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Sigma 15mm F1.4 Diagonal Fisheye sample gallery: Night photography in the sub-arctic

Sidste nyt fra dpreview - 15 maj 2024 - 15:00
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In late February, Sigma surprised us by announcing its 15mm F1.4 DG DN Diagonal Fisheye lens, an optic squarely aimed at astrophotography. Sensing an opportunity, we put the lens into the hands of José Francisco Salgado, a professional astrophotographer, just in time for a photography trip to the Canadian sub-arctic to shoot the aurora borealis.

An important note about these sample photos: When shooting sample galleries for lenses, we typically keep ISO values as low as possible to prevent image noise from affecting the apparent sharpness of images. By its very nature, astrophotography often requires higher ISO values, even with the fastest lenses. As a result, we asked José Francisco to capture his nighttime photos using ISO settings that were appropriate to the conditions. To allow for critical evaluation of sharpness, he also included several daytime photos in the gallery that were photographed at low ISO values.

What did he think of the lens? "Diagonal fisheye lenses are part of my arsenal to capture very wide sky subjects such as auroras and the Milky Way," he told us. "The Sigma 15mm F1.4 DG DN is the fastest and sharpest diagonal fisheye lens I have ever used. Its focus lock is a feature that, as an astrophotographer, I have been wishing for for years."

You can learn more about the lens here.

View the Sigma 15mm F1.4 DG DN Diagonal Fisheye sample gallery

Note: 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); we do so in good faith, so please don't abuse it.

José Francisco Salgado, PhD is an Emmy-nominated astronomer, night sky photographer, public speaker, and photo tour operator who creates multimedia works that communicate science in engaging ways. His Science & Symphony films through KV 265 have been presented in more than 260 concerts and 215 lectures in 21 countries.

José Francisco, a seasoned aurora photographer, leads his Borealis Science & Photo Tours in Yellowknife, Canada, where you can view, photograph, and learn about the Northern Lights.

You can follow him on Flickr, Instagram, 500px, Facebook, and Twitter

Buy now:

$1999 at$1999 at B&H PhotoBuy at Adorama
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Canon announces EOS R1 development

Sidste nyt fra dpreview - 15 maj 2024 - 08:15
Image: Canon

Canon has announced it is developing the EOS R1, which it describes as the "first flagship model for [the] EOS R system."

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It would be consistent with the company's previous development cycles to deliver a pro sports flagship in time for the 2024 Summer Olympics, so it doesn't come as a complete surprise.

The company has tried to avoid using the word 'flagship' in reference to its current EOS R3 high-speed model, meaning this will be the first model to explicitly take over from the EOS-1D series of DSLRs at the top of the Canon lineup.

Details in amongst the marketing speak are rather vague, but the company promises to improve on both stills and video performance compared with the existing EOS R3, with a
"Digic Accelerator" processor providing additional capabilities beyond those of the existing Digic X processor with which it will be paired.

This co-processor is likely to be tasked with handling the complex algorithms created by the machine-learning process, as the company talks about "never-before-seen" advancements in autofocus. The camera will aim to better track subjects when multiple plays overlap and intersect, with one of the few details of new features being an "Action Priority" function that will shift the AF point to a player it recognizes as taking a decisive action.

Canon says the new camera will be built around a new CMOS sensor and that the camera will be capable of implementing sophisticated noise reduction that would currently need to be applied in PC-based software.

We'll expect more concrete details as the Paris Olympics approach, but Canon suggests the camera is already being field-tested in preparation for them. Canon says it's aiming for a 2024 launch.

Canon develops EOS R1 as first flagship model for EOS R SYSTEM

MELVILLE, N.Y., - May 15, 2024 — Canon U.S.A., Inc. today announced that its parent company, Canon Inc. announced today that it is currently developing the EOS R1, a full-frame mirrorless camera, as the first flagship model for the EOS R SYSTEM equipped with an RF mount and is aiming for a 2024 release.

The EOS R1 is a mirrorless camera geared toward professionals that brings together Canon’s cutting-edge technology and combines top-class performance with the strong durability and high reliability sought in a flagship model. This camera will dramatically improve* the performance of both still images and video and meet the high requirements of professionals on the frontlines of a wide range of fields including sports, news reporting, and video production.

This camera employs the newly developed image processor DIGIC Accelerator in addition to the pre-existing processor DIGIC X. The new image processing system, composed of these processors and a new CMOS sensor, enables large volumes of data to be processed at high speeds and delivers never-before-seen advancements in Auto Focus (AF) and other functions.

By combining the new image processing system and deep learning technology to an advanced degree, Canon has achieved high-speed and high-accuracy subject recognition. For example, subject tracking accuracy has been improved so that in team sporting events where multiple subjects intersect, the target subject can continually be tracked even if another player passes directly in front of them. In addition, the AF “Action Priority” function recognizes subject movement by rapidly analyzing the subject’s status. In moments during a sports game when it is difficult to predict what will happen next, this function automatically determines the player performing a certain action, such as shooting a ball, as the main subject and instantly shifts the AF frame, thereby helping to capture decisive moments of gameplay.

The combination of the new image processing system and deep learning technology will help to improve image quality. Canon implements the image noise reduction function, which has been previously developed and improved as part of the software for PCs, as a camera function to further improve image quality and contribute to user creativity.

Canon is working on field tests for this camera and will support capturing definitive and impactful moments at international sporting events to be held in the future.

Going forward, Canon will continue to expand the EOS R SYSTEM lineup of fascinating cameras and RF lenses, thereby continuing to meet the demands of a wide range of users and contribute to the development of photography and video culture.

* In comparison to EOS R3 (released in November 2021)

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Thypoch announces Simera 35mm & 28mm F1.4 in 4 lens mounts

Sidste nyt fra dpreview - 15 maj 2024 - 00:40

Simera 28mm F1.4

Image credit: Thypoch

Chinese lens maker Thypoch has announced its Simera 35mm & 28mm F1.4 lenses are coming to Z, X, E and RF mounts. The new lenses are versions of Leica M-mount offerings released in September 2023. You'd be forgiven if you're unfamiliar with Thypoch, as the company is a new player in the lens market and the M-mount lenses were its launch products.

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Both lenses are pretty straightforward; they are fully mechanical with manual focus and aperture rings, and they don't communicate any EXIF data back to the camera.

The 35mm version is composed of 9 elements in 5 groups, has a 14-blade aperture and has a minimum focus distance of 0.45m (1.5 ft). It's about 64mm long, give or take a little depending on your mount, and weighs 297-310g, depending on which mount you choose.

The 28mm version has 11 elements in 7 groups, a 14-blade aperture and a minimum focus distance of 0.4m (1.4 ft). It ranges from 68-72mm long and weighs 344-368g, again dependent on which mount is selected.

The aperture ring on both models can be set to 'click' or 'de-click,' which may be of interest to video users.

Between the aperture ring and the focus ring is a depth of field indicator, perhaps its most visual calling card beyond the rangefinder-style design. Adjusting the aperture from shallow to wide adds red dots, which indicate the breadth of focus users should expect. It's an interesting feature, 'cute' may be the word, but we suspect the novelty will wear off eventually.

The M-mount version had metal construction and a metal hood, and Thypoch has not indicated that this has changed for these additional mounts.

Simera 28mm F1.4 Z-mount

Image credit: Thypoch

Price and availability Thypoch's Simera 35mm & 28mm F1.4 is listed at an MSRP of $649 in black or silver. The Z-mount will be available May 20, 2024, with the X, E and RF mount arriving in mid-June.

Press Release:

Thypoch Expands Simera 35mm & 28mm f/1.4 Lineup to Z/ X/ E/ RF Mounts

Thypoch, the emerging manufacturer of photo lenses in vintage look, is set to expand its popular Simera 35mm f/1.4 and Simera 28mm f/1.4 lenses to include Z/E/X/RF mount options. This expansion comes in response to feedback from Thypoch’s fans and users, who have expressed a desire for more versatility in their lens options.

The Thypoch team is committed to maintaining the exceptional performance of the original M-mount lenses while fine-tuning the new mount solutions for optimal results. The release of Z/E/X/RF mount lenses will provide photographers with enhanced capabilities to capture transient moments with precision and clarity.

Improved User Experience

The ergonomic crescent-shaped focus tab for the Z/E/X/RF lenses marks a significant improvement in the focusing experience. It’s a game-changer for focusing, replacing the old infinity lock with a design that makes focusing smoother and more intuitive, enabling photographers to achieve precise focus on their subjects with greater ease and comfort.

The subtle resistance at 0.7m and closer on the focus ring will be removed in the latest versions of Z/E/X/RF lenses. This enhancement caters to the user experience of non-rangefinder cameras from Nikon, Sony, Fuji, and Canon.

Retained Design and Optics

The classic design of the automatic depth-of-field scale provides a quick and easy way for photographers to determine focus distance when shooting at hyperfocal distances, ensuring that every shot is perfectly focused.

Simera 35mm f/1.4 and Simera 28mm f/1.4 for Z/E/X/RF mount have a constant maximum aperture of f/1.4 and a constant minimum focusing distance of 0.45m and 0.4m. Photographers are therefore able to achieve beautifully blurred backgrounds and crisp subjects in low-lighting conditions as well. Both lenses feature built-in floating elements (FLE) to ensure optimal image performance at close distances, delivering sharp imaging from center to edge and conveying subtle narrative texture.

Clicked and de-clicked aperture modes symbolized by icons “sun” and “moon” are also in place for users to choose based on their needs. Videography is made easier via de-clicked aperture modes, which enable users to switch apertures silently and seamlessly.

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Sirui releases Night Walker 16mm T1.2 S35 cine lens across 5 mount options

Sidste nyt fra dpreview - 14 maj 2024 - 21:06
Image credit: Sirui

Announced in mid-April, Sirui has released the Night Walker 16mm T1.2 S35 cine lens, its latest addition to the Night Walker line of APS-C and Super35 cine lenses. It is available starting today for Canon RF, Sony E, Micro Four Thirds, Fujifilm X, and L mounts.

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The 16mm (24mm equiv) prime lens is composed of 14 elements in 5 groups, which include three extra-low dispersion (ED) elements to reduce chromatic aberration. It also has a 13-bladed aperture.

The controls are fully manual, which isn't unusual for a cine lens. Along the barrel is an aperture ring and focus ring. The lens has a minimum focus distance of 0.3m (11.9"). It is compact at about 93mm (3.7") and weighs about 587g (1.3 lbs), but depending on your mount choice, these measurements shift a few grams or millimeters.

Sirui's Night Walker line is touted as having excellent low-light performance, which the company says helps solo filmmakers reduce the need for external fill lighting. It promises sharp visuals with minimal focus breathing.

Listed at $400, but available for $340 at an 'early bird' discount, the lens presents an intriguing value proposition, one which may be best suited for casual users curious about cine lenses who aren't sure if they need to invest in more expensive gear.

Buy now:

$340 at Amazon $340 at Sirui
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Google Pixel 8a sample gallery

Sidste nyt fra dpreview - 14 maj 2024 - 16:53
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Last week, Google announced the Pixel 8a, which slots in below the Pixel 8 and Pixel 8 Pro in Google's smartphone lineup. Although it's a member of the Pixel 8 family, the 8a uses the same sensors and lenses found in the Pixel 7a to keep its price lower than its siblings.

On paper, one of the Pixel 8a's headline features is a 64MP image sensor. However, the camera uses binning to deliver a 16MP image; you can't capture full-resolution photos using Google's camera app. To do that, you'll need to step up to the Pixel 8 Pro. You can see the full rundown of the Pixel 8a's camera specs in our launch coverage.

We used the Pixel 8a in various lighting conditions, from daylight to nighttime. This gallery was primarily shot with the phone's main camera, though we've included some images from the smartphone's ultrawide camera as well. We've also included images captured using Google's Night Sight and Long Exposure modes.

View the Google Pixel 8a sample gallery

Note: 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); we do so in good faith, so please don't abuse it.

Buy now:

$499 at Amazon $499 at Google
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Question of the week: What's a camera you used to own that you regret letting go?"

Sidste nyt fra dpreview - 13 maj 2024 - 19:46

Every week, we ask newsletter subscribers a question about gear, creativity or life. Last week we asked readers: What's a camera you used to own that you regret letting go of, and why?

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Many wrote in to share thoughtful and surprising responses. It was curious to see just how many shout-outs we saw for older film cameras.

