written to help common folk make simple repairs to their own electronic devices. They're also an easy way to peek inside a modern digital camera without voiding your warranty. This week, we look inside the Canon PowerShot G16.

Canon PowerShot G16 iFixit disassembly guide

The first disassembly step (after taking the battery out, of course) is an easy one. The G16 offers an accessory attachment point around the lens, which is covered when not in use by a metal ring. Pressing the button on the front panel next to the lens frees the ring.

Canon PowerShot G16 iFixit disassembly guide

Next comes the removal of the screws. Many screws. Including this one hiding next to the viewfinder...

Canon PowerShot G16 iFixit disassembly guide

...And another tucked next to the ports. 

Canon PowerShot G16 iFixit disassembly guide

With the first round of screws removed the back chassis can be removed from the body, revealing just a peek at the motherboard. 

Canon PowerShot G16 iFixit disassembly guide

The front panel can also be carefully removed...

Canon PowerShot G16 iFixit disassembly guide

...And after removing another screw, the port cover is ready to go.

Canon PowerShot G16 iFixit disassembly guide

This ribbon cable on the back panel connects the buttons to the motherboard, and can be carefully removed.

Canon PowerShot G16 iFixit disassembly guide

The button circuit board comes free with the removal of a couple of tiny screws, revealing a cable connecting the motherboard to the LCD. Got your spudger handy?

Canon PowerShot G16 iFixit disassembly guide

In order to free the cables you'll need to lift this little tab. A spudger is just the tool for the job.

Canon PowerShot G16 iFixit disassembly guide

And with that, the LCD is free.

Canon PowerShot G16 iFixit disassembly guide

The copper shield (likely for heat dissipation) can be removed. 

Canon PowerShot G16 iFixit disassembly guide

More screws are removed, freeing the viewfinder casing.

Canon PowerShot G16 iFixit disassembly guide

With the metal shield removed, the network of cables underneath is revealed. The ribbon highlighted here connects the top panel with the motherboard and will need to be removed from the motherboard with the trusty ol' spudger.

Canon PowerShot G16 iFixit disassembly guide

The top panel is ready to go once it's free of its connections to the motherboard. 

Canon PowerShot G16 iFixit disassembly guide

Lose a few more cable connections and the motherboard is ready for removal.

Canon PowerShot G16 iFixit disassembly guide

The front lens covering is next to go after the five screws connecting it to the front plate are removed.

Canon PowerShot G16 iFixit disassembly guide

At this point there't not much camera left, and the lens module can be removed from the rest of the housing with one last screw removed.

Canon PowerShot G16 iFixit disassembly guide

But why stop at removing the lens? The viewfinder can be taken right off the top of the lens assembly.

Canon PowerShot G16 iFixit disassembly guide

A few more odd screws removed and that's it – the Canon PowerShot G16 is reduced to its bare bones. 

Categories: Photo Gear News

MacPhun launches Filters for Photos free app for Mac users

DPReview News - Fri, 04/29/2016 - 12:01

Software developer MacPhun has announced a new app for Mac OSX users that comes with 30 photo filter effects, and which is being offered as a free download. The Filters for Photos application can be downloaded as an extension to Apple’s own Photos program or as a standalone product. It provides one-click effects in a similar way to Instagram, and comes with sketch, oil painting, color tones, black and white, and grain styles - among others. Once applied the filters can be down-played and adjusted according the characteristics of that effect, and users can apply multiple filters to a single image.

When finished, filtered images can be exported directly to social media or other MacPhun and Adobe software programs, or they can be saved to the hard drive.

Filters for Photos can be downloaded from: macphun.com/filtersforphotos.

Press release:

Macphun's new extension for Photos makes Photos for Mac more creative and fun

Filters for Photos adds 30 creative photo filters, and is available for free

Macphun, a leading photography software developer has today launched a new free app, Filters for Photos. The new software works as a Photos for Mac extension, as well as standalone software? it gives users the ability to add sketch, analog, vintage, and many other filters to their photos in a single click.

The software is the next step in Macphun’s continued support for Photos for Mac. Macphun was the first software developer to launch the Photos extensions in September, 2015. And now all the bestselling Macphun apps work as extensions (Aurora HDR, Intensify, Tonality, Snapheal, Noiseless).

About Filters for Photos
Filters for Photos is available as a free download exclusively from the Macphun Store. It introduces 30 creative filters to suit every hobby photographers’ style? from sketch to oil painting, vintage to rainbow palette. Users can adjust and tweak every filter, plus apply the filters to a certain part of the photo, quickly export their creations to other photo editors, or share via the social media and email.

