Latest sample galleries
Latest in-depth reviews
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
The EOS 650D gains two automated multi-exposure scene options on the mode dial. The Handheld Night Scene mode was first seen on the Canon PowerShot SD4500 IS. This mode is designed to enable low light image captures without the use of a tripod. It does this by enabling a faster shutter speed and then capturing four successive exposures which are then combined to reduce image noise. In this scene mode the only parameters you can adjust are the 'ambience' setting and drive mode along with the ability to enable/disable flash output. You are also limited to JPEG-only output. Users who desire more control over exposure and shooting settings may also want to consider the 650D's MultiShot NR mode which we examine on the image quality tests page of this review.
In the examples below we compare Handheld Night Scene output with a manually exposed capture set at an identical aperture with sharpening and noise reduction at their defaults. The images were shot handheld, maintaining the same camera position as much as possible.
As you can see, in Handheld Night scene mode the image is cropped, presumably to allow for the automated image alignment that takes place during processing. Helpfully, this crop is previewed in live view, so that you can accurately frame the final composition. Once the individual frames have been merged and aligned, the image is then upsampled slightly to match the 650D's native resolution of 5184 x 3456. All of this work is very processor intensive. After each press of the shutter button you must wait for about nine seconds or so before taking another picture, though you can still access the camera's menus.
|Handheld Night Scene mode:
ISO 12800, 1/10 @f/3.2
ISO 6400, 1/5 @f/3.2
When pointed at the same scene, Handheld Night Scene mode opts for a higher ISO (12800 vs. 6400) to attain a faster shutter speed, which can minimize camera shake between its four exposures. Of course, using a higher ISO sensitivity also increases the potential for visible noise. We would expect then that Canon's engineers have tailored a combination of noise suppression and sharpening settings to minimize noise. And as you can see in the samples above, 'handheld' mode indeed provides a cleaner image than the normally-processed JPEG. It's equally as clear, however, that the end result is a somewhat softer image.
We must give Canon credit though for an impressive balance of noise suppression and image detail. At such high ISO settings, there is precious little, if any, penalty to be paid in terms of fine detail for these reduced noise levels. As a quick and easily accessible mode for the point-and-shoot oriented user, Handheld Night Scene mode provides cleaner looking images with minimal detail loss.
What more seasoned users give up though, is the ability to simultaneously capture a Raw file, which could easily be processed to taste in their preferred raw converter software. Below we show a comparison between the same Handheld Night Scene capture and a Raw file with which we've taken just a few moments in ACR to adjust sharpness and noise reduction settings.
|Handheld Night Scene mode
ISO 12800, 100% crop
|ACR 7.1 with custom NR and sharpening
ISO 6400, 100% crop
|100% crop||100% crop|
With minimal effort in ACR, you can achieve equivalent chroma noise reduction and opt for slightly greater luminance noise in order to produce a more crisp image. Keep in mind though, that we are looking at 100% crops and that to reap any practical benefits of these ACR settings you would need to be making a very large print.
The 650D's second multi-exposure scene mode is labeled HDR Backlight Control and aims to expand the dynamic range to include more information in both highlight and shadow regions. With this shooting mode enabled, three consecutive images are captured - each at different exposure - with the files then merged into a single composite image. As with 'handheld' mode, the image is cropped - again presumably to accommodate the automated image alignment - and then upsampled to the 650D's standard resolution. This a JPEG-only mode. And the image settings you can adjust are limited to drive mode and JPEG size/quality. You cannot specify the bracketing range of the three exposures. Nor can they be accessed as individual files. In the samples below, we compare HDR Backlight Control with a traditional exposure using an identical aperture.
|HDR Backlight Scene mode: ISO 100, f/3.5||Av mode: ISO 100, f/3.5|
As you can see, HDR Backlight Control is able to preserve color information in the highlights that had been clipped in the single-shot exposure. The shadows appear ever so slightly more open in this mode, but clearly the emphasis is on maintaining highlight detail. As mentioned earlier, bracketing among the three exposures is fully automated; you can't specify an EV range, for example. In our time spent using this mode, we've seen 'HDR' retain between 1 and 1 1/2 stops of color-accurate highlight data. You can gain a full 2 stops EV of highlight data by using the camera's auto exposure bracketing feature, but HDR mode of course saves you the extra effort of aligning and blending the separate images to form the composite.