Many regretted leaving behind high-end SLRs when they moved to digital. In hindsight it seems a new appreciation has grown for the simplicity and engineering of classic cameras.

A strong subset of responses congregated around medium-format cameras as well (you can count me among that group), which tended to deliver a slower, more deliberate process than 35mm, in part because the cameras generally weren't designed for moving quickly.

Here are three of our favorite responses:

1.Canon F1

Canon's first SLR designed for the professional market.

Image credit: Steve H/DPReview

Phil A: "I sold a Canon F1, some lenses and accessories to buy the first Nikon DSLR. Big mistake."


The Nikon F3P was a modified F3 created for photojournalists. It was made to be extra durable with special seals for dust and sand resistance and removed the film door release lock, self-timer and multiple-exposure lever.

Image credit: Arne List/Wikipedia

Stephen E Lawrence: "The NIKON F3P, as it’s a working Pro camera that never failed me as a NPS member using it was easy to use, felt like a precision piece that it was and took great pictures every time."


The Nikon F2 was the company's last all-metal mechanically-controlled professional-level Nikon SLR.

Image credit: Photopath/Wikipedia

A DPReview reader wrote: "NIKON F2. The F2 was the best looking 35mm film camera ever made. Also loved the sound of the F2 titanium shutter. Perfect. Such a satisfying camera to use and own."

What's your take? Let us know in the comments.

If you want to participate in the next question, sign up for the newsletter. It's the best photography, camera and gear news, delivered right to your inbox.

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And we don't just stop at the news. Newsletter subscriber benefits include behind-the-scenes articles, letters to the editor, exclusive contests, sneak peeks on what we're working on, ways to share feedback directly with DPReview editors to help us shape future stories and more! There is no AI here, only real people writing the newsletters and reading your feedback (me!)

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25 years of DPReview: Our editors' first cameras

Sidste nyt fra dpreview - 11 maj 2024 - 16:30
What was your first camera?

This year is DPReview's 25th anniversary. Naturally, we've been thinking a lot about cameras from the past quarter century and even beyond. In that spirit, we thought it would be fun to update an article initially published a few years ago in which current and former DPReview editors share the cameras that gave them their start in photography.

We asked each editor two questions: "What was your first camera?" and "What was your first digital camera?" (For some, even their first camera was digital.) Read on to see what they were.

While we're at it, tell us about your first camera in the comments. With such a diverse group of readers, we know there will be some interesting answers!

Richard Butler

DPReview staff 2007-current

Technically, my first camera was a Halina Flashmatic 110 Tele: a thin box-like camera with a teleconverter that tightened its 25mm (50mm equiv) angle of view down to a 43mm (86mm equiv) tele at the push of a slider. My Dad bought one for both me and my sister, but I was the one who really embraced it. And probably spent a fortune in getting terrible photos processed.

Skip over a short-lived 35mm point-and-shoot that used to eat batteries to the first camera that made me fall in love with photography: the Pentax P30. Sold as the P3 in the US, it was an auto-exposure, manual focus SLR. I only ever had the little 35-50mm F3.5-4.5, but it served me well through my teenage years, darkroom experiments and up to shooting bands for the college magazine. The lens got broken when I let one of the other magazine writers use it, but the body itself still works.

My first foray into digital cameras came some years later when I was working on an engineering magazine. I’d enjoyed using the office Olympus UZ on a couple of factory visits, so I decided to buy something similar. Days of research on a really in-depth website with a black background led me instead to the Fujifilm S5500, a 10x 'bridge' superzoom camera with a lens that started at 37mm equiv. I loved the ability to see the impact of my settings immediately, but quickly grew to hate how little control you got over depth-of-field and how low the IQ could be, despite lugging such a large camera around. I decided I was enjoying photography enough again to justify a DSLR like many of the people in the Flickr group I’d joined: back to DPReview to do some research.

Pentax P3 photo by John Nuttall (Creative Commons license)

Dale Baskin

DPReview staff 2014-current

I genuinely have no idea what my first camera was. When I go back and look at old family photos, even ones in which I’m barely a toddler, I always seem to have a camera in my hands, running the gamut from my Dad’s rangefinder to a free plastic camera someone chose over a toaster when opening a bank account. When I got serious about learning photography, however, there was one camera that appealed to me like no other: the Miranda Sensorex.

Why? Probably for the same reasons that many people started photography with a particular camera: it was my Dad's, and it was available to me. I didn’t care that the camera was older than I was and heavier than a rock. It looked the way a camera was supposed to look, and it had the latest sensor technology. (That technology was called ‘film’, and my Dad taught me to use the Kodachrome and Ektachrome varieties).

It was a great camera to learn on as there was no auto, program, or aperture priority mode to fall back on. I recall reading somewhere that the Sensorex was the first 35mm SLR with TTL metering, and to this day, I love the match-needle method of setting exposure. It may be a dinosaur by today’s standards, but it still works and will probably continue for decades.

My first digital camera was the Canon PowerShot S300, a 2.1MP point-and-shoot. Back in 2001, that extra 0.1MP was important! I agonized for weeks over whether or not to spend hundreds of dollars more for a 3MP camera, but ultimately, I couldn’t justify doing so. I immediately fell in love with digital photography, especially the ability for easy sharing across social networks – a social network being defined as someone in your circle of friends to whom you could snail-mail a CD-ROM of photos they would never look at.

As fun as digital was, it still didn’t give me the same quality as scanned slides, so I stuck with film for a few more years until the Canon EOS 20D came out, and the rest is history.

Shaminder Dulai

DPReview staff 2022-current

A 110 Kodak wasn't my first film camera, but it was the first one I was consistently allowed to use and the camera that birthed my lifelong love of photography. I thought the camera was the bee's knees, so futuristic and compact, like a camera James Bond would use while sneaking about the Swiss Alps in pursuit of Blofeld. The interchangeable cartridges reminded me of Atari or Nintendo, and it felt so satisfying to quickly slap them in and get to work.

It was my mom's camera, and she encouraged me to take it on school field trips, to family events and around the neighborhood, so long as I was well-behaved and waited for my parents to save up for a few months to buy film and have funds for developing.

We didn't have any extra money; we were a family that didn't eat out, go to movies or take vacations, but I think my parents saw how much I enjoyed photography and didn't want to discourage me. Every few months, I'd ask if I could use the camera, and my parents would see if we had film, take it off the top shelf of the linen closet and let me have at it. Each frame was precious, so I had to be very methodical, trying to stretch that roll for weeks or months. Then, I'd keep an eye out for the drugstore coupons for development. It taught me to be grateful and patient, to observe and be thoughtful and deliberate in which frames I captured.

I wish I could remember exactly which model it was; it's not the one in the picture. All I can recall is that it had a clamshell cover, built-in flash and yellow trim around the shutter button. Maybe one of you can help me sort it out?

Kodak Instamatic 192 photo by Joost J. Bakker (Creative Commons license)

My first digital camera was born the same year as DPReview. The EOS D2000 was a Canon/Kodak mashup from the early days of professional digital photography. The camera was a rebadged Kodak Pro DCS 520, a model created by Kodak engineers trying to produce digital cameras in the 1990s for the professional market. At the time, Kodak was experimenting with early digital sensors, some as digital backs for film cameras. One of the designs they landed on paired a Canon EOS-1N with a CCD sensor.

While it was released in 1998, I was using it in 2004 as my daily camera for photojournalism assignments at university and for freelance. It was pretty beat up when I got it as a loaner from the school equipment library. I couldn't tell you how many shutter acquisitions it had, but I have to imagine it was in the hundreds of thousands as it was used by staffers at the San Jose Mercury News for over half a decade.

I was happy to have it. I was still shooting film and couldn't afford a digital camera on my own, and by 2004, the writing was already on the wall: if I was going to make a go at photojournalism as a profession, I needed to go digital and quick. By this time, the Canon EOS-1D Mark II N and, to a lesser extent, the Nikon D2X were the standard cameras for most newsrooms, so my gear was severely outdated. The camera was a pain: it used dual PCMCIA slots, was limited to 3.5fps and the file format was no longer supported without special drivers on anything past Mac OS 9. But it did help me learn and get work. It was also a great conversation starter: an AP photographer gave me grief for using the relic but it also helped me get him to review my work and share some honest feedback.

This camera was also the one that helped me discover DPReview. I needed to learn how to get the most out of the D2000, and this site came through again and again. Fast-forward, and I'm now in the building writing for DPReview. What a trip!

Jeff Keller

DPReview staff 2013-2021

Unlike most of my colleagues, I wasn't a huge film photographer. I recall owning one of those flat 110 cameras, followed by a standard-issue clamshell compact, which was promptly stolen by someone in the baggage department at London's Heathrow airport. I ended up running to Harrods to pick up something similar. I probably paid way too much.

I was lucky enough to get my hands on digital cameras really early – like 1996 early. After toying around with early Kodak, Casio and Apple cameras, I finally bit the bullet and dropped $900 on the Olympus D-300L, also known as the Camedia C-800L. This powerhouse had an F2.8, 36mm-equivalent lens and a sensor with XGA resolution.

My real pride and joy was the Olympus D-600L (Camedia C-1400L), which cost me $1300 in 1997. It had an unusual design, large-ish 2/3" 1.4MP sensor, and a 36-110mm equivalent F2.8-3.9 lens. Its optical viewfinder had 95% coverage and was supplemented by a 1.8" LCD. I don't know what I did with it, but I wish I still had the D-600L in my possession!

Olympus C-800L photo by Erkaha

Allison Johnson

DPReview staff 2013-2020

I’m counting my first camera as one that I used early on, and am now entrusted with, but isn’t strictly mine. I had some kind of point-and-shoot film camera of my own when I was young, and shared a Game Boy Camera with my sister, but Dad’s Nikkormat FT3 was the first 'real camera' I shot with. Let me tell you, that camera is built for the ages. It’s heavy and indestructible and as far as I can tell, still works like the day it was born. I take it out with me nowadays when I know I’ll be able to slow down and think about what I’m doing, and when I know I won’t be devastated if I screw it all up and come back with nothing. I haven’t been disappointed yet.

The very first digital camera I bought is slightly embarrassing: a Sony Cyber-shot DSC-T700. It was one of the super-slim Cyber-shots of the late 2000s that was all touchscreen. What can I say? I was taken in by its sleek looks and pocketability. It started up when you slid the front panel down to reveal the lens, and there was a real risk of the whole camera flying out of your hands every time you did that. It also had the world’s tiniest zoom lever in one corner on the top, which was pretty annoying to operate. The photos were fine in daylight, though I was just taking casual snapshots and didn’t exactly stress test it. I can confidently say my smartphone now does a fine job of everything that I was using this camera for. Therein lies the whole compact camera market, I guess.

Nikkormat FT3 photo by BastienM

Barney Britton

DPReview staff 2009-2022

My first camera was a Pentax MX, inherited from my Dad (who is still very much alive), along with a 50mm F1.7 prime and a couple of Tamron Adaptall-2 zooms. It was the camera I learned photography with, and the only camera I took on a round-Europe rail trip when I was 18. I sold it when I went to university to fund a Canon EOS-3, and always regretted it. I found an MX in a junk shop last year, and I’m not going to sell this one.

My first digital camera was the Canon EOS 10D. I saved up for an entire year, working in a hotel restaurant during university holidays to pay for it (a story told in part, here) and it was my main camera for a couple of years.

The EOS 10D was the first ‘affordable’ DSLR that really stacked up against high-end film models in terms of build quality and functionality. Although its AF system was primitive compared to the EOS 3, it was extremely well-built, and very reliable. At the time, the 10D also offered the best image quality of any enthusiast DSLR (and arguably, the best image quality of any DSLR, period). Noise levels were low across its standard ISO range, and an extension setting of ISO 3200 offered filmlike grain, which looked great in black and white. I still see 10Ds 'in the wild' occasionally, and for a long time, we used an EOS 10D as our main studio camera at DPReview.

The EOS 10D had a magnesium-alloy body.

I shot my first published work on the EOS 10D, which felt like quite an achievement given how poorly its autofocus system performed in low light. If I’d never become a professional performance photographer, I might still have it. After the 10D I upgraded to an EOS-1D Mark II, when I started getting more serious about theatre and music photography.

Pentax MX photo by Alf Sigaro

Carey Rose

DPReview staff 2015-2021

The first camera I have any sort of memory of actually using (besides disposable cameras and my Grandpa's Canon EOS 650 film camera, which was so cool) was a PowerShot A75. It was a hand-me-down from my dad, and the perfect 'first digital camera' for a socially awkward high-schooler. It was fairly small (though that didn’t stop me from wanting a camera phone as soon as such things became practical and available), ran on easy-to-find AA batteries, and the photo quality was great for the time.

