Sidste nyt

Tether Tools replaces its popular JerkStopper cable protection tool with its new TetherGuard system

Sidste nyt fra dpreview - 20 maj 2022 - 22:41

Camera accessory manufacturer Tether Tools has released an updated version of one of its most popular products, the JerkStopper. After over a decade of service in various iterations, JerkStopper is being replaced by TetherTools new TetherGuard system.

Like its predecessor, TetherGuard is designed to prevent your cables, such as HDMI, 3.5mm audio and power cables, from being ripped out of your camera’s port. This not only reduces wear and tear on the cables themselves, but helps keep the ports from getting damage over continued use, which is more costly than replacing a single cable here and there.

TetherGuard uses what Tether Tools is calling a ‘magnetic breakaway cable management system’ that relies on a ‘Lock & Dock’ system to keep your cables organized when not in use and secure when attached to the camera, computer and other bits of gear you’re using it with. Specifically, the part that attaches to your camera uses the standard 1/4"-20 tripod thread on the bottom to create a locking point where no cables can be further pulled from. If you need to attach the secured points to other gear, Tether Tools provides 3M adhesives that will securely lock onto almost any non-porous surface.

As with the original JerkStopper, it’s also possible to connect the new TetherGuard system to your camera’s strap connections if you still need access to the tripod socket on the bottom of your camera.

Tether Tools' TetherGuard system starts at $23.99 for the basic Tethering Support Kit, with additional attachments and accessories available as needed for your setup.

Kategorier: Sidste nyt

Film Friday: Large format scans from Markus Hofstätter's ultra-large format scanner rebuild

Sidste nyt fra dpreview - 20 maj 2022 - 16:00
Left: A crop of the first scan Hofstätter made with his large format scanner. Right: Aforementioned scanner taking up the entire back of his hatchback.

Last week, we shared the first part of a two part series wherein large format photographer Markus Hofstätter shared how he revived a 73kg (160lb) ultra-large format flatbed scanner over the course of three months so he could scan his large-format photographs with the highest detail possible. This week, for part two, we’re sharing the results of his scanner.

After three months of painstaking revival, Hofstätter finally got his Screen Cézanne EFT-S5500 scanner up and running. With all of the hardware and software in place, the next step was to start scanning.

For his first, Hofstätter scanned a 30cm x 40cm collodion wet plate shot on an ultra large format camera with a Voigtlander Heliar Universal 360mm F4.5 lens. As you can see from the shot below, the scan turned out wonderful, with ridiculous levels of detail, particularly around the eyes.

A 30cm x 40cm collodion wet plate photograph scanned with the 73kg (160lb) ultra-large format flatbed scanner. Click to enlarge.

Hofstätter notes there is a bit of a science to ensure the large reflective scans don’t catch light bleeding form the scanner, but aside from a bit of precautionary measures, Hofstätter says there’s ‘not much need of any post-processing,’ which will hopefully make up for the three months he spent building this behemouth.

Below are a collection of large format photographs scanned by Hofstätter on his new scanner:

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You can read Hofstätter’s full blog post and see more behind-the-scenes photographs on his website.

Kategorier: Sidste nyt

Tokina releases $400 33mm F1.2 manual lenses for Fujifilm X, Sony E mount APS-C cameras

Sidste nyt fra dpreview - 20 maj 2022 - 13:01

Tokina has announced its latest lens, an SZ 33mm F1.2 manual prime for Fujifilm X-mount and Sony E-mount APS-C camera systems.

The lens, which offers a roughly 50mm full-frame equivalent focal length, is constructed of nine elements in seven groups, has an aperture range of F1.2 through F16, features an 11 blade aperture diaphragm, has a minimum focusing distance of 50cm (19.7") and uses a 62mm front filter thread. Tokina says the optical elements feature ‘multi-coatings,’ but doesn’t elaborate on the details of said coatings.

Both the Fujifilm X- and Sony E-mount versions feature a clickless aperture ring for smooth adjustment. Tokina says it’s also minimized focus breathing when pulling focus on the 160º focus ring, as demonstrated in the sample footage below:

Below is a collection of sample photographs, provided by Tokina:

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Both lenses measure roughly 71mm (2.8”) diameter by 87.5mm (3.4”) long and weigh 605g (1.3lbs). Both models should be available to purchase starting today for $399, although listings don’e appear to currently be live at any retailer.

Kategorier: Sidste nyt

Apple responds to open letter calling for Final Cut Pro improvements

Sidste nyt fra dpreview - 19 maj 2022 - 19:27

Back in April, more than 100 individuals involved in worldwide television and movie production signed and published an open letter to Apple CEO Tim Cook requesting the Cupertino company put more effort into developing and promoting Final Cut Pro, particularly within the film and television markets. Yesterday, Apple responded to that letter with one of their own, wherein it addresses some of the concerns laid out in the original letter and promises new efforts to keep Final Cut Pro alive and well within the entertainment industry.

The letter opens by saying ‘To the authors of the recent open letter regarding Final Cut Pro in the TV and film industry: the creative community has always been so important to us at Apple, and we’re grateful for your feedback.’ After a brief acknowledgement that Final Cut Pro has been used in everything from ‘Hollywood movies’ to ‘high-profile commercials,’ Apple’s response addresses the main concern brought up in the original open letter: feature updates and auxiliary support for making Final Cut Pro more accessible to those within the entertainment industry through professional support and services.

Specifically, Apple says that ‘While we believe we have plans in place to help address your important feature requests, we also recognize the need to build on those efforts and work alongside you to help support your film and TV projects and keep you posted on important updates.’ To achieve this, Apple says it will be ‘Launching new training products and Apple-authorized certifications for pro video starting this month with our partner Future Media Concepts,’ ‘Establishing a panel of industry experts for regular consultations, starting this summer’ and ‘Expanding the content and frequency of Final Cut Pro workshops for major film and television productions.’

It concludes its letter by saying ‘We would love to work with you to help support your film and TV projects, and we will continue to explore opportunities that allow us to better connect and foster important dialogue with our devoted community of users going forward.’

Apple’s response might be vague, but it does appear the company has heard the voices of the signees of the original letter and are determined to better promote its video editing software through feature updates, professional support and various workshops. The fact Apple responded at all signals the company's desire to meet the needs of professionals in the visual arts world.

With Apple’s World Wide Developers Conference (WWDC) just around the corner (starts June 6, 2022), it’ll be interesting to see if we hear anything about Final Cut Pro during the pre-recorded presentation and subsequent events. Many users have been asking Apple to bring Final Cut Pro to its iPad devices and while there’s no mention of that in either the open letter, nor Apple’s response, there’s still hope that an announcement will be made sooner than later.

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Laowa launches its campaign for its ultra-compact APS-C Nanomorph anamorphic lenses

Sidste nyt fra dpreview - 19 maj 2022 - 16:31

Laowa has launched its Indiegogo campaign page for its new Nanomorph anamorphic lenses, revealing more details about compact anamorphic lenses.

After a brief delay in the launch of the campaign, the first three Nanomorph lenses are now avaialble to back on Indiegogo: a 27mm T2.8, 35mm T2.4 and 50mm T2.4. Venus Optics says 65mm and 80mm focal lengths to follow later this year. The lenses are designed for S35 and MFT sensors with mount options for Canon EF, PL mount, Canon R, Sony E, M43, DJI DL, Nikon Z, L mount and Fuji X.

All three offer a constant 1.5x squeeze factor throughout the entire focus distance range, something usually only seen in higher-end anamorphic lenses. This constant squeeze ratio means the lenses won’t suffer from a reduction in their anamorphic effect when close to a subject—something that can cause faces and objects to appear distorted in scenes.

The company also says the lenses have the shortest closest focus distance of any anamorphic lenses on the market, with the 27mm T2.8 lens able to focus to 43cm (16.9”), and the 50mm T2.4 able to get the sensor just 70cm (27.5”) from the subject. The launch information reveals exactly how small the lenses are as well, with the mirrorless mount versions measuring roughly 10cm (4”) long and weighing between 313g (0.69lbs) and 390g (0.86lbs). The models designed for EF and PL mounts are smaller in length but weigh more. A 55m filter thread is used for the mirrorless versions, while the EF and PL models will take 77mm filters.

A specifications breakdown for each of the Nanomorph lenses.

Laowa says the mounts for these lenses are user interchangeable, and that each lens will come with your chosen mount, but for $50 users can buy another mount that can be swapped out at home. A back-focus adjustment mechanism is positioned towards the rear of the lens so that users can recalibrate infinity focus with each change to ensure the focusing scale will be accurate.

The mirrorless versions will retail for $999 and the EF/PL versions will be $1,499, though 'early bird' discounts are available for backers on the company’s Indiegogo campaign. Shipping is expected to begin in August.

Note/disclaimer: Remember to do your research with any crowdfunding project before backing it. Pledges to crowdfunding campaigns are not pre-orders. DPReview does not have a relationship with this, or any such campaign, and we publicize only projects that appear legitimate, and which we consider will be of genuine interest to our readers. You can read more about the safeguards Kickstarter has in place on its ‘Trust & Safety’ page.

Kategorier: Sidste nyt

How to turn your smartphone into a better vlogging rig

Sidste nyt fra dpreview - 19 maj 2022 - 16:18

Smartphones have become increasingly effective at creating high-quality video on-the-go. From high-resolution video modes and ProRes 10-bit video to multiple focal length choices and super-high framerates, there’s little smartphones can’t do on the video front. But just because you have a smartphone in hand and adventure ahead of you doesn't mean you can't step up your game to set yourself apart from the competition.

You can just aim your camera at your face, press record and make a pretty decent video – and many people do. However, if you want to make your production as good as it can be, and to make the most of what your smartphone’s camera offers, you might want to think carefully about how you will complement that great visual quality with better audio quality, improved lighting and some form of stabilization.

I’m sure you will have heard that audio is at least as important as the picture quality of your film, so it makes sense for us to start there.


As important as image quality is, a vlog is only as good as the audio you're capturing alongside your footage. While some smartphone manufacturers have put great efforts into their built-in microphones, the reality is any integrated microphone is going to capture much more environmental sound than you're probably planning to capture.

Thankfully, microphone technology has come a long way and it's now easier than ever to rig up a small lavalier microphone or compact shotgun microphone to your smartphone to get improved audio quality that helps isolate your voice.

The Boya BY-M1 Pro is a simple clip-on microphone that cables directly to your smartphone, providing an audio pick-up much closer to your mouth than the phone's own mic

Generally speaking, you have two choices for external microphones when vlogging: a lavalier (lav) microphone or a shotgun microphone. A lavalier microphone, be it wired or wireless, is typically attached to your chest/throat region onto a piece of clothing. Due to its proximity to your mouth and chest, the lav mic will better isolate your voice from the surrounding environment, resulting in clearer audio.

