dpreview - news

All articles from Digital Photography Review
  1. The EOS 90D is Canon's newest DSLR camera, sporting a new 32.5MP sensor and 4K video without a crop. As Chris and Jordan discovered during their testing, there's a lot to like.

    Make sure to visit our Canon 90D initial review for more information on this camera.

    Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    Sample gallery from this episode

  2. A new gallery from the Canon EOS 90D, shot by Chris and Jordan while filming this week's episode of DPReview TV. As usual, it comes complete with reflected images in puddles.

  3. Axibo Media has launched a Kickstarter campaign for Axibo, an AI-powered camera slider system with tilt and pan functionalities. The company bills Axibo as a more affordable and simplified professional alternative to existing robotic camera systems. The product features an integrated 6 + 1 AI core CPU, powering its ability to learn faces and track 'just about any object.'

    Axibo is claimed to be the first AI-powered camera slider on the market. The device supports shooting in a variety of modes, including simple to 3-axis multi-point complex time-lapses, face tracking while sliding back and forth, and more.

    The system supports payloads up to 20lbs (slider) to 24lbs (Pan & Tilt unit), speeds up to 1m/s (slide) and 300 deg/s (pan/tilt), and it supports voice control. Features include USB-C compatibility, HDMI-in, power for the mounted camera, and a universal app for controlling the device.

    The 1m (3.2ft) slider is made from carbon fiber, supports angled and vertical motion, and including dual 1/4"-20 mounts on both ends. The Axibo slider can be used without the companion Axibo Z1 Pan & Tilt unit when applicable. The slider is joined by the companion Axibo controller, which includes WiFi, Bluetooth, USB-C, HMDI, axis inputs for camera control, and a Sony NP-F dual battery receiver.

    The aforementioned Pan & Tilt unit features an intreated 4MP camera for 40fps face and object tracking, support for operating in inverted mode, modular mounting options (including support for tripods), and aluminum construction.

    The Axibo camera slider system is being offered through Kickstarter, where backers who pledge at least $1,192 CAD are offered the slider, controller, z friction mount and cable package. Other pledge options include the Pan & Tilt unit for pledges of at least $1,315 CAD and both the slider and Pan & Tilt unit for pledges of at $2,105 CAD. Shipments to backers is estimated to start in April 2020

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

  4. Alongside the announcement of the X-Pro 3, Fujifilm has said it is developing a 50mm F1.0 lens for its X-mount mirrorless cameras and cancelling the promised 33mm F1.0.

    As part of the presentation, Fujifilm's Head of Product Planning, Takashi Ueno said that the 33mm F1.0 had become too big and heavy as it was being developed. The latest prototype weighed 1300g (45.8oz), included 15 elements and necessitated the addition of a tripod foot.

    Instead the company has said it will build a 50mm F1.0, that can be under 900g (31.7oz).

    The result is a very different lens: a 75mm equivalent, rather than 50mm equiv. people were expecting. The two sponsored 'X Photographers' at the event suggested it could be useful for wedding and portrait photographers. One of these professionals, Bert Stephani, expressed a the hope that the company will re-work its XF 35mm F1.4: one of the first lenses in the X system, whose autofocus isn't up to the same standard as the company's more recent designs.

  5. At its Fujifilm X Summit in Tokyo, Japan today, Fujifilm announced the development of its forthcoming X-Pro3 and teased several new and intriguing features the rangefinder-like mirrorless camera will have.

    The first detail Fujifilm noted in its presentation is that the X-Pro3 will be built with a titanium body, which will come in three colors: Black, DURA Black and DURA Silver. The standard 'Black' version appears to be painted, while the 'DURA' versions are coated in some manner. Titanium is a challenging metal to work with, but more durable and lighter than other metal alloys traditionally used in camera bodies.

    Fujifilm also talked about the improved hybrid viewfinder in the X-Pro3. Inside the viewfinder is a new electronic viewfinder (EVF) that will offer higher resolution, higher contrast, wider-gamut color space, improved brightness and a higher refresh rate. Fujifilm also says it’s managed to decrease distortion and improve the angle of view inside the viewfinder.

    Note the 'Provia' film stock icon shown on the compact LCD on the rear of the camera. This film stock icon will stay there and is dynamic in that the ISO rating in the icon changes as you change it on the camera.

    Further switching things up, Fujifilm announced that it will be repositioning the standard rear LCD in favor of a compact LCD that is comparable to the top LCD on the GFX cameras, except on the back of the camera. In a neat little trick that nostalgia-seeking photographers will love, this compact LCD can also be used to show the film simulation in use, a nod to the days where you’d rip off part of the film package and place it in the mount on film cameras.

    You’ll note we said reposition because, as Fujifilm demonstrated, the display is still there, it’s just hidden. Now, the main rear display sits on the back of a hinged panel, meaning you have to flip it down to navigate the menu or review images/video. Fujifilm says the repositioning of the LCD was done to ‘keep photographers looking through the viewfinder’ rather than ‘chimping’ at the back of the camera.

    It's an unusual approach and, while we can see it appealing to waist-level street shooters, we'll have to wait to see what it's like for other types of photography. There have been a lot of calls for an articulated screen on the X-Pro and X-100 series cameras, but we're not sure this solution will satisfy everyone, either. It will, at least, create a more obvious distinction between the X-Pro and X-T series: with the rangefinder-shaped model being the one you shoot through the viewfinder.

    'Classic Negative' will be the 10th film simulation Fujifilm has released.

    Lastly, as has been rumored, Fujifilm its 10th film simulation called ‘Classic Negative’ that will resemble the look of Fujicolor Superia.

    Despite being billed as a ‘development’ presentation, Fujifilm spilled quite a few details about its upcoming X-Pro3 camera system. The camera will officially be announced on October 23rd. To get to all of the details regarding the new X-Pro3 system, skip to roughly the 1:10:00 mark in the above video.

  6. An image Ricoh shared alongside the press release, presumably showing off a developmental version of its impending Pentax APS-C DSLR.

    Ricoh has announced it’s developing a new flagship Pentax K DSLR camera with an APS-C sensor.

    According to the press release, which is short and to the point, Ricoh will preview the camera at the ‘Pentax Meeting 100th Anniversary Special’ event that will be held in Japan on September 21, 2019. Ricoh says the camera is currently ‘under development for market launch in 2020,’ although no specific timeframe is given.

    It’s been over a year-and-a-half since Ricoh announced the Pentax K-1 Mark II full-frame DSLR and over two-and-a-half years since its Pentax KP APS-C DSLR was announced. Rumors have been making their way through the grapevine that Pentax had something in store for 2019, but it seems we’ll have to wait until 2020 to see the new hardware.

  7. iPhone XR vs. iPhone 11

    Let's start with the obvious difference between the latest iPhone and the last-generation XR: the XR has a single, standard wide-angle camera. The new iPhone 11, on the other hand, has a dual camera system – one standard wide and one ultra-wide. The 11 gets an updated front-facing camera too: a 12MP sensor compared to the XR's 7MP, and 4K/60p video versus HD video. And of course, it's capable of the infamous 'slofie.'

    How much of a difference that extra camera makes depends on what you like to take pictures of. In our experience, having that ultra-wide lens as an option is very handy.

