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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.
In this test, we've shot our low-light test scene at an exposure 5 EV below our standard low-light Raw exposure. That is, 1/10s at f/5.6 instead of 3.2s at f/5.6, ISO 100. Then, each image was pushed 5 stops in ACR. The purpose of this test is to examine the latitude of the Raw files each camera produces, which is also intimately linked to the camera's dynamic range. In real-world terms, this analysis shows how underexposed tones look when pushed, whether the underexposure was a result of exposing for the highlights in a very high dynamic range scene, or was simply accidental. Cameras with more dynamic range will show cleaner results when shadows are pushed, while cameras with lower dynamic range will have noisier results, often due to a sensor and/or electronics with a higher noise floor.
We put the 7D Mark II up against its closest cousin, the 70D, to see if there are improvements in performance between the two. We also dusted off the 7D to compare improvements over the previous generation in its series. The 5D Mark III is included as a comparison against full-frame, which should have an advantage. Finally, we tested the Nikon D7000, for representation from a competing APS-C camera.
Overall, the 7D II's improvements over other members of the Canon are significant. The original 7D has an excessive amount of banding when pushed this far. The 5D Mark III doesn't have as strong of a pattern, but vertical banding is still present. The 5D Mark III also has a lot of problems with chroma noise resulting in. The 70D and 7D Mark II look virtually the same, indicating similar technologies between the two. Interestingly, both of these APS-C cameras show similar, if not slightly better , which is a notable improvement when you consider their smaller sensor sizes that inherently put them at a disadvantage when it comes to noise and dynamic range performance. There appears to have been a decrease in read noise that allows these APS-C sensors to pull up to the performance of the larger sensor 5D Mark III when it comes to base ISO dynamic range.
To put these improvements in perspective, though, we added the agingto the mix. The advantages of the Sony sensor in the D7000 are quite clear: despite a +5 EV push, even darker tones remain relatively noise-free. This is due to the D7000's low electronic noise, which gives it class-leading low ISO dynamic range in Raw - considerably in excess of any of the Canon bodies shown here.
The take-home message here is that while the 7D Mark II offers slightly more exposure latitude than its predecessor, it is still a ways away from what even the 4-year+ old Sony sensor in the Nikon D7000 offers. There aren't any significant improvements over the 70D, but the lack of banding in both the 7D Mark II and 70D make shadows and underexposed tones more usable than they might have otherwise been. This has implications for Raw dynamic range, where one might expose for the highlights with the intent of pushing underexposed tones for a more balanced image when shooting high dynamic range scenes. We explore this more in-depth in a real-world sense in our Real-World Raw dynamic range analysis.
There's an interesting implication of the extremely low read noise exhibited by the Nikon D7000 that differentiates it from any of the Canon bodies here, and we thought we'd take this opportunity to talk about it. Have a look at the bottom row in the table below: what's remarkable is that the Nikon D7000 shot at ISO 100 underexposed by 5 EV and then pushed 5 EV in post looks nearly identical to our normal exposure of this scene taken at ISO 3200, despite both shots receiving the same exposure (1/10s | f/5.6). In other words, not only can the D7000 tolerate this 5 EV digital push, it tolerates it so well that the results are quite similar to doing this 5 EV push via analog amplification in-camera by increasing the ISO setting to ISO 3200. This is not at all the case for the 7D Mark II, whose underexposed ISO 100 pushed digitally (in post) looks significantly worse than an exposure shot with ISO 3200 analog amplification - again, despite both shots receiving the exact same exposure (top row, below).
|7D Mark II | ISO 100 +5EV||7D Mark II | ISO 3200|
|D7000 | ISO 100 +5EV||D7000 | ISO 3200|
Why is there such a difference between the two 7D Mark II shots above, but not the D7000 shots? It comes down to when the +5 EV 'amplification' happens - a digital push in post, or analog amplification via increasing the ISO setting on your camera?
For the D7000, it doesn't matter whether you use analog amplification in-camera or perform a digital push in post because of the extremely low noise floor of the camera's electronics. The 7D Mark II, on the other hand, benefits from the +5 EV analog amplification in-camera (the ISO 3200 shot) as opposed to in post (the pushed ISO 100 shot), because it helps surmount a significant amount of noise the data off the sensor encounters in the camera's electronics.
In other words, for the 7D Mark II, the analog amplification in-camera helps the signal off the sensor overcome the background electronic noise ('read noise') - essentially making the image data 'louder' so that the impact of electronic noise, often referred to as 'read noise', is lowered.* A digital push in post amplifies the read noise as much as the the signal off the sensor, and in fact that's precisely why the digitally pushed ISO 100 shot looks so much worse than the ISO 3200 shot for the 7D Mark II.
So what does this mean in the real world? Cameras that show little to no difference between being pushed in post vs. undergoing analog ISO amplification in-camera have considerable advantages - by saving the amplification for post-processing, you can give yourself significant highlight headroom. This helps reduce the risk of blown highlights and, in general, offers advantages in high dynamic range scenes by allowing you to expose for the highlights and not worry about the conventionally underexposed tones (that can be rescued later). And cameras that exhibit this behavior naturally have high base ISO dynamic range, because of the low noise floor of the sensor and electronics. In fact, this very feature is what makes such cameras 'ISO-less' or 'ISO-invariant'. The Nikon D7000 could be classified as being 'ISO-invariant', while the 7D Mark II cannot.