It was also called 'PowerShot,' a brand name that, to this day, sounds way cooler than competing models like such as FinePix, Easyshare and Coolpix, all of which should have died out along with animated backgrounds and auto-play music on your favorite Geocities ‘links’ page. It even survived a tumble onto concrete for a while, though eventually it succumbed to the dreaded ‘lens error’ where the lens wouldn’t properly extend or contract.

It was superseded by a Samsung NV10, a camera which looked cooler, was a lot smaller and had a lot more megapixels (plus a funky Smart Touch control system with soft keys surrounding two sides of the display,) but I ended up preferring the overall ‘look’ of the PowerShot images I used to get. So when I left the NV10 on a train while traveling across Europe, I replaced it with another PowerShot, the S3 IS, and never looked back.

Sam Spencer

DPReview staff 2014-2017

The first camera I used was probably the same as anyone born before 1990-something: a disposable point and shoot. Being six years old, I had no idea about focus, flash, or anything of the sort and tried to take a macro picture of a spider at less than six inches away….

A couple years later my father proudly came home one evening with a Ricoh RDC-2. I wasn’t allowed to get my prepubescent mitts on it until later when computer monitors grew to 1,024 pixels on the long side, making the VGA Ricoh obsolete. I remember using the AC adaptor for it almost exclusively since it ate through AA’s almost as often as its now-diminutive memory filled. I also seem to remember using its OVF more often than the (optional) flip-up screen on top. I mostly used it to try and capture various members of my remote control car collection airborne after launching off jumps I made out of tape and cardboard. Remember, I was about 8 or 9.

The Sony Cyber-shot DSC-S75 had a 3MP CCD, 34-102mm equiv. lens, a rear LCD info display and plenty of manual controls. Its lens, labeled 'Carl Zeiss,' could be found on numerous other cameras under different names (e.g. Canon, Epson).

That camera was replaced with a Sony Cyber-shot DSC-S75, which was the first time I had ever seen or heard the name ‘Zeiss’. That camera offered a bit more manual control (like focus!) than the Ricoh, was what got me truly enthusiastic about photography in Junior High, leading to signing up for darkroom photography my freshman year. Then I was handed a ‘real’ camera, a Minolta SRT200, which worked well until Nikon released the D50, a DSLR affordable enough to convince my generous father to help me purchase (he definitely paid for the majority).

Simon Joinson The Fujica ST605N was an M42 screw-mount SLR made in the 70's and 80's. Photo by Alf Sigaro.

DPReview staff 2004-2017

I have my father to blame for my lifelong love affair with photography. Not because he was a particularly accomplished or prolific photographer (based on the wallets of photos I have from my childhood I’d characterize his technique as a bit hit and miss, with a lot more ‘miss’ than ‘hit’), but because he gave me my first camera at age 12 or 13. I got this hand-me-down because he was replacing his camera – a Fujica ST 605N – with something a lot fancier (a Minolta X500, chosen after an excruciating amount of research including, much to my mother’s consternation, two visits to a camera show from which he returned with a roll full of pictures of semi-naked models on motorbikes).

Anyway, I didn’t care because I now had my own real camera, complete with 35mm, 55mm and 135mm lenses packed into an ancient gadget bag that released a heady aroma of moldy old leather and film every time I creaked open its lid, and whose numerous pockets were home to a fascinating collection of dusty accessories and starburst filters. It was the most amazing thing I had ever owned.

The Fujica ST605N was one of dozens of similar no-frills M42 screw mount SLRs made during the 70s and early 80s (although it appears that the mere fact you could see the currently selected shutter speed in the viewfinder was quite the selling point in 1978), but it was compact, nicely made and had a decent focus screen and a fast (at the time) silicon exposure meter.

And I loved it. And, like all photographers who started with a fully manual camera and a small selection of prime lenses that took about 10 minutes to change (thanks to the screw mount), I quickly learned the basics of photography (specifically apertures and shutter speeds), partly by reading but mostly through trial and error.

I can still remember the first roll of I put through it, at the local zoo, and the thrill of getting the prints back only 5 days and 2 weeks' worth of allowance later (on this point my father made it clear I would need to reign in my enthusiasm and that a 36-exposure roll normally lasted him for at least a few months).

After many years of enjoying his Fujica, Simon moved on to the Nikon F-301, known as the N2000 in the United States. Photo by John Nuttall.

I kept - and used - the Fujica all my teen years, adding an old flashgun that took 5 minutes of high-pitched wheezing to charge up, a slightly moldy 70-200mm Vivitar zoom I found in a junk shop, and a sizeable collection of blower brushes and cap-keepers that came free on the covers of photography magazines. My time with her only ended when I went to college – all students were required to arrive on the first day with a Nikon SLR, so I had to trade-in my trusty old ST605N for a Nikon F301 (aka N2000), which seemed like something out of Knight Rider by comparison. But that’s another story…

The Casio QV-10, with its low resolution CCD and rotating lens, was one of the world's first consumer digital cameras.

My first digital camera? Well, the first I used was a Casio QV10, but since I started writing about digital cameras in 1995, I never really had to buy one (we had a house full of them), and I just borrowed what I wanted when I wasn’t shooting for work. I’m slightly embarrassed to admit that I didn’t actually buy a digital camera for myself until 2011 (funnily enough it too was a Fuji – a first generation X100).

Dan Bracaglia

DPReview staff 2014-2021

My first real digital camera (ignoring the Game Boy Camera of my youth) was a Canon Rebel XTi (EOS 400D). I bought it midway through my first year of college. Before that I had shot on film all through middle and high school mostly on a Canon AE-1 Program. Truth be told, up until college, I believed digital to be the devil.

My first time using a digital camera was also my first assignment for my college newspaper, The Daily Targum. I think I shot that assignment with a Nikon D100. Anyhow, I had no idea what white balance was at the time, so when I submitted the images to my editor, he patiently explained to me why everything had a blue tint.

After picking up a few more assignments for the paper, I decided I wanted a digital camera of my own and saved up for said Rebel XTi. Though borrowing gear from the paper tempted me to buy a Nikon, my allegiance was still with Canon as a result of my time with the AE-1.

However, within a year of owning the XTi, I knew I wanted/needed more camera (I was also studying photojournalism at the time). I set my sights on the just-announced Nikon D300 and began saving.

So while the Canon Rebel XTi was my first digital camera, the Nikon D300 was the first digital camera I owned that I actually liked. I still have it today (the XTi has long since been sold).

So what was your first camera (film or digital – both are fair game)? Let us know in the comments below!

Kategorier: Sidste nyt

The sky isn’t the limit: Six tips to capture intimate landscapes and smaller scenes

Sidste nyt fra dpreview - 9 maj 2024 - 15:00

With a cloud-free sunrise, I focussed on this telephoto detail of glowing wave sea spray at the typically wide-angle friendly Bombo Headland, New South Wales.

ISO 100 | F18 | 1/5 sec

Bold sunrises. Moody clouds. Radiant sunstars.

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These elements often come to mind when we think about landscape photography. And for many years, they’re what I chased trip after trip.

But I’ve found that coveting and waiting for glorious skies vastly limits the type of landscape photos we can capture. Expectations stifle our creativity and lead to disappointment when the conditions fall short or fizzle out.

Landscape photography can be (and is) so much more than golden rays and brilliant colors. It’s about capturing the essence of an environment and immortalizing defining details in the landscape.

So what if you simply excluded the sky altogether?

"Expectations stifle our creativity and lead to disappointment when the conditions fall short or fizzle out."

While I still chase bold skies when they occur – they’re worth capturing for a reason – I no longer let the state of the sky dictate my photography outings.

In fact, smaller scenes have formed some of my most striking compositions. Compared to sweeping vistas at scenic lookouts, these more intimate moments are less likely to be replicated by other photographers.

So here are six tips to help you expand your creativity with fresh compositions and make the sky no longer the limit.

Follow the periphery of your perception

This first tip may seem a bit pretentious. But it’s a crucial place to begin.

I recently read a passage from Peter Dombrovskis (a famed Australian photographer from the 1980s) that crystallized this concept for me:

"My most productive days are when I move through the landscape with an attitude of acceptance – of leaving myself open to all possibilities rather than expecting to find anything in particular.

I look ahead to guide my feet over rocks and roots, but images are more likely to insinuate themselves from the edges of my view, the periphery of my perception."

The takeaway for your photography? When you remove preconceived ideas that anchor your creativity, you’ll begin to appreciate the smaller scenes around you. You’ll notice quieter moments beyond the epic seascapes, grand vistas and verdant forests.

Slow down and take notice of underfoot scenes, such as these confetti-like myrtle beech leaves at Cradle Mountain, Tasmania.

ISO 200 | F14 | 1/4 sec

Your eye may catch intriguing shapes, contrasting colors or patches of light. And when you do, you’ve already gifted yourself the attention and mental space to further follow that thread of interest. You might move closer, shift angles or return later under different light.

So rather than entering environments hoping for ‘ideal’ conditions, I now (try to) enter each environment with an open mind. I allow myself the freedom to wander, to entertain the potential of smaller scenes that I would have otherwise ignored and overlooked.

Simplify the scene and fill the frame

An open sky often serves as a largely clean, distraction-free compositional element. So when you don’t include one, you may be looking down or across at environments overflowing with complexity.

Herein lies a central challenge of intimate landscapes. Chaotic elements, like messy foliage or incongruent textures, can combine to undermine the sense of harmony in your image.

A simplified frame of ghost gum trunks contrasting against the red rock of Karijini National Park, Western Australia.

ISO 160 | F16 | 1/3 sec

So, when you find smaller scenes too overwhelming, do what you can to simplify them. Focus on key details, isolate defining features, and obscure others.

You might simplify a woodland scene by highlighting shapely branches while excluding the undergrowth. Or, for rocky terrain, you might switch to a telephoto lens to fill the frame with striking rock patterns.

To help create order amongst the complexity, here are some examples of what you might focus on in different settings:

  • Forests: Compressed trunk columns or fractal branches spreading out
  • Deserts: Sweeping lines and overlapping layers
  • Rivers: Long-exposure patterns as streams cascade down
  • Coastlines: Repeating pebble or stone textures
  • Lakes: Smooth ripples and reflected golden hour light

As mentioned, smaller and simpler scenes have formed some of my strongest compositions. By filling the frame with key details, you’ll walk away with a more personal photo to call your own.

Don’t stand still: Shift your position and angle

A sure-fire technique to help you notice and capture smaller scenes? Gain some height and then zoom in.

So look for natural features that can provide a higher elevation, such as a boulder, a fallen trunk or a hill. Or venture out to a lookout and use a tighter focal length to shoot down onto the landscape.

Sometimes, even an extra foot or two in elevation will significantly alter the composition or enable you to exclude distracting sky patches. You’ll be better positioned to shoot across the scene (rather than up at it) and experience the landscape around you from a fresh perspective.

After waiting for the afternoon sun to cloak a distant mountain in shade, it illuminated these shapely branches at Fiordland National Park, New Zealand.

ISO 100 | F10 | 1/30 sec

Similarly, once you’ve noticed a compelling formation, scout your surroundings to find the strongest angle. For example, I captured one of my favorite smaller scenes of a beech tree in Fiordland, New Zealand. Gaining height allowed me to position the branches in front of a distant mountain. So that when the sun fell, it illuminated the leaves against the valley shrouded in shadow.

When you’re on a well-worn track, you’ll likely only see a fraction of the potential frames on offer. So, go explore and discover new angles to shoot from. But be careful – and considerate. If the area looks pristine or delicate, leave it that way. No photo is worth ruining the scene in which it was taken.

One last benefit from a technical level: In some situations, gaining height may enable you to shoot perpendicularly onto the scene rather than skim across it. This will reduce the necessary depth of field and help to minimize focus stacking. (Which can be tedious and is one of my least favorite parts of photography.)

Challenge yourself and make it fun

For many years, I struggled to break free from legacy ways of seeing the landscape.

So here’s one technique to help you capture smaller scenes: set a challenge for yourself. It’s counterintuitive, but introducing more 'rules' will force you into a different mindset and may allow you to view the landscape anew.