A shotgun microphone also helps to isolate your voice, but is typically mounted to a camera rig (more on those below), with the microphone facing the subject. Through a more focused recording pattern, the shotgun microphone helps to ignore any noise that isn't directly coming from the subject it's facing. Since both lavaliers and shotgun mics will get the job done, it comes down to personal preference.

A shotgun microphone, seen in the above image on the red shock mount, helps keep environmental noise to a minimum without getting in the way.

If you're looking for lavalier mics, Mirfak, Rode and Syncho all make wireless solutions that consist of a transmitter and receiver. Using a wireless lav kit allows you to mount the receiver to your phone and transmitter to yourself without the need to hassle with cables. In the case of the Mirfak WE-10, Rode Wireless Go and Syncope P1T kits, all three have microphones built into the transmitter, so you don't even have to plug in an external lavalier mic if you don't want to.

Consisting of a transmitter with built-in clip-on mic and a USB-C receiver, the Synco P1T is a wireless smartphone audio kit that packs away in a neat charging case for storage and refreshment

If you'd prefer to take the shotgun microphone mount, Diety, Rode and SmallRig all have compact options that can be attached to a camera rig using either a cold shoe mount or 1/4"-20 mounting point. While you'll need to attach the microphone to your phone via the USB-C and/or 3.5mm audio jack, the cable will be on the camera side of the setup so no cables will be seen in your footage.

The microphone that comes with the SmallRig kit is good, but it is worth noting that its wide receiving arc picks up a lot of environmental sound – which is great when that is important to the vlog, but not so much when you want viewers to concentrate on the voice. Even though the mic comes with a foam cover as well as a dead cat it still suffers in a stiff breeze.a


Just as you would with larger cameras, you're going to want to make sure your smartphone footage is as stable as possible. Many smartphones have built-in image stabilization, but even with the built-in stabilization, holding a phone at arms-length without a decent grip can get uncomfortable and make for wobbly footage.

Mounting your phone on a tripod, or a mini-tripod like this one, is an excellent way to avoid shaky footage, but it does mean you can't move around as much and it can create a bit of a static feel to your film

The easiest solution is to get a small tripod, designed specifically for smartphones. They typically fold out for sitting on flat surfaces and collapse down to create a comfortable grip to hold at arms-length while shooting. Joby, Manfrotto and SmallRig all make quality options, including some that offer external mounting points for attaching microphones and lights. If you plan on shooting more stand-still footage, it might be worth it to get a larger travel tripod as well, so you don't need to rely on tables to keep your phone at eye-height while sitting or standing.

Lighting The SmallRig Professional Phone Video Rig Kit comes with a rechargeable light that can be mounted on the phone cage. It has warm and cool color modes, and has adjustable brightness to match the ambient conditions

Vlogging is usually done with available lighting, due to its run-and-gun style. But if you want to ensure you're well lit regardless of where you're shooting, you'll want to invest in an LED light. Having a light pointing at your face while shooting will help add a little fill light when outdoors and dramatically improve image quality in low-light scenes as your phone shouldn't have to bump up the ISO as much to capture your face.

There are dozens of options out there from brands small and large, but you'll want to make sure the one you get fits your needs. As with all lights, the larger the source, the softer the light. So, go as large as you feel comfortable handholding if you are going to get a light. Lights with built-in batteries are preferable, as it leaves fewer cables to manage, but you'll also want to make sure you know when your light is getting low so you don't ruin a shot when the battery inevitably gives up.

Having an on-camera light when filming indoors can make a big difference and help to fill in dark shadows

A few popular options include offerings from Godox, LumeCube and Aputure, all of whom have credit card-sized LED lights that are perfect for lighting up a compact vlogging rig. Depending on the model you go with, you can usually fine-tune the brightness and color temperature to match your needs.

Vlogging kits

Holding your smartphone on its own might be enough for your most basic shots, but once you start throwing lights, microphones and other accessories into the equation, you might want a dedicated rig to hold everything in place.

Similar to cages you'll see for popular video cameras and mirrorless cameras, accessory manufacturers have developed cages specifically for smartphones, sometimes going so far as to making a specific cage for a specific model of phone.

Mounting the mic below the camera improves the audio with this kit as it puts the mic closer to the speaker's mouth while the lens remains at eye-level

While model-specific cages might be nice, if you want something a little more versatile and future-proof, you might want to consider something along the lines of SmallRig's Professional Phone Video Rig Kit. This $169 kit includes an adjustable cage for your smartphone, a pair of handgrips, a tripod, a microphone and all the cables you need to get up and recording.

The cage has multiple 1/4"-20 and coldshoe mounts for rigging out the various accessories as your specific usecase requires. There's even an included powerbank holder so you can plug your phone into auxiliary power for times when you're expecting to be shooting for extended periods of time.

A lot of video content these days is shown in the upright orientation, so the ability to adapt the SmallRig kit for portrait or landscape shooting is very useful The kit also comes with a very nice mini-tripod that can double as an additional handle when you want the phone a little further from your face

Whether you go with this model or another, the benefit of a dedicated rig is the ability to quickly get your phone up and running as your vlogging camera without having to reattach every accessory every time you want to start shooting. It's not a necessity by any means, but it'll certainly make your life easier, especially if you're going to have audio gear, lights and other accessories connected to your phone.

General tips

Always check your framing before shooting. Since you'll want to use the rear cameras on your smartphone, it can be difficult to get the framing just right without having a monitor to look at. Practice a bit to get used to holding the camera in a consistent position so your head stays within the frame while walking around.

If you only start to think through what you are going to say after you press the record button it will be very obvious. You will hesitate, stumble, say 'err' a lot and talk in circles. Work it out beforehand and practice a bit

Plan ahead. You don’t necessarily need to write a full script, but do think about what you want to say in your vlog. Get the main theme straight in your head, decide how you will introduce it and figure out how you will conclude the shot. Try to keep to the point and don’t waste the viewer’s time with self-indulgent ramblings—you can be chatty, but keep your message concise if you want people to watch to the end. Pretend you are chatting to someone in a bar or cafe, slow down a little, and try to be relaxed. You will come across more natural. And smile, given it's appropriate.

Try to avoid a background that is dramatically brighter or darker than the light that is on you, and be conscious of how busy the scene behind you is as it will compete for the viewer’s attention. If you're in a noisy area, speak up so you can be heard over the environment, and try to keep the mic as close to your mouth as you can. Keep the lens at eye-level or a little higher, but don’t let it look down or up at you. And try to hold the phone still while you record so the viewer doesn’t get motion sickness.

Above all, have a good time and make the most of the technology you have on hand. Happy vlogging!

Disclaimer: SmallRig and Syncho provided test units to use for demonstration purposes in this article.

Kategorier: Sidste nyt

Ricoh announces rugged WG-80 compact camera with better built-in LED lights

Sidste nyt fra dpreview - 19 maj 2022 - 00:00

Ricoh has announced its latest WG series compact camera, the WG-80. The camera is rugged and waterproof, ready to take on the elements with a 5x optical zoom lens and an integrated ring light that’s twice as powerful as the one found in its predecessor.

At the heart of the WG-80 is a back-illuminated 16MP CMOS sensor with a top sensitivity of ISO 6400. In front of the sensor is a 5x optical zoom lens with a full-frame equivalent focal length range of 28–140mm. In addition to 16MP stills, the WG-80 can capture 1080/30p video in the H.264 format.

There’s no optical image stabilization onboard, but there is electronic image stabilization that takes on three forms: Pixel Track SR, Digital SR and Movie SR. Pixel Track SR and Movie SR use your typical electronic image stabilization correction technologies to compensate for blurry images in photos and videos, respectively, while Digital SR mode will just boost your ISO to ensure you’re getting a faster shutter speed in low-light scenes.

The 2.7" 230K-dot LCD display on the rear is used to compose shots and navigate the menu. It features an anti-reflective coating to reduce glare and has an ‘Outdoor View Setting’ that adjusts the screen’s brightness based on ambient light.

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On the front of the camera is a six-LED ring light that helps with macro shots and the ‘Digital Microscope’ capture mode. The light has a five-level intensity adjustment and has a maximum brightness twice that of the WG-70.

As for ruggedness and durability, the WG-80 is rated as waterproof down to 14m (46') for two hours, shockproof from a height of 1.6m (5'), dustproof, crushproof and freezeproof down to -10ºC (14ºF). As with its predecessors, the WG-80 has a built-in underwater capture mode for both photos and video that adjusts the color balance and contrast to account for different lighting beneath the surface.

The Ricoh WG-80 will retail for $329.95 when it goes on sale in mid-June 2022.


Ricoh announces rugged, waterproof WG series digital compact camera for underwater, outdoor and industrial photography

RICOH WG-80 features a new exterior design, built-in macro lighting and enhanced functionality to make capturing images and video of outdoor adventures and industrial job sites effortless

PARSIPPANY, NJ, May 18, 2022 - Ricoh Imaging Americas Corporation today announced the RICOH WG-80, a durable, lightweight and waterproof compact digital camera that produces super- high-resolution photos and high-definition (HD) video and is optimized for use in rugged conditions. Equipped with a 5x optical zoom lens providing coverage from 5mm to 25mm (equivalent to approximately 28mm to 140mm in the 35mm format) and a large, outdoor-friendly wide-frame LCD monitor, the new camera makes it easy to capture photos and video of adventures on land, under the sea or in the challenging environment of an industrial job site.

The RICOH WG-80 features its own built-in ring light with adjustable illumination levels. Six LED macro lights positioned around the circumference of the lens barrel provide twice the illumination intensity of its predecessor, the WG-70, making the camera ideal for low-light and macro photography, enabling extreme close-ups of coral while snorkeling as well as detailed shots of small parts and components on job sites. The ring light can also be activated for taking selfies with the help of a self-portrait assist mode.

For underwater photos and videos, the RICOH WG-80’s enhanced underwater modes deliver sharp, true-to-life imagery by enhancing shades of red which are typically lost in underwater photography, while effectively compensating for the loss of contrast caused by the diffusion of light in water. The camera is waterproof to a depth of 46 feet (14 meters) for up to two hours of continuous operation.

The RICOH WG-80 is equipped with a back-illuminated CMOS image sensor with approximately 16 effective megapixels and a high-performance imaging engine, delivering super-high-resolution still images and HD video clips. It features triple anti-shake protection to prevent blurred images and videos in all applications.

