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The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
Apple’s iPhoto for iOS has something surprisingly rare in the mobile photo editor space: an interface that leverages touch at every opportunity. You can accomplish a lot by interacting directly with the image rather than poking at sliders, which is as it should be. iPhoto also goes beyond image optimization, packing in impressive browsing, organizing and sharing facilities.
Unlike many apps in this category, iPhoto helps organize images as well as edit them. It speeds sorting wheat from chaff by letting you compare multiple images side by side, including the ability to zoom in to check details. Double-tapping a shot in a series of similar images automatically selects all of them, a thoughtful detail that reflects the general polish of the app.
You can mark photos as favorites or simply “flagged,” useful for marking keepers. More flexibly, iPhoto can add custom tags to images. It takes a certain kind of personality to scrupulously label photos like this, but iPhoto simplifies reusing tags and it makes finding images later much easier. Exported images retain the tags as widely readable IPTC keywords.
iPhoto’s polished browsing spotlights some irritating omissions in Apple’s native Photos app. Say you’ve dumped a thousand images from your vacation onto your iPad and you want to review a shot you took on the last day. With the native Photos app, you’re looking at lots of frantic flick-scrolling to get to the bottom of the gallery because there’s just no other way. But go to the Photos section in iPhoto and the new “Power Scroll” function lets you zip to the end in a flash. Or, you can simply reorder the photos, showing the newest first. What a concept.
iPhoto can now handle 36.5 megapixel images on the third and fourth-generation iPads and the iPhone 5, enough to satisfy everyone but users of medium format backs and the Nokia 808. Other iOS devices remain limited to 19 megapixels (and unfortunately, the original iPad and pre-4 iPhones aren’t invited to the iPhoto party at all). Photos synced through iTunes may still be downsized depending on source resolution and target device; you need to use iTunes file sharing to import the higher-resolution images directly into the app. Using iTunes file sharing has the added advantage of letting you delete images from within iPhoto.
It’s not quite accurate to call iPhoto intuitive, but it quickly becomes easy to use thanks to the contextual help function: tap the “?” button and explanatory labels pop up all over the current screen, with some leading to more in-depth explanations. Would you know that holding two fingers on an image in the Edit view brings up a handy magnifying loop? With help, you quickly find out.
The “Edit” button brings up a ribbon of editing task categories across the bottom of the screen. First from the left is a magic wand icon that does a one-touch image optimization. It’s pleasantly restrained and avoids the over-amped look of quick-and-dirty fixes in some other apps.
The real editing options are five boxed buttons arrayed in the right corner, logically laid out in the order you’re likely to need them.
First up is the well-implemented cropping function, which also includes a nifty wheel for straightening an image. Next down the line is Apple’s cleverly designed exposure correction control. You can disregard the cryptic contrast and brightness slider and poke directly at the picture. This brings up a two-axis control: the x-axis always controls contrast, while the y-axis manipulates shadows if you’re touching a dark area and highlights if you’re in a bright zone. As you make corrections, the mysterious icons on the slider at the bottom of the screen move accordingly, giving you a feel for how they work. It’s very slick.
The paint palette button calls up the color correction band. The best news here is the white balance tuning, which does a good impression of a RAW processor as it lets you rebalance your baked-in jpeg colors (the app doesn’t really handle RAW files, though it pretends by using the jpeg thumbnail embedded in most RAWs). Touching blue, green or warm colors in the image brings up more contextual two-axis controls. The y-axis is always saturation, while the x-axis shifts the intensity of the color region you’ve touched. The idea seems to be that you can target adjustments to sky, foliage and warm tones (potentially, skin). Again, these adjustments are repeated as sliders at the bottom of the screen, but that’s not as fun.
If specific regions of the image need tweaking, iPhoto offers a range of paintable effects in the next tool grouping. You can lighten, darken, sharpen, soften, saturate and desaturate. Brushing these effects on the zoomable image feels very natural. Gentle strokes lay down a minimal effect, or you can press hard and repeatedly to go full bore. Once the mask is painted in you can handily vary the overall strength with a slider.