When you’re struggling to compose intimate landscapes, try a fresh approach. Here are a few rules that you may create for yourself:

  • Set restrictions: Work within a 20-minute timer or limit yourself to 10 frames
  • Go handheld: Leave the tripod behind and bump up the ISO if needed
  • Set a schedule: Take a photo every 5 minutes (great for daytime hikes)
  • Stick to a theme: Perhaps textures, colors, parallel lines or what’s underfoot

Remember, the purpose of the challenge isn’t to walk away with ideal images. It’s to get you to look at the landscape differently. To experiment without the paralysis of perfection.

The combination of low tide and an ever-shifting stream carved out these braiding sand patterns on sunset at Wilsons Promontory, Victoria.

ISO 100 | F16 | 1/6 sec

Afterward, go back through your images and take note of your favorite scenes. Often, one or two (or more) frames will jump out and resonate with you.

Once you’ve settled on a frame with potential, consider how you might improve the image even further. A tighter crop? Placing the subject off-center? Or returning under soft light?

After the challenge is over, then it’s time to revisit your favorite frames with your tripod to make the best image you can.

Document smaller scenes with your smartphone

With unfathomably powerful computers (and cameras) in our pockets, modern photographers live in an age of abundance.

So, while our devices can be overwhelming and distracting (see tip #1), they also equip us with tools that past generations could only dream of, like live cloud tracking, detailed satellite maps, and a capable camera to take snapshots of promising compositions.

When I’m out exploring, I’ll often reach for my phone before I reach for my camera. The intentionality needed to set up a tripod, attach the right lens and dial in the settings is often a barrier to creation. (This is why I enjoyed low-friction shooting with the handheld Fujifilm X100V so much.)

An example of using my smartphone to scrapbook potential compositions. Left: A quick phone snapshot to document the stripes and colors of snow gums at Falls Creek, Victoria. Right: The final image after waiting for the midday sun to become partly diffused behind a cloud.

Beyond weather tracking and location planning, my phone serves as a core part of my photography workflow in two ways:

As a scrapbook of potential compositions: It’s particularly helpful when I spend multiple days exploring a new area. In the evenings, I’ll scroll through my snapshots and review the day’s scenes with fresh eyes. Then, I can return to refine and strengthen standout scenes with my camera. The process also helps to prime my mind to look for similar but perhaps stronger compositions later in the trip.

To test telephoto focal lengths: Zoom in until you fill the screen with your preferred composition, even if it's beyond the 3x or 5x lens, and take a snapshot. Then, in my iPhone photo library, I can swipe up on the photo to inspect the precise focal length. This helps me determine what lens I’ll need and whether I need to attach a teleconverter.

Sweat the small things: Miscellaneous tips

Here are some small – yet just as impactful – tips for compelling, intimate landscapes:

Composition is still key. Even when there’s no sky, try to retain some breathing room around your subjects and carefully position elements to balance visual weight across the frame.

Experiment with light. If time permits, see what it’s like to capture the scene under different conditions. High-contrast scenes may look more flattering under soft light, while low-contrast scenes may benefit from harsh light.

Be mindful of what is (and isn’t) in focus. When shooting close scenes, select a small aperture (such as F16) and take at least five images, focused in the center and each corner, to help you focus-stack the scene.

Rather than including everything (and potentially diluting the visual story), this tight detail captures the essence of a much larger cascade at MacKenzie Falls, Victoria.

ISO 100 | F20 | 1/8 sec

Fine-tune your frame for a clean view. Sometimes, shifting your camera by a few centimeters can evoke a more pleasing sense of order in your scene.

Lastly, stop looking for perfection when it comes to smaller scenes and intimate landscapes. You won’t find it, and you’ll only set yourself up for disappointment.

Nature is complex, raw and unstructured. So, as you capture skyless scenes, remember that not every image will be a portfolio-worthy shot. The point isn’t to produce perfection but to capture scenes that resonate with you on a personal level.

When the sky isn’t the limit, you allow yourself the freedom to fail. To look for interesting yet imperfect scenes. To experiment with new angles, focus on fresh features and refine your approach to make more meaningful photos.

About the Author

Mitch Green is an Australian landscape photographer. He can be found on his website, on Instagram or by the beach at 5 am waiting for sunrise.

Kategorier: Sidste nyt

Apple launches new iPads, apps and accessories aimed at media creators: Here's what you need to know

Sidste nyt fra dpreview - 8 maj 2024 - 03:28

Apple's newest iPad Pro models incorporate a novel OLED display.

Image: Apple

At its "Let Loose" event on Tuesday, Apple announced new products, apps, and accessories aimed at content creators and multimedia users. Whether you're a photographer, videographer, or even a video editor, there's a lot that's new. Here's a rundown of the day's announcements.

iPad Pro

The headline feature of the latest iPad Pro is its new OLED display, which promises to deliver deeper blacks and brighter whites for photo and video applications, resulting in improved contrast, better motion processing and improved HDR.

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Apple says that standard OLED screens don't produce the levels of brightness required for its XDR display technology, so the iPad Pro's OLED screen employs a feature Apple calls "Tandem OLED," which uses two OLED panels and combines the light from both.

The result is a screen that produces 1000 nits of full-screen brightness, with up to 1600 nits of peak brightness for HDR. This matches the numbers for the previous 13" iPad Pro (which used a mini-LED panel) but significantly improves upon the previous 11" model, which maxed out at 600 nits.

Apple's newest iPad Pro models incorporate "Tandem OLED" displays that combine the light from two OLED panels to generate enough brightness for Apple's XDR display.

Image: Apple

For the first time, the iPad Pro's screen includes a nano-texture glass option, which does a better job of maintaining image quality and contrast while reducing glare and which Apple says should provide a better experience for people using color-managed workflows or those who work in bright conditions with light and reflections.

The new iPad Pro is the first device to use Apple's newest M4 processor, skipping over the M3 generation entirely and seeing a big jump in processing power. Apple claims the M4 delivers up to 50% faster CPU performance than the previous M2-based iPad Pros and up to 4x the rendering performance of the M2.

"The new iPad Pro is the first device to use Apple's newest M4 processor, skipping over the M3 generation entirely"

The M4 also received an update to its Neural Engine, which is dedicated to AI processing. Apple claims it delivers faster performance than neural processing units in any PC and can support AI-based features in applications, citing the example of using AI in Final Cut Pro to isolate the subject from a 4K video clip at the tap of a button.

The iPad Pro receives a design makeover as well. To start, the front-facing camera has been moved from the short edge of the device to the long edge, making it much more usable in landscape view. Considering that Apple has often positioned the iPad as a possible laptop replacement, complete with detachable keyboards, this makes a lot of sense. In fact, it's surprising it took this long.

The new 11" iPad Pro is just 5.3mm (0.21") thick, compared to 5.9mm on the previous 11" model, and weighs in at 444g (0.98 lbs), 22g lighter than its predecessor.

The new iPad Pro models are even thinner than their predecessors.

Image: Apple

The new 13" iPad Pro is even thinner at 5.1mm (0.20"), compared to 6.4mm for the previous 13" model, which represents an impressive 20% decrease in thickness. (Who says Apple isn't obsessed with making things thin?) It weighs 579g (1.28 lbs), compared to 682g on the previous model, a 15% drop.

Despite reduced weight and size, Apple says the new iPad Pros deliver the same level of battery performance as their predecessors thanks to the increased power efficiency of the M4 chip and that the new processor can deliver the same performance as the M2-based iPad Pros with just half the power.

Finally, the new models double the base-level storage to 256GB, with storage options up to 2TB. The 11" model starts at $999, and the 13" model starts at $1299.

Buy now:

$999 at$999 at Apple$999 at B&H Photo Final Cut Pro 2 for iPad

Apple also announced Final Cut Pro 2 for iPad, the first major update since the application debuted a year ago. The new version adds external project support, allowing editors to create or open projects on an external storage device like an SSD. This makes it possible to start a project on an iPad and later bring it into Final Cut Pro on a Mac if desired.

Final Cut Pro 2 for iPad includes support for live multi-camera recording.

Image: Apple

The other significant feature in Final Cut Pro 2 is Live Multicam, which allows users to connect and preview up to four iPhone or iPad cameras live for multi-camera recording and editing. When using Live Multicam, Final Cut Pro will automatically transfer and sync video from each connected device to simplify a multi-camera workflow.

As with the original version of Final Cut Pro for iPad, the new version has a subscription model that costs $5/month or $49/year.

Final Cut Camera

In addition to Final Cut Pro 2, Apple introduced a free app called Final Cut Camera, which can be used with the new Live Multicam feature in Final Cut Pro 2. Final Cut Camera includes monitoring tools like zebras and audio meters, and allows users to adjust settings like white balance, ISO and shutter speed, and supports manual focus.

The Final Cut Camera app provides more granular controls than Apple's built-in camera app.

Image: Apple

Final Cut Camera isn't limited to integration with Final Cut Pro. It can also be used as a standalone app for shooting video, providing much more granular control than Apple's built-in camera app and potentially creating some new competition for advanced third-party video recording apps like Blackmagic Camera or Filmic Pro.

iPad Air

For users who may not need or want all the features offered by the iPad Pro, Apple also unveiled new iPad Air models. Most noteworthy is the addition of a new 13" iPad Air. Apple says it added the larger model based on the fact that roughly half of iPad Pro users choose the 13" screen size.

The iPad Air now includes 11" and 13" models.

Image: Apple

The updated iPad Air models are built around Apple's M2 processor, which Apple claims results in 50% faster performance than the previous M1 model.

Like the iPad Pro, the iPad Air sees the front-facing camera move to the long edge of the device to better support camera use in landscape mode. Also, like the iPad Pro, base storage has doubled and now starts at 128GB with options up to 1TB.

The new iPad Air is compatible with accessories like Apple's Magic Keyboard and Apple Pencil. The 11" iPad Air starts at $599, while the 13" model starts at $799.

Buy now:

$599 at Apple$599 at B&H Photo Accessories

Along with new iPads and apps, Apple updated one popular accessory, the Magic Keyboard, and introduced a second, the Apple Pencil Pro.

The new Magic Keyboard, which connects to an iPad using magnets, is thinner than previous models and adds a row of function keys. It also includes a larger trackpad with haptic feedback. The new Magic Keyboard for 11" iPads retails for $299, while the model for 13" iPads retails for $349.

The Apple Pencil Pro is an evolution of the existing Apple Pencil. Its party trick is that the pencil barrel becomes a control surface: squeeze it, and a sensor in the barrel with haptic feedback can be used to do things like open a tool palette. It also includes a gyroscope, so it's possible to rotate the pencil to reorient the direction of a shape or brush. The Apple Pencil Pro works with iPad Pro and iPad Air and retails for $129.

Apple says all the new products announced today can be ordered immediately, with availability beginning next week.

Kategorier: Sidste nyt

Google mid-priced Pixel 8a brings processor and feature boost to familiar cameras

Sidste nyt fra dpreview - 7 maj 2024 - 18:00
Image: Google

Google has announced the Pixel 8a, its latest mid-priced smartphone, bringing the sensors and lenses from the Pixel 7a but the more powerful processor and features from the Pixel 8 and 8 Pro. It also gets a brighter screen, now earning Google's 'Actua' branding.

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The main camera is a 64MP camera with an F1.89 lens with an 80° angle of view (approximately 26mm equivalent, in 35mm terms). This uses a Type 1/1.73 (7.4 x 5.5mm) sensor.

There's also a 13MP ultrawide with an F2.2 aperture and 120° angle of view (∼12.5mm equiv). The front camera remains a 13MP camera with F2.2 lens and 96.5° AoV (∼19mm equiv). Both these cameras use Type 1/3 (4.7 x 3.5mm) sensors.

count AoV f/ Pixel size Sensor size Crop
factor Main wide 64MP 80°
26mm e F1.89 0.8μm Type 1/1.73
(7.4 x 5.5mm) 4.7x Ultrawide 13MP 120°
26mm e F2.2 1.12μm Type 1/3
(4.7 x 3.4mm) 7.4x Front camera 13MP 96.5°
19mm e F2.2 1.12μm Type 1/3
(4.7 x 3.4mm) 7.4x

While the cameras themselves remain unchanged, the 8a gets an upgraded screen, now offering a peak brightness of 2000 nits. This, and a wider color gamut, earn it the company's 'Actua' branding, previously only used on the top-end phones. It can refresh at up to 120Hz, to give a smooth, responsive look.

The panel is not exactly the same as that in the Pixel 8, though, with the company calling it a glass-OLED, rather than the plastic-OLED panel used in the 8.