    All images are courtesy Apple

    Portrait Mode

    The iPhone 11's additional rear-facing camera also provides an advantage when shooting in Portrait Mode. It uses the slightly different perspectives of the ultra-wide and wide lenses to help create a more accurate depth map than the XR is capable of with its single camera, which only uses depth data generated from its dual pixel sensor combined with machine-learning assisted image segmentation. This should translate to better Portrait Mode images, with improved separation between subjects and their backgrounds.

    Plus, the iPhone 11 is better suited for pet Portrait Mode photos like the one above, and who can resist those eyes?

    Other camera features

    There's a lot more to a smartphone camera than just hardware these days, and that's especially true of the camera in the iPhone 11. Apple has included a new Night Mode which is automatically enabled in low light levels, combining data from multiple image captures to produce a brighter more detailed image – very similar to Google's Night Sight. The 11's Smart HDR mode has also been improved – it's able to identify human and pet subjects, and render them appropriately while applying different processing to the rest of the image.

    And later this fall, Apple will add a Deep Fusion mode via software update. While it also uses data from multiple frames, the end result is a larger 24MP file. That's quite useful if you'd like to make larger prints from phone images. We'll reserve judgement until we're able to test this feature of course, but it's potentially a big step forward for Apple's camera system and we're glad to see it in this sub-$1000 device in addition to the flagship Pro models.

    These added features are powered by a new A13 Bionic processor, one of the key hardware advantages that the 11 offers over the A12-powered XR.


    The XR and 11 are identical in size and both offer a 6.1" 'Liquid Retina HD' display, which is Apple-speak for 'LCD.' Stepping up to the 11 Pro will of course get you a nicer OLED display with better contrast and brightness, but that's not a differentiating factor between the XR and iPhone 11. Interestingly, you'll need to step up to the 5.8" 11 Pro if you want a smaller phone.


    The XR is rated IP67 and the 11 is IP68, meaning both are fully protected against dust, but the iPhone 11 offers better protection against moisture. Apple states that the phone can withstand up to 30 minutes in depths of up to 2 meters; the XR can safely be submerged for the same amount time in depths up to 1 meter.

    If you plan on taking your phone into the pool that extra waterproofing could make a difference depending on how deep you swim. But if you're more worried about everyday scenarios like, say, a tumble to the bottom of the toilet, then it's safe to say both phones would survive just fine.

    Battery life

    The iPhone 11 offers slightly better battery life. According to Apple, it will deliver one hour of extra performance compared to the XR – up to 17 hours of non-streaming video playback vs. 16 hours, for example. If you're a power user who watches a lot of video on your phone that hour might make a difference, but if you're just looking for a phone that will get you through a typical day then either will likely suffice.


    So who should buy the iPhone 11, and who should save the extra cash and get the XR? If photo-taking is any kind of priority, then we think the 11 is worth the extra money. Its use of more sophisticated photo processing will make a noticeable difference to photo quality, especially in low light, and an additional ultra-wide angle lens could prove a huge benefit when shooting landscapes or group photos, or in tight quarters.

    The iPhone XR is still a perfectly capable camera though, with color rendering that we prefer over the Google Pixel 3. If you aren't one to push the limits with its capabilities in low light, and you don't need the ultra-wide lens of the 11, the XR will serve you quite well.

  8. Godox has unveiled the R1 and RF1, a pair of LED-powered lights designed to be compact and portable for photographers and videographers on the go.

    Before we dive into the good stuff though, let’s go ahead and address the elephant in the room—yes, theses lights and their accompanying dome accessory bear a striking resemblance to Profoto’s new C1 and C1 Plus lights.

    The functionality is slightly different and Godox announced these before Profoto announced its lights, but it’s difficult to overlook the uncanny similarities between the four units.

    With that out of the way, let’s get down to the details. Both the R1 and RF1 are compact lights that feature integrated magnets for Godox’s AK-R1 round head accessories (sold separately) and securing to surfaces for easy mounting. The units are charged via the onboard USB-C port and settings are controlled via the Godox app over Bluetooth.

    The R1 is the entry-level version that features RGB LED lights with variable color temperature (2500K-8500K) and a Television Lighting Consistency Index (TLCI) of >95. The R1 is designed for continuous use with variable power output and a features battery life rating of one hour when used at full power.

    Godox says the R1 features 14 different RGB lighting modes—including ‘music,’ ‘lightning,’ ‘screen,’ ‘candlelight’ and more—as well as 8 other modes that change the color temperature.

    The RF1 is identical to the R1 with the exception that unlike the R1, which is limited to continuous mode, the RF1 features Godox’s 2.4Ghz Wireless X System, which turns it into a flash when used with computable Canon, Nikon, Sony, Fuji, Panasonic, Olympus and Pentax camera systems.

    Godox doesn’t offer any information on output power, recycling time or even pricing and availability information. We have contacted Godox regarding these details and will update the article accordingly when we hear back. Until then, we’ll just have to wait and see. That said, it’s probably a safe bet that both of these units will come in much cheaper than the $299 and $499 price tag Profoto is asking for its C1 and C1 Plus units, respectively.

  9. ON1 has taken the wraps off its upcoming ON1 Photo RAW 2020. The software arrived as a public beta today, introducing the first offering in ON1's recently announced new line of creative products. Photo RAW 2020 is a layered editor, raw processor, and image organizer that ON1 claims offers 'everything you need in one photography application.'

    Photo RAW 2020 brings new AI-powered tools including AI Match, a feature that processes raw images to appear the way they looked 'on the back of the camera,' as well as AI Auto Tone, which brings a new algorithm that was trained using thousands of photos.

    In addition to the new AI tools, Photo RAW 2020 brings numerous performance updates that enable the software to open raw files up to two times faster than before. The performance updates also resulted in smoother brushing, something that persists even on devices that feature integrated graphics cards.

    Users can also expect improved noise reduction, new map view and timeline albums, several new filters (weather, color balance, channel mixer, and sun flare), plus a new print module, focus mask overlay, more than 100 new presets, SmugMug integration, and custom camera profiles made possible by a partnership with X-Rite.

    ON1 says it will release a list of newly added camera and lens support soon. Photo RAW 2020 supports raw image files from more than 800 camera models, as well as expected formats like DNG, JPEG, TIF, PNG, PSD, and PSB.

    Below is a sneak peek On1 shared earlier today:

    The public beta is available to download now from ON1's website. Photo RAW 2020 can be preordered at $79.99 USD for existing ON1 product owners and $99.99 USD for everyone else. The company is bundling a 100 pack of presets for a limited time as a preorder bonus. The product is scheduled to release for everyone by the end of October 2019.

  10. Today, Huawei unveiled the Mate 30 Pro at a launch event in Munich, Germany. The device is Huawei’s latest flagship and much like Apple’s presentation last week, there was a strong emphasis on the imaging capabilities of the device.

    Mate 30 Pro

    At the heart of the Mate 30 Pro smartphones is the Kirin 990 processor, a chipset that will come in 4G and 5G versions for various markets. This marks the first time we’ve seen the Kirin 990 in a device and carries on the trend of Huawei putting its latest, most advanced chipset in its Mate series smartphones.

