Adobe did also update their blog article from 2013:-> http://blogs.adobe.com/lightroomjournal/2013/05/adobe-camera-raw-8-support-for-photoshop-cc-and-photoshop-cs6.html
IIRC, their promise to CS6 users when announcing it is the last version with a perpetual license was that support for new cameras to users with a perpetual license would never stop.
IE., that they would NOT *force* customers into CC. Now, it seems they break their promise.
I am now just awaiting see them increasing their monthly photography subscription price too ...
Lesson learned:Two years is about the time Adobe "forgets" about promises they made :(
falconeyes: Thanks for the review.
A few minor points of criticism though ...
- Another category "Entry Level Large Sensor Compact Camera"? Really?IMHO, all Large Sensor Compacts are enthusiast by definition. Who else pays 1000$ in this category?
- The Multi USB port physically should support mic input (I believe an older version of the port actually reserved pins for mic input). No ext. mic therefore should trigger a more prominent CONS comment.
- The RX100m3/4 lost a hot shoe but don't feature a sync port. And there is no excuse why the internal camera flash can't be switched to manual (w/o TTL pre flash) such that AT LEAST a remote flash can be triggerd optically. It cannot by simple oversight of Sony's part. No manual flash therefore should trigger a more prominent CONS comment.
Mine don't have it and both strobes and flashes are from best brands.Looking for an optical slave trigger with that option and couldn't find one which actually worked. It is a significant problem in reality a 1000$ really shouldn't impose.
PS I've read the Calumet 300B manual and it says it can ignore 1 or 2 red eye pre flashes. Doesn't mention TTL pre flashes.
tbcass: Looks like a great camera but I'll stick with my 3 year old RX100 mk1 because it offers great IQ and the 28-100mm range is much more flexible.
I would like to add one thing. The lack of external charger has never been a problem for me. I bought an external charger and 2 extra batteries for my RX100 but I never use the charger, don't need it.
I have the Sony BC-TRX charger which I do recommend.1. It charges a RX100m* via USB2. It powers a RX100m* from mains, for extended sessions of usage (the original charger does not!)3. It charges an external battery quickly.
nicoboston: I think DPReview should give 3 independent scores:- 1 score for still image quality- 1 score for video quality- 1 score for everything else
I have no doubt that this camera is "the most responsive and enjoyable". It is clearly a very interesting ans innovative imaging instrument.IMO, there is a disconnect between the final score "85% Gold Reward" and IQ. This unique score is misleading because many readers think that best score = best IQ.
Again, I truly believe this is a great and innovative tool; but I also believe that there are less fancy compact cameras that generate better still images. Your scoring method is too simplistic for an instrument with so many features.
Just my 2 cents ;-)
Size of RX100 and a typical wallet are about the same.And true, many wallets aren't pocketable.There is a reason why most skinny jeans pockets have a separate coin pocket...
Addendum ...... maybe, you can verify this wasn't changed for the m4:1. no "manual flash" menu option of flash mode2. Setting everything to M, incl. ISO, WB and AF, still keeps the flash in TTL auto mode, firing a pre flash.The preflash is visible by a remote slave firing visibly but which isn't firing in the image.
@Richard, thanks, this is stellar support :)
@RishiI tried many things and eventually gave up to use the RX100 in a wedding booth project. The problem is this:As most cameras, the RX100m3 (and I suppose the m4 is the same) uses TTL flash metering. This uses a short and weak pre flash and this pre flash triggers a studio strobe or slave speedlight.
Therefore, when the RX100 shots its image, the remote flash won't fire again (too fast). This isn't a matter of relative flash output, but of unability to sync. The obvious solution is a manual flash mode with no TTL flash metering. But despite its full menu, thisoption is simply missing. A bad oversight which deserves a more harsh voice of criticism, I think.
BTW, there are external optical slave triggers with tunable delay. I tried to use those but haven't been successful. Even for my Nokia 808 Pureview I could solve that by activating red eye pre flash which moves the TTL pre flash away from the main flash. Not so for Sony :(
Thanks for the review.
UneVache: Thanks to DPR to have shown I will save money for something else. I'll stuck to my 16-85 for the moment. I'm wondering wether you get a bad copy or so... maybe it can be useful to check it as it's getting kind of usual with Nikon these last years, even for that price tag, it seems. It seems also there is still no decent UWA from Nikon at reasonable price and weight at this time, wether it is for DX or FX cameras. Nikon, what are you doing ?