Apple Photos for Mac is the default photoediting software for every Mac user, and Macphun aim to accelerate the user experience with this exciting new extension. There are 8 default filters in Photos for OS X with limited styles. Filters for Photos by Macphun is changing that.

In addition to 30 new filters, users will be able to:

  • Selectively apply filters with the custom brush
  • Preview all the changes in real time
  • Adjust and tune filters
  • Mix filters, creating new creative styles
  • Export to social media
  • Export to other photo software by Adobe, Apple and Macphun

Why Filters For Photos?
Macphun have introduced Filters For Photos in response to the popularity of oneclick presets and filters in Macphun’s other software. FX Photo Studio by Macphun (available for both iOS and Mac OS) features over 170 different filters? it has over 2 million monthly active users, and a total of over 25 million downloads. Over 65% of people, who use Aurora HDR, Intensify and Tonality, use oneclick presets to give their photos the necessary look in no time. So there’s definitely a high demand for editing tools that allow a quick change of the look of the photo.

Filters for Photos integrates with the Photos for Mac user experience, and helps more people be creative with their photography, without spending anything. Filters for Photos is available as a free download from macphun.com/filtersforphotos

Categories: Photo Gear News

Getty accuses Google of anti-competition practices, files complaint in EU

DPReview News - Fri, 04/29/2016 - 10:40
Ian Walton / Getty Images

Getty Images, one of the largest photo agencies in the world, has filed a complaint with the European Union’s Competition Commission because Google won’t budge on making high resolution photographs freely available from its Images search engine. Getty says that as users can see images in high resolution via the results window in Google Images there is no incentive for searchers to click through to the owner's website. Getty maintains that the practice of showing searched images at high resolution deprives websites of traffic, while also making it easier for Google users to download and use images without paying a license fee to the copyright owner.

In an open letter posted on the Getty Image's website, the companys General Counsel, Yoko Miyashita, says 'Our complaint focuses specifically on changes made to Google Images in 2013, which have impacted the competitiveness of our business by siphoning off traffic and promoting piracy – to the detriment of the 200,000 contributors who rely on us to earn a living. On a broader scale, this has impacted the interests of content creators around the world, allowing Google not only to profit from their work, but also to reinforce its role as the internet's dominant search engine and thus maintain its monopoly power.’

The changes Miyashita mentions, that were made in January 2013, are those which saw Google shift from serving searchers a thumbnail sized image to allowing users to see and download full-sized images. The service even allows users to specify the size of image they want to see. Getty argues 'Once an image is displayed in high-resolution, large format, it is immediately consumed – there's very little reason to go see it somewhere else. This format change immediately diverted traffic away from Getty Images, and from the websites of Getty Images' customers and those of other image creators, deterring users from leaving Google's platform to engage with content through legitimate sources. This, in turn, negatively impacts content creators' ability to monetize users' interest through licensing and advertising, and reduces the level of reinvestment available for the creation of new content.'

Getty says it has been in talks with Google for three years, but that Google's attitude has been that image creators should either accept the search engine's terms or opt-out of image search. Getty says it is fighting to protect its interests and those of its contributors, but also to protect the entire image-making industry.

Getty's complaint is part of a wider investigation of Google by the European Competition Commission in which the search giant faces questions about restrictive practices in the way it serves search results as well as the compulsory apps that come with devices using the Android operating system.

For more information, and to read Yoko Miyashita's open letter, see the Advocacy page on the Getty Images website

Press release:

Getty Images to file competition law complaint against Google

Getty Images, a world leader in visual communications, will today file a competition law complaint against Google Inc. with the European Commission. The complaint follows on from Getty Images’ submission in June 2015, when it joined as an interested third party in support of the European Commission’s existing investigation into Google’s anti-competitive business practices. 

The Commission’s current proceedings against Google are wide-reaching, with Google accused of distorting search results in favour of its own services. This affects a myriad of industries, from media companies like Getty Images, to comparison shopping and travel websites. Just last week, a further set of proceedings were issued against the search engine, to address Google’s business practices around its Android mobile operating system.

Getty Images’ complaint focuses specifically on changes made in 2013 to Google Images, the image search functionality of Google, which has not only impacted Getty Images’ image licensing business, but content creators around the world, by creating captivating galleries of high-resolution, copyrighted content. Because image consumption is immediate, once an image is displayed in high-resolution, large format, there is little impetus to view the image on the original source site. These changes have allowed Google to reinforce its role as the internet’s dominant search engine, maintaining monopoly over site traffic, engagement data and advertising spend. This has also promoted piracy, resulting in widespread copyright infringement, turning users into accidental pirates.