The rugged construction of the RICOH WG-80 makes it ideal for capturing images and video in challenging conditions of all kinds. It is shockproof against a fall from a height of five feet (1.6 meters) and freeze-proof in temperatures as low as 14°F (-10°C). It also comes equipped with an outdoor-friendly LCD monitor with a brightness level that can be instantly adjusted to the lighting level of a shooting situation.

Pricing and Availability

Available in black or orange, the RICOH WG-80 will be available mid-June 2022 at as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $329.95.

  1. Heavy-duty construction assuring underwater shooting down to 14 meters (46 feet), for up to two hours.
    The solid, airtight body of the WG-80 is not only waterproof down to a depth of 14 meters (46 feet) for up to two hours of continuous operation (equivalent to IPX 8 or JIS Class 8), but is also shockproof against falls from a height of 1.6 meters (five feet),* dustproof (equivalent to IPX 6 or JIS Class 6), freeze-proof to temperatures as low as -10°C, and crushproof against weights up to 100kgf (kilogram force). ** Thanks to this heavy-duty construction, the camera performs superbly and dependably even in harsh, demanding outdoor conditions. * Measured under RICOH IMAGING-original testing standards — from a height of 1.6 meters, onto a surface of 5cm-thick plywood — conforming to Method 516.5-Shock of the MIL- Standard 810F. ** Measured under RICOH IMAGING-original testing standards.
  1. Exceptional image quality
    The WG-80 comes equipped with a back-illuminated CMOS image sensor, which assures excellent high-sensitivity and low-noise characteristics and high-speed readout of image data signals. Coupled with a high-performance imaging engine, this image sensor delivers a top sensitivity of ISO 6400 and super-high-resolution images with approximately 16 effective megapixels. This model also provides advanced image processing functions, made possible by the latest super-resolution technology, to assure sharp, clear, high-resolution images. It even offers such innovative features as Handheld Night Snap mode, which automatically captures several images of the same nighttime scene and produces a single, blur-free composite image from them.

  2. Six Macro Lights to assist close-up shooting, with various functions
    Ideally positioned around the circumference of the lens barrel for macro shooting, six LED Macro Lights allow the WG-80 to provide bright, uniform illumination on a subject when the Digital Microscope mode is selected. Providing the maximum illumination intensity almost twice that of its predecessor and a five-step intensity adjustment function, this six-light unit enables the photographer to effortlessly optimize the close-range flash photography based on the subject or creative intention. In order to minimize camera shake and subject shake, the Instant Illumination Enhance function allows for the use of a higher shutter speed by automatically raising the discharge level of the Macro Lights at the moment of shutter release. The Macro Lights also provide other useful functions, such as a Self-Portrait Assist mode, which uses the blink of an LED lamp to check if the subject’s face has been safely captured within the picture frame, and the LED Lighting mode, which uses the Macro Lights as a lighting device in the dark.

  3. Underwater shooting mode
    Specifically designed for underwater photography, the Underwater and Underwater Movie shooting modes are programmed to optimize color and contrast, based on the data of images captured under the water. These modes deliver sharp, true-to-life images by enhancing shades of red which are lost in underwater photography, while effectively compensating for the loss of contrast caused by the diffusion of light in water. In the Underwater mode, the Flash Off + Flash On option allows the user to consecutively capture two images with a single shutter release — one without flash and another with flash.

  4. 5X optical zoom lens with a 28mm wide-angle coverage
    The WG-80 features a high-performance, 5x optical zoom lens with a focal-length coverage from 5mm to 25mm (equivalent to approx. 28mm to 140mm in the 35mm format) to accommodate a wide range of scenes and subjects, including sweeping landscapes. It also provides other convenient shooting functions, such as a macro mode to capture dramatic close-up images from a minimum focusing distance of one centimeter; an Intelligent Zoom function to extend the zoom range to approximately 36 times (equivalent to 1008mm in the 35mm format) without compromising image quality, for superior telephoto photography; and an interval shooting mode, which comes in handy for fixed-point observation.

  5. Full HD movie recording for extended shooting of high-quality movies
    The WG-80 provides Full HD movie recording employing the H.264 recording format. Users can capture high-quality, extended movie clips (1920 x 1080 pixels, 16:9 proportions) at a frame rate of 30 frames per second. To add some creative touches to movie recording, it also features a high-speed camera function*** for slow-motion playback of captured movie clips, and an interval movie function. A micro-HDMI terminal (Type D) is also provided on the camera body for simultaneous output of Full HD movie clips and sound to external audio-visual devices. When this function is selected, the recorded size is fixed at 1280 x 720 pixels

  1. Triple anti-shake protection to prevent blurred images in all applications
    (1) Pixel Track SR mechanism
    When recording still images, this advanced shake-reduction mechanism effectively compensates for camera shake by digitally processing affected images.
    (2) Digital SR mode
    When the camera detects low-lighting conditions in still-image shooting, this mode automatically raises the sensitivity up to as high as ISO 6400, making it possible to use a higher shutter speed and effectively minimize the adverse effect of camera shake and subject shake when dealing with poor lighting conditions.
    (3) Movie SR mode
    During movie recording, this mode effectively compensates for the misalignment of images caused by camera shake through the use of exclusive software to produce beautiful, blur-free movie clips.

  2. 2.7-inch LCD monitor with the Outdoor View Setting mode
    The WG-80 comes equipped with a 2.7-inch LCD monitor with horizontally extended 16:9 proportions and approximately 230,000 dots. The monitor’s AR (Anti-Reflection) coating minimizes annoying glare and reflections to assure a sharp, clear on-screen image even in the harsh sunshine often encountered during outdoor shooting. It also comes equipped with such convenient features as: the Outdoor View Setting mode, which easily sets the optimum monitor brightness level for a given lighting condition.

  3. Other features
    ・Two remote control receptors (one in front and another in the back) to widen signal coverage ・Macro stand (included) to maintain a minimum focusing distance of one centimeter to the subject during extended observation and shooting of macro images
    ・High-speed Face Detection function to capture as many as 32 faces in focus in approximately 0.03 seconds (minimum); Smile Capture function to automatically release the shutter when the subject’s smile is detected
    ・Outdoor-friendly Style Watch function to display the time on the LCD monitor, using an extended push of the OK button when the camera’s power is turned off
    ・Delay-free, pushbutton start of the playback mode, using an extended push of the playback button
    ・Auto Picture mode to automatically select the most appropriate shooting mode from 16 different scene modes
    ・A choice of 12 digital filters


Kategorier: Sidste nyt

Incredible photos of the recent lunar eclipse as seen from the International Space Station

Sidste nyt fra dpreview - 18 maj 2022 - 17:36

On Monday, a lunar eclipse was visible across much of the globe, including North and South America and parts of Europe and Africa. The full lunar eclipse is also called a 'blood moon' because it gives the moon a reddish tint. It's a spectacular sight from Earth. It's also an incredible view from space.

Samantha Cristoforetti, an Italian astronaut for the European Space Agency, is currently aboard the International Space Station for her second mission, Minerva. She has been in space since April 27 after launching aboard the new SpaceX Crew Dragon capsule Freedom. Cristoforetti shared some of her photos of the lunar eclipse on Twitter.

Happy Monday from space! Were you lucky enough to be able to see the lunar eclipse last night? We were! / Buon lunedì dallo spazio! Avete avuto la fortuna di vedere l'eclissi lunare di ieri sera? Noi sì! ????#lunareclipse2022 #MissionMinerva #LunarEclipse

— Samantha Cristoforetti (@AstroSamantha) May 16, 2022

A partially eclipsed Moon playing hide-and-seek with our solar panel. / Eclissi parziale della luna che gioca a nascondino con il nostro pannello solare. ???? #lunareclipse2022 #BloodMoon #MissionMinerva

— Samantha Cristoforetti (@AstroSamantha) May 16, 2022

The ISS is about 400km (250 mi) above Earth, so Cristoforetti's view of the lunar eclipse is quite different from what we could see.

Cristoforetti's mission is scheduled for six months. She and other ISS astronauts perform scientific research, maintain ISS equipment, and perform spacewalks. It's not the first time we've seen incredible photos from astronauts aboard the ISS. Last year, French astronaut Thomas Pesquet amazed us with his images showing the ISS' incredible speed, a 360-degree video tour of the ISS, and photos of a rare blue luminous event as seen from space.

If you missed the recent lunar eclipse, don't worry, another one will be visible in parts of the U.S. and Asia on November 8.

Kategorier: Sidste nyt

Vivo's flagship X80 Pro now has a custom 50MP Samsung GNV sensor, portrait camera OIS and more

Sidste nyt fra dpreview - 18 maj 2022 - 17:33

Vivo has announced the global launch of its latest flagship device, the X80 Pro. As with past vivo flagships, the X80 Pro puts a heavy emphasis on its imaging capabilities with an impressive quadruple camera array on the back headlined by a custom Samsung ISOCELL GNV 50MP image sensor with optical image stabilization.

Since vivo focuses so much on the imaging capabilities of its X80 Pro, let’s start off by breaking down the updated camera array and imaging features vivo’s latest flagship has to offer. Headlining the rear camera array is a custom 50MP ‘Ultra-Sensing’ Samsung ISOCELL GNV sensor that uses vivo’s sensor-shift optical image stabilization to keep the wide camera stable. Both the 48MP 1/2.0” ultrawide module and 12MP 2x ’portrait’ camera module appear to be the same found in the X80 Pro’s predecessors, but this year vivo has added sensor-shift optical image stabilization to the portrait camera for the first time ever. Rounding out the four-camera array is the same 8MP periscope 5x telephoto camera module. The front-facing selfie camera uses a 32MP 1/2.8”-type sensor with a 26mm full-frame equivalent F2.5 lens in front.

All of the cameras on the rear array of the X80 Pro use Zeiss’ T* coating, which vivo says ‘enhances visible light transmission rate, improves image quality, and more accurately reproduces colors.’ This coating works alongside various anti-reflection elements and other optical technologies to offer improved image capture.

While the sensors and optics play a vital role in capturing the images, all of the captured data has to get processed somewhere and that’s where vivo’s second-generation V1+ custom image signal processor (ISP) comes into play. This ISP is designed in-house by vivo to boost the capabilities of its photo and video features. The chip uses ‘an equivalent 32MB host-level SRAM for faster data processing’ and offers up a data throughput speed of ’approximately 8GB/s (actual value) and up to 25GB/s (design value) in theory.’ All of this is done while using ‘about 72% less power than other phones running the same [image processing] algorithms.’