Nikkor 20mm F/1.8G is a wonderful FX UWA you will have a hard time finding for a different system. The Zeiss 21mm F/2.8 comes close, but is more expensive and MF.
Shiranai: So far this technology as well as light field technology is still inferior to real bokeh captured by a lens.Afterward bokeh calculations always struggle when it comes to difficult and detailed objects like branches or semi-transparent objects. Light field bokeh has still problems with artifacts, resolution and IQ is rather low.
I'm looking forward to Panasonics approach but I think there has yet to flow a lot of water down the river till we see any major breaktroughs. And even then, people will still prefer lenses for their analogue and retro look.
There is no "still" in the problems.
Light field cameras (or plenoptics as we called them 100 years ago) have severe limitations due to unsurmountable laws of physics (like diffraction). This was the problem the last 100 years and will remain so the next 1000 years ;)
The only way out is either restricted ability for refocus or restricted resolution.
The text just hints at a focus bracketing feature.
I can't find any mention of a depth map produced, nor a reason why the feature would require one.
I am advocating a focus bracket feature (with optional selection/flagging of the sharpest contrast within the focus area after the bracket) since years. Every camera should have it, including still only SLRs.
I never imagined a reason what prevented everybody from doing it ...
Seems, Panasonic didn't too.
falconeyes: The difference in base ISO between the Typ 246 (Monochrom) and Typ 240 allows an interesting estimate of how much light the Bayer filter blocks, on average for white light.
It is ISO 320 vs. ISO 200, or 0.678 or 2/3 stops.
Part of this is due to the fact that not all green, red, blue esp. is weighted equal by the human eye. I.e., one must discard some photons to emulate the human eye's color vision (as one must discard all photons outside the human's visibility spectrum). Which means it can't be avoided in a color sensor. This should be the reason for the 2/3 stop difference above which probably is the difference in sensitivity between a green and a white sensel.
But another part is due to the fact that e.g., only half the pixels in a Bayer sensor receive green.
Both effects combined mean that an optimized sensor design which discards as few photons as physically possible, may be about 1.5 stops better than Bayer sensors.
A DxO test of both cameras may give us precise numbers.
What Thorne or Greene say have no impact whatsoever on the validity of the statement I made.
Triggerhappy2: Good decision from the bureaucrats in Brussels. Taking Freedom of Panorama away could have lead to a situation where copyright holders of a building sell their rights exclusively to some company and it would be almost impossible to get permission to publish your photo. Belgium has no FoP and for example SABAM has claimed worldwide copyrights for Atomium which is ridiculous. Also Eiffel tower by night is copyrighted if it's illuminated.
The entire story is about the members of the parliament in Strasbourg (MEP) and isn't about the commissioners of the Brussels administration.
And the net result is a report (the Reda report) which is only a recommendation for Brussels while preparing a new copyright framework.
Brussels can still decide whatever they want, but Strasbourg sent them a note what they intend to vote for.
iAPX: So sad!
I am in love with Reda, she's is young, she is the new generation, she is insightful, and grounded in the 2010's not in the 1910's. She explain things clearly with a deep understanding of what get we there. I want more EU MEP like her!
I don't care about buildings, I am not a panorama photographer, I do some street photography but it usually doesn't involve copyrighted buildings. Or does it, because a 1900 building could see it's architect dying in the 50's, and the right still existing in 2020?!?
It has just no sense until you just make pictures of a building. But even then, everyone could see it, it's free, from the road. So where is the lost?I think photographying a building is just advertisement, for the architect...
@stanic042Julia is a MEP (member of the EU parliament) as is Cavada. What we all talk about is now called "the Reda report". Its initial version wanted to extend Freedom of Panorama (FoP) over all of Europe, but Calvada wanted a change to remove it from all of Europe. The version of the report now accepted in the parliament preserves FoP in many countries of EU like UK and Germany and to allow adoption everywhere.
It strengthens the paliament because now, after all this echo, the commission in Brussels can't impossibly come up with a proposal for a reform of the EU copyright laws which differs from the Reda report. So in effect, the parliament tells the commission what to do.
It normally goes the other way round and the Reda report is just that, a report. The MEPs don't have the power to propose anything. Just can vote yes or no.
Therefore Reda gave an example to all MEPs that they can do better than just vote what comes from the commission. They can act, not only react.