Getty Images’ General Counsel, Yoko Miyashita says: 'Getty Images represents over 200,000 photojournalists, content creators and artists around the world who rely on us to protect their ability to be compensated for their work. Google’s behavior is adversely affecting not only our contributors, but the lives and livelihoods of artists around the word – present and future. By standing in the way of a fair marketplace for images, Google is threatening innovation, and jeopardizing artists’ ability to fund the creation of important future works. Artists need to earn a living in order to sustain creativity and licensing is paramount to this; however, this cannot happen if Google is siphoning traffic and creating an environment where it can claim the profits from individuals’ creations as its own.'

Miyashita continues: 'Getty Images believes that images have the power to move the world by spurring action and driving change. It is key that these issues with Google are addressed and that the dominant search engine in Europe leads users to legitimate sources for imagery, rather than creating an environment that benefits Google alone. A fair marketplace will allow photographers to continue to capture the ground-breaking imagery that informs and impacts the world every day.'

Getty Images firmly supports a more image-rich, digital world, but one that recognizes and remunerates the content creators who create this imagery. In 2014, Getty Images launched its embed tool, which revolutionized the visual content industry by making imagery available for easy, legal sharing at no cost for non-commercial use. This embed functionality provides consumers with an easy, legal alternative to the 'right click,' an alternative that ensures the content creator is appropriately credited for their work and that the image is clearly traceable to Getty Images in the event that a user wishes to license the image for a commercial purpose.

Visit Where We Stand  to learn more about how Getty Images is working with policy makers and industry groups to defend intellectual property and ensure a fair marketplace for content creators.

Categories: Photo Gear News

Sony patents contact lens camera with blink-triggered shutter

DPReview News - Fri, 04/29/2016 - 10:00

Sony has patented a contact lens that comes with an integrated miniature camera module and all its components, such as image sensor, lens, processor, storage and even a wireless module to transfer images to a smartphone or other connected device. Read more

Categories: Photo Gear News

Sony patents contact lens camera with blink-triggered shutter

DPReview News - Fri, 04/29/2016 - 09:46

Sony has patented a contact lens that comes with an integrated miniature camera module and all its components, such as image sensor, lens, processor, storage and even a wireless module to transfer images to a smartphone or other connected device. The camera is triggered by a "conscious" eyelid aperture and closure. A sensor measures the pressure of your eyelid, and other settings such as aperture and zoom can be controlled via eyelid movement as well. A display unit allows you to view captured images directly on the lens. The patent document says the following about the camera module:

"The image pickup unit includes, for example, a lens system including the image pickup lens, an aperture stop, a zoom lens, a focus lens, and the like, a drive system that causes the lens system to perform focusing operation and zooming operation."

There is even a digital image stabilization system to counteract image blur caused by motion of the eyeball. Google and Samsung have filed for similar patents before but with its range of controls the Sony variant is, at least on paper, the most advanced so far. It's impossible to know if a product like this will ever hit the market but if it does, it's certain to raise even more privacy concerns than Google Glass at the time. You can read the full document here

Via: Sony Alpha Rumors | Via: PetaPixel

Categories: Photo Gear News

A Great Classic

The Online Photographer - Fri, 04/29/2016 - 06:47
Robert Adams One of the great classic books of American landscape photography has just been reprinted: Robert Adams's fine, iconoclastic '70s exploration of the Front Range, The New West. The New West , subtitled Landscapes Along the Colorado Front Range,... Michael Johnston
Categories: Photography

Record Sales (OT)

The Online Photographer - Fri, 04/29/2016 - 05:53
A frame-grab from the linked video, courtesy WMUR New Hampshire. Photo on the record jacket, of course, by Anders Petersen. To continue the OT discussion about turntables we've been sort of having lately*...a few fun facts. Twelve million vinyl records... Michael Johnston
Categories: Photography

2016 Roundup: Compact Enthusiast Zoom Cameras

DPReview News - Fri, 04/29/2016 - 04:00

The enthusiast compact market has exploded over the last couple of years, with almost every manufacturer offering a product with a 1"-type sensors. Most of those cameras are small (and sometimes pocketable) and feature fast (but short) lenses. They also vary in terms of design, control points, video specs and whether they have an EVF, so you'll have some decisions to make. In this roundup, we'll try to help.

Here are the cameras that we'll be covering in this article:

As mentioned above, the majority of offerings in this category utilize 1"-type sensor, however two cameras offer even larger sensors. The Canon PowerShot G1 X Mark II is built around the largest sensor of the bunch at 1.5", while the Panasonic Lumix DMC-LX100 uses a slightly smaller Micro Four Thirds chip.

