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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.
The most common image format amongst digital cameras is JPEG, it's a format which produces relatively small files from large amounts of image data by discarding certain information, JPEG uses a "lossy compression algorithm". The only other common alternative is TIFF, this produces an uncompressed 24-bit per pixel image often in the multiple megabytes, certainly for a 3 megapixel camera in excess of 8 MB per image, not really practical. A little background: each pixel of a CCD can only see one colour, depending on the CFA (colour filter array) placed over the CCD this is either Red/Green/Blue or Cyan/Magenta/Green/Yellow. The cameras internal image processing engine then interpolates colours from the value of neighboring pixels to calculate a full 24-bit colour for each pixel.
RAW is simply the raw data as it comes directly off the CCD, no in-camera processing is performed. Typically this data is 8, 10 or 12 bits per pixel. The advantage being that file sizes are considerably smaller (D30: 2160 x 1440 x 12 bits = 37,324,800 bits = 4,665,600 bytes), the image has not been processed or white balanced which means you can correct the image, and it's a better representation of the "digital negative" captured. The disadvantage is you can't open these image files with a normal photo package without using an "acquire module" (a plugin, typically TWAIN, which can open / process such images).
RAW image format has actually been around for quite a while, Canon had a RAW format back in the old PowerShot range and more