Barry Goyette: I think whats not being answered with all this focus on Dynamic Range and SNR is "does 14 stops of DR produce a photo that LOOKS BETTER than one taken at 12 stops. Sure I get that the Nikon/Sony will let you shoot directly into the sun while you focus on your tulips...but when I look at that shot....I see a very strange looking sky, which is where most of that DR is being utilized. I shot some tests with the 5dsr today in stupidly backlit situations and was able to get very satisfactory results exposing for the highlights and pulling up the shadows. The shadows had a bit of noise in them sure, but at this resolution, who flipping cares...you're never gonna see it won a print shy of 24x36.
But here's the thing, when I maximized these images with their paltry 11.7 stops of DR, frankly...they looked a little fake to me. They looked a little like DPR's tulip photo...(HDR anyone?) My question is this. Would stuffing 2 more stops of DR into that shot make it look any better?
14 stops DR is huge in practice. 10 stops and you only have little latitude to adjust brightness levels in post, 12 stops and the ability in post is decent. 14 stops and you rediscover your images, I can tell you.
However, anything above 10 stops is only useful with decent tone mapping abilities in post processing. That's an art form, ask cinematographers, there tone mapping is its own profession!
Wide DR is a tool. As always, tools can be abused and create horrible results. But in the hands of masters, you'll create a whole new univers of images not possible without. And no, fill flash, ND filters or HDR bracketing are no substitutes, except in special cases.
Regarding the footnote about EDR and PDR ...An SNR of 1 or 0 dB is still usable in photography. Reason is that the threshold applies at the pixel level and with a high resolution sensor (say 39 MP) you have 16 pixels per pixel in a 1920 x 1280 HD image).The dark-level 4x4 binned pixel then has an SNR of 4 or 12 dB. That may be regarded as usable by enough photographers, esp. in a black & white image.
That's actually underlined by quite a few D810 shooters who regularly boost shadows by 5 stops. That's only possible with at least 13 EV true photographic dynamic range.
The point is (and meanwhile it is well understood by DPR, I believe) that SNR depends on the spatial frequency being considered. Really not unlike audio, actually.
Julia is a positive example in the EU. She actually started all the buzz about freedom of panorama with her proposal. The entire issue will strengthen the democratic elements of the EU (e.g., the parliament) and weaken bureaucracy (e.g., the Brussels commission).
snappur: Panasonic Manufacturing needs to rediscover the fine lost art of ENGRAVING.
Engraving is automated, done by machines. Doesn't add to cost of labor.
However, while my analog Pentax had an engraved S/N, all my digital cameras only have stickers. Maybe, because the info is in the firmware too.
Nuno Souto: One less region for me to visit, if this goes ahead.Europe can go to hell with this "copyright" nonsense!
@Nunoactually, the entire nonsense arose out of an attempt by Julia Reda to get rid of this nonsense in all of Europe, including France. What you see now is a French lobby fighting back. Hope, we'll see victory for Julia. W/o her heroism, nobody would discuss the current nonsense in France.
user colin: The statement "no one has ever been prosecuted" above is incorrect. Jean-Marie Cavada claimed no Facebook user has ever been prosecuted. This is quite different. The proposal makes ordinary citizens criminals, but fails to appreciate that Facebook/Wikipedia/etc are protected by US "safe harbour" law that means they can't be prosecuted for what users upload provided they respond to take-down requests. Cavada thinks his proposal will make big American monopolies like Facebook pay the architect of The Shard for the right to publish your holiday photo. No, they'll just remove it, but only if they are asked.
The ADAGP (a French collecting society), believes that between 10–20% of image rights, currently generating net payments of between 3 and 6 million euros per year, relate to sculptures or buildings in France that would be affected by freedom of panorama. That's a lot of legal threat letters arriving on professional photographer's doormats. Pro photographers should be very worried.
A law (France) which takes away the freedom of panorama from every French for the benefit of 3-6 M€ per year is ridiculous and should be against the French constititution.
Afterall, the average damage per person and year is 0.10€ only. To restrict liberal and citizen freedoms this much (no freedom of panorama) for so little benefit (avoid 0.10€ "damage") should not be possible in a working democracy.
Currently, mostly Germans (Julia Reda) go wild over the proposal (to remove freedom of panorama) while French (Jean-Marie Cavada) remain rather silent. IMHO, this is the real scandal.
Michael J Davis: Batteries, eh? That's trying too hard. I only buy batteries from Amazon that are claimed to be compatible with my cameras. So far they've worked fine.
What does DPR think I should do?
Hähnel is an Irish company (with roots as contract manufacturer for a German dealer).
There are a few brands which sound German but aren't (Hähnel, Edelkrone etc.).