On the opposite end of the spectrum, the two Fujifilm options use significantly smaller 2/3" sensors, which is important, because sensor size can be a major indicator of potential - particularly lowlight - image quality. Also, cameras with larger sensors will generally allow for much more control over depth of field.

To further help you pick the right camera in this class, we've also created the chart below, which breaks down the equivalent aperture for each camera, as you work your way through the zoom range. Our article here explains the concept of equivalence, but at a high level all you need to know is that the lower the line is on the graph below, the blurrier the backgrounds you'll be able to get and typically, though not always, the better the overall low-light performance.

This graph plots equivalent focal length against equivalent aperture - with both axes taking sensor size into account so that they can be compared on a common basis. Equivalent focal lengths offer the same field-of-view and equivalent apertures give the same depth-of-field and similar total light capture. For more information, click here.

On the following pages, you'll find what we liked and didn't like about each camera, links to our test scenes for image quality comparisons, and real-world galleries to give you a sense of how each performs outside the lab.

Categories: Photo Gear News

Camera Raw 9.5.1, Lightroom updates add Pentax K-1 support

DPReview News - Thu, 04/28/2016 - 16:36

Adobe has released updates for ACR as well as standalone and CC versions of Lightroom, providing Raw support for the Pentax K-1 and Sony Cyber-shot DSC-RX10 III. Adobe Camera Raw 9.5.1, Lightroom CC 2015.5.1 and Lightroom 6.5.1 are all available for download and offer some minor bug fixes along with the new camera support. Updates are also available for Adobe DNG Converter for Windows and Mac.

Lightroom Mobile for iOS also gets an update. Version 2.3 brings improvements to editing workflow by making it easier to start editing a single photo from the device's camera roll. The latest version is available for iPhones and iPads at the App Store.

Bugs Fixed in Camera Raw 9.5.1
  • EXIF lens name not visible for some camera models.
  • Camera Raw would not launch under Mac OSX 10.7 and 10.8.
  • Errors when using Camera Raw to tone HDR images from Photoshop. This occurred when converting 32-bit files to 16 or 8-bit files.
Bugs Fixed in Lightroom CC 2015.5.1 / 6.5.1
  • Droplets not working as export actions 
  • Issues with incorrect folder permissions.  Please see instructions to help correct user permissions issues.
  • EXIF lens name not visible for some camera models.  Please see instructions to reparse the Lens metadata after installing the update.
  • Focus lost in the keyword panel when navigating to the next image
  • Error when merging to HDR or Panorama from a collapsed stack 
  • Removed dependencies on QuickTime for some video codecs on Windows. Please see https://helpx.adobe.com/x-productkb/multi/quicktime-uninstallation-impact.html for more information
Categories: Photo Gear News

Padcaster VERSE is a mobile media case for iOS and Android devices

DPReview News - Thu, 04/28/2016 - 15:01

A few days ago we wrote about the Helium Core Kickstarter project which aims to turn your iPhone into a full-blown imaging rig with a large number of accessory ports and mounting options. The Padcaster VERSE is the subject of another Kickstarter project and presents a very similar concept. However, it differs from the Helium in some fundamental ways. The original Padcaster was designed a couple of years ago for the iPad Mini but thanks to a universal bracket that is compatible with any phone or tablet up to 5.31 inches, the VERSE is much more (you guessed it) versatile. It works with both Apple iOS and Android devices.

While the Helium Core is made from aluminum the Padcaster VERSE is polycarbonate plastic. It comes with twelve ¼-inch threads and five cold shoe mounts, allowing you to mount it to any type of camera support and attach an abundance of accessories such as lights, microphones or teleprompters. Like the Helium Core the Padcaster Verse is targeted at filmmakers, video bloggers, mobile journalists, photographers and other such creatives. Its adjustable mount makes it look like an ideal solution for those who use more than one device or want to be prepared for eventual upgrades. You can secure yourself an early-bird Padcaster VERSE by pledging $50 on the project's Kickstarter page where you'll also find additional information.

Categories: Photo Gear News

ON1 Photo RAW, a new non-destructive Raw processor, launches this fall

DPReview News - Thu, 04/28/2016 - 11:57

ON1, an Oregon-based photography software developer, has announced a combination non-destructive photo editor and Raw processor: ON1 Photo RAW. The application has been built from the ground up to work with modern computers and high-resolution camera systems. The software can open 50MP images 'in a fraction of a second on a standard PC or Mac' according to its maker and performs edits without lag.

ON1 has been developing Photo RAW for the past several years, doing so around its ON1 Browse photo browser to eliminate the need for cataloging and importing photos. Along with lag-free processing, it offers features like tagging, rating, adjustments and photo effects. The photo editor includes integrated masking tools, layers, and brushes; effects and adjustments are applied in a non-destructive manner, says ON1. 