There’s also a “repair” tool that’s good for snipping out skin blemishes and dust spots in the sky but chokes on anything that involves duplicating detail to fill in the repaired area. A redeye eraser effectively casts the devil out of your subjects.
iPhoto has a decent range of canned special effects. You can frame your photo within an ink wash or convert it to a duotone of various colors. The “Artistic” effects include a nice tilt-shift simulator that can now be arbitrarily positioned and tilted, as well as a vignette tool and adjustable gradient filters. The six vintage filters do their jobs but won’t impress users with Instagram experience. Possibly the most flexible effect is the black and white conversion, which can be adjusted to simulate different color filters on black and white film and can add grain and a sepia tint.
iPhoto ties neatly into in Apple’s iCloud service, making it easy to send images to a sharable Photo Stream. You can also create “Journals,” which are scrapbook-style assemblies of photos that can also be uploaded to iCloud for public consumption as ready-made web pages. The layout process is a little clunky but it’s a nice feature for anyone who prefers presenting assemblages of images and text.
The app fulfils the basics of non-Apple social media integration with the ability to export images to Facebook, Twitter and Flickr. Shots can also be sent to the Camera Roll, back to the desktop via iTunes, to an AirPrint-enable printer, or “beamed” directly to another iOS device.
You can also hand off images to apps that support the function, like Photogene, Evernote, Dropbox and Camera+. iPhoto has a built-in link to Apple’s iMovie (which must be purchased separately), letting you send stills to be inserted in a video project, as well as the free Cards app for making greeting cards.
iPhoto is a very capable image editor with a refreshingly touch-centric user interface that makes it fun to use on an iOS device. It breaks substantially with the desktop-centric editor model of Photoshop and the like, which for many users is a good thing.
Its slick browsing and organization features are an added bonus.
The upping of the maximum photo resolution to 36.5 megapixels suggests Apple hopes to satisfy “serious” photographers as well as those who just want to spruce up their casual snaps. For the most part, the app succeeds in this regard: the ability to paint corrections on regions of the image while varying both the opacity of the mask and the intensity of the effect should mollify users who think first of adjustment layers and curves.
There’s room for improvement. The paintable effects would be more flexible if a single effect could be applied in differing degrees to different parts of the image, which is currently impossible. The app doesn’t have true RAW support, which remains very sparse on iOS in general.
iPhoto’s social media linkage covers the major bases and any shortfall is offset by both the slick iCloud Photo Stream integration and the ability to essentially spit out whole websites via Journal sharing.
Given its wide range of capabilities and polished approach to photo editing, iPhoto is a bargain for the price.
What we like: Powerful editing tools optimized for touch interface, nice browsing and organization features, impressive web publishing via Photo Streams and Journals, decent social media integration.
What we don’t like: Editing capabilities are strong enough to make you wish for a little more flexibility, RAW support limited to thumbnail edits.
Peter M. Ferenczi is a freelance writer and avid photographer. He lives in Paris.
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When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|Abstract bokeh by Minas_Eye|
from Your City - Bokeh in the City (Rerun)
|Green Tree Frog by BruceRH|
|Custom Red Roadster by Mitchmeister|
from Car Shows 2018
At Sony's press conference at Photokina the company announced that 12 more E-mount lenses will be arriving over the next two years. In addition, the company is working to utilize artificial intelligence in its technologies, with one application being Eye AF trained to detect animal eyes.
Sigma has said it will create a full-frame Foveon camera and will adopt the Leica L mount for its system. It will be able to adapt or convert SA mount lenses to the L mount, for existing users.
Hasselblad is expanding their X System with their announcement of three new lenses: the XCD 80mm F1.9, XCD 65mm F2.8 and XCD 135mm F2.8, along with a teleconverter. The 80mm F1.9 is the fastest in the system. Get all the details and check out Hasselblad's official sample images here.
Sigma has announced give new lenses at Photokina, including a 'Sport' series 70-200mm F2.8 and a 56mm F1.4 for Micro Four Thirds and Sony E mounts.