    The screen on the Mate 30 Pro is a 6.53-inch curved OLED ‘Horizon’ display with a resolution of 2,400 x 1,176 pixels. The ‘Horizon’ nickname refers to the wrap-around screen, which covers the edges of the device and serves as a means of changing settings via virtual buttons on the sides of the device.

    On the imaging front, the Mate 30 Pro feature a Leica-branded camera unit on the rear of the devices that features four cameras: a 40-megapixel super-wide-angle camera with an F1.8 aperture and a 1/1.7-inch sensor (17mm 35mm equivalent), a wide-angle image-stabilized 40-megapixel wide-angle camera with an F1.6 aperture and 1/1.7-inch sensor (27mm 35mm equivalent), an image-stabilized 8-megapixel 3x telephoto camera with an F2.4 aperture (80mm 35mm equivalent) as well as a time-of-flight (ToF) camera for improved depth-sensing.

    Considering the image processing capabilities of the Kirin 990 chipset, it shouldn’t come as a surprise the Mate 30 Pro will feature impressive photo and video capabilities. In addition to 4K video at 60 frames per second, the phones can also capture slo-mo 1080p video at up to 960 fps and 720p video at up to 7,680 fps. Huawei also showed off a 4K HDR+ time-lapse function with up to 12-hours of recording as well as a real-time ‘cinematic bokeh’ mode for video.

    The front-facing selfie camera is a whopping 32-megapixels and will work with a number of AR photo and video features within the operating system (OS) and third-party applications, including new gesture-control functionality.

    Speaking of the operating system, the Mate 30 and Mate 30 Pro both run on EMUI 10, a Huawei-created OS that takes a great deal of inspiration from Google’s latest mobile operating system Android 10. After being blacklisted by the United States government over security concerns, Huawei announced it was investing $1 billion into its operating system and app ecosystem. The Mate 30 Pro (and the Mate 30, which we’ve addressed below) are the first devices to use this new system.

    Tucked inside the device is a 4500mAh battery that supports Huawei SuperCharge up to 40W and wireless charging up to 27W.

    The Mate 30 Pro will come in six colors: silver, green, purple, black and two vegan leather options— green and orange. The device is IP68 water- and dust-resistant.

    Mate 30

    Alongside the flagship Mate 30 Pro, Huawei also announced the more budget-friendly Mate 30. The Mate 30 features a slightly larger display but a decreased resolution of 2,340 x 1,080 pixels. It also swaps out the 40-megapixel ultra-wide-angle camera for a 16-megapixel sensor and a slower F2.2 aperture, removes the ToF sensor the Mate 30 Pro offers and shrinks the battery to 4,200mAh.

    Video from the camera modules is also limited in the Mate 30; 4K video can still be shot at 60 fps, but slo-mo is limited to 960 fps in 720p. Interestingly enough, Huawei has included a 3.5mm headphone jack in the Mate 30 while ditching it for the Mate 30 Pro, so if you want wired audio, you’re better off with the Mate 30.

    Pricing and availability

    The Huawei Mate 30 will be available with 8GB of RAM and 128GB of storage starting at €799. The Mate 30 Pro will feature 8GB of storage as well, but boost internal storage to 256GB starting at €1099 for the 4G model and €1199 for the 5G model. Regional availability was not disclosed as of publishing this article.

  11. Like he did last year for the iPhone XS, Sebastiaan de With, co-founder of the iOS camera app Halide, has again made use his app's technical readout feature to obtain additional camera specifications above and beyond what can be found in the official spec sheet. He's broken down the data and compared the new iPhone 11 Pro to last year's XS model. Let's have a closer look at his findings:

    The 11 Pro main camera comes with a 6-element lens that offers a 26mm equivalent focal length and F1.8 aperture. The chart below details the changes between the XS and the new model. As you can see the base ISO on all of the camera modules has increased by half a stop, the maximum shutter speed has been increased from 1/22,000 sec to a whopping 1/125,000 sec and the maximum ISO has been expanded to ISO 3072 vs the previous ISO 2304 limit, coinciding with the increased base ISO level.

    It's not quite clear at this point what the blisteringly fast shutter speeds could be used for. The increased maximum ISO doesn't necessarily mean that the new iPhone will produce lower levels of image noise at a given ISO setting but it should be able to achieve better exposures in very dark settings.

    Apple iPhone XS versus 11 Pro main camera comparison, source: Halide

    As before, the telephoto cameras features a 52mm equivalent focal length but now comes with a faster F2.0 aperture. This should improve low light tele photos and should also produce a more visible 'natural' bokeh than on the iPhone XS.

    Apple iPhone XS versus 11 Pro tele camera comparison, source: Halide

    The iPhone XS did not come with an ultra-wide camera, so we can't compare but the new camera offers a 13mm equivalent field-of-view, an F2.4 aperture lens and phase detection AF.

    Apple iPhone 11 Pro ultra-wide camera specifications, source: Halide

    The front camera has been updated, too. It now features faster shutter speeds, a higher maximum ISO, larger image output size and a wider field-of-view.

    Apple iPhone XS versus 11 Pro front camera comparison, source: Halide

    Overall the hardware changes don't look too impressive on paper, but they are of course only a (small) part of the whole story as Sebastiaan points out in the blog post:

    'It's kind of unbelievable that even with the glowing reviews out today, Apple has said that there’s more software processing yet to come. We’re told Deep Fusion is a very big leap in post-processing quality, but with the changes to Smart HDR, Semantic Mapping in the imaging pipeline and discrete situational processing like Night Mode, these specs are the furthest from the whole story on the new iPhone cameras yet.'

    The Halide app is available from the iOS App Store for iPhone and Apple Watch and will set you back $6.

    Image credits: Charts used with permission from Sebastiaan de With, developer of Halide.

    Updated (September 19, 2019): Edited to clarify the increased ISO ratings and base ISO levels.

  12. Our guide to the best cameras over $2000 has been updated to include overviews of some of the latest contenders.

  13. Last week Apple showed off the slow-mo video capabilities of the front-facing camera on its new iPhone 11 models through the use of ‘Slofies,’ a portmanteau for the words slow-mo and selfies.

    At the time, the concept was presented as a humorous take on selfies — which itself is a shortened version of of the phrase self-portrait — but not much more. Turns out, that might not be the case, as Apple has applied for a U.S. trademark for ‘Slofie,’ which would give them the ability to limit how the word is used.

    The 'drawing' used in the trademark filing to show the phrase attempting to be trademarked.

    All of Apple’s iPhone 11 models feature a front-facing camera that can record up to 120 frames per second (fps). As detailed in its demonstration video, the result, when slowed down, is a humorous slow-motion clip that puts a — sometimes literal — spin on selfies.

    According to the filing, Apple hopes to trademark selfies as the word pertains to ‘downloadable computer software for use in capturing and recording video.’ Apple says the intent of the filing is to ensure it ‘has a bona fide intention, and is entitled, to use the mark in commerce on or in connection with the identified goods/services.’

    As pointed out by The Verge, this likely ‘means this trademark seems to be more about preventing other companies from making slofie-branded camera apps than it is about limiting popular usage of this totally made-up word.’

    According to the filing, Apple paid $400 for filing the trademark application.