Google says one of its core aims with the new phone was to deliver "the best camera in a smartphone under $500." Underpinning these hopes is the use of the same Tensor G3 processor used in the more expensive Pixel 8.

The Pixel 8a will be available in four colors, including Aloe (pictured), Obsidian (black), Bay (blue) and Porcelain (off-white).

Image: Google

The Pixel 8a includes features such as 'Best Take,' which takes a burst of images and then lets you choose the expression for each person in the image. It also includes Magic Editor, which uses generative AI to fill in the background, allowing you to select, resize and move subjects in the image, and Magic Eraser to remove distracting objects.

It also includes a "photo unblur" system that tried to up-res blurry parts of your images.

New to the Pixel 8a is Audio Magic Eraser, which analyses the audio in videos, splits it up into what it thinks are the different sound sources, and lets you selectively delete just the distracting audio elements.

It also includes the Guided Frame feature that gives audio cues for people with limited vision, which has been expanded to help take photos of pets, food and documents, as well as faces. As with all recent Google cameras it also utilizes the company's 'Real Tone' processing to more accurately render a wider range of skin tones.

The company promises a 15% increase in battery life over the 7a, and the 8a maintains the same IP67 weatherproofing rating as its predecessor. It's also essentially the same dimensions, at 152.1 x 72.7 x 8.9mm (6.0 x 2.9 x 0.4").

The Pixel 8a will be available starting from $499, in 128Gb or 256Gb varieties. Google promises security updates will be provided for seven years from launch.

Read Google's blog post on the Pixel 8a

Kategorier: Sidste nyt

Hasselblad announces XCD 25mm F2.5 ultra-wideangle for medium format cameras

Sidste nyt fra dpreview - 7 maj 2024 - 15:00

The Hasselblad XCD 2.5/25 V has a snap-back focus ring, engaging manual focus and revealing a distance scale.

Image: Hasselblad

Hasselblad has announced the XCD 2.5/25V, a 25mm F2.5 lens for its X-system 44x33mm medium format cameras.

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The 2.5/25V ends up acting as a 20mm equivalent ultra-wide lens on the X1D, X2D and 907x cameras, making it the second-widest option in the lineup, behind the 21mm F4. As with all XCD lenses, it features an internal leaf shutter, in this case allowing flash sync all the way up to its maximum speed of 1/4000 sec.

Hasselblad suggests its use for "shooting at night or dusk and blue hour," and says it can be used for: "cityscapes, street photography, natural landscapes/astrophotography ... as well as low light indoor portraits and close-ups."

Image: Hasselblad

It shares the features of the company's V ("versatile") series of XCD lenses, including a snap-back manual focus ring that reveals a distance scale on the barrel. It also has a user-configurable control ring, that can be used to control settings such as aperture value or ISO.

The complex 13-element, 10-group design includes four aspherical elements and three extra-low dispersion glass elements. It features an internal focus design driven by a stepper motor to deliver what the company describes as "fast, accurate, and responsive focusing."

It can focus down to 25cm (9.8"), giving a maximum reproduction ratio of 1:5.8.

The 2.5/25 is 105mm long and 75mm in diameter (4.1 x 3.0") and accepts 72mm filters. It weighs 592g (20.9 oz).

The lens will cost $3699.

Press Release:


The XCD 2,5/25V is the widest-angle lens in the Hasselblad XCD Versatile (V) series lenses. It has a 20mm full-frame equivalent focal length and a maximum aperture of f/2,5. With its expansive view and large aperture, the XCD 2,5/25V was designed for turning nocturnal cityscapes, starry skies, and indoor portraits into extraordinary captures.

Its wide-angle focal length encompasses a wealth of scenic elements, providing photographers with ample space and composition. The f/2,5 large aperture, coupled with its excellent optical performance, ensures rich highlights and shadows are captured within every frame, even at dusk or after dark.

The XCD 2,5/25V features an optical structure of thirteen elements in ten groups, including four aspherical elements and three ED elements, meeting the high-resolution requirements of 100-megapixel sensors. This ensures images are sharp and crisp from the centre to the edges while effectively suppressing chromatic dispersion.

The optical quality of the lens is also showcased by its robust close-up capabilities. With a 25cm minimum focusing distance and 1:5:8 magnification, its large aperture accentuates close ups, enhancing the expressiveness of subjects like gourmet dishes and flowers.

As part of the Hasselblad XCD V lens series, the design of the XCD 2,5/25V is known for integrating user-friendly functionality with elegance, in both its aesthetics and control. Enhancing the elegance is an engraved “V" insignia on the lens, with the "H" logo engraved on both the focus and control rings.

With a gentle push- pull of the focus ring, photographers can quickly switch between AF and MF modes. ‌In MF mode, intuitive scale marks on the lens keep focus distance and depth of field at a clear glance, enabling precise focus control. Functions such as aperture, shutter speed, ISO, and exposure compensation can be customised on the control ring, serving as an extension of the camera, allowing users to capture the perfect moment with ease.

The XCD 2,5/25V is equipped with a linear stepping motor and a smaller, lighter focusing lens group, providing a quick and responsive focusing experience when paired with Hasselblad X or V system cameras that support PDAF.

The lens adopts a large-diameter leaf shutter module with a shutter speed of up to 1/4000s. This enables both global shutter and flash synchronisation at all speeds.

The XCD 2,5/25V lens is priced at $3,699 USD / 4,199 EUR and is available to purchase online and at selected retail stores worldwide. For more information about the XCD 2,5/25V, visit

Hasselblad XCD 2.5/25 V specifications Principal specificationsLens typePrime lensMax Format sizeMedium Format (44x33mm)Focal length25 mmImage stabilizationNoLens mountHasselblad XApertureMaximum apertureF2.5Minimum apertureF32Aperture ringYesOpticsElements13Groups10Special elements / coatings4 aspherical, 3 extra-low dispersionFocusMinimum focus0.25 m (9.84″)Maximum magnification0.17×AutofocusYesMotor typeStepper motorFull time manualNoFocus methodInternalDistance scaleYesDoF scaleYesPhysicalWeight592 g (1.31 lb)Diameter75 mm (2.95″)Length105 mm (4.13″)Filter thread72 mm
Kategorier: Sidste nyt

Viltrox announces AF 16mm F1.8 Z, a fast, wide-angle lens for Z-mount

Sidste nyt fra dpreview - 7 maj 2024 - 15:00
Image: Viltrox

Viltrox has formally announced the release of its AF 16mm F1.8 Z lens, a fast, wide autofocus prime lens for full-frame Z-mount cameras. It joins the lineup next to Viltrox's existing AF 16mm F1.8 lens for Sony E-mount. Viltrox says the lens is aimed at applications like astrophotography, landscape and architecture.

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The AF 16mm F1.8 Z is built around 15 elements in 12 groups, including 4 ED and three aspherical elements. It has a minimum focus distance of 0.27m (11") and a maximum magnification ratio of 0.1.

A stepper motor drives autofocus. The lens has a nine-bladed aperture.

The lens also includes two function buttons and includes one-click access to infinity focus, a feature that should be popular with astrophotographers. It features a 77mm filter thread. Viltrox describes the lens as "dustproof."

Although Viltrox is formally announcing the AF 16mm F1.8 Z today, reviews on YouTube began appearing last week.

The AF 16mm F1.8 Z has a suggested retail price of $549 and is available immediately.

Viltrox AF 16mm F1.8 Z specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length16 mmImage stabilizationNoLens mountNikon ZApertureMaximum apertureF1.8Minimum apertureF22Aperture ringYesNumber of diaphragm blades9OpticsElements15Groups12Special elements / coatings4 ED, 3 asphericalFocusMinimum focus0.27 m (10.63″)Maximum magnification0.1×AutofocusYesMotor typeStepper motorFull time manualUnknownFocus methodInternalDistance scaleYesDoF scaleNoPhysicalWeight550 g (1.21 lb)Diameter85 mm (3.35″)Length103 mm (4.06″)SealingYesFilter thread77 mmHood suppliedYesTripod collarNo
Kategorier: Sidste nyt

Has the X100VI taken a little too much from Fujifilm's other cameras?

Sidste nyt fra dpreview - 6 maj 2024 - 16:00
The author looking pensive, perhaps pondering whether he's condemned to over-think every aspect of cameras.

It's unusual for us to publish both a review and then follow up with an opinion piece. So why am I doing it here? Our reviews do their best to act as a guide for the 'typical' user of a product, and to provide enough information for you to make your own mind up.

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But we all have different needs and expectations, myself included. I don't believe my own personal perspective represents the 'typical' user, so didn't want to weight the review too heavily towards it. Instead this is just my opinion, based on my experiences with the X100VI and how it worked for me.

So don't you like the camera?

I really like the Fujifilm X100VI. It's the best version yet of the kind of camera that we always hoped someone would make. Photographers who looked back longingly at the likes of the Contax T series or Olympus RC rangefinders were overjoyed when the X100 was launched, and the cameras have just got better. Hence the Gold award.

I understand that there are people who'd like a camera that's smaller, or one with a lens that's wider, or who don't see the appeal when interchangable lens cameras exist. But, just as with the Ricoh GR cameras: the X100 is what it is and it isn't (and isn't supposed to be) anything that it isn't.

Buy now:

$1599 at B&H Photo$1599 at Adorama

And armed with this perspective, I don't feel there's any contradiction between giving the X100VI a positive review for what it is, and then saying what I wish were different about it. Because I'm not asking for it to be something it's not, but instead that I wish it were even more what it's trying to be.

In short, I feel that the X100 borrowing so much from Fujifilm's other models risks detracting from its X100-ness.

Loss of focus

As the X100 series has continued, it's gained the dual clickable dials from the other cameras in Fujifilm's range, along with a using the focus ring as a control ring. This means there are more possible ways of controlling it but risks it taking longer for you to settle on your preferred way of doing so.

Noticeably, when you first switch the camera on, there are three settings assigned to the front dial, none of which actually does anything unless you hand-off control from the dedicated dial for each of those settings.

Given the number of direct controls on the camera, it seems odd to have four exposure parameters also assigned to the front and rear dials. And while I appreciate being able to use a press of the rear dial to punch in on the camera's live view, I feel that one or both dials being non-clickable dials would still allow for most people's preferred way of controlling exposure while also giving a higher-quality feel and less chance of accidentally pressing a dial and changing the function.

A control point that does do something out-of-the-box is the manual focus ring when you're not in MF mode. It's a free-rotating ring, ill-suited to the stepped variables that can be assigned to it, and it's all too easy to knock and only later wonder why you've spent the last two hours shooting in an unexpected Film Simulation mode or Small image size.

The X100's manual focus ring now acts as a far-too-easy to nudge control ring. I'm not sure who thought it would be a good idea to make it so easy to accidentally change film simulation or switch to Small image size, but I doubt we'd get along.

Of course, it's quite possible that this only stands out to me because, as a camera reviewer a) it's my job to explore the ways in which the camera could be used, rather than just picking one and getting on with it and b) because I've used all the other cameras its UI resembles, such that I recognize that the X100VI feels like the do-everything X-T5 but can't do as much. Upon tapping the front dial, I found myself having to think about how to configure and use the camera before I could start to fall in love with it.

Inappropriate features The hybrid X-H2 models, which are designed to cover a wider range of photo and video pursuits than the X100VI, have fewer dedicated dials, yet don't have clickable command dials. So why does the X100VI need them?

From a development (and cost) perspective, it makes sense for Fujifilm to offer as much commonality across its cameras as possible. And there's no-doubt some added concern about appearing to be withholding features if you omit something that the hardware is capable of offering. But does the X100VI need all the X-T5's features?

The X100VI has the same machine-learning-trained subject recognition system as the X-H2S and X-T5, but its much slower-moving lens means it can't focus on moving subjects with anything like the hit rate they offer. Likewise, do enough people capture pictures of birds with a 35mm equivalent lens to make the presence of bird detection AF worthwhile? Maybe other people are better at quietly approaching birds without disturbing them, but even with a 40MP sensor, I think I'd need to crop extensively to get anything useful.

And, even as someone who's written about why virtually all cameras include video, I'm not sure the X100VI would be any worse for not being able to capture cropped, rather rolling-shutter prone 6K video. Though I accept it may be more expensive, if it meant establishing parallel development streams for its firmware.