Several usage options are available with ON1 — it can be used as a plugin for Adobe Photoshop and Lightroom, Corel, as a host app for Google Nik Collection, and as an extension for Apple Photos. ON1 says Photo RAW will support PSD, PSB, PND, DNG, TIF, and JPEG file formats.

ON1 Photo RAW is available to pre-order now for ON1 Plus Pro Members; a membership costs $149.99/year, and provides a perpetual license for ON1 applications. Members will receive ON1 Photo RAW first when it launches this fall. A non-membership ON1 Photo RAW purchase option will also be available.

Source: ON1

Press release:

Announcing the First New RAW Processor in Years, ON1 Photo RAW

The Future of RAW Photo Editing – Coming this fall – Includes support for over 800 cameras

Portland, OR – April 26, 2016 – ON1, Inc. today announced ON1 Photo RAW, the first all-new RAW processor and non-destructive photo editor to be released in more than a decade. With modern code optimized for today’s super-megapixel cameras and high-performance computer graphics systems, Photo RAW will be the world’s fastest, most flexible, and easiest-to-use RAW processor and photo editor on the market when it is released this fall.

The current class of RAW-based photo editors all have their heritage from the early days of digital photography, when most digital cameras had less than 10 megapixels, and computer processing power was a fraction of that found in modern PCs. When used with today’s popular 42- and 50-megapixel cameras, existing programs can often take seconds to render small portions of a RAW image and perform adjustments. Several years in the making, Photo RAW, with its modern RAW processing engine, is tuned for today’s sensors and graphics chips. It will open 50-megapixel images in a fraction of a second on a standard PC or Mac, and perform edits in real-time, without slider lag or frustrating waits for redraw.

Developed over the last several years, ON1 Photo RAW is built around ON1 Browse, the company’s lightning-fast photo browser, and will not require photographers to import and catalog their photos; an often painful and time-consuming process required before editing can begin. ON1 Browse is an integral part of Photo RAW, offering quick and easy ways to tag, rate, make color and tone adjustments, or add effects to their photos. Without catalogs, professionals will be able to make adjustments to photos and fellow colleagues can access and edit where they left off. This combination of a fast photo browser with instantaneous RAW processing will deliver a fluid, streamlined workflow to process any amount of photos all at once. Select one or 101 photos, make a few develop adjustments and all of the photos update automatically in real time.

ON1 Photo RAW’s instruction-based, non-destructive workflow will also surpass today’s RAW processors in other key ways. In addition to customary re-editable adjustments such as exposure, contrast, color, shadows and highlights, Photo RAW will also offer non-destructive effects and portrait retouching, something not present in any photo editor on the market. The complex filters found in ON1 Effects and ON1 Portrait—including Lens Blur, Skin Retouching, Dynamic Contrast, HDR Look and many more—are all available in Photo RAW’s non-destructive workflow. The controls found throughout ON1 Photo RAW will also respond in real-time by leveraging modern video cards, using the latest versions of OpenGL and OpenCL.

ON1 Photo RAW will include built-in layers, brushes, and advanced masking tools, making it a full RAW processor and complete photo editor in a single app. And, unlike any other photo app, Photo RAW will work the way you want, and where you want. For photographers with established workflows, Photo RAW will work seamlessly as a plug-in for Adobe Lightroom®, Photoshop®, and Corel®; a standalone host app for Google® Nik Collection and other photo editors; or as an extension to Apple® Photos. Common file formats—including JPEG, TIF, PSD, PSB, PND, and DNG—will be supported and will benefit from the speed and performance of the app.

Price and Availability

ON1 Photo RAW will be available this fall. You can pre-order ON1 Photo RAW today by becoming an ON1 Plus Pro Member at $149.99/yr. Plus Pro members receive a perpetual license for all ON1 apps (not a subscription) and will be the first to receive the app once it becomes available. If you want to purchase ON1 Photo RAW without becoming an ON1 Plus Pro Member, you can submit your email address on the ON1 Photo RAW web page to get the latest news, videos, beta, and pre-order announcements.

Owners of previous versions of ON1 Photo will have the option to upgrade to ON1 Photo RAW. The upgrade price will be determined at a later date. There will be special pricing for Photo 10 purchasers. Customers will be notified over the course of the next several months providing their upgrade information.

Categories: Photo Gear News

Leica launches M-D (Typ 262) digital rangefinder with no rear screen

DPReview News - Thu, 04/28/2016 - 09:43
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German camera manufacturer Leica has announced a new M digital rangefinder that has no LCD panel. The Leica M-D (Typ 262) will be almost exactly the same as the existing M (Typ 262) but without a rear screen for reviewing images and working the menu. The company says it has produced a camera with only the ‘essentials of photography’, or ‘Das Wescentliche’, and that it will help photographers concentrate on the important elements of image making rather than getting distracted with the camera functions.