Sigma has announced the 28mm F1.4 Art, 40mm F1.4 Art, 70-200mm F2.8 Sport and 60-600mm F4.5-6.3 Sport lenses for several full frame lens mounts, including Canon, Nikon and, in the first two instances, Sony E.
ON1 has announced the impending launch of ON1 Photo RAW 2019. The new version, due out in November, brings a handful of new tools and features in a revamped interface.
Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $10,000.
Leica has announced the S3 medium-format camera – an S2 successor with a 64MP sensor capable of 4K video.
The GFX 50R is a 50MP rangefinder-style mirrorless camera. It borrows heavily from the existing 50S model but in a smaller body and at a lower price. How does it differ?
Fujifilm has announced its GFX 50R, a rangefinder-styled version of the company's GFX 50S medium-format camera. The 'guts' of the two cameras are the same, with the difference being the design, weight and Bluetooth, all at a considerably lower price.
In this episode of DPReview TV, we get our hands on Fujifilm's GFX 50R which hides a medium-format sensor in a new, more compact body. Watch to get Chris and Jordan's first impressions on image quality, video and more.
Fujifilm is adding a trio of new medium-format lenses to its G-mount roadmap. GFX owners will soon be able to get their hands on 100-200mm F5.6, 45-100mm F4 and compact 50mm F3.5 lenses. Pricing and availability have not been announced.
Micro Four Thirds users will soon get a super fast, constant aperture wide angle zoom.
Panasonic has announced it is developing two full frame mirrorless cameras: the 47MP S1R and the 24MP S1. We've been shown fairly advanced-looking but non-functional prototype cameras, and have been able to squeeze a few details from Panasonic.
Panasonic is developing a pair of full-frame mirrorless cameras that use Leica's L-mount. The S1R will feature a 47MP sensor, while the S1 will be 24MP. Both cameras will support Dual IS shake reduction 4K/60p video capture and will have XQD and SD card slots.
Leica, Panasonic and Sigma are teaming up. Expect L-mount cameras from Panasonic as well as L-mount glass from Sigma.
Ricoh has announced the development of the GR III enthusiast compact, due to ship in early 2019. The camera gains sensor-shift image stabilization and an updated 24MP sensor with phase-detection. The 28mm equivalent F2.8 lens has also been redesigned and a touchscreen added.
The 'I'm Back' is now available for a range of old film-SLRs, such as Nikon's F-Series, the Olympus OM10 or the Canon AE-1.
IRIX has announced its latest lens, the 150mm F2.8 Macro 1:1. IRIX claims the lens features 'close to zero' distortion and stands out with its 150mm telephoto focal length.
The RF 24-105mm F4L IS USM is one of four lenses to launch with Canon's new full-frame mirrorless system, and it boasts the longest reach of the range. Take a look at some of the samples we've gathered thus far as our EOS R testing continues.
Nikon's Sendai factory in the Tōhoku region North of Japan has been churning out cameras and lenses since 1971. We had the opportunity recently to visit Sendai during events to mark the launch of Nikon's new Z mount.
There's no mistaking the Nikon Coolpix P1000 – with a 24-3000mm equivalent zoom, it really is in a class of its own. It's a conspicuous-looking superzoom with one main job: getting you really close to far away subjects. We've put together a gallery showing the kind of results you can expect from it.
A new report from The Verge claims Instagram is currently testing a feature that allows users to re-share posts to their own account feeds.
GoPro has announced its HERO7 camera lineup. The updated action cameras feature new HyperSmooth and TimeWarp modes, as well as improved video and photo specs.
The latest Samsung midrange smartphone offers a super-wide-angle lens in its triple-camera setup.
The Sony 24mm F1.4 is the latest lens to join the company's premium G Master lineup. We've been shooting with one for a couple of days - here's what you need to know.
Apple released iOS 12 a few days ago and some iPhone X users are less than happy with how the new operating system has made their phones look.
Camera bag manufacturer Lowepro has introduced mark II backpacks for its ProTactic AW range with models that are said to feature an improved handling experience as well as a collection of accessories that can be attached to the outside.
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has the same lens but offers a higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.