  14. Profoto has unveiled a small studio light that was designed specifically for smartphone use. The Profoto C1 and C1 Plus are small enough to fit in a pocket, retaining the same portability of smartphones while offering more advanced lighting capabilities than what is offered by the average phone flash.

    The Profoto C1 and C1 Plus both feature rounded designs, as well as automatic flash power and exposure alongside a manual control option. The lights are designed to wirelessly connect with the user's smartphone using Bluetooth, after which point they work in tandem with the Profoto camera app.

    Both models feature a Li-Polymer battery that recharges in two hours using USB-C. The fully charged battery can power up to 2,000 full-power flashes, also offering 30 minutes of continuous light for the C1 and 40 minutes of continuous light for the C1 Plus. Both models produce 'close to daylight' colors with a color rendering index >90.

    The Profoto C1 model has a max 1600 lumens and 800 lux flash output, four warm and three cool LEDs for color temperatures ranging from 3000-6500K, and inner reflectors under the integrated dome diffuser for producing 'natural shadows.' When used as a modeling light, the model offers max 280 lumens / 140 lux and CRI 90-98.

    The C1 Plus is more advanced, offering a max flash output of 4300 lumens and 1700 lux, a click-on magnetic mount for using light-shaping accessories, a 1/4"-20 thread for mounting the light, and compatibility with all of Profoto's AirTTL remotes. When used as a modeling light, this model offers max 280 lumens / 140 lux and CRI 90-98. Both the C1 and C1 Plus feature manual capture buttons on the lights.

    The Profoto C1 and C1 Plus lights are available to order from a number of retailers, including B&H Photo and Adorama, for $299 and $499, respectively.

  15. In a press release on its website, Photokina has confirmed that Nikon, Leica and Olympus have all opted out of attending the 2020 trade show.

    The press release, titled ‘Photokina 2020: An Industry in Transformation, a Decisive Chance for the Future,‘ buries the lede by first elaborating on the current state of the camera market and following it up with the significance of a trade show such as Photokina. The press release starts out saying:

    The imaging industry is currently undergoing massive changes, which also have an impact on Photokina as the industry's leading trade fair - and this in a dimension never seen before. While on the one hand the classic camera market reports strongly declining sales and turnover figures, the enjoyment of photography continues to grow - with a positive effect on the demand for pictures.

    Gerald Böse, President and Chief Executive Officer of Koelnmesse GmbH, goes on to say that Photokina ‘represents a unique opportunity’ and notes that ‘[Photokina is] relying on the major players of the industry to make the greatest possible use of this opportunity.’

    It’s not until two paragraphs later the press release confirms three ‘major players’ won’t be attending the trade show after first expressing gratitude to multiple other manufacturers for attending:

    ”We look forward to strong demand and applications from both the new and the classic segments of companies like Canon, CEWE, GoPro, Sony, Panasonic, Kodak Alaris, Sigma, Tamron, Carl Zeiss, Hasselblad, Hahnemühle, Arri, Rode Mikrophones, DJI and Insta360,” says Christoph Werner, Vice President of Koelnmesse. These are contrasted by cancellations, including from Leica, Nikon and Olympus.

    The press release goes on to say these cancellations change nothing for Photokina 2020 and ensures that the show will go on, but losing three major manufacturers in a single year is never a good sign. We saw this happen with PMA years ago and once a few left the expo, the rest quickly followed.

  16. Left: Peter Lindbergh, Right: Fred Herzog

    Earlier this week, an outpouring of condolences directed toward legendary artist Robert Frank streamed through international news outlets and various social media channels. What we need to remember is that since September 3rd, the photography world also lost three other icons who deserve a tribute on DPReview. Peter Lindbergh passed away on the 3rd, Charlie Cole on September 5th, and Fred Herzog on September 9th — one day before Frank.

    Peter Lindbergh

    Peter Lindbergh 2015, via Wikipedia, used under CC BY-SA 4.0

    Peter Lindbergh leaves behind a legacy as one of the fashion world's most renowned and sought after fashion photographers. The German artist passed away on Tuesday, September 3rd, at the age of 74. Lindbergh's style of capturing women with minimal makeup and forgoing any retouching in his black-and-white images presented a stark contrast to the typical 1980s aesthetic of big hair, loud makeup plus outfits, and excessive airbrushing.

    Portrait of German Photographer Peter Lindbergh, taken by Stefan Rappo (New York, 2016), via Wikipedia, used under CC BY-SA 4.0

    Lindbergh was born in Leszno, Poland, and grew up in Duisburg, Germany. He attended the Berlin Academy of Fine Arts. During that time, it was the pure love of capturing his brother's children in action that inspired him to pursue a career in photography. In 1973, he opened his very first studio in Düsseldorf. Five years later, he would move to Paris and take a job at Vogue magazine, essentially the 'fashion bible' to this very day.

    Lindbergh is most famously credited for ushering in the era of the 1990s supermodel. His January, 1990 cover shot plus accompanying spread for British Voguefeaturing Naomi Campbell, Cindy Crawford, Tatjana Patitz, Christy Turlington, and Linda Evangelista catapulted them to a first-name basis level of fame. His powerful depiction of these women inspired singer-songwriter George Michael to cast them in his music video for his hit "Freedom! 90."

    Besides photographing fashion icons, Lindbergh also made an impact with Hollywood starlets such as Lupita Nyong’o, Sharon Stone, and Reese Witherspoon. "Over the years I’ve worked withPeter on many shoots. He was enormously kind and always made me feel beautiful no matter what kind of day I was having. He was a wonderful soul who put so much gorgeous art into the world," wrote Witherspoon in a heartfelt Twitter post.

    'When @therealpeterlindbergh shoots, it’s about the women,' said Crawford on her official Instagram account. 'It’s not about the hair, makeup, or styling, really. He had a way of turning your imperfections into something unique and beautiful…and his images will always be timeless.' Lindbergh leaves behind his wife of 17 years, photographer Petra Sedlaczek, and his three sons Benjamin, Simon, and Jeremy.

    Charlie Cole

    Charlie Cole was an American photojournalist best known for one of the most resonant photographs of our time, 'The Tank Man.' The image's central subject was a Chinese officer confronting a row of tanks during the 1989 Tiananmen Square crackdown. Cole passed away in Bali on Thursday, September 5th, at the age of 64.

    He was one of four photographers at the scene who captured this pivotal moment in history. The framing and perspective he was able to get with a telephoto lens, from the balcony of his Beijing hotel room, is what won him the the 1990 World Press Photo of the Year award. He would later speak of watching the man in a white shirt walk into the center of Changan Avenue as the tanks approached. 'I kept shooting in anticipation of what I felt was his certain doom. But to my amazement the lead tank stopped, then tried to move around him.'

    ‘I think his action captured peoples hearts everywhere and when the moment came, his character defined the moment, rather than the moment defining him,’ Cole commented to The New York Times. ‘He made the image. I was just one of the photographers. And I felt honored to be there.’ China's Public Security Bureau would eventually seize the man in the photo and escort him out of the vicinity. To this day, his fate remains unknown and the image remains largely censored on the country's Internet.