Overlooked quirks

Finally, I worry that carrying over so much code from other models means that the unique properties of Fujifilm's rangefinder-style cameras aren't as fully developed as they could be.

Take, for example, the behavior of the pop-up tab in the optical viewfinder, onto which an electronic preview can be projected. This retracts every time you nudge the AF joystick, then pops back up when you try to focus. But it only does this with the joystick's default behavior. If you set the joystick to simply position the AF point, rather than moving and letting you change its size, then the pop-up tab remains engaged.

This is a little odd, but becomes even stranger when you remember that it's not actually possible to change the AF point size when you're looking through the OVF. So why doesn't the joystick simply switch to position-only mode, when your eye is up to the finder?

Similarly, the pop-up tab can show a magnified version of the chosen AF point, for confirming critical focus position and accuracy. But only in AF-S mode. If you set the camera to AF-C (though why would you?), the tab shows a tiny version of the entire scene: the thing you're already seeing through the viewfinder itself. Both of these are really, really minor oddities, but could they have been better if Fujifilm had time to focus solely on what the X100 can do, rather than sharing firmware more widely?

And yet? For all of my nit-picking about the X100VI, I think it's a superb photographic tool.

To be clear, none of this stops the X100VI being an excellent camera. But part of me misses the simplicity and, perhaps, inflexibility of the early models. If you've decided to straightjacket yourself with a slow-to-focus camera with a fixed focal length, would it be so terrible to have to adapt to the way it's designed to be used, rather than even having to think about how to configure it and deal with its foibles? And would a few fewer features in any way diminish the appeal?

Perhaps Leica, whose SL cameras are full of functions but whose niche manual-focus rangefinders have had their video capabilities excised, is onto something.

Kategorier: Sidste nyt

Test reel roundup: Video samples you may have missed

Sidste nyt fra dpreview - 3 maj 2024 - 15:00

We've been pretty busy testing cameras over the past few weeks, and these days, camera testing usually includes shooting video samples to evaluate video quality.

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You can find these samples in our recent or upcoming camera reviews, but here's a quick roundup of video test reels we've shot recently for those who may have missed them.

Sony a9 III

Sony's a9 III is the first mirrorless camera to feature a global shutter, which is exciting to many videographers. But what about video quality? Check out this sample reel by former DPReview editor Carey Rose to see how it performs.

Buy now:

$5998 at$5998 at B&H Photo$5998 at Adorama Fujifilm X100VI

Fujifilm announced the much-anticipated X100VI rangefinder-style camera at an event in February. DPReview editor Richard Butler was present at the camera's launch in Japan and shared this overview of the camera from the streets of Tokyo.

Buy now:

$1599 at B&H Photo$1599 at Adorama Panasonic S5II / S5IIX

The Panasonic S5II landed on our doorstep just as we learned of our parent company's intention to close DPReview in 2023, and we've been looking for an opportunity to shoehorn it back into our testing calendar ever since we joined Gear Patrol last summer. The good news: we finally managed to block out time to finish our review of the camera.

For this video test reel, shot with the S5IIX, editor Dale Baskin picked a maritime theme and took the camera to Seattle's Lake Washington Ship Canal, Fisherman's Terminal and Ballard Locks to capture samples in a variety of of settings.

Buy now:

$1797 at$1798 at B&H Photo$1798 at Adorama Panasonic G9 II

The long-awaited Panasonic G9 II is an impressive camera for both stills and video. Former editor Jeff Keller, who still writes for DPReview and authored our Panasonic G9 II review, took the camera to the Bloedel Reserve, a forest garden near Seattle, to capture this video reel.

Buy now:

$1897 at$1898 at Adorama$1898 at B&H Photo Nikon Zf

The Nikon Zf may look like a film camera from the 1980s, but it's a capable video tool. For this sample video, Richard Butler followed a friend on a ferry trip across Puget Sound to Bainbridge Island to visit a favorite haunt for fish and chips.

Buy now:

$1996 at$1997 at B&H Photo$1997 at Adorama
Kategorier: Sidste nyt

Firmware update roundup: Fujifilm, Nikon, Sony and Panasonic

Sidste nyt fra dpreview - 2 maj 2024 - 16:00

Fujifilm's X-H2 cameras both gain a series of improvements, including tap-to-track AF in movies, improved AF tracking performance in stills mode and direct connectivity.

Photo: Richard Butler

Fujifilm has issued a series of firmware updates for its GFX100 II, X-T5, X-H2, X-H2S and X100VI.

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All five cameras gain some bug fixes and the ability to upload Raw files using the Xapp smartphone app, along with promises of more consistent Wi-Fi connections.

The X-H2S, X-H2 and X-T5 gain more, though, with the addition of AF tracking and the ability to tap-to-track in movie mode. The company also promises improved stills AF performance, with AF tracking less likely to lose focus.

They also gain the ability to upload files directly to the platform (the X-H cameras previously required the File Transmitter FT-XH accessory grip.

Firmware can be downloaded from your local Fujifilm website or via Xapp.


The Sony a9 III gains some features promised at launch, including the ability to use its full shutter speed range when shooting 120 fps bursts.

Photo: Richard Butler

Sony has released the promised firmware v2.0 for the a9 III, adding a series of features including the ability to use the camera's full shutter speed range when shooting at 120fps.

It's also re-released an updated version of the firmware for the a1, which it announced in March and then withdrew. Firmware v2.01 fixes a networking bug that was present in firmware v2.00.

Firmware for both cameras can be downloaded from your local Sony support website.

The company has also started selling the paid-for licenses that allow users of the a7 IV, a1, a9 III and a7S III to install custom grid-line displays on their cameras. The feature is aimed at professional photographers who produce large volumes of photos and need a high level of consistency between shots to speed-up their workflow. The $150 license fee can be paid at Sony's professional products website.


Nikon has released a series of firmware updates this month, including ones for the Z5, Z8, D7500 and D850. These primarily resolve a minor bug relating to the handling of Wi-Fi passwords when the cameras are reset.

Zf owners gain a more extensive series of bug fixes, with firmware v1.20 ensuring details such as consistent white balance in images shot in pixel shift mode.

These updates can be downloaded from the Nikon website for your region, or via the Snapbridge app.


Panasonic's Lumix DC-S5II and S5IIX received updates adding camera-to-cloud connectivity, some additional subject recognition modes and pre-burst shooting.

Coincidentally, Panasonic North American has also released a paid-for firmware option for professionals generating high volumes of images. This can integrate with several workflow tools and Panasonic's own barcode/QR code scanner and also offers framing masks to aid consistent composition. This $199 upgrade is available now.

Any we've missed?

We've searched around for firmware updates but if there are any significant ones we've missed, please let us know in the comments.

Kategorier: Sidste nyt

We want to see your best bird photos: DPReview Editors' Challenge

Sidste nyt fra dpreview - 2 maj 2024 - 15:00
We want to see your best bird photos in honor of World Migratory Bird Day. It's going to get stork raving mad, but moving with no egrets to present your im-peck-able best would be eggcellent.

Image credit: Shaminder Dulai

May 11 is World Migratory Bird Day, and we want to see your best bird images! Take part in the official DPReview Editor's Challenges for your chance to have your work featured on our homepage, in articles and galleries. We may even reach out to interview you about your work!

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You don't need to take your pictures on May 11. Anytime starting today is okay. Just be sure to submit your best work by May 16.

DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and celebrate your work with our peers.

If you miss participating in this one, please look out for our next editors' challenge. We have many DPReview Editor's Challenges planned for our 25th anniversary; you can even leave a comment to suggest our next theme.

How to submit your photos Submissions are now open; you have until Thursday, May 16, 2024, to submit. User voting will begin thereafter and will help inform DPReview Editors' Picks, but will not select them. They are one factor in our evaluation of submissions.

Enter your photos and read all the rules

Processing rules:

  • This is a photo contest, not a post-processing contest. Please, no composite, altered or fabricated images.
  • Light post-processing is allowed (white balance, toning, color, etc), but you must tell us in detail what edits were made.
Capture date rules:
  • Images must be shot after the announcement date of the challenge.
Additional rules:
  • Share what gear was used and your OOC shooting specs.
  • Share a list of edits you made during post-processing.
  • Include a caption that tells us what bird, where and when the photo was taken (e.g., city and time).
  • Please ensure your account's contact information is current; we can contact you if your photo is selected as an Editors' Pick.
  • Our standard copyright and privacy terms and conditions policy applies.
Kategorier: Sidste nyt

Fujifilm X100VI review

Sidste nyt fra dpreview - 1 maj 2024 - 17:31
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7440748693","isMobile":false}) }) 87%Overall scoreJump to conclusion

The Fujifilm X100VI is a photographers' fixed-lens camera that combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens.

Key features:
  • 40MP BSI CMOS APS-C X-Trans sensor
  • 35mm equiv F2 lens
  • In-body IS rated at up to 6EV of correction
  • Hybrid optical/electronic viewfinder (3.69M dot OLED panel)
  • Machine-learning trained subject recognition AF
  • 14 film simulations
  • 6.2K video capture and 10-bit recording
  • Built-in ND filter
  • Tilt up/down rear touchscreen

The X100VI is available now at an MSRP of $1599, a $200 increase over the previous models. Despite demand initially outstripping supply, the backlog does appear to be easing, somewhat.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama Index:
  • Feb 20th: Initial review published
  • May 1st: Body and controls updated, Image quality, Autofocus, Video, Conclusion and Review samples gallery published.
What's new?

The biggest change in the X100VI is the addition of in-body image stabilization.

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Interestingly, Fujfilm says the IS performance drops from 6.0EV of correction to 5.5EV of correction if you use the viewfinder in optical mode. The company has not given any insight into why this is the case.

Very little appears to have changed on the back of the X100VI. Though hunt as you like, you won't find the phrase 'Made in Japan,' anywhere. We traditionally don't take a position on such issues but feel it's worth mentioning when it comes in conjunction with a price rise.

The X100VI also sees a move to the 40MP BSI CMOS sensor used in the X-H2 and X-T5. It's a sensor that delivers high levels of detail capture, and from what we've shot so far, we don't have much concern about the lens's ability to make the most of this resolution bump.

The VI also features Fujifilm's X Processor V, that brings with it the machine-learning trained subject recognition algorithms. This means the X100VI has modes to recognize animals, birds, automobiles, motorcycles and bikes, airplanes or trains. As with other recent Fujifilm cameras, human face and eye detection is a separate mode, so you'll need to configure two buttons or positions on the Q Menu if you plan to swap between photographing people and a different subject type.

Film simulations

The X100VI gains the Reala ACE film simulation first seen in the GFX 100 II. Alongside this are added the Nostalgic Neg and Eterna Bleach Bypass simulations, taking the total number to 14 simulated filmstocks or 20 if you include the faux-color-filtered variations of the mono modes.

This is a lot to choose from, even for experimenting with them after the fact, using in-camera Raw conversion. For the most part, the options available represent film responses that you might actually choose to use, but the distinction between some modes is becoming quite subtle, and there's a balance between providing useful options and feature-bloat.

Camera to cloud

The X100VI becomes Fuijfilm's first camera to support the camera-to-cloud (c-2-c) system using its built-in Wi-Fi. This comes in addition to the usual Wi-Fi-to-smartphone options. It lets you pair the camera with a Wi-Fi network and then have the camera upload images and video directly to Adobe's cloud-based collaboration platform. We found it was easy to set up and gives the option to auto upload files as they're created or to let you manually select the ones you wish to upload. You can select specific file types, too, so that it only uploads video or JPEGs, or just Raws or HEIFs, as you prefer.


The X100 series has always offered video to some degree, but we've not heard of a lot of people making use of that capability. The X100VI offers essentially the same options as the X-T5 (itself not the company's most video-focused model), so you gain 10-bit recording, 6.2K capture from a 1.23x (43mm equiv) cropped region or 'HQ' 4K derived from this footage. This exhibits appreciable rolling shutter. Alternatively, there's sub-sampled 4K at up to 30p from the sensor's full with or at up to 60p with a 1.14x crop.

Like the recent GFX 100 II, the X100VI now has AF tracking in video mode, and this isn't restricted to the subjects it's been trained to recognize.

The X100VI has a mic input and can use its USB-C socket for audio monitoring, though, unlike the X-T5, no USB-to-3.5mm adapter is provided.

It's interesting to note that many movie mode settings are now accessible only when the camera is in Movie drive mode. This way, there's only a single page of basic video functions in the menu when you're shooting stills.