As with any shooting mode in which multiple images are blended together, HDR Backlight Control works best with static subjects. Any movement during the three exposures can lead to ghosting, where an object partially appears in multiple locations, as shown in the example below.
|Ghosting occurs when an element in the scene has changed position between exposures. Moving objects like pedestrians and vehicles are obvious elements to avoid, as shown in the crop above. On a windy day, foliage can also move significantly, causing the same ghosting effect.|
Overall, HDR Backlight Control works as advertised and gives beginning users an easy way to extend dynamic range for greater highlight detail, moving subjects notwithstanding. Our biggest complaint though is with image softness of the final result. In side by side comparisons, both handheld and on a tripod, we've seen softer results from 'HDR' mode than from shooting in the PASM modes, as you can see below.
HDR Backlight Scene mode: ISO 100, f/4
Av mode: ISO 100, f/4
While we also saw slightly softer results from the 'handheld' scene mode, the comparison above stands in sharper relief because - as with the situations in which you'd actually use 'HDR' - we're shooting at a low ISO, in which there's greater potential for rendering fine detail. To be fair, while more experienced users may prefer to get sharper results through manually blending images, we suspect many first-time DSLR owners will be satisfied with these results, particularly given the point-and-shoot nature of its implementation.
Bear in mind that if you opt to use these (or any other) scene modes, live view operation offers a distinct advantage. It is only in live view that you can manually set the AF point along a wide portion of the scene. In through-the-viewfinder shooting, the camera automatically selects among its 9 central AF points, with no way for the user to manually choose a specific AF point as is possible in the PASM modes.
Aug 10, 2015
Aug 20, 2012
Jun 14, 2013
Aug 15, 2012
Canon has issued a warning to owners of the EOS 650D/Rebel T4i that the rubber hand-grips of some models may turn white, and produce a chemical that can cause an allergic reaction. According to Canon, the chemical, zinc bis (N,N’-dimethyldithiocarbamate), is not used in the production of the camera but is a potential by-product of a chemical reaction between other substances found in the hand-grip. Click through for full details.
Updated: We've had a production sample Canon EOS 650D/Rebel T4i for a few days now, and we've been busy running it through our usual studio and real-world tests, ahead of a full review. We've updated our previously-published preview with a gallery of 27 real-world samples from the production camera, both JPEG and converted Raw, and included some Raw files for you to examine yourselves. We've also added the 650D to our studio comparison database, allowing you to check out how it compares to its peers and predecessors in our standard studio test scene. Click through to see the additional samples.
Just Posted: We've been shooting with Canon's latest entry-level DSLR - the Rebel T4i (EOS 650D), and have prepared an hands-on preview. The T4i shares many of the headline specs (18MP CMOS sensor, 9-point AF system, 1.0M dot flip-out LCD) with its predecessor, the EOS 600D / Rebel T3i, but significant changes have been made to every one of those features. The result is the first touch-screen DSLR and the first EOS to offer continuous AF in movie shooting mode. Read our preview to find out more about the 650D's features and what its 'Hybrid AF' really offers. The preview includes real-world samples and low-light studio shots.
Canon has announced the EOS 650D (known as the Rebel T4i in North America), and 18MP touch-screen DSLR with a sensor-based hybrid AF system for improved focus in movie and live view modes. The camera gains the all-cross-type 9-point AF sensor from the EOS 60D and can now shoot at 5fps. It also adds stereo mics for its Full HD video recording, which is available at 30, 25 and 24fps. The camera will be available from the end of June at a price of $849, body only, $949 will the 18-55mm IS lens or $1199 with the co-announced 18-135mm STM IS lens.
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
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
Leica is clearly in the mood for partnerships: A day after the company announced it was teaming up with Panasonic and Sigma on the L mount, Zenit took the wraps off the 'M', a Zenit-designed, Leica manufactured rangefinder. Click through to learn more.
Tamron's 2nd-generation full-frame wide-angle zoom features new coatings, faster AF speeds and improved vibration control. We got some hands on time with it, here's what we thought.
Much of the Fujifilm GFX 50R is very familiar, but its smaller size and redesigned controls serve to make the 50R handle very differently from its elder sibling. Here's a detailed look at what's different – and what isn't.
Sigma took the wraps off five new lenses at Photokina this year, and we were there to see (and handle) them for ourselves. Click through for more information, and some early first impressions.
Ricoh has announced the development of a third model in its popular GR lineup: The forthcoming GR III will feature an updated sensor and redesigned lens. We're at Photokina, where we took a quick look earlier at an early sample, behind glass.
It's been a busy old day for news: it's not often you get promised three full-frame cameras by different brands and still have a debate about whether they're the most interesting announcements. To make sure you've not missed anything, we've condensed the day's news down into an easy-to-swallow, er, digest.
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.