Since vivo’s partnership with Zeiss began back in December 2020, the company has steadily been adding more Zeiss-branded features and this year is no different. In addition to the T* coating, vivo is once again using Zeiss-branded simulated bokeh rendering for its portrait mode feature, with simulations inspired by Zeiss’ Biotar, Sonnar, Planar and Distagon lens lineups. New this year is a Zeiss Cinematic Video Bokeh mode that works in both video and photo modes to capture a simulated anamorphic look at a 2.39:1 aspect ratio, complete with the signature oval bokeh and look we’re accustomed to associating with anamorphic lenses.

The X80 Pro also features Zeiss Natural Color rendering, which works with all camera modules to provide what is a more natural rendering of the scene. As you’ll see in the gallery below, vivo’s native color rendering creates very vibrant, saturated images, while the Zeiss Natural Color mode more accurate reflects what your eyes are seeing in real life. While we’ve only had the phone in hand a few days, we’ve captured a collection of sample images taken with the various capture modes for each of the four rear camera modules. Each image description explains which camera module it was shot with and with what shooting modes were turned on.

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On the video front, vivo has has added new AI-powered video enhancements for low-light scenes, a new Active Centering OIS system that uses OIS and electronic image stabilization (EIS) to help reduce jitter when shooting handheld video and a new 360º Horizon Leveling Stabilization feature that uses the phone’s gyro sensor to better stabilize video to the horizon when the phone gets rotated.

With all of the camera features out of the way, let’s take a look at what’s powering the entire device. The X80 Pro is built around a Snapdragon 8 Gen 1 chipset with enhanced LPDDR5 RAM and UFS 3.1 solid state storage. To keep everything cool, vivo uses an ‘Ultra Large Liquid Cooling Vapor Chamber’ for heat dissipation. In front of all the power is a 6.78” LTPO3 AMOLED (120Hz, HDR10+, 1500 nits peak) display that offers a 1,440 x 3,200 pixel resolution (517ppi) in 20:9 ratio. Within the display is a new ‘3D Ultrasonic Large Fingerprint Sensor’ made by Qualcomm that’s both larger and faster than that found on its predecessors. Due to its larger size, there’s also an extra security feature that lets you require two fingers to be scanned at once for added protection from accidentally unlocking your device.

The charging capabilities of the X80 Pro include 80W FlashCharge, as well as 50W wireless Flash Charge with compatible chargers. With the 80W charging, the X80 Pro’s 4,700mAh battery can be fully charged from dead in just 35 minutes. Connectivity includes Wi-Fi 802.11 (a/b/g/n/ac/6), Bluetooth 5.2, GPS, NFC, an infrared blaster and single USB Type-C 3.1 port on the bottom of the device for charging and data transfer.

The global edition of the vivo X80 Pro is available in Cosmic Black, Blue and Orange colorways in three RAM/storage configurations: 8GB RAM/256GB UFS 3.1, 12GB RAM/256GB UFS 3.1 and 12GB RAM/512GB UFS 3.1. Pricing will vary depending on the market, but if past launches vivo global launches are anything to go by, we’ll likely see the roll out start in India before making its way to east Asia and Europe, with prices ranging between $900–1,400, depending on the configuration you go with.

Kategorier: Sidste nyt

Hands-on with the Panasonic Leica DG Summilux 9mm F1.7 ASPH Lens

Sidste nyt fra dpreview - 18 maj 2022 - 15:00

Panasonic has just announced the 'Leica Summilux 9mm F1.7 APSH,' its latest prime lens for Micro Four Thirds, and a further sign (if the release of the GH6 weren't enough) that it's committed to more than just its full-frame lineup.

The 9mm, offers a fast, light and compact ultra-wide angle option for Micro Four Thirds users, equivalent to an 18mm F3.4 on full-frame (when compared at the whole-image level). It's a lens that some stills photographers will love, but it arguably has even more appeal to video shooters. We're going to take a quick look at what it offers.

Optical design

The 9mm is one of Panasonic's Leica-branded lenses, which is likely to indicate that it performs and is manufactured within boundaries set out by the German lens maker. The optical design isn't overly complex, with 12 elements arranged in nine groups. There are two aspherical lenses in there, two extra-low dispersion elements and one ultra-high refractive index element. Panasonic says the last of these helps deliver a more uniform performance across the lens while allowing the size to be reduced.

As you'd probably expect for a modern, very compact ultra-wide angle lens, some of the geometric distortion is being corrected in software, to deliver a rectilinear projection (typically this approach eases some of the tension between trying to correct different aberrations solely using glass, to give a better result from a smaller, lighter lens).

Optical performance Panasonic Leica 9mm F1.7 ASPH | F11 | 1/160 sec | ISO 400
Photo: Jason Hendardy

The samples of the 9mm F1.7 we've encountered have performed well, with good central sharpness even when shot wide-open. It also seems to do a decent job close to its minimum 9.5cm (3.7") minimum focus distance. The corners of the image never really sharpen up, perhaps because there's a fair degree of correction going on. For video this may not be critical as, with the exception of the oversized sensor of the GH5S, most cameras crop the extreme corners off when they use a UHD or DCI slice of their sensors.

Bokeh isn't especially attractive, from what we've seen so far, with slightly bright-edged circles of confusion leading to rather fussy rendering of detail as it drops out of focus.

Minimal inertia

Although the 9mm F1.7 makes a useful ultra-wide option for stills shooters, it's arguably going to appeal to a wider number of videographers. At its heart, the fact that it's so small and light immediately suggests that it's been designed so that it's easy to stabilize on gimbals (both handheld and on drones). Panasonic also says the internal focus has been specifically designed so that it minimizes focus breathing, for instance.

The lack of any external buttons could be taken as a hint (though not proof) that it's a lens Panasonic expects to often be operated hands-off. When used on a drone, a handheld gimbal, at arms length or on a selfie-stick, it's not especially practical to be operating physical switches.

Compared with existing options

The 9mm F1.7 is just 52mm (2.0") long with a maximum diameter of 61mm (2.4") and weighs 130g (4.6oz). This makes it significantly smaller than Panasonic's G Vario 7-14mm F4 zoom that is one of the other popular wide-angle options for Micro Four Thirds. Obviously the 9mm is a prime, rather than a zoom, and can't go as wide as the 7-14mm, but it's 31mm (1.2") shorter, 9mm (0.35") narrower and weighs around 43% as much. In return it's two and a half stops brighter.

The two primes closest to the 9mm are the 8mm fisheyes (the Olympus F1.8 Pro and the Panasonic F3.5mm from the earliest days of Micro Four Thirds), which aren't particularly comparable.


The 9mm F1.7 adds a competent-looking ultra-wide prime option for photographers in the Micro Four Thirds system, but the opportunities it offers for vloggers and film-makers are what's likely to help it sell.

See what Chris and Jordan made of this latest $499 addition to Panasonic's lens lineup, or click here to see our sample gallery of images from the latest Pana-Leica.

Panasonic says the Leica DG Summilux 9mm F1.7 lens will be available through authorized retailers in late July, 2022, for $499.99.

Kategorier: Sidste nyt

ON1 Photo RAW 2022.5 announced with Resize AI integration, improved performance

Sidste nyt fra dpreview - 18 maj 2022 - 13:58

ON1 has announced the next major update to its all-in-one photo editor, ON1 Photo RAW 2022. The Photo RAW 2022.5 update arrives next month and adds major improvements to ON1 Resize, better noise reduction, improved Sky Swap AI, new camera support and more.

'Image quality is of utmost importance. Our goal is to always deliver image outputs that are better than anything else out there. We are using AI to take over tasks that you simply cannot do with other applications. We aren't using AI to take over the art of photography or using it to take away from the creative process,' says Craig Keudell, ON1 President.

ON1 announced Resize AI in March, and the software became publicly available last month. The software uses artificial intelligence to enlarge your photos with excellent detail, allowing you to breathe new life into old, low-resolution images or turn any photo into a massive print. When Resize AI was announced, ON1 said it would be fully integrated into ON1 Photo RAW 2022, and with Photo RAW 2022.5, that promise is realized.

Enhanced NoNoise AI promises better results when working with non-raw image files, such as JPG, TIF or PSD files. Photo RAW 2022.5 includes new and improved lens corrections for improved raw image quality. The new LensMatch automatic correction detects and removes distortion when 'shooting raw with camera-maker matched lenses.' This will reduce the need for external lens profiles 'for many users.' If you prefer manual corrections, you can save the ones you create and use them as the automatic profile when editing new images with that lens.

Sky Swap AI lets you easily change the sky in an image by using AI to create a mask and allowing the user to replace the selected sky with a different one. The latest update to ON1 Photo RAW promises better masks, especially when dealing with trees and bright, white skies.

ON1 Photo RAW 2022.5 includes new camera support for the Canon EOS R5C, Panasonic Lumix GH6, OM System OM-1, Leica M11, Fujifilm X-T30 II and the Nikon Z9.

ON1 Photo RAW 2022.5 is a free update available to all owners of ON1 Photo RAW 2022 and current ON1 Photo RAW subscribers. It will arrive in early June. ON1 Photo RAW is currently available as a perpetual license for $80 until May 31, after which it will return to its regular price of $100. An upgrade is also available for owners of previous major releases of ON1 Photo RAW. For more information or to download a free 14-day trial, visit ON1.

Kategorier: Sidste nyt

Video: MIOPS teams up with artist to create a symphony of camera shutters

Sidste nyt fra dpreview - 17 maj 2022 - 19:02

MIOPS, the company behind numerous photography products, including smart triggers, has cooperated with Berlin-based sound artist and designer Kuntay Seferoglu and regional Canon, Fujifilm, Nikon and Sony brands to create a music composition using the shutter sounds of different camera brands and MIOPS camera triggers to play the music.

Erkan Yigiter, MIOPS' CTO and co-founder, said, 'This idea suddenly came to my mind during an internal meeting when one of our employees said that our triggers ensure cameras take pictures at the right time, like a maestro.' Yigiter then asked, 'Can we create music from the shutter sound of different cameras by triggering them at the right time, like a maestro?'

Every camera has unique features and performance, but they also sound different. 'As a camera equipment design company, we try to develop our products to be compatible with as many different brands and models as possible. Therefore, we take care to keep all brands as equidistant as possible. We know that if all these brands are in the market and continue to compete with each other, better photography products will be available and we as photographers will benefit most from this. This competition between brands not only enables better products to be released, but also allows photographers with different needs to reach the right equipment, thanks to the diversity that has emerged. This diversity acts as a complete orchestra. Instead of a piece of music played with a single instrument, it creates magnificent music that includes dozens of different instruments playing in harmony with each other.' said Onur Celik, Co-Founder & CEO at MIOPS.