Other changes:

In addition to updating some of the camera's main specs, the X100VI also inherits many of the smaller refinements and updates that Fujifilm has developed in the four years since the last model was released. These include:

  • HEIF capture
  • Skin smoothing effect
  • White priority and Ambience Priority Auto WB modes
  • Custom AF zone areas
  • Option to limit available AF area types for AF-S or AF-C shooting
  • Pre-shot bursts (E-shutter + Cont H)
  • Self-timer lamp on/off
  • Interval shooting with an external timer
  • Interval priority mode (prioritizes chosen interval, irrespective of exposure time)
Body and controls

The X100VI is 2mm deeper than the existing X100V, and 43g heavier. In practice, neither of these changes is especially noticeable. The camera still doesn't feel overly heavy.

The body's dimensions are similar enough to still fit in the existing LC-X100V leather camera case. It's also still compatible with the existing tele and wide-angle converter lenses. It uses the same lens as the previous model, so you can weather-seal the camera if you add the filter ring adapter and a filter of some sort.

The rear screen on the X100VI is a refinement of the tilting touchscreen on the previous model. It now tilts down a little further (45° rather than 30°) and pulls away from the body and viewfinder a little when tilted up for waist-level shooting. It's a small change, but a welcome one.


The control layout is identical to the previous model, with dedicated controls for aperture, shutter speed, exposure comp and ISO (albeit an ISO control that's fiddly to the point of primarily being decorative). As with previous models and many historic film cameras, the exposure mode is dictated by the position of the dedicated dials. Essentially you turn the dial to 'A' if you want the camera to control that value:

Manual Aperture Priority Shutter Priority Program Aperture ring setting F-number F-number A A Shutter speed dial setting Shutter speed A Shutter speed A

Exposure compensation is available in all modes, including Manual, if you have Auto ISO selected. And, since the shutter speed dial only has whole-stop steps, you can use a command dial to give you 1/3rd stop precision, ±2/3 EV from the value selected on the dial.

Command dials

In addition, there are two pressable command dials on the front and back of the camera, which can have a series of functions applied to them if the dedicated controls aren't being used.

By default, the camera's front clickable dial is set to control aperture, ISO and exposure comp (with a click of the dial cycling between the options). However, it doesn't actually let you control any of these things unless you consciously hand off control from the dedicated dials first.

This is where things get a little complicated: the exposure comp and ISO dials have dedicated 'C' positions to pass control over to the command dials. The shutter speed dial doesn't have a C position, so instead should be turned to its 'T' (Time) setting. The aperture ring doesn't have a C position but its 'A' (Auto) position can be reconfigured to act as 'C', via the menus. This may not be obvious, given the ISO dial has both an A and a C position, but this is where the X100 series development has brought us to.

We find it hard to imagine many people are assigning three settings to the command dials, and hence needing the pressable dials to make their function toggleable, but for most permutations we can anticipate, we think you can configure them only to the functions you want to control, so at least you won't accidentally press the dial and adjust anything unexpected.

Disappointingly, if you set ISO to 'A' you can't use a command dial to select between the three Auto ISO presets that you can configure. For that you'll need to select 'C' and be careful not to scroll the command dial too far and disengage Auto ISO altogether.

Hybrid viewfinder

The X100VI has the same hybrid optical/electronic viewfinder as its immediate predecessor. This has three modes: fully electronic, fully optical and optical with an inset electronic display.

As with all viewfinders that are offset from the lens and sensor, the optical finder is affected by parallax: when focused at infinity, the difference in position between the lens and viewfinder is irrelevant, but it becomes increasingly important as the focus distance decreases. Not only does the framing of the photo diverge at closer focus distances, the position of the AF points effectively moves down and to the right as you focus on closer subjects.

The X100VI finder includes the improvements made in firmware 2.0 for the X100V. A 'Corrected AF point' option (AF/MF Settings pg 3) displays a bracketed indicator in the OVF, showing where your AF point will move to if you focus close to the camera. Another menu option, 'Bright Frame Position Memory' (Setup/Screen Setup pg 1) lets you decide if you want the AF box to revert to infinity after each shot or stay at the correct position for the last time you focused. Between these two options, you should be able to get the OVF to work the way you're most comfortable with.

OVF inset tab

A quick note on the tab at the bottom right-hand corner of the OVF, which can be popped-up to have an electronic display projected onto it. In MF and AF-S modes, its default behavior is to show a magnified view of your chosen AF point, and you can press the rear dial to change the magnification. In AF-C mode, it simply shows the entire scene, so it isn't terribly useful.


The X100VI uses the same NP-W126S battery as the previous few X100 models. It's an 8.2Wh unit from which the camera is rated to deliver 450 shots per charge using the optical viewfinder or 310 shots if you use the EVF. The usual caveats come into play: in many shooting scenarios you can expect to get around double this number.

As you'd expect of a modern camera, you can charge the battery in the camera using a USB-C cable. As is becoming increasingly common, no offboard charger is supplied in the box to avoid electronic waste.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama Image quality

As part of the work on our review of the Fujifilm X100VI, we've shot and processed our standard studio test images with the camera.

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-11277448","widgetId":918,"initialStateId":null}) })

Given the camera is based on a sensor we've seen before, there are few surprises in terms of its performance. It produces more detail than the 26MP sensor in the X100V$(document).ready(function() { $("#icl-5922--942022866").click(function() { ImageComparisonWidgetLink(5922); }); }), though perhaps not to the degree you'd expect of its 24% increase in linear resolution. Inevitably it shows more noise at the pixel level than lower-res sensors, but is comparable when viewed at the same output size$(document).ready(function() { $("#icl-5923--822446852").click(function() { ImageComparisonWidgetLink(5923); }); }), up until the very highest ISO settings$(document).ready(function() { $("#icl-5924-1412444404").click(function() { ImageComparisonWidgetLink(5924); }); }).

Lens performance

The studio scene is not intended as a lens test: we typically use very high-performance lenses at an aperture that delivers high levels of cross-frame consistency with little risk of diffraction limiting the performance. However, with the X100VI, we have no choice but to use the built-in lens.

The 35mm equiv field of view means we have to move much closer to the target but this is still at over 40x focal length, so isn't especially close-up. An aperture value of F5.6 means the test isn't as aggressive as it could be.

And the X100VI's lens appears to acquit itself well in these circumstances. In the JPEGs it's comparably detailed near the center as the X-H2's results, using the 56mm F1.2 R lens we use for X-series ILCs (though the X100VI is possibly having to apply more sharpening$(document).ready(function() { $("#icl-5925--466670728").click(function() { ImageComparisonWidgetLink(5925); }); }) to deliver this result). Things get a little softer towards the corners and exhibit some (easily corrected) lateral chromatic aberration and a degree of vignetting in the Raw conversion. For a lens that's as compact as it is, it appears to be doing a good job in front of a high-resolution sensor.

The X100VI's tiny eight-element lens isn't the absolute sharpest, and a 40MP sensor means pixel-level performance noticeably drops away if the light isn't pretty bright. But Fujifilm's JPEG engine and its wide array of interesting and attractive 'Film Simulation' color modes give excellent results.

Fujifilm X100VI | ISO 250 | F2.8 | 1/1500 sec
Photo: Richard Butler

As with all the other 40MP X-Trans cameras, the Adobe Camera Raw conversion isn't showing the same levels of contrast or sharpening that the camera's own JPEGs do, so it's worth downloading the Raw files to see whether your preferred software and processing workflow produce results you're happier with. But overall, we feel it does well.

Most importantly, we have found it to show solid (if not outstanding) results in real-world shooting, which tends to be a lot less demanding than a highly detailed chart that allows side-by-side comparison with some of the best lens/sensor combinations money can buy. It's not especially sharp when used wide-open at close distances, but we weren't unhappy with the results.


Autofocus is one of the most expanded areas of the X100VI and yet, somewhat paradoxically, one of the least changed.

The X100VI gains the subject recognition system first introduced in the X-H2S. It's been trained to recognize your choice of subjects. This is guided by the underlying AF controls, so you can still select anything from a single, variable-size AF point, via customizable AF zones up to the whole image area, and the camera will focus on the recognized subject nearest your specified area. In AF-C mode, there's also an AF tracking mode that gives a mid-sized AF point that will then follow the selected subject around the frame if they move.

The addition of subject detection AF can make it quicker to select a target or be more confident that the camera will focus in the right place, but it doesn't particularly improve AF performance itself. We mainly found ourselves using the X100VI in AF-S mode.

Fujifilm X100VI | ISO 125 | F4.0 | 1/640 sec
Photo: Richard Butler

As mentioned earlier, subject recognition is a distinct series of settings from human face/eye detection, so you'll need to configure two of the camera's scarce custom buttons if you wish to regularly swap from face/eye detection to and from one of the subject detection modes.

Subject detection and eye detection do not work when you are using the optical viewfinder, where you have only a single AF point size. AF tracking (without subject recognition) is available, though. This means you lose most of the camera's more advanced focus capabilities if you try to use one of its defining features.

AF performance

However, while subject recognition works very well at identifying subjects, the X100VI's heavy, unit-focus lens can't move quickly enough to sensibly maintain focus on moving targets. So, despite its interface being very similar to cameras such as the X-H2S, its AF system as a whole is much, much less effective.

While subject recognition makes it slightly easier and quicker to focus on an animal or bird in your image, it doesn't particularly improve the likelihood of you getting your shot if your subject moves.

As with the X100 cameras that came before it, you're better off learning to pre-focus and anticipate movement than you are to place too much faith in continuous AF.

The X100VI is a little faster to focus than most of its predecessors, but it's still very much a camera where you work around its AF system's performance, rather than depending on it.


The X100VI offers essentially the same video features as the X-T5, which means footage at up to 6.2K at up to 30p from a 1.23x crop of the sensor, line-skipped 4K at up to 30p from the full-width of the sensor, 4K 50 or 60p from a 1.14x crop or a high-quality 4K mode at up to 30p derived from the cropped 6.2K footage. The main limitation being that the camera's older UHS-I card slot limits bitrates to a maximum of 200Mbps, lower than the X-T5's highest quality settings.

As with the X-T5, each mode is a trade-off between detail, rolling shutter and the need to crop: which not only means more noise but on a fixed focal length lens also dictates a new angle-of-view.

Video crops & rolling shutter timings Fujifilm X100VI Equivalent focal length* 6.2K 1.23x (native) crop / 24.9ms ∼45mm equiv 4K (HQ) 1.23x crop / 24.9ms ∼45mm equiv 4K 60p (sub-sampled) 1.14x crop / 13.5ms ∼42mm equiv 4K (sub-sampled) Full width / 15.3ms ∼37mm equiv *Based on diag AoV, such that full-width 16:9 footage implies a 1.04x crop

The line-skipped standard 4K footage won't stand up to intense pixel peeping and will be more prone to moiré and noise than a low-res sensor that can read out all its pixels suitably quickly, but for most applications, it looks pretty good.

Our notes about AF not being the fastest mean we would tend to use the AF on the X100VI only for slow focus pulls, rather than trying to rapidly refocusing to stick on a subject but the newly-added tap-to-track system is pretty good at sticking on your intended subject. The camera's IS is also a significant bonus, and can be combined with some digital correction (with, necessarily, an additional crop) to further smooth things out.

If you're really determined to shoot with the X100VI, you can use a USB-C dongle to connect some headphones for audio monitoring and an adapter to connect a mic to the 2.5mm socket, but we feel there are probably better (and probably less expensive) platforms if video projects are your thing.


The X100VI is the first Fujifilm camera to be able to upload photos and video directly to Adobe's platform. This is primarily a collaboration platform, originally designed for video production. And, while there certainly are workflows for situations such as wedding photography, where constantly uploading files so that an off-site editor can get to work immediately, it's also worth considering as a simple way of uploading your photos if you don't have the time or skills to set up your own SFTP site.

For now, at least, has a free service that gives up to two people access and allows you to upload 2GB of files. This may be useful to a lot of people who want to automatically offload their latest photos after a shoot, as an alternative to using Xapp to transfer low-res or small batches of images to a phone.