    Cole instinctively knew that Chinese officials would search his room and confiscate any camera gear and film. He wrapped the one roll containing the image of 'The Tank Man' in plastic and attached it to the flush chain of the hotel room's toilet. It worked. The men seized all other camera gear and film rolls, then left feeling satisfied with the evidence they confiscated.

    The remaining film roll was developed at the Associated Press bureau then delivered to Newsweekmagazine on time for a deadline, thanks to a photo tech-photographer who had flown in to deliver it from the magazine’s Tokyo office. Cole would live to regret the fact that the image he captured had become synonymous with the Tiananmen Square tragedy. In his mind, it diminished the accomplishments of the other photographers on the scene that day documenting the crackdown against the demonstrators in the square. He rarely spoke of his career-defining photo as a result.

    An accident on his Harley Davidson, taking place in Tokyo during the mid-1990s, ended his news career. His left leg was shattered but not amputated. He eventually relocated to Jakarta, then finally settled in Bali with his Indonesian wife Rosanna. For the remaining 15 years of his life, he worked quietly as a commercial photographer.

    Fred Herzog

    Fred Herzog taking photos in Vancouver's Chinatown in the early 2000's. Image captured by DPR reader Jack Simpson and used with permission.

    In the 1950s and 60s, almost all street photography was black and white. Fred Herzog used Kodachrome slide film to produce rich colors in his images that captured vibrant city life in Vancouver, British Columbia, the industries it was built on, and its working class. Herzog passed away on Monday, September 9th, at the age of 88. His death marks the end of an era. The city he once documented has been largely replaced with upscale housing and corporate structures.

    Fred Herzog, Curtains, 1972, Archival pigment print, Courtesy of Equinox Gallery.

    Herzog was born in Stuttgart, Germany, in 1933. He emigrated to Canada in 1952, living briefly in both Toronto and Montreal before settling in Vancouver. Professionally, Herzog worked as a medical photographer and was the associate director of the UBC Department of Biomedical Communication. He would roam the streets of his new home base, spontaneously documenting its fleeting moments.

    Fred Herzog, Crossing Powell, 1984, Archival pigment print, Courtesy of Equinox Gallery.

    'It’s not a question of learning all the techniques or learning composition or learning about the art of it. I think what is important is that you are out there as a person and relate to those objects and those people who intrigue you,' said Herzog whose time capsule of photos taken during the 50s and 60s established his legacy as one of the pioneers of artistic color photography.

    His photos were ahead of their time. It wouldn't be until the 1970s that technology evolved to the point where Herzog felt the elements contained in his Kodachrome color slides could be properly processed in print. 'The majority of his photographs are done on Kodachrome slide film which has this particular richness to it. The reds are just sort of extra velvety and there’s just something really particular to that color,' said Equinox Gallery director Sophie Brodovictch.

    Fred Herzog, Flaneur Granville, 1960, Archival pigment print, Courtesy of Equinox Gallery.

    'Printing techniques of the time […] just couldn’t reproduce those Kodachrome colors. So he patiently just filed his slides in his basement and waited for technology to catch up to show what he wanted to see in a tangible paper or printed format,' Brodovictch added. Herzog, as a result, would not attain commercial success until later in life. His first retrospective was shown at the Vancouver Art Gallery in 2007, when he was 74 years old. He went on to show work in several major exhibits across Germany and Canada plus release several photography books.

    Herzog briefly put his legacy in jeopardy during a 2012 interview with the Globe and Mail.He expressed doubts about the extent of the mass slaughter that occurred during what he deemed 'the so-called Holocaust' of World War 2. When he learned that the reporter, Marsha Lederman, was a child of Holocaust survivors, he retracted his statement.

    In 1994, Herzog took part in an interview with Global News, who shared excerpts from it after the news of his passing.

    He leaves behind his daughter, Ariane, and son, Tyson. His wife, Christel, passed away in 2013. While Vancouver may have changed dramatically over the decades, a new generation of street photographers continues to be inspired by his work. On a final note, artist Clayton Cubitt was able to articulate my feelings about Herzog’s work deftly with a single tweet, embeded above.

  17. The Sony a7R IV is the company's fourth generation, high-resolution full-frame mirrorless camera and is built around a BSI-CMOS sensor that outputs 60.2MP images. Relative to previous generations, it promises more robust build quality, refined controls, the company's latest autofocus implementation, and more.

    Despite its high resolution, it can shoot at up to 10 frames per second with full autofocus and shoot 4K video either from the full width of its sensor or from an APS-C/Super 35 crop. It also gains a 16-shot high-resolution mode that can be used to generate 240MP images of static scenes.

    Key takeaways

    • 61.2MP BSI CMOS full-frame sensor
    • Powerful yet easy-to-use AF tracking system
    • 10 fps burst shooting (JPEG or Compressed Raw from 12-bit readout)
    • 5.76M dot OLED viewfinder
    • 4K video from full sensor width (sub-sampled) or oversampled from roughly-Super35 crops
    • 4 or 16-shot high resolution modes (up to 240MP images for static subjects)
    • S-Log 2, S-Log 3 and 'HLG' video modes (8-bit only)

    As well as an increase in resolution, the a7R Mark IV sees an increase in price: at $3499, it's being launched for $300 more than the a7R III was.

    What's new and how it compares

    The a7R IV comes with a host of refinements both inside and out - here's where to find them.

    Read more

    Body, handling and controls

    From redesigned buttons to a deeper grip, the a7R IV feels substantial without weighing you down.

    Read more

    Sample gallery

    Check out our sample gallery to see what 60MP of resolution could do for your photography.

    Read more

  18. Back in the film days Canon had 'eye-controlled' focus that let you set an AF point just by looking at it, and a recent patent suggests Canon is still interested in this technology. Chris and Jordan consider what a modern eye-controlled AF system might mean to photographers.

    Want to read more about Canon's eye-controlled focus system? Check out our Throwback Thursday article that looks back at this unique feature.

    Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  19. CyberLink launched PhotoDirector 11, PowerDirector 18, and other updates to its creative software today, adding major new features like performance improvements for the latest R9 and i9 chipsets, AI-powered tools, 1:1 square video support for Instagram and Facebook, new transition effects, and more.

    PhotoDirector 11 has been updated with Customizable Warped and Bevel & Emboss text effects in layer editing, the latter of which includes a layer editing tool with access to all of the 'key' editing and adjustment features, according to CyberLink. As well, the updated software now features AI Deblur and AI Styles, tools that use the software's AI engine to remove blurs and add brushstrokes to images.

    Joining the product is the updated PowerDirector 18, which has received a number of new features, including support for 1:1 square video and nested projects, new transition effects, motion graphics and animated tile templates, and Shape Designer, a tool for adding and editing vector shapes in videos.

    AudioDirector 10 and ColorDirector 8 bring fewer, though no less significant, updates with the addition of AI Dewind for audio clips and Punch & Roll Recording for long audio tracks (AudioDirector), as well as Color Match for standardizing scene color and Color Replacement with Keyframe Control (ColorDirector).

    When purchased individually, CyberLink charges the following prices for its four products:

    Customers also have various 365 subscription options, including Director Suite 365 for $29.99/month or $129.99/year; this pack includes the four updated applications listed above, as well as unlimited access to 100GB of CyberLink Cloud storage, the company's exclusive AI Style Packs, as well as its premium effects, plug-ins, and other content packs.