For the project, Seferoglu worked with cameras including the Canon 1D-X, Canon 6D, Fujifilm X-S10, Fujifilm X-T3, Nikon D850, Nikon Z7, Nikon Z6 II, Sony a7R and Sony a9. He recorded the shutter sounds of 27 different camera models and analyzed each of them in detail before ultimately settling on using the nine listed above.

MIOPS writes that Seferoglu ' prepared a mechanism consisting of different MIOPS products to trigger each camera, smartphones on which the MIOPS Mobile application that controls these triggers will run, and solenoid valves that enable the camera to be triggered by pressing the buttons in this application. Kuntay also developed computer software entirely by his own means to ensure that the solenoid valves are activated at the right time.'

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DPReview TV: Panasonic Leica DG 9mm F1.7 review

Sidste nyt fra dpreview - 17 maj 2022 - 16:00

It sure is itty bitty, but is it any good? We take the pint-sized Panasonic Leica 9mm F1.7 to the sunny streets of Calgary to see how this much-requested lens performs.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Panasonic Leica 9mm F1.7 sample images from this episode $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_1926315964","galleryId":"1926315964","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });
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Panasonic Leica DG 9mm F1.7 sample gallery

Sidste nyt fra dpreview - 17 maj 2022 - 16:00
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Panasonic's new 9mm F1.7 lens promises to deliver top performance in a pint-sized package. Does it raise the bar for ultra-wide angle lenses in the Micro Four Thirds system? Check out our sample gallery to find out.

Want to learn more about this lens? Watch our hands-on review from DPReview TV.

View our Panasonic Leica DG 9mm F1.7 sample gallery

Kategorier: Sidste nyt

Panasonic announces $500 Leica DG Summilux 9mm F1.7 lens for Micro Four Thirds

Sidste nyt fra dpreview - 17 maj 2022 - 16:00

Panasonic has announced the Leica DG Summilux 9mm F1.7 lens for Micro Four Thirds camera systems.

This 18mm full-frame equivalent ultra-wide-angle lens is constructed of 12 elements in nine groups, including two aspherical elements, two extra-low dispersion (ED) elements and one Ultra High Refractive Index (UHR) element.

Panasonic says the lens' autofocus is 'capable of smooth, silent operation, complementing the camera’s high-speed, high-precision contrast AF system with the sensor drive at [up to] 240 fps.'

When manually focusing, the lens can be set to linear mode, which adjusts focus at a fixed rate with the rotation of the focus ring, or a non-linear setting, which will shift focus faster based on the rotational speed of the focus ring. This non-linear setting can be adjusted from 90 to 360 degrees (in 30 degree increments) to get just the right amount of throw for your needs, allowing pre-planned focus pulls when shooting video.

Also for video recording, Panasonic says it’s worked to reduce focus breathing as well as providing 'micro-step' aperture control for smoother iris adjustments, to ensure there aren't large (eg 1/3rd EV) jumps as the aperture is adjusted.

Other features include a seven-blade aperture diaphragm, a minimum focusing distance of 9.5cm (3.7”) with a 0.25x maximum magnification ratio and a 55mm front filter thread. The lens measures 52mm (2”) long by 61mm (2.4”) in diameter and weighs 130g (4.6oz).

The Leica DG Summilux 9mm F1.7 lens will be available at authorized retailers in 'late July [2022]' for $499.99.

Press Release:

“Carry Small, Capture Wide” A New Micro Four Thirds 18mm* Ultra-Wide Angle Lens with F1.7 Large Aperture LEICA DG SUMMILUX 9mm F1.7 ASPH. (H-X09)

*35mm camera equivalent

Newark, NJ (May 17, 2022) – Panasonic is pleased to introduce a new large-aperture ultra-wide fixed focal length lens, the LEICA DG SUMMILUX 9mm F1.7 (35mm camera equivalent: 18mm) for the LUMIX G Series based on the Micro Four Thirds standard.

The LEICA DG SUMMILUX 9mm (H-X09) is an ultra-wide-angle lens with a large aperture, as well as an unparalleled lens that features an exceptionally short focusing distance of 0.095m (3.7 inches) with an outstanding magnification ratio of 0.25x (35mm camera equivalent: 0.5x). The combination of these lenses makes it possible to distinguish the subject’s presence against the background. It also boasts high descriptive performance and smooth, beautiful bokeh, clearing the stringent LEICA standards, and is suitable for use by professionals and high amateur users for both photo shooting and video recording.

The LEICA DG SUMMILUX 9mm F1.7 comprises 12 lens elements in nine groups including two aspherical lenses: two ED (Extra-Low Dispersion) lenses and one UHR (Ultra High Refractive Index) lens to effectively suppress axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with these aspherical lenses, achieving high resolving performance. Furthermore, a Ultra-High Refractive Index (UHR) lens achieves uniform quality from the center to edges of the image while downsizing the lens unit.

The LEICA DG SUMMILUX 9mm F1.7 is capable of smooth, silent operation, complementing the camera’s high-speed, high-precision contrast AF system with the sensor drive at max.240 fps. For the non-linear setting, focus is shifted with a variable amount according to the rotation speed of the focus ring while focus is shifted with a designated amount according to the rotational quantum of the focus ring for the linear setting. Sensitivity (the amount of focus shift per rotational quantum) can be selected from 90 to 360 degrees1 by 30 degrees to enable intended focus operation. The LEICA DG SUMMILUX 9mm F1.7 also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem of all interchangeable lenses designed for still image photography. Together with a micro-step aperture control for smooth exposure change, professional quality video can be recorded.

With its approximately 130g (4.5 ounces) compact size and light weight, the LEICA DG SUMMILUX 9mm F1.7 features stunning mobility characteristic of a Micro Four Thirds system. The rugged dust/splash-resistant2 design of the lens can withstand high mobility and harsh conditions, including frigid temperatures at 10 degrees below zero.

The filter diameter is 55 mm, with a 7-blade circular aperture diaphragm.

Panasonic is committed to the development of the Micro Four Thirds lenses to further expand its lineup in order to fulfill the needs of customers.

The LEICA DG SUMMILUX 9mm F1.7 will be available at valued channel partners for $499.99 in late July.

1 90 to 1080 degrees when used with DC-GH6, as of May, 2022
2 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

*Design and specifications are subject to change without notice.

Panasonic Leica Summilux 9mm F1.7 ASPH specifications Principal specificationsLens typePrime lensMax Format sizeFourThirdsFocal length9 mmImage stabilizationNoLens mountMicro Four ThirdsApertureMaximum apertureF1.7Minimum apertureF16Aperture ringNoNumber of diaphragm blades7Aperture notescircular diaphragmOpticsElements12Groups9Special elements / coatings2 aspherical, 2 ED, 1 Ultra-high refractive indexFocusMinimum focus0.10 m (3.74″)Maximum magnification0.25×AutofocusYesMotor typeMicromotorFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight130 g (0.29 lb)Diameter61 mm (2.4″)Length52 mm (2.05″)SealingYesColourBlackFilter thread55 mmHood suppliedYesTripod collarNo
Kategorier: Sidste nyt

DJI updates DJI Fly app to support new Mini 3 Pro drone, unlocking full feature set

Sidste nyt fra dpreview - 17 maj 2022 - 14:03

Aside from early reviewers and lucky customers who have managed to get their hands on DJI’s latest sub-250g drone, few people have DJI’s new Mini 3 Pro. But already DJI is releasing a public update for its DJI Fly app to add support for the Mini 3 Pro, as well as a firmware update for the Mini 3 Pro that unlocks the full feature set DJI announced at launch.

Firmware version 01.00.0100 for the DJI Mini 3 Pro adds the support for True Vertical Shooting, FocusTrack, Advanced Pilot Assistance Systems (APAS) 4.0, Hyperlapse, MasterShots, QuickShots, QuickTransfer, Panorama capture and the listed shooting modes: 4K/48p, 4K/50p, 4K/60p and 1080/120p. DJI says image quality and flight stability have also been improved.

A screenshot of DJI’s Fly app on an iOS device.

To install firmware version 1.6.1 of the DJI Fly app, update the app on the mobile platform your device uses or download directly from DJI’s website. Once the drone is powered on and connected to your mobile device, you should be asked to activate the Mini 3 Pro drone, unlocking all the features. If you’re using the DJI RC-N1 remote controller, you should be updated to firmware version 04.14.0117, while the DJI RC, a new controller released alongside the Mini 3 Pro, should be set to firmware version 01.00.0100.

The DJI RC remote, with four built-in antennas, has some improvements compared to the DJI RC Pro. There is also a microSD card slot on the bottom for memory expansion.

Mini 3 Pro orders are still a few weeks out for most, but if you’ve gotten your hands on one, or know someone who has, leave us a message in the comments and even share some photos or video if you’ve managed to take it out on a shoot already.

You can read our full Mini 3 Pro review here:

DJI Mini 3 Pro Review: DJI’s most compact model finally goes ‘pro’

Kategorier: Sidste nyt

Man Ray's famous photo, 'Le Violon d'Ingres,' sells at auction for a record-setting $12.4 million

Sidste nyt fra dpreview - 16 maj 2022 - 20:16

American artist Man Ray's famous 1924 photograph, Le Violon d'Ingres just sold for $12.4M at a Christie's New York auction dedicated to surrealist art. The sale makes the photo the most expensive ever to be sold at auction.

Per ART News, the final hammer price followed 10 minutes of intense outbidding. Before the auction, the photo was estimated to sell for between $5-7M. The photo is treasured because it's an original photographic copy likely made around the same time as the photo negative.

The previous auction record holder was Andreas Gursky's 1999 landscape photo, Rhein II, while sold at Christie's in 2011 for $4.3M. Of note, an original edition of Man Ray's Noire et Blanche (1926) sold at a Christie's auction in Paris for $3M in 2017.

Man Ray, Le Violon d’Ingres, 1924

© Man Ray Trust ARS-ADAGP, courtesy of Christie's

Before the latest auction, Christie's international photographs specialist, Darius Himes, called Ray's Le Violon d'Ingres 'unprecedented in the marketplace.' The image came up for auction from the holdings of New York collectors Rosalind Gersten Jacobs and Melvin Jacobs, fashion retailers who were heavily involved in surrealist art circles. They had purchased the photograph from Man Ray himself in 1962 and kept it in their collection since. Gersten Jacobs passed away in 2019 at 94 years old

To create the iconic photo, Man Ray first photographed model and performer, and his then romantic partner, Alice Ernestine Prin, also known as Kike de Montparnasse. Man Ray then painted the f-holes onto the photographic print and then rephotographed the print. The image takes inspiration from French neoclassical painter Jean-Auguste-Dominique Ingres' 1808 painting The Valpinçon Bather.