While the sensor in the 7D Mark II appears to show some progress from its predecessor and the 5D Mark III with respect to exposure latitude and dynamic range, particularly when it comes to banding, Canon's got a ways to go before catching up to its (Sony) counterparts. This manifests itself both in lower Raw dynamic range, lower exposure latitude, and more 'ISO-variance' (or, lack of 'ISO-invariance'). We explore the Raw dynamic range of the 7D Mark II in a real-world scene and compare it to an APS-C sensor known to have class-leading dynamic range, the D7000, on the next page.
*Incidentally, this is what allows the Canon to catch up to the Nikon at higher ISOs, even surpassing it ever so slightly for reasons that we won't go into here for the sake of brevity. We'll be exploring these concepts further in a future article.
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Rumor has it Canon is planning to release a successor to its APS-C flagship EOS 7D Mark II in the first half of 2018. After 3 years, it's probably due an upgrade - here's our wishlist for a Mark III.
Canon has made the previous version, 1.1.0 available for download again.
Firmware version 1.1.1 for the EOS 7 Mark II includes various bug fixes and improves the reliability of communications when transferring images using the Wireless File Transmitter WFT-E7. Learn more
Canon will bring a new Wi-Fi connectivity option to the EOS 7D II, 5DS and 5DS R by way of an adapter that fits into the camera's SD card slot. Read more
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.
|The Lone Photographer by ed rader|
from My Best Photo of the Week
|_ERN9064 by ernesto juarez|
from Shoot yourself ! (with your camera)
|Neighbourhood Watch by Stevie Boy Blue|
from Zoo trip ~ Cute...
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.
Sony has taken the wraps off of its new 24mm F1.4 GM full-frame lens, which the company claims is the lightest in its class. Despite its fast aperture, the 24mm F1.4 is remarkably light, weighing just 445 grams (15.7 ounces). The lens will set you back $1400 when it ships next month.
In this episode of DPReview TV we take a look at Sony's brand new 24mm F1.4 GM lens, a desirable focal length for many photographers. How does it perform? Chris and Jordan give us their first impressions.
We've had a little time to shoot with Sony's new wide/fast prime, both close to home and on the water in San Francisco. Check out our initial sample images.
Fujifilm released a firmware upgrade for its X-T3 mirrorless camera that addresses issues with distortion compensation and the mechanical lock on SD cards.
The app's algorithms have been trained using using 200 million cropping data points from real photographers.
Thanks to a software update, the Loupedeck+ editing console can now be used for video editing.
British photographic engineer MTF Services is claiming the world’s first third-party lens adapters for the new Nikon Z system with a collection of four units designed to allow cinema lenses to be mounted on the mirrorless full frame bodies.
Think Tank Photo has updated its line of heavy-duty rain covers and introduced a new, compact version for emergency situations.
The X-T3 is our first opportunity to analyze what's likely to be Fujifilm's next generation image sensor. Take a look at how it performs next to the competition in our studio test scene.
Canon's new normal is seriously sharp wide open. After shooting with it for a few days, we've prepared a gallery of real-world sample images.
Nikon will cease offering Brazil-based customer service and technical support, though the company stresses that it will still offer technical assistance and warranty repairs for valid warranties.
Two years ago, CatLABS of JP announced a plan to save Packfilm from the dead. Now, it's announced it's giving up its efforts to better focus its resources elsewhere.
The GoPro Fusion is designed to make it easy to capture 360-degree video and stills. We took it out recently on a typically hot Seattle summer day to see what it can do.
We've got our hands on a full-production Nikon Z7 camera and have updated our gallery with additional samples.
A new Kickstarter campaign seeks funding for Chroma Chrono, a programmable RGB camera flash that emits multiple colors during long exposures.
Think Tank Photo has launched a new lineup of six dual-access, water-resistant protective lens cases it calls Lens Case Duo.
Canon and Nikon finally entered the full-frame mirrorless market this summer with the brand-new RF and Z mounts. Now that we've had some time with the cameras, we wanted to revisit our earlier predictions and take stock.
The devices' camera specs look pretty much identical to last year's iPhone X but under the hood a number of important improvements have been made.
Blackmagic Design has announced the public beta of its new Blackmagic RAW video codec. The company says the new format combines the benefits of shooting Raw video with the ease of use and smaller file sizes usually associated with non-Raw video files.
Serif, the company behind the Affinity suite, has announced the latest update for its mobile Photoshop competitor Affinity Photo for iPad.
The Atomos Ninja V external video recorder and monitor will be ready to ship at the end of this month. The 5.2in Ninja V is designed to provide a smaller option, while still offering many of the features of the larger 7-inch models.
Having shot with the camera, spoken to Canon and read the tea leaves, here's what DPR Technical Editor Richard Butler thinks the EOS R tells us about Canon and the RF's mount's future.
After last week's teaser, lighting manufacturer Profoto has announced its 'small big' new product. The B10 is designed to be used as studio flash head but in a very small body, and has a powerful continuous light source for videographers as well.