  20. Filmmaking gear company Aputure revealed a prototype version of its upcoming LS 600d LED light at IBC 2019 over the weekend, introducing consumers to a model with an exceptionally bright output at 600W. The light is described as the next step up from Aputure's 300d II model.

    In addition to being shorter and wider than the LS C300II model, which Aputure says makes this model better suited for shooting in tight areas, the LS 600d light's low-RPM fan is quieter than that of the 300d II despite the greater output.

    The model has a 720W draw, while its companion controller can be run off a 48V DC input or four 310W V-mount batteries. Assuming the unit is run off batteries, Adorama reports the LS 600d can run non-stop for up to 1 hour and 45 minutes. The light features a Bowens-style mount, as well, for use with light modifiers and other attachments.

    Cinema5D reports that the Aputure LS 600d likewise features three built-in effects: paparazzi, strobe, and lightning. The prototype version of the battery and control box will be slimmed down in the final production version of the device, according to Cinema5D, which reports that Aputure hopes to cut the size in half.

    The Aputure LS 600d should be available to purchase in or around February 2020.

  21. Apple announces iPhone 11 (Pro)

    Major smartphone manufacturers introduce new models on a yearly cadence. Camera upgrades tend to be a major focus, with little else apparently to differentiate new models from old ones. Often, what seem like small, incremental upgrades can have significant impact on photo and video quality. The iPhone XS, for example, dramatically improved image quality in high contrast scenes thanks to the sensor's ability to capture 'inter-frames' - short exposures in between longer ones - to improve dynamic range and noise. Similarly, 4K video was improved with multi-frame HDR capture.

    Last week, Apple announced numerous updates to the cameras in the iPhone 11, some of which will inevitably be seen as attempts to catch up to capabilities of contemporary Android offerings. But, taken together, we think they stack up to meaningful upgrades that potentially make an already very capable camera one of the most compelling ones on the market.

    See beyond your frame

    The iPhone 11 offers a whopping 13mm 35mm equivalent field-of-view with its wide-angle, '0.5x' lens. The iPhone 11 is the first Apple phone to feature an ultra-wide angle lens, a feature that's been present on numerous Android phones. Wide angle lenses often add drama and a sense of depth to everything from landscapes, portraits, architecture and still life. They also allow for creative framing options, juxtaposing interesting foreground objects and distant ones. They're also useful when you simply can't step any further back from your subject.

    Cleverly, the wider field-of-view information can also be used to re-frame your photo after the fact, or add extra data in as you rotate your image, rather than forcing an inward crop as is usually the case.

    The iPhone 11 models alert you to the potential presence of objects of interest beyond your current framing by showing you the wider field-of-view within the camera user interface. Simply tap the '1x' focal length multiplier button to zoom out (or zoom in, on the Pro models).

    Refined image processing pipeline

    Newer, faster processors often mean increased photo and video capability, and the iPhone 11 is no exception. Its image processing pipeline, which handles everything from auto white balance to auto exposure, autofocus, and image 'development', gets some new features: a 10-bit rendering pipeline upgraded from the previous 8-bit one, and the generation of a segmentation mask that isolates human subjects and faces, allowing for 'semantic rendering'.

    10-bit rendering should help render high dynamic range images without banding, which could otherwise result from the extreme tone-mapping adjustments required. Semantic rendering allows faces to be processed differently from other portions of the scene, allowing for more intelligent tone mapping and local contrast operations in images with human subjects (for example, faces can look 'crunchy' in high contrast scenes if local contrast is uniformly preserved across the entire image). The end result? More pleasing photos of people.

    Night mode

    The general principle of night modes on smartphones is to use burst photography to capture multiple frames. Averaging pixels from multiple exposures reduces noise, allowing the camera software to brighten the image with less noise penalty.

    Google set the bar for low light photography with its Night Sight mode. Other Android phones soon added their own similar modes, making the iPhone's lack of such a mode particularly conspicuous (third party solutions like Hydra haven't offered quite the level of detail as the best Android implementations, and of course require you to launch a separate app).

    Apple has developed its own Night mode on the iPhone 11 phones, which turns on automatically under dim conditions. Apple's approach is slightly different from Google's, using 'adaptive bracketing' to capture and fuse multiple exposures with potentially differing shutter speeds (the Pixel takes a burst of images at the same shutter speed).

    Varying shutter speeds to capture both short and long exposures can help reduce blur with moving subjects. Information from shorter exposures is used for moving subjects, while longer exposures - which are inherently brighter and contain less noise - can be used for static scene elements. Each frame is broken up into many small blocks before alignment and merging. Blocks that have too much motion blur are discarded, with a noise penalty resulting from fewer averaged frames for that scene element.

    Deep Fusion

    Google's Night Sight mode isn't just about better photos in low light. Night Sight uses burst photography and super resolution techniques to generate images with more detail, less noise, and less moiré thanks to the lack of demosaicing (slight shifts from frame to frame allow the camera to sample red, green and blue information at each pixel location). 'Deep Fusion', available in a soon-to-be-released update later this year, seems to be Apple's response to Google's Night Sight mode.

    Deep Fusion captures up to 9 frames and fuses them into a higher resolution 24MP image. Four short and four secondary frames are constantly buffered in memory, throwing away older frames to make room for newer ones. The buffer guarantees that the 'base frame' - the most important frame to which all other frames are aligned - is taken as close to your shutter press as possible. The buffer ensures a very short, or zero, shutter lag, enabling the camera to capture your desired moment.

    After you press the shutter, one long exposure is taken (ostensibly to reduce noise), and subsequently all 9 frames are combined - 'fused' - presumably using a super resolution technique with tile-based alignment (described in the previous slide) to produce a blur and ghosting-free high resolution image. Apple's SVP of Worldwide Marketing Phil Schiller also stated that it's the 'first time a neural engine is responsible for generating the output image'. We look forward to assessing the final results.

    Portrait mode

    Apple is famous for using its technologies to perfect ideas that other companies introduced. That could be said about iPhone's Portrait mode. Fake blurred background modes have been around for years, even on some compact cameras, but they were never convincing. By applying depth mapping technology to the problem, Apple made a portrait mode that worked, and soon the feature was everywhere. And we're slowly seeing a similar trend with portrait re-lighting: researchers and companies have been quick to develop relighting techniques, some of which do not even require a depth map.

    The iPhone 11 updates portrait mode in a few significant ways. First, unlike the XS models, it offers the mode even with the main 26mm equivalent main camera, allowing for shallow depth-of-field wide-angle portraiture. The XR also offered this, but did not have the ultra-wide lens to use stereo disparity for its depth map (relying only on its dual pixel sensor and segmentation). The main camera modules always have better autofocus, and its sensor has been updated to have '100% focus pixels' (a dual pixel sensor) that Apple claims increases autofocus performance three-fold, so wide-angle portrait mode will benefit from this as well.

    Second, on the Pro models, the telephoto lens used for more traditional portraits has been updated: it's F2.0 aperture lets in 44% more light than the F2.4 aperture on previous telephoto modules. That's a little over a half stop improvement in low light light gathering ability, which should help both image quality and autofocus. Telephoto modules on most smartphone cameras have struggled with autofocus in low light, resorting to hunting and resulting in misfocused shots, so this is a welcome change.