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OM System OM-1 review

Sidste nyt fra dpreview - 16 maj 2022 - 17:27
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The OM System OM-1 is the first high-end Micro Four Thirds mirrorless camera from OM Digital Solutions, the company that bought the Olympus camera business. It's a rugged, image-stabilized 20MP camera capable of high-speed shooting and offering a range of computational photography modes.

Key Specifications
  • 20MP quad-pixel AF Stacked CMOS sensor
  • Environmental sealing rated to IP53
  • 1053 X-type AF points
  • Blackout-free shooting at up to 50 fps with AF and AE, 120 fps with AF and AE locked
  • Image stabilization rated to 7EV of correction (8EV with compatible lenses)
  • 4K (UHD or DCI) at up to 60p, in a choice of 8 or 10 bit
  • 1080 capture at up to 240 fps
  • Twin UHS-II card slots
  • Recognition-based subject tracking

The OM-1 represents a new naming scheme for OM System cameras and is released to coincide with the 50th anniversary of the original OM film SLR. The OM-1 continues to carry the 'Olympus' name across its viewfinder in recognition of this legacy, but we're told it's likely to be the last model that will.

The OM-1 has a retail price of $2199, body only. Alongside the camera, OMDS launched the OM System 12-40mm F2.8 PRO II, an updated version of the system's fast standard zoom with improved coatings and weather sealing uprated to match the camera. The body and the new lens are available as a kit for $2799, a $400 discount compared to the buying them separately. A battery grip (HLD-10) is available for $349.

What's new

The OM-1 is built around a completely new 20MP Stacked CMOS image sensor. Stacked sensors are the next generation of technology beyond BSI designs, combining layers of semiconductor to allow more complex designs and faster readout.

The sensor has 20 million microlenses and a Bayer array with 20 million color patches, but there are four photodiodes behind each of these, which are combined to form each pixel. These sub-pixels can be read-out individually, giving the camera four fractionally different perspectives on the world. These are compared to derive depth information about the scene, giving phase difference autofocus in an X-shaped pattern.

With 80 million individual photodiodes to read out, it's perhaps not surprising that Stacked CMOS design only delivers a readout speed twice as fast as that of its predecessor. We've measured the rate at around 1/125th seconds, which is twice as long as the fastest full-frame stacked CMOS chips take, despite the smaller size.

It's still quick enough to improve the performance of the various multi-shot modes the OM-1 offers. For instance, Hand-held High Resolution mode, which shoots eight images with slight offsets to give 50MP images can now be shot with less risk of subject movement between shots, and can be combined much quicker, thanks to the OM-1's more powerful processor.

We clocked a handheld hi-res on the OM-1 at 7 seconds from shooting to the end of processing, vs 16 seconds on the E-M1 III.

Computational multi-shot modes
  • High Resolution mode (Tripod) - Shoots eight images with 1/2 pixel offsets to boost resolution to 80MP. Processed in camera, and can include Raw
  • Hand-held High Resolution mode - Shoots twelve shots using image stabilization. Gives up to 50MP resolution. Processed in camera, and can include Raw
  • Live ND - Blends multiple short exposures to simulate one long one exposure, now with an ND64 (6 stop filter) option
  • HDR - Shoots four shots with different exposures to capture a wider dynamic range, then tone-maps them down to a conventional SDR image
  • Live composite - Combines shot-to-shot changes between multiple long exposures to build up composites images that include details such as light trails. For the first time, the OM-1 lets you use image stabilization in live composite mode.
  • Focus Stacking - takes a series of photos focused at different distances and combines them into an image where everything is in focus. The OM-1 promises twice the processing speed.
Subject Detection AF modes

The OM-1 expands on the E-M1 X's range of subjects that the AF system has been trained to recognize. OMDS has used machine learning processes to teach the OM-1's AF system to recognize Trains, Cars, Planes, Helicopters, Birds and Animals.

Off Automotive Aircraft Rail Birds Animals Allows use of Face/Eye detection Cars Airplanes Trains Birds Cats Motorcycles Helicopters Locomotives Dogs

The enhanced depth information from the quad pixel AF system is used to help ensure this 'Subject Detection AF' doesn't mis-focus on a nearby object that overlaps with the recognizes subject.

OMDS also says it's reworked its face and eye-detection algorithms to be much more responsive, which is good to see from the continuation of the first camera series to include an Eye AF feature. It's worth noting that Face/Eye detection is a completely separate function from Subject Detection AF and is locked out if you engage subject detection.

Away from these subject-aware modes, OMDS says it's reworked its C-AF system so that it's better at judging subject distance for moving subjects.

The basic C-AF + Tracking system, that follows non-recognized subjects around the scene, hasn't been updated so we're not expecting much improvement in that regard, but C-AF + Tracking can be combined with Subject Detection AF as a way of selecting which detected subject you want to focus on.

High Speed Shooting

The camera's faster sensor and processor allow it to shoot blackout-free at up to 50 frames per second with full autofocus and autoexposure, including the option to capture Raw files. If you can live with locking AF and AE at the first exposure, the OM-1 will shoot at up to 120 frame per second. Both modes are based on the electronic shutter, which with a ~1/125th readout speed shouldn't exhibit too much rolling shutter.

The 50fps-with-AF shooting is only possible with six of the 'Pro' series zooms, with the rate dropping to 25 fps with most Pro series primes, and older or less expensive lenses (14 fps with the early 14-42mm and 17mm F2.8 lenses).

Impressively, these rates extend to ProCapture mode, which starts recording images when you half-press the shutter button, then retains up to 70 of those images from the moment before you fully press the shutter button. You can fine-tune the amount of shots taken before and after the shutter press. By default the camera will limit the total number of shots to 50 but you can increase this to 99 or disengage the limit completely if you wish.

Video capabilities

In terms of video, the OM-1 gains the ability to shoot 4K, either in UHD or DCI ratio, at up to 60p. It can shoot for up to 90 minutes on a single battery, before the battery is exhausted and for over 2 hours when using an external power source without overheating concerns, OMDS says.

In addition to the 8-bit H.264 modes, the OM-1 can also shoot 10-bit footage in the H.265 format. Moving to 10-bit switches the camera across to either OM-Log mode (for if you plan to color grade your footage in 'post), or Hybrid Log Gamma mode (if you plan to view your footage directly on an HDR display). This makes sense, as these are the two circumstances in which you'll gain most from shooting 10-bit footage.

The OM-1 can also output Raw video to an Atomos Ninja V or Ninja V+, for capture as ProRes RAW, if you prefer. OMDS tells us this will be 4K footage without sub-sampling but it's difficult to deliver Raw footage at anything other than native resolution (around 5.2K in this instance), so we may have to wait to see just what this looks like.

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Body & controls

The OM-1 has a body with a rather more substantial grip than the previous-generation E-M1 cameras, but its control layout is otherwise pretty similar.

The OM-1 is a smaller camera than some photos make it look, and each of the individual control points is pretty small. Personally I found they were all big enough to operate but some people with larger fingers may find that the balance between the size and the number of controls on such a small body doesn't work for them.

Fn Lever and Customization

The camera maintains established Olympus-era features such as the two-position 'Fn Lever.' This can be used to switch the function of the camera's command dials, or as an On/Off switch or to jump between two distinct AF modes (ie: C-AF with a large AF region and S-AF with a small AF box).

However, the system has not been updated to include the camera's newer AF modes, so this switch can't be used to engage or disengage the Subject Tracking modes or Eye/Face AF, nor the custom focus limiter settings. Given the incompatibility between Subject Tracking modes and Eye/Face AF, it'd be really useful to be able to use the Fn Lever to jump between, say: automotive tracking mode and Face/Eye detect, but there's no simple way to do this.

These setting, and the camera's computational photography modes can be assigned to the camera's eleven function buttons however, and if you assign Subject Detection AF to a button, then holding the button and turning a dial lets you pick your subject type, without visiting the menus.


OMDS picks up from where Olympus left off and has designed and tested the OM-1 to Internationally recognized ingress protection (IP) standards. Along with Leica, it's the only company to make specific claims about the effectiveness of the sealing of any of its ILCs.

The OM-1 achieves a rating of IP53, where the '5' represents a very high level of dust resistance (6 would be completely dust-proof), and the '3' indicates that the camera can withstand at least three minutes of water being sprayed at a 60 degree angle. This isn't quite as protected as the Leica SL-2 but sets it apart from most manufacturers, whose claims tend to be entirely non-specific.

This doesn't mean the OM-1 is waterproof, but a camera that can provably pass standard water ingress tests is easier to depend on than one that's 'weather-sealed to the standard of the previous model, but not as much as our flagship cameras.'

OMDS has detailed which of its lenses offer the same standard of sealing as the body. It's essentially all of the 'PRO' series lenses, with the exception of the original 12-40mm F2.8 PRO from 2013. To a great extent these are also the lenses that fully support AF at 50 fps.

Lens IP53 rated? 50fps AF? 8mm F1.8 PRO Yes No 7-14mm F2.8 PRO Yes No 8-25mm F4 PRO Yes No 12-40mm F2.8 PRO No Yes 12-40mm F2.8 PRO II Yes Yes 12-100mm F4 PRO Yes Yes 40-150mm F2.8 PRO Yes Yes 40-150mm F4 PRO Yes No 300mm F4 IS PRO Yes Yes 150-400mm F4.5 TC IS PRO Yes Yes Viewfinder

The OM-1 gains a much higher resolution viewfinder than was used in E-M1 models. Instead of a rather dated 2.36M dot LCD the OM-1 gets a 5.76M dot OLED viewfinder. And, despite Olympus saying it had stuck with LCD technology for reasons of speed, OMDS says the new 1600 x 1200 pixel display can refresh at 120hz with a delay of just 5ms.

5.76M dot OLED viewfinder, 120 fps refresh and a refresh delay of 5ms, matching the specs of the older cameras. The optics give the finder an equivalent magnification factor of up to 0.83x (depending on the view layout you choose), which is big by any standards.

There's a fully-articulated 1.62M dot touchscreen on the back of the camera, and OMDS has updated the menus and user interface to take advantage of the screen's higher resolution.

New menu system

OM Digital Solutions has completely re-worked the menu system of the OM-1, which we have to assume will underpin future generations of OM System cameras. And, while it's good to see color-coding make a reappearance in the menu system, the layout seems needlessly awkward to navigate.

The menus are arranged in a series of horizontal tabs and you need to scroll through each tab to find out what the next tab is going to contain. As such it requires you to memorize the menu structure rather more than the older system, where you could see several sub-menu titles within the Setup tab, before you dived deeper in. You can, at least, use the front and rear dial to scroll between tabs and pages, respectively, but you can't tap the screen to navigate to a different tab, for instance.