This isn’t the first time Leica has produced a digital M with no rear screen, as the company launched the limited edition M Edition 60 to mark the sixtieth anniversary of its rangefinder camera system. Leica made only 600 of these models, and they sell for about $18,000/£12,000, but the M-D (Typ 262) will be the first full production model without a rear LCD.

This new model will feature the standard 24MP CMOS sensor, will have an ISO range of 200-6400, and will have brass base and top plates. The viewfinder has a magnification of 0.68x and offers bright-frame markings for 35/135mm, 28/90mm and 50/75mm lenses. The body has no traditional red dot as Leica says it wants the camera to be discrete, and the single frame mode uses a particularly quiet shutter cocking system.

Users will have control only of aperture, shutter speed and ISO settings, and the camera records in DNG Raw format only.

The Leica M-D (Typ 262) will go on sale in May with a price of $5995/£4650. The M (Typ 262), which does feature a rear screen, actually costs less, at $5195/£4050, but it doesn’t have the quiet shutter or brass top and bottom plates.

For more information visit the Leica website.

Press release:

Leica M-D: The return of anticipation

New digital Leica rangefinder focuses on the absolute essentials of photography, and excludes an LCD screen
 
Leica Camera has extended its iconic rangefinder camera series with a new model: the Leica M-D (Typ 262). The fifth product in the Leica M range, the Leica M-D joins the Leica M and M-P (Typ 240), the Leica M (Typ 262) and the Leica M Monochrom (Typ 246), offering a greater choice for photographers looking for specific functionality from their rangefinder camera.
 
The Leica M-D is the first serial production model of the digital M family to be made without an LCD monitor screen. The standard location of the screen on the back of the camera is taken by the ISO sensitivity setting dial – one of the few, but essential, features of the camera. Although the Leica M-D embodies the entire range of technical developments perfected over decades for the Leica rangefinder system, it intentionally omits all but the most vital features. Concentrating entirely on the key parameters required for photography: shutter speed, aperture, distance and ISO sensitivity, the Leica M-D focuses the user on the most essential aspect – the picture they are taking – and brings back the anticipation of discovering the results later in the process, as when shooting with film.
 
Jason Heward, managing director, Leica UK, said, “With the exclusion of the ubiquitous LCD screen, photographers must return to the principles of photography when shooting with the Leica M-D: accurate framing and composition, selecting the appropriate parameters and settings, and ensuring that they capture the decisive moment with the thought and consideration that has always been necessary in analogue photography. This unique rangefinder camera also brings back the fascination and expectation associated with film – returning photography to its origins during the capturing process, whilst maintaining the obvious convenience and benefits of digital technology.”
 
Principally, the technical features of the Leica M-D are based on those of the Leica M (Typ 262). As with all other digital Leica M cameras, the Leica M-D (Typ 262) features a high resolution CMOS full-frame sensor, which has been designed exclusively for rangefinder photography, and supports neither video recording nor Live View. Its 24 megapixel resolution delivers exceptional image quality and extreme sensitivity, making it perfect for available light situations. At the same time, the camera’s Maestro processor guarantees fast processing of image data. Exposures are captured exclusively as RAW data in DNG format, enabling photographers to apply the required adjustments in post-processing software.
 
Leica’s focus on ‘Das Wesentliche’ (the essentials of photography) is immediately recognisable in the design of this camera. The Leica M-D expresses purely functional, formal clarity, and features characteristics such as a brass top plate with a ‘step’ at the end, referencing the design of the Leica M9. The Leica ‘red dot’ logo has been omitted from the front of the camera for ultimate discretion.
 
Furthermore, the barely audible shutter of the Leica M-D ensures the camera is inconspicuous when shooting: an invaluable advantage in scenarios where the photographer wishes to remain unobtrusive. As an aid to this, the camera features a shutter cocking system that is particularly quiet in single exposure mode, and enables a shutter release frequency of up to two frames per second. In continuous mode, the Leica M-D has the same sequential shooting speed as its sister model and shoots up to three frames per second.
 
The Leica M-D is available in a black paint finish, and includes a real leather carrying strap in full-grain cowhide.