    And thirdly...

    Portrait relighting

    The iPhone 11 offers a new portrait relighting option: 'High-Key Light Mono'. This mode uses the depth map generated from the stereo pair of lenses to separate the subject from the background, blow out the background to white, and 're-light' the subject while making the entire photo B&W. Presumably, the depth map can aid in identifying the distance of various facial landmarks, so that the relighting effect can emulate the results of a real studio light source (nearer parts of the face receive more light than farther ones). The result is a portrait intended to look as if it were shot under studio lighting.

    We've now talked a bit about the new features iPhone 11 brings to the table, but let's turn our attention backwards and take a look at the ways in which iPhone cameras are already leading the industry, if not setting standards along the way.

    Sublime rendering

    Straight out of camera, iPhone photos are, simply put, sublime. Look at the iPhone XS shot above: with a single button press, I've captured the bright background and it looks as if my daughter has some fill light on her. If you want to get technical, then, white balance is well judged (not too cool), skintones are great (not too green), and wide dynamic ranges are preserved without leading to crunchy results, a problem that can result from tone-mapping a large global contrast range while retaining local contrast.

    Much of this is thanks to segmented processing techniques that treat human subjects differently to others when processing the image. Digging deeper and looking at images at pixel-level, Apple's JPEG engine could do a better job in balancing noise reduction and sharpening: often images can appear overly smoothed in some areas with aggressive sharpening and overshoot in others. This may be done in part because results have been optimized for display on high DPI retina devices, and a Raw option - that still utilizes all the computational multi-frame 'smarts - would go a long way to remedying this for enthusiasts and pros.

    But it's hard to argue that iPhone's default color and rendition aren't pleasing. In our opinion, Apple's white balance, color rendering, and tone-mapping are second to none. The improvements to image detail, particularly thanks to Apple's as-of-yet unreleased 'Deep Fusion' mode, should (we hope) remedy many of our remaining reservations regarding pixel-level image quality. We also hope that HDR activates more often, since there's a marked increase in image quality, and less noise, due to the use of more frames. Currently there's no way to force HDR on, and we're perplexed as to why Apple ever chooses to not use HDR, since there is no downside (HDR photos are never flat compared to non-HDR photos, much the opposite, as we explain in our next slide).

    HDR Photos

    No, not the HDR you're thinking about, that creates flat images from large dynamic range scenes. We're talking about HDR display of HDR capture. Think HDR10 and Dolby Vision presentations of 4K UHD video. Traditionally, when capturing a high contrast scene, we had two processing options for print or for display on old, dim 100-nit monitors: (1) preserve global contrast, often at the cost of local contrast, leading to flat results; or (2) preserve local contrast, often requiring clipping of shadows and highlights to keep the image from looking too unnatural. The latter is what most traditional camera JPEG engines do in the absence of dynamic range compensation modes.

    With the advent of new display technology like OLED, capable of 10x or higher brightness compared to old displays and print, as well as nearly infinite contrast, the above trade-off need no longer exist. The iPhone X was the first device ever to support the HDR display of HDR photos. Since then, iPhones can capture a wide dynamic range and color gamut but then also display them using the full range of its class-leading OLED displays. This means that HDR photos need not look flat, retaining both large global contrast from deep shadows to bright highlights, while still looking contrasty, with pop. All without clipping tones and colors, in an effort to get closer to reproducing the range of tones and colors we see in the real world.

    It's hard to show the effect, and much easier to experience it in person, but in the photo above we've used a camera to shoot an iPhone XS displaying HDR (left) vs. non-HDR (right) versions of the same photo. Note how the HDR photo has brighter highlights, and darker midtones, creating the impression that the sky is much brighter than the subject (which it is!). The bright displays on modern phones mean that the subject doesn't look too dark compared to the non-HDR version, she just looks more appropriately balanced against the sky, rather than appearing almost the same brightness as the sky.

    Wide color (P3)

    Apple is also leading the field in wide gamut photography. Ditching the age-old sRGB color space, iPhone images can now fully utilize the P3 color gamut, which means images can contain far more saturated colors. In particular, more vivid reds, oranges, yellows and greens. You won't see them in the image above because of the way our content management system operates, but if you do have a P3 display and a color managed workflow, you can download and view the original image here. Or take a look at this P3 vs. sRGB rollover here on your iPhone or any recent Mac.

    Apple is not only taking advantage of the extra colors of the P3 color space, it's also encoding its images in the 'High Efficiency Image Format' (HEIF), which is an advanced format intended to replace JPEG that is more efficient and also allows for 10-bit color encoding (to avoid banding while allowing for more colors) and HDR encoding to allow the display of a larger range of tones on HDR displays.


    The video quality from the iPhone XS was already class-leading, thanks to both well-judged and effective autofocus, and the use of a high quality video codec and advanced compression techniques that suppressed common artifacts like macro-blocking and mosquito noise. 4K video up to 30 fps also had high dynamic range capture: fusing both bright and dark frames together to capture a wider range of contrast. Check out this frame grab of a very high contrast scene, with complex motion due to constant camera rotation. Note the lack of any obvious artifacts.

    The iPhone 11 takes things further by offering extended dynamic range (EDR) for 4K 60p capture. This means you should get natural looking footage even in high contrast scenes in all video modes, with 4K/60p capture allowing for slow-motion 24p output in post. With the extended range of capture, there's something we'd like to see Apple tackle next: 4K HDR output. Let me clarify.

    Most Android devices are still limited to standard dynamic range capture, but recent offerings from Sony, Samsung, and LG support the high dynamic range (HDR) video output format using HDR10 or HLG. This allows them to take advantage of the higher contrast and brightness of recent displays, but without HDR capture techniques (fusion of multiple frames) this benefit isn't always fully realized. The Sony Xperia 1 is an exception, fusing multiple frames for 4K/24p video and outputting a 4K HDR video file (HLG, BT.2020).

    So while it's great to see extended range of capture in all video modes on the iPhone 11, in order for the results to appear the most natural, we'd like to see Apple offer HDR video formats for output. This would allow for a better viewing experience of the wide dynamic range captured, with more pop and a wider color gamut, rather than the current somewhat flat results with high contrast scenes.

    Video experience

    Apple is also looking to change the experience of shooting video in the iPhone 11 models. First, it's easier to record video than it was in previous iterations: just hold down the shutter button in stills mode to start shooting a video. Instant video recording helps you capture the moment, rather than miss it as you switch camera modes.

    Perhaps more exciting are the new video editing tools built right into the camera app. These allow for easy adjustment of image parameters like exposure, highlights, shadows, contrast and color. And the interface appears to be intuitive as ever.

    Multiple angles and 'Pro' capture

    Advanced video shooters are familiar with the FiLMiC Pro app, which allows for creative and total control over movie shooting. The CEO of FiLMiC was invited on stage to talk about some of the new features, and one of the coolest was the ability to record multiple streams from multiple cameras. The app shows all four streams from all four cameras (on the Pro), allowing you to choose which ones to record from. You can even record both participants of a face-to-face conversation using the front and rear cameras. This opens up new possibilities for creative framing, in some cases obviating the need for A/B cameras.