My immediate thought is that perhaps OMDS looked to Canon's menus for inspiration, in the way Olympus appeared to have looked quite closely at Nikon's, before them. Our initial concern was that the OM-1 being so feature-rich would mean it could be as bad as the similarly-structured menus Sony has mercifully just abandoned.

To OMDS's credit, the options within the menus have been re-arranged into well thought-out groups such that, when you remember that it's Camera Tab 2, Page 1 you're looking for, all the computational photography modes are grouped in a single page.

Super Control Panel

The Super Control Panel is still present, which remains one of most efficient ways of seeing and changing camera settings: tap the function you want to change, spin the dial and you're done.

Sadly, like Fn Switch, it's not been updated to reflect the camera's newer capabilities. So there's no way of accessing or selecting the camera's Subject Detection modes, for instance. And, if you've switched on Subject Detection in the menus, the Face/Eye detection option in the SCP simply doesn't work when you try to click on it. The camera's computational modes, which help set it apart, are also not accessible from the Super Control Panel, which feels like a significant missed opportunity.


The OM-1 is powered by a new BLX-1 battery. It's a 17Wh unit that powers the camera to a battery life rating of 520 shots per charge using the rear screen, no number is given for the viewfinder. As always, these numbers are likely to be a lot lower than the number of shots you're likely to get, but they tend to be useful for comparison between cameras.

No external charger comes with the camera but it can be charged or operated over its USB-C socket. If you use a USB-PD power source that's powerful enough, the camera can be powered and charged while being used. An external, two-battery charger is available ($149 or $219 with a battery included).

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DPReview's analysis

Richard Butler

When OMDS announced that it was about to launch a new OM System camera, the Internet's most waggish wits assembled to ask why anyone would want a new Micro Four Thirds camera. Having dug into the camera a bit, I get the distinct impression that OMDS asked itself exactly the same question, and the OM-1 is its answer.

The limits of smaller sensor systems get widely discussed, because it's easy to point to the shallower depth-of-field and superior low-light performance* of the full-frame cameras that have become more affordable in recent years, but the benefits can be unfairly overlooked.

The computational multi-shot modes can significantly boost the camera's dynamic range, as well as factors such as resolution, but they generally only work in circumstances where both you and your subject can remain still.

The OM-1 body isn't appreciably smaller than most enthusiast full-frame cameras but it's a sensibly light camera, which you'll immediately notice as you pick it up. OMDS describes the body as magnesium alloy but it feels like the outer surface is plastic, perhaps contributing to its impressive weather sealing. A rating of IP53 doesn't mean the OM-1 is waterproof but it means you've got a lot more to rely on than a manufacturer's promise that it's 'environmentally sealed' to an unspecified degree.

The result is a camera that will comfortably accompany you pretty much wherever you choose to take it. At which point the other great benefit of a smaller sensor comes into play: that you only need a lens with half the focal length full-frame requires to achieve a particular level of reach.

Multi-shot modes boost image quality by combining images, which reduces noise. The OM-1's speed makes these modes increasingly practical to use. Handheld 6 Stop Live ND Capture.
Photo: Jordan Drake

And while it's demonstrably true that the Olympus 300mm F4 IS Pro only provides the same light per whole-image as an F8 lens would on full frame**, it's equally true that it'll give you a 600mm equivalent field of view and only require you to carry a 1.25kg lens. Try the same with full-frame and you're likely to need a larger, heavier lens, whose benefits you diminish the closer to F8 you stop it down.

But OMDS takes this further. A smaller sensor is lighter, which means it has less inertia when it moves: allowing the OM-1 to promise 7EV of in-body stabilization. And, while the new sensor doesn't match the readout speeds of the $4000+ full-frame stacked CMOS cameras, it's fast enough to allow multiple images to be combined with minimal time for the scene to change between shots.

Combining multiple shots is a great way of enhancing image quality and dynamic range. So, as long as your subject stays still enough to be captured by hand-held high res or Live ND mode, you'll start to see image quality stepping back up to match a larger camera. But without having had to lug that larger camera with you.

The OM-1 can shoot between 50 and 120 single exposures per second, which none of its rivals can get close to.

And even if you're a purist, who prefers to think of photography in terms of single exposures, the OM-1 can shoot between 50 and 120 single exposures per second, which none of its rivals can get close to. And it can start buffering shots from the moment before you fully press the shutter, which is a hugely valuable feature if you're patiently waiting for a moment of action your subject won't go back and repeat for you.

It's too early for us to pass judgement on the performance of the quad pixel AF system, or assess whether it justifies the trade-off that seems to have been made in readout speed. But if it lives up to promises, the prospect of a small, light, rugged and adaptable go-anywhere, do-anything camera seems like a pretty decent riposte to those preemptively-written obituaries for smaller sensor systems.

* You only get the low-light benefit if your shot also allows that shallower depth of field.
** Using the same shutter speed.

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Image quality

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

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-38614284","widgetId":843,"initialStateId":null}) })

There's not a big difference in detail levels between the OM-1 and the E-M1 III at low ISOs, though the OM-1's JPEG engine appears to render fine detail a little better.

At higher ISOs$(document).ready(function() { $("#icl-5568--1138071457").click(function() { ImageComparisonWidgetLink(5568); }); }) the newer camera appears to preserve detail rather better, and gives a rather larger-grained appearance to the noise in areas without detail$(document).ready(function() { $("#icl-5569-91814885").click(function() { ImageComparisonWidgetLink(5569); }); }). Look at the Raw and there's no appreciably difference in noise between the OM-1 and E-M1 III$(document).ready(function() { $("#icl-5570-618070502").click(function() { ImageComparisonWidgetLink(5570); }); }), which is in-line with what we've seen in previous BSI and Stacked CMOS sensors. It's worth noting, though, that the OM-1 keeps up with the older camera's highest ISOs$(document).ready(function() { $("#icl-5571--1476550032").click(function() { ImageComparisonWidgetLink(5571); }); }), which is impressive, as this is where we'd expect its more complex design (with four photodiodes per output pixel) to start to count against it.

It's not a huge improvement though$(document).ready(function() { $("#icl-5573--1203521716").click(function() { ImageComparisonWidgetLink(5573); }); }), even in in terms of JPEG performance$(document).ready(function() { $("#icl-5572--143058337").click(function() { ImageComparisonWidgetLink(5572); }); }). However, there is the option to run the Raw files through the OM Workspace software, which uses AI-trained noise reduction to preserve detail while reducing noise.

Look at the multi-shot high-res images$(document).ready(function() { $("#icl-5574-463346707").click(function() { ImageComparisonWidgetLink(5574); }); }), though, and you'll see two-stop improvement in noise, if viewed at a common output size. High-res mode is only available up to ISO 1600.

In suitably static scenes, the OM-1's hand-held high-resolution mode can deliver a resolution and tonal-quality boost by combining multiple frames.

M.Zuiko 12-40mm F2.8 Pro II @ 18mm | 1/1250 | F5.0 | ISO 200
Photo: Richard Butler Dynamic range

In terms of dynamic range, it's a similar story. If you brighten an ISO 200 image to the same level as an ISO 1600 shot, there's no appreciable difference in noise. This shows that there's very little electronic (read) noise being added by either sensor. Traditionally, high ISOs has lower read noise levels because amplification lifted the captured signal (and whatever read noise arrives upstream of the amplified) above the level of any other read noise. Here there's very little difference.

This gives Raw shooters the option of finding an exposure in low light, then lowering the ISO setting while maintaining the other settings, then brightening the result back up. This preserves highlights (such as a sunset backdrop or bright neon signs) that would otherwise be amplified to the point of clipping.

Our Exposure Latitude test shows that there's a similar amount of noise if you dig into the deepest shadows, as there would be on other recent Micro Four Thirds sensors. This is consistent with the performance of the majority of modern sensors, taking size into account.

In both instances, if your scene is static enough to allow the use of high resolution mode, you gain the DR benefit of combining multiple images, and performance rises accordingly.

A performance that's essentially the same as preceding models, with any improvement being in terms of JPEG processing may seem a little anticlimactic, after the widespread discussion of improvements measured in whole stops. But, just as we were impressed by how little DR the Sony a1 had to give up, in return for its impressive readout speed, here we're seeing a sensor with quad-pixel X-type AF and twice the previous readout speed without any significant image quality cost. That's an impressive result, given what the speed allows the camera to do.

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Autofocus, along with continuous shooting speed, is the area in which the OM-1 makes the biggest leaps forward for the system. OMDS has continued working on the subject recognition systems first seen in the Olympus E-M1X, that are increasingly common on high-end cameras. The OM-1 offers a wider assortment of subject it can recognize and track. The distance-assessment/prediction algorithm underpinning the C-AF system has also been completely reworked. The only thing not improved is the tracking system (C-AF + Tracking) for subjects the camera doesn't recognize.

It's not a photo that's going to win any awards, but the camera's ability to focus on this greenfinch's eye, despite it being so small in the frame, illustrates how effective the subject detection AF can be.

M.Zuiko ED 40-150mm F4 Pro @ 150mm | F4.5 | 1/350 sec | ISO 250
Photo: Richard Butler

We've not been able to test every one of the camera's AF subject recognition modes to exhaustion but have been impressed by the performance when there has been an appropriate one available (human face/eye detection is treated as being distinct within the menus, but it's likely to be the subject recognition mode that a lot of people use most often, and it does very well).

Although the individual parts of the AF system work well, it's only fair to point out that the system as a whole isn't as slick and simple as the latest ones from Canon, Sony or Nikon. Face/Eye detection, for instance, doesn't use your chosen AF point to guide it when selecting a subject: the camera will decide what to focus on and Face/Eye detection will over-ride any non-human subject you might have wanted to focus on. You need to tap on the screen or assign a button as 'Face Selection' to pick your subject. Details like this mean you'll have to give more thought to which modes and features it's best to use, and when.

You can assign a button to toggle Subject Recognition on and off. Hold that button down and spin a command dial, and you can quickly change between subject types.

Disappointingly, some of the newer features such as subject recognition, face detection or and focus limiter can't be assigned to the two-position lever on the back of the camera, meaning you'll have to futz around configuring custom modes, rather than be able to use the switch to jump between AF setups.

None of this is especially onerous but does make the camera feel a little unfinished, compared with the 'select a focus area and all the camera's cleverness will be applied to that area as needed' systems we're beginning to see.