Categories: Photo Gear News

Archiving FAIL and Other Thoughts

The Online Photographer - Thu, 04/28/2016 - 05:20
The reason I put up that "Zen of Fishing" post yesterday was because of something Ken Tanaka said—he pointed out that if we were going to talk about "the ones that got away," we should also talk about the pictures... Michael Johnston
Categories: Photography

Video: Meet the Nikon D500

DPReview News - Thu, 04/28/2016 - 04:00

It's really here. The wait for the D300's successor has been a long one, but the Nikon D500 has officially arrived. So what does the D500 bring to the freshly-revived flagship APS-C lineup? We break down just what's new and notable in our video overview.

Edit: We have corrected an earlier version of the video which erroneously indicated that all AF points on the D500 focus down to -4EV. Only the center point focus down to -4EV, while the remaining points are sensitive to -3EV.

Categories: Photo Gear News

Sony enables XAVC S recording to SDHC card with a7R II and a7S II firmware update

DPReview News - Wed, 04/27/2016 - 13:43

Newly released firmware updates for the Sony a7R II and a7S II enable XAVC S format video recording to SDHC memory cards. Previously, XAVC S format video could only be recorded to an SDXC card. Sony makes a couple of notes on the use of SDHC cards for XAVC S video – any recorded files larger than 4GB will be split into multiple files to comply with a 4GB maximum file size limitation. Cards must also be at least SD Speed Class 10 and UHS Speed Class U1 or faster. Video recorded at 100Mbps or more must use a UHS Speed Class U3 card.

Categories: Photo Gear News

The Canon that can: Canon EOS 80D Review

DPReview News - Wed, 04/27/2016 - 10:07

The Canon EOS 80D is an enthusiast-level DSLR, and the successor to the 70D. It sports a new 24MP APS-C CMOS sensor which, like the 70D, offers Canon's Dual Pixel on-sensor phase-detection autofocus system. The 80D also gains a new 45-point hybrid AF system with all of the points being cross-type. This is a step up from the 19-point AF system in the 70D, though not quite at the same level as the 65-point coverage offered by the more professionally-oriented 7D Mark II.

Featuring a body sealed against dust and moisture, the 80D has a polycarbonate exterior and magnesium alloy chassis. It is nearly identical in design to its predecessor, with the majority of controls accessible via the articulating rear touchscreen, as well as via physical control points. Video is a major part of the 80D's total package. While it cannot shoot 4K, it does offer 1080/60p capture and continuous autofocus during video. A headphone socket has been added to compliment its microphone port.

Canon EOS 80D key features:
  • 24MP APS-C CMOS sensor with Dual Pixel AF
  • 45-point AF system with all cross-type points
  • 3" 1.04M-dot articulating touchscreen
  • 1080/60p video capture
  • 7 fps continuous shooting with AF
  • Weather-resistant body
  • 7560-pixel RGB+IR Metering Sensor
  • Wi-Fi + NFC

Other improvements come in the form of a new mirror vibration control system (similar to the 5DS and 7D Mark II), which should help reduce the blur-inducing effects of shutter shock. The 80D also gains the same 7560 pixel RGB+IR metering sensor found in the Rebel T6s and T6i, a serious improvement over the 63-zone dual layer sensor found in the 70D. This new sensor gives the camera some degree of human subject awareness for subject tracking through the viewfinder. However, unlike the 7D Mark II, the 80D does not have Canon's 'Intelligent Tracking and Recognition' (iTR) system, which uses the metering sensor along with distance info to subject track.

The new sensor

It's no secret that some Canon shooters have been frustrated as of late, as Sony's sensor technology marches ahead in terms of dynamic range. Fortunately, the 80D marks a significant step forward in Canon's sensor development, offering much better DR than the 70D or 7D Mark II. But the new sensor isn't interesting just because of the pictures it can capture. Dual Pixel AF not only allows for continuous focus during video capture, but during still capture (in live view mode) as well. We first saw this feature in the Rebel T6s and it is exciting to see it now making its way up Canon's food chain to enthusiast-level cameras.

Compared to its siblings   Canon EOS 80D Canon EOS 7D Mark II Canon EOS 70D  Canon EOS 6D Sensor 24MP APS-C 20.2MP APS-C 20.2MP APS-C 20.2MP full-frame ISO range 100-16000 (expands to 25600)

100-16000
(expands to 25600)

100-12800
(expands to 25600) 100-25600
(expands to 50-102800) AF (viewfinder) 45 all cross-type points 65 all cross-type points 19 all cross-type points 11 point, center point is cross-type  AF (Live view/video)  Dual pixel AF  Dual pixel AF  Dual pixel AF Contrast Detect, Phase Detect (in 'Quick' mode) Intelligent Tracking and Recognition No Yes No No C-AF in live view during still shooting Yes No No No  AF joystick  No Yes No No  Video capabilities 1080/60p 1080/60p 1080/30p 1080/30p Burst rate 7 fps 10 fps 7 fps 4.5 fps  LCD spec 3" 1.04M-dot articulating touch LCD  3" 1.04M-dot fixed LCD 3" 1.04M-dot articulating touch LCD 3" 1.04M-dot fixed LCD  Weight 730 g (1.61 lb) 910g (2.0 lb) 755g (1.7 lb) 770 g (1.70 lb)