    If you switch lenses during recording or in editing, you'll want footage to look similar from all cameras, with similar colors and exposure. That's why Apple calibrates each camera module at the factory, to guarantee consistency.

    Currently it's unclear how many total streams can be recorded simultaneously, but even two simultaneous streams opens up creative possibilities. Some of this capability will come retroactively to 2018 flagship devices, as we describe here.


    Much of the sentiment after the launch of the iPhone 11 has centered around how Apple is playing catch-up with Android devices. And this is somewhat true: ultra-wide angle lenses, night modes, and super-resolution burst photography features have all appeared on multiple Android devices, with Google and Huawei leading the pack. No-one is standing still, and the next iterations from these companies - and others - will likely leap frog respective capabilities even further.

    Even if Apple is playing catch up in some regards though, it's leading in others, and we suspect that when they ship, the combination of old features and new - like Deep Fusion and Night mode - will make the iPhone 11 models among the most compelling smartphone cameras on the market.

    As the newest iPhone, the iPhone 11 camera is by inevitably the best Apple has made. But is the iPhone 11 Pro the best smartphone camera around currently? We'll have to wait until we have one in our hands. And, of course, the Google Pixel 4 is a wildcard, and just around the corner...

  22. Monogram— formerly Palette Gear — has launched a new Kickstarter campaign for Creative Console, a product it describes as a ‘modular productivity tool’ designed specifically for creative professionals, including photographers and artists. The Monogram Creative Console is 40-percent thinner than the console offered by Palette Gear, the previous incarnation of the company now known as Monogram.

    The Creative Console is CNC-machined from aerospace-grade aluminum, offering USB-C connectivity and native support for a number of popular applications. The console's modular components can be configured to suit each user's needs. Compared to the previous model, Monogram's new product offers 50% greater functionality despite the smaller size. The company says each console module supports up to 135 functions.

    The console revolves around the ‘core’ module, which packs an ARM Cortex-M processor, 1.54" 240 x 240 display, the USB-C connector, two mechanical keys, and a redesigned power management circuit.

    The remaining four modules include a Pressure Sensitive disc, Dial Module with three dials, Slider Module with three sliders and the Essential Keys Module with three tactile mechanical switches. All of the modules feature neodymium magnetic connectors and micro spring-loaded electrical contacts.

    For past Palette Gear customers, the existing Palette Arcade-style Button, Multi-function Dial and High-sensitivity Slider are backward compatible with Monogram Creative Console. Natively supported software includes Adobe's software suite, as well as VLC, Chrome, Spotify and select other applications.

    The company has exceeded its Kickstarter funding goal and is offering various pledge options for backers, including a Traveller Console for $339 CAD and a Studio Console for $457 CAD. Assuming everything goes according to plan, Monogram expects to start shipping rewards to backers in February 2020.

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

  23. Rumors about Canon’s much-anticipated in-body stabilization (IBIS) are a dime a dozen, but a recent patent application from Canon dives into more detail than we’ve seen before, further lending credence to the rumors the technology could make it into Canon’s next R-series camera body.

    First discovered by Canon News, Japan patent application 2019-152785 details how in-body stabilization technology can be improved by more accurately moving and positioning the sensor along its axes. According to the patent, Canon plans to do this through the use of a magnetic circuit known as the Halbach array.

    An illustration from the patent showing how in-lens stabilization would work alongside the in-body stabilization to achieve optimal results.

    The Halbach array, believed to have first been discovered by John C. Mallinson in 1973, is a collection of magnets that is particularly arranged so that one side of the magnetic field is magnified while the opposite side is effectively canceled out. Halbach arrays have multiple uses ranging from something as simple as a refrigerator magnet to something as intricate as a particle accelerator (where it’s used to focus particle accelerator beams).

    Canon’s implementation, however, would use Halbach arrays to ensure that when a correction is applied to one axis, it won’t negatively affect another axis. Particularly, Canon’s patent application details how it would use a Halbach array on the vertical (y-axis) stabilization unit to ensure that the horizontal correction (x-axis) isn’t skewed when applying y-axis corrections.

    A pair of illustrations from the patent showing how the Halbach array would be positioned.

    The patent application also explains how the IBIS would work hand-in-hand with in-lens stabilization units to create the most effective stabilization possible. Specifically, the patent says the in-lens stabilization would account for corrections on the XY planes (2-axis stabilization) while the in-body stabilization would be able to account for shake on XY-theta planes (3-axis stabilization with vertical, horizontal and roll compensation). Similarly, gyro units within both the lens and camera would work alongside one another to account for angular corrections so the image stabilization element in the lens could be adjusted in coordination with the image sensor to most accurately correct the optical axis.

    Below is a brief illustration of XY-theta alignment at work:

    It’s unknown, of course, if this particular patent application will be used down the road in a future IBIS arrangement, but it is one of the more detailed patents we’ve come across from Canon regarding the technology. Based on this particular patent application, it would be a 5-axis IBIS unit, similar to those found in Sony and Nikon mirrorless cameras.

  24. Skyulm software continues to tease new features of its Luminar 4 software that is scheduled to be released this fall. Like the AI Sky Replacement and AI Structure filters we have already heard of, AI Skin Enhancer and Portrait Enhancer make use of machine learning to automate tasks like selections, masks and layers stacking, reducing the time it takes to get your retouching projects completed.

    Modifications can also be synced across a series of photos and the technology is capable of adapting to each individual frame and make the right adjustments in order to maintain a coherent style across all images.

    Skin Enhancer uses AI technology to automatically detect faces and skin in a photo. Photographers can then easily remove skin imperfections and smooth the skin. At the same time, textured detail, such as hair or skin pores are preserved to maintain a natural look.

    Portrait Enhancer offers a collection of tools to modify your subjects' faces in order to enhance or highlight certain features:

    • Face-aware Lighting adjusts the lighting for the face only, emulating a flash or reflector that is aimed at the face
    • Eye Improvement sharpens and whitens the eyes
    • Dark Circle Removaldoes what it says on the tin and removes dark circles or shadows below the eye.
    • Red Eyecorrects the red issue effect that is caused by flash use
    • Face Contouring can make a face appear slimmer
    • Eye Enlargement gently increases the size of your subject's eyes
    • Eyebrows thickens and darkens eyebrows
    • Lips and Teeth Enhancement enhances color of the lips and can whiten teeth

    Most tools are controlled by simple sliders and built-in presets can make the process even faster.

    Luminar 4 will run as a standalone application or a plugin for Adobe applications like Photoshop, Lightroom Classic and Photoshop Elements, or Apple software like Photos for macOS and Aperture.

  25. The Laowa 100mm F2.8 2X Ultra Macro APO is unusual among macro optics for offering a maximum reproduction ratio of 2:1, enabling extreme closeup photography. Despite its impressive specifications, it's priced at a wallet-friendly $449. Our UK-based contributor has been shooting with the 100mm F2.8 for a while, and we've uploaded a small sample gallery.

    View our gallery of images on the Laowa 100mm F2.8 2X Ultra Macro APO

Sito realizzato da Mario Amato. Tutti i diritti riservati.