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Video $(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-65273288","widgetId":850,"initialStateId":null}) })

Video is another area in which the OM-1 pushes on from the E-M1 III and X. In its UHD 4K mode there's little difference in the footage between the new camera and the E-M1 III. However, unlike the older model, the OM-1 can capture 4K/60p footage with no apparent drop in detail capture$(document).ready(function() { $("#icl-5606--472006957").click(function() { ImageComparisonWidgetLink(5606); }); }). There's a detail price to be paid if you engage Movie IS mode 1, which applies a 1.19x crop to allow digital IS. But, while detail levels drop, you're rewarded with extremely smooth, stable results, which may end up being more important.

More impressive, though, is the change you see when you engage 10-bit mode. More detailed sharpening in the Log and HLG modes$(document).ready(function() { $("#icl-5608--1633878113").click(function() { ImageComparisonWidgetLink(5608); }); }) pull out much more detail from the sensor, and deliver output that is comparable with more video focused cameras$(document).ready(function() { $("#icl-5609--1077880393").click(function() { ImageComparisonWidgetLink(5609); }); }). Sadly this doesn't extend to the camera's 60p mode.

Rolling shutter timings 8-bit 10-bit

3840 x 2160

5.6ms 6.9ms 4096 x 2160 6.5ms 6.5ms

Conceptually we agree with the idea of 10-bit mode only offering color profiles that make use of the added tonal range the extra bit-depth brings. However, on the OM-1 there's also a big difference in detail when you change modes, meaning that users who aren't planning to significantly edit the color or brightness of their footage would also benefit from shooting in 10-bit, at which point it becomes awkward that only Log and HLG profiles are available.

There's a slight increase in rolling shutter when you move to 10-bit mode, but even in UHD mode it's still sub 7ms, which is extremely good.

Video interface

There are a couple of factors to be aware of when shooting OM-Log400. The first is that, if you use View Assist to give a more coherent preview, the camera's histogram will represent the corrected view, not the underlying footage, so it's worth assigning 'View Assist' to a button so you can toggle it off to check your exposure with the histogram. The other is that OM-Log400 on the OM-1 is not the same profile as the Log400 modes on Olympus cameras, so you'll need to download a new LUT from OMDS when you come to edit your footage: any existing or built-in LUTs are likely to give odd results.

The good news, though, is that the OM-1 gives plenty of separation between stills and video mode. It gives you separate exposure settings and lets you decide whether parameters such as white balance carry over between modes. You can assign all your custom buttons separately for video mode, so dedicating a button to View Assist doesn't end up limiting your options when shooting stills.

Video summary

It may not be as polished as one of Panasonic's more video-focused GH models, but the OM-1's combination of video quality and image stabilization make it a very powerful video tool. The story with regards autofocus is similar to that in stills: we wouldn't rely on the generic tracking mode but face detection works extremely well, helping to make the OM-1 especially able as a vlogging machine.

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Conclusion What we like What we don't
  • Excellent image quality for the format, with attractive color
  • Good DR for the sensor size, giving editing flexibility
  • 50 fps shooting with full autofocus
  • Fast and responsive autofocus
  • Subject-detection AF modes work well
  • Impressive 10-bit 4K capture combined with powerful stabilization
  • Good level of customization
  • Interesting array of multi-shot modes for specific shooting scenarios
  • Can operate or charge over USB
  • C-AF Tracking remains disappointing
  • AF features not well integrated into interface (eg: face selection is separate from AF point selection)
  • 8-bit video is much less detailed than 10-bit (Log or HDR) options
  • Two-position lever isn't configurable as it should be
  • No motion correction in hand-held high-resolution mode
  • Lack of included charger

The OM System OM-1 is probably the best all-round Micro Four Thirds camera yet, which is exactly what OM Digital Solutions needed to emphasize that it's a system with a future. It's not a perfect camera, but with a bit of work on the photographer's part, it's one that's punches well above its weight.

Essentially the OM-1 adds speed and much-improved AF and video to the image quality, stabilization and weather sealing that higher-end Olympus cameras were known for. This greatly extends the kinds of shooting it feels at home with. Particularly if you're shooting some one of the subjects the camera has been trained to recognize, the sum of the OM-1's attributes make for a very powerful combination.

The OM-1 is pretty usable as a sports camera, even working outside its comfort zone in very low light. And, though the hitrate wasn't as high as with the Nikon Z9, the option to use a brighter lens on the OM-1 meant it was able to deliver comparable image quality.

M.Zuiko ED 40-150mm F2.8 Pro @ 150mm | F2.8 | 1/800 | ISO 5000
Processed using Adobe Camera Raw (Luminance NR 15)
Photo: Richard Butler

It's not as polished a camera as the (much) more expensive, typically full-frame, flagships its speed draws comparison with, though. The AF capabilities aren't as well integrated with one another (or with the camera's physical controls), and the subject tracking of non-recognized subjects is a noticeable weak-point in an otherwise impressive performance. It's around half the cost of most pro sports models though and yet can, where necessary, shoot around twice as fast.

The OM-1 can also capture very detailed 4K video. These gains are only really to be seen in the H.265 modes (which are also the 10-bit modes) where you're limited to Log or HLG HDR capture. Videographers aren't as well provided for as they would be on the likes of a Panasonic GH, but compared with most stills/video cameras, the OM-1 delivers very good footage, ably supported by the camera's stabilization system.

OMDS has continued to build on the strengths established under Olympus' ownership, but hasn't messed with things like the JPEG engine and the rich, attractive color its 'Standard' mode brings.

M.Zuiko ED 40-150mm F4.0 @ 150mm | F5.0 | 1/160 sec | ISO 320
Photo: Richard Butler

Image quality is what you'd expect from a modern Micro Four Thirds camera. Resolution-wise 20MP puts it level with the excellent Canon EOS R6 and not meaningfully behind its many 24MP rivals, but tonal quality and noise will be behind larger sensor cameras unless you can find a way to capture more light. But, if your scene is static enough, you can close some of the image quality gap to larger-sensor cameras with one of the OM-1's clever multi-shot modes.

The OM-1 excels in situations such as wildlife shooting, where its power and compact telephoto lenses mean it's able to offer an unmatched combination, but it can also be a pretty capable sports camera or a general, everyday photographers' camera expected to shoot a bit of everything. So, while it can't generally match a comparably priced full-frame camera for image quality, but there's nothing else that offers this level of all-round capability (shooting speed, AF performance, IS performance, weather sealing) in such a small package.


Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

OM System OM-1Category: Semi-professional Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe OM-1 brings speed, improved AF and more detailed video to a system that already offered great image stabilization and small and light camera/lens combinations. This makes it a powerful all-rounder with particular strengths for wildlife. That compactness comes as a trade-off for absolute image quality but a series of computational multi-shot modes can help close the gap in certain circumstances. It's a lot of capability for the money.Good forWildlife, hand-held video, some sports shootingNot so good forFamily photos where simplicity is essential87%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"omsystem_om1","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."})

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Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review). Please refrain from using them for any commercial purposes.

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Kategorier: Sidste nyt

LensKit is a new iOS app that helps you pick the right camera, lens for your next video shoot

Sidste nyt fra dpreview - 16 maj 2022 - 16:14

Zak Ray, a cinematographer, colorist and developer who creates apps for filmmakers, has released LensKit, a new tool that makes it easy to plan a video shoot. LensKit consists of a comprehensive database of adapters, cameras and lenses that work together to show you what lenses can be used on what cameras, what their equivalent focal length will be based on the camera’s format and more.

LensKit’s database consists of lenses from Arri, Canon, Cook, Leica, Zeiss, Irix, Laowa, Panavision Rokinon, Sirui, Tokina and others, with complete specifications for all of the lenses (aside from Panavision). These specifications work with other features in the app to ensure you’re always framing the shot exactly as you intend with your given setup. Instead of only showing numbers, LensKit includes a clever coverage overlay that displays a lens’ image circle over the selected camera’s sensor to make sure the selected shooting mode is covered.

LensKit will also showcase the Super 35 equivalent focal length and features an interactive depth of field tool that lets you customize the inputs to meet your needs. The preview function will offer a simulation of the selected setup using a little graphic that shows a subject within a repositionable frame.

Other features include the ability to create your own kit using only lenses you rent frequently or own and a detailed filter feature that ensures you’ll be able to find any of the >1,000 lenses and >150 cameras currently in the database.

The app is free to download in the iOS App Store, but is very limited in functionality until you purchase either a $3 monthly subscription or $50 lifetime purchased.

Kategorier: Sidste nyt

New DJI leak shows off a miniaturized FPV drone with CineWhoop-style design

Sidste nyt fra dpreview - 16 maj 2022 - 13:44

It’s been less than a week since DJI announced its new Mini 3 Pro sub-250g drone and already the rumor mill is back in action with what is allegedly a new FPV drone the company is working on.

DealsDrone and OsitaLV, two reliable leakers in the drone community, have independently shared teasers for a miniature version of DJI’s FPV drone that will allegedly be called the Avata. DealsDrone has gotten its hands on what it alleges is renderings of the new drone and in the images, we see a CineWhoop style FPV drone with protected propellors and a top-positioned, low-profile body that houses the battery and camera.

Avata is compact and weighs about 500g
Can fly indoors
The photo quality is much better (guess that the Mini 3 Pro is the same)
Greatly improved battery life
Manual mode is not supported
Head chase mode
Vibration function
Touchpad for glasses menu
Glasses can connect to phone

— 航拍世家 打手 (@DealsDrone) May 15, 2022

As DroneDJ reports, this style of drone has proven popular in the FPV drone scene, as it offers the a safer solution (compared to your standard compact FPV drone) to getting unique shots larger FPV and traditional drones simply can’t get into and through tighter spaces. This is mainly due to the use of protectors that fully encase the propellors and prevent any injuries and (hopefully) major repairs when the drone inevitably takes a tumble.

If you remember, this incredible scene, captured by Jay Byrd Christensen, was done using a CineWhoop-style drone to squeeze through tight areas and around people at the Bryant Lake Bowl & Theater in Minneapolis, Minnesota, for those interested in what kind of footage these drones are capable of capturing. :

According to leaker OsitaLV, the DJI Avata’s model number is WM169, a single digit below the WM170 model number for the DJI FPV. While detailed specifications are scarce, DealsDrone suggests the Avata will wight ‘about 500g (1.1lbs),’ will offer similar image quality to the Mini 3 Pro, have a ‘head chase’ mode and will, of course, come with a pair of FPV goggles that connect to a mobile device.

Model name of DJI Avata is WM169, as the reference, DJI FPV is WM170.

— OsitaLV (@OsitaLV) May 15, 2022

DealsDrone says the drone might make an appearance in July or August 2022, but no pricing information has been shared.

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