Aside from the 70D, the closest sibling to the 80D is the more professionally-oriented Canon EOS 7D Mark II. It uses a slightly lower resolution chip and offers less dynamic range than the 80D. While the two share the same basic video specs, the 7D Mark II is better equipped for fast action, thanks to greater AF point coverage, a dedicated AF joystick and the inclusion of Canon iTR, as well as a faster shooting rate. On the other hand, the 80D's touch focus capabilities make it a more appealing choice for video.

Of course the full frame Canon 6D now falls into a similar price class to the both the 80D and 7D Mark II, making it worthy of consideration. Although it's far from new the 6D remains a solid and popular camera despite its comparatively simplistic AF system.

Accessories The 80D shown with PZ-E1 Power Zoom Adapter connected to the EF-S 18-135mm F3.5-5.6 IS USM kit zoom. This adapter allows for smooth zooming at variable speeds. 

Along with the announcement of the 80D, Canon announced the DM-E1 shotgun microphone (compatible with any camera that has a 1/8" socket). Canon also announced the PZ-E1 Power Zoom Adapter. It can clip onto the new EF-S 18-135mm f/3.5-5.6 IS USM kit lens and control the zoom, with two speed options. The DM-E1 will sell for $250, while the PZ-E1 will run you $150. Unfortunately, we weren't able to get hold of either new accessory in time for this review, but we'll be updating our impressions as soon as we can. 

Pricing and availability

The Canon EOS 80D is available now for a body-only price of $1199/£999/€1199. Kitted with Canon's new EF-S 18-135mm f/3.5-5.6 IS USM lens, the 80D will run you $1799. Kitted with the EF-S 18-55mm F3.5-5.6 IS STM lens, the 80D will run $1349/£1089.

Categories: Photo Gear News

A Daguerreotype Lens for Digital Cameras

The Online Photographer - Wed, 04/27/2016 - 09:03
Prototype Lomography Daguerreotype Achromat 64mm ƒ/2.9 Art Lens Jeez, some people are born optimists. Lomography hoped to raise $100,000 to make a replica Daguerreotype lens. Out of brass. With Waterhouse stops, no less. (Freaky-styley ones, of course. Or funky-fun, if... Michael Johnston
Categories: Photography

Key Thoughts and The Zen of Fishing

The Online Photographer - Wed, 04/27/2016 - 05:49
I liken the thoughts that I keep in mind when photographing to "swing thoughts" or "key thoughts" in golf. Sam Snead used to say that he’d just hit some practice balls and try to find one or two swing thoughts... Michael Johnston
Categories: Photography

Interchangeable lens camera sales steady as Canon profits plunge

DPReview News - Tue, 04/26/2016 - 15:10
Canon calls out the EOS 80D as a driver for strong unit sales in the interchangeable lens camera market.

Canon Japan reported flat ILC unit sales as one of the bright points in first quarter reports that saw a 17.5% fall in net income. A strengthening Yen, poor performance in the laser printer business and continued decline in compact camera sales combined to give the company a tough quarter.

Overall, digital camera sales are down 12%, due in large part to a 22% decline in the dying compact camera market, though Canon cites its G-series as a bright spot. Interchangeable lens camera sales were flat compared to Q1 2015, propped-up by strong sales of the EOS 80D and gains for the M3 and M10 mirrorless cameras in Asia. Interchangeable lens cameras now account for 49% of total unit sales and 84% of the company's revenue.

While delivering 'flat' numbers might not sound very positive, figures provided by the Camera & Imaging Product Association show a nearly 10% year-on-year industry-wide decline in ILC unit shipments, as well as 17% YoY reduction in SLR shipments. In other words, Canon isn't doing quite as poorly as it may sound just looking at the numbers.

Looking ahead to 2016 as a whole, Canon expects compact camera sales to drop 24%, though more expensive models like the G-series will help protect margins. The company states that it hopes to increase profitability of this line 'through the standardization of parts and other measures.' It also says it expects unit sales of ILCs to fall by 7% across the year. But, while it has slightly lowered its projections for income from its imaging business for 2016, nearly all of the reduction comes from the expectation that the Yen will stay strong, lowering the value of overseas sales.

For more details, have a look at Canon's Q1 2016 financial statement.

Categories: Photo Gear News
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