Conclusion What we like What we don't
  • Good image quality in JPEG and Raw
  • Excellent array of color modes for stills and video
  • Engaging direct control dials
  • Distinctive hybrid OVF/EVF
  • Combination of size, quality and styling
  • Image stabilization makes the most of high pixel-count sensor
  • Strong video capabilities
  • Decent battery life
  • Built-in ND lets you use the aperture of your choice even in bright light
  • Camera-to-cloud and smartphone app both reliable in our testing
  • Lens doesn't focus fast enough to make the most of its new AF capabilities
  • Arguably more dials than necessary
  • Face/Eye detection separate from subject recognition, so awkward to switch back and forth
  • Function/Focus dial easily knocked (we disengage it)
  • Lens isn't the sharpest, especially when wide-open and close-up
  • Have to use EVF or rear screen for face/eye detection
  • Not all Raw converters can get the best out of the X-Trans design

The X100VI is, as you might expect, an iterative update to the much-loved series of cameras. The higher-res sensor and image stabilization, along with some other little tweaks make it the best yet.

By now you probably know if you're the target audience. If you find yourself wondering whether it makes more sense to buy a mirrorless camera, for the flexibility of interchangeable lenses, or find that its looks prompt the words 'Hipster' or 'TikTok' to spring to mind, then this isn't the camera for you.

From a glass half-empty position, it's a camera of compromise. Its autofocus, while the best performing and most useable of the series yet, is a world away from the best contemporary mirrorless cameras. Its (tiny) lens isn't as sharp or as edge-to-edge consistent as a top-notch 35mm equiv could be. And, fundamentally, it's a camera whose fixed lens places limitations on your photography.

The X100VI isn't the most practical or flexible camera, meaning you have to really want the one thing it does. But the experience of shooting and the attractiveness of the JPEGs can leave you smiling.

Fujifilm X100VI | ISO 250 | F5.6 | 1/250 sec
Photo: Richard Butler

But I found the experience to be refreshing. A camera that just tries to be one thing makes you focus on the thing it does. Even though the OVF isn't actually very practical, it helps the camera feel distinctive and special. And for all that it's possible to worry about the corner performance of the lens, I regularly find myself looking back at the JPEGs thinking: 'that looks great.'

As a reviewer, tasked with investigating its every feature and control point, I found myself wondering if borrowing too much from other X-series models has detracted from its purity of focus, but I also found that I soon enough just ignored all the stuff I didn't want to use and got on with shooting.

As with previous X100 models, it's probably a camera you choose with your heart, not your head. But if you go into it with that knowledge, the X100VI might just help remind you of how much fun photography can be.


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

Fujifilm X100VICategory: Enthusiast Large Sensor Compact CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe X100VI is designed to give a specific photographic experience and excels at it. Its styling communicates both what it is and isn't, and this will (and should) attract or repel you accordingly. If you want a beautiful, limiting, nonsensical photo tool that will help document your life in better-than-reality color, then meet your perfect companion. It has its foibles: you may never notice or care.Good forPhotographers who want a 35mm-equiv camera they can fall in love withNot so good forAnyone looking for flexibility, speed or practicality.87%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"fujifilm_x100vi","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."}) Compared to its peers

We've already looked at the differences between the X100VI and the Ricoh GR IIIx in some detail but, perhaps unsurprisingly, it's mainly a question of whether you want the classic looks and hybrid viewfinder experience of the Fujifilm or the neat pocketability of the GR. The Fujifilm wins hands-down in video, for what that's worth. The X100VI also has the edge in terms of JPEG output, we feel, but ultimately we think the underlying design concept of each camera, rather than any aspect of performance, will decide this one.

The X100VI's closest competitor is arguably its predecessor, especially now they're starting to appear on the second-hand market at less inflated prices. The 40MP sensor of the X100VI doesn't offer a devastating increase in quality, nor does the addition of image stabilization definitively seal the deal. Likewise, we could live without the Reala ACE film simulation and subject recognition modes, if we had to. But collectively they, and details such as camera-to-cloud and seemingly improved Bluetooth and Wi-Fi reliability just keep nudging the needle further towards the new camera.

So what about a mirrorless camera with a 35mm-equiv lens? Sony's a6700, for example, is pretty small, has an electronic viewfinder and a decent choice of lenses (including options such as 85mm-equiv primes that the Fujifilm can't match). It also offers both autofocus and video that significantly outperform the X100VI, making it vastly more flexible. But within the bounds of what it's trying to be, the X100VI offers a more coherent, consistent and distinctive user experience than a mirrorless camera does, and a hybrid viewfinder that can set this experience apart. We think both approaches can be very good, but they're terrible substitutes for one another.

Buy now:

$1599 at B&H Photo$1599 at Adorama Sample galleries

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); we do so in good faith, so please don't abuse it.

For the review gallery we've primarily shot using the new Reala ACE profile, which offers a fairly subtle color response with less contrasty shadows. The Film Simulation used for each image is indicated.

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Kategorier: Sidste nyt

Viltrox AF 40mm F2.5 Z sample gallery

Sidste nyt fra dpreview - 30 apr 2024 - 15:00
$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_2243661690","galleryId":"2243661690","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

The Viltrox AF 40mm F2.5 Z is a full-frame lens for Nikon Z-mount cameras. The lightweight prime lens provides a normal field of view, roughly approximating the perspective of human vision.

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We put the AF 40mm F2.5 on a Nikon Z7 and captured photos from rain-soaked Seattle to the sunny high desert of central Oregon, in a variety of lighting conditions. Check out our sample gallery to get a better idea of how this lens performs in the field.

View our Viltrox AF 40mm F2.5 Z sample gallery

Buy now:

$158 at$158 at B&H Photo
Kategorier: Sidste nyt

Question of the week: If you could update one camera from the past, what would it be?

Sidste nyt fra dpreview - 30 apr 2024 - 00:44

Every week, we ask newsletter subscribers a question about gear, creativity or life. Last week we looked back in time to ponder which classic cameras are overdue for a comeback. We asked readers: If you could update one camera from the past and bring it back to the market, what would it be?

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Hundreds of readers wrote in to share thoughtful and surprising responses. Thematically, many reminisced about old film cameras, others wanted an update to DSLRs of yesteryear and a few just wanted to see the guts of top-of-the-line cameras mashed into camera bodies they loved.

Here are five of our favorite responses:

1. Cosina CT-1A

Not the CT-1A but a model that was very similar and a variation from Cosnia. These cameras were very manual with no frills, but they did the job.

Image credit: Aaron Stidwell/Wikipedia

A DPReview reader wrote: "Cosina CT1-A. It was amazingly light and had simple metering, no fuss, no choice. Digital has somehow removed the essence of the moment."

2. Kodak Retina iic

Image credit: Wikipedia

A DPReview reader wrote: "Kodak Retina iic. A wonderful built camera in Leica Quality with the possibility to just like Fuji x100 use wide and telephoto adaptors. Nice in hand, small and foldable that is the one!"

3. Nikon D300s

A DPReview reader wrote: "For me the Nikon D300s is special. The sound of the shutter, sounds' just right' to me. The grip is big and comfortable. I compared it to my D3300 with twice the resolution and it's much sharper, oddly. The menus have nearly all the options I'd like. If I could change the sensor for one with more detail and reduce the weight I'd be very happy. Now I'm a Z user, I would prefer an EVF, with all the features that brings."

4. Olympus Pen-F

A DPReview reader wrote: "The original Olympus Pen-F, or, the last one with a self-timer. Wouldn't want the middle one with the internal meter because it darkened the viewfinder."

5. Epson R-D1

A DPReview reader wrote: "Epson R-D1. No other proper digital camera has come close to it in replicating the feeling of film shooting. Still my favorite camera but could really use a modern refresh."

What's your take? Let us know in the comments.

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Kategorier: Sidste nyt

Peakto Search for Lightroom Classic: Using AI to search the contents of your photos

Sidste nyt fra dpreview - 29 apr 2024 - 15:00
Peakto Search provides the ability to search your Lightroom Classic catalogs based on the content of images.

Unless you’re one of the increasingly rare photographers who tag and organize their images, finding specific photos in ever-growing libraries tends to be frustrating and time-consuming. Peakto Search is a new utility from CYME that uses machine learning to index Lightroom Classic libraries and find photos using text prompts or image similarity.

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The Lightroom Classic plug-in, which works only under macOS, is an outgrowth of Peakto, the company’s larger app for managing multiple libraries from various sources such as Apple Photos, Capture One, Luminar and others (but Peakto Search does not require Peakto to run). It’s available as a one-time purchase retailing for $129 or as a subscription ranging from $3.70 to $9.00 per month depending on whether you pay for 24 months, 12 months or single months. A free 7-day trial applies when you sign up for one of the subscription options.

Buy now:

From $4/month $129 lifetime

Peakto Search appears as a floating window separate from Lightroom Classic, which you access from the macOS menu bar or from the Plug-in Extras menu in Lightroom. If you have multiple catalogs, such as to separate personal and work libraries or dedicated to separate jobs or clients, you can load them all into Peakto Search and the utility will grab results from them all, not just the currently running one.

Add multiple Lightroom Classic catalogs to Peakto Search and run queries across all of them, even if their images are offline. Search by text prompt

Typically when you do a search in Lightroom Classic, it’s based on textual metadata (found in EXIF data or as keywords you’ve added) or attributes such as shutter speed, camera model or lens. What Classic does not offer is a way to search the contents of images. (The newer Lightroom desktop app does, because Adobe performs object recognition on photos in the cloud.)

Peakto Search scans a Lightroom Classic catalog and builds an index of the objects and scenes it recognizes from the machine language models it uses. Instead of hoping you tagged an image with the keyword “beach” or that it appears somewhere in the metadata (such as GPS information), you can type a prompt such as “smiling people at the beach” to get results that match or approximate those terms.

A text search for "smiling people at the beach" brings up photos from multiple catalogs. Lightroom Classic is on the left, and Peakto Search is in its own floating window at right.

Results appear quickly and get refined as you type, so “smiling people” will bring up a host of hits that change as you continue typing “at the beach.”

You can narrow the search results by filtering for attributes such as rating, color label, flag and file type (image or video). In our example, you could find smiling people at the beach, but only images you’ve previously rated as three stars.

Narrowing the results to images rated three stars.

Clicking a photo thumbnail in the Peakto Search window opens it in Lightroom Classic, even if the app isn’t currently running. When you want to open a photo from a different catalog than the currently open one, double-clicking a thumbnail directs Classic to switch catalogs and load that photo.

Since the plug-in and Classic enjoy this direct connection, you can change how multiple selected thumbnails are displayed. Instead of the default Detail view, for instance, selecting two or more thumbnails can trigger Lightroom’s Survey view, which shows the images larger in a grid for easier comparison. The Peakto Search interface includes a thumbnail size slider to change the visual density of results.

In addition to pointing you toward individual images, Peakto Search includes a feature for creating Lightroom collections based on the results of a search.

Create a new collection based on Peakto Search results. Search by image

The other method of finding photos using Peakto Search is to feed it an image. That can be one you drag from outside the utility to the Find Similar Images interface, or by selecting an image in Lightroom Classic and choosing File > Plug-in Extras > Peakto Search for Lightroom > Search Similar Images.

In this case, the cat photo in Lightroom Classic is the basis for locating similar photos. The scattershot nature of AI results

As with most AI-based tools, Peakto Search will get you closer to finding the images you want, but may not hit the target right away. A search for “bearded man siting in a chair,” for example, brought up images that included just that, but also photos from the same shoot that included just the chair, and the man standing next to the chair.

With the 'Tolerant' setting, Peakto Search returns photos of the items in the text search, even if they don't all apply specifically.

To narrow or broaden the scope of results, there are three levels of a Tolerance setting: Close, Standard and Tolerant. That latter tends to produce better results with more matches, but also more images that don’t quite fit the description. Expect to find yourself using the Peakto Search picks as jumping off points to browse nearby photos within Classic’s Library module.


Scanning images for their contents to build an index is processor-intensive. On a 2021 MacBook Pro with an M1 Max processor, updating the index for a large-ish library (around 160,000 photos) activates all of the CPU cores simultaneously. Peakto Search includes settings for choosing the maximum number of concurrent indexing tasks (1 through 6) and which component is primarily doing the indexing, such as the machine’s Neural Engine and CPU or GPU. You can also set how long search results are held in memory for when you’re jumping back and forth between Peakto Search and Classic; a lower value, such as 1 minute, triggers the plug-in to refresh the search terms more often, using more resources.


When we browse our libraries for photos, we usually look for things we recognize: people, scenes, situations. Those are all characteristics beyond what Lightroom Classic understands (unless you’re working with AI-assisted features like masks). Peakto Search adds that visual dimension to finding images in your libraries, getting you to the photos you want faster.

Kategorier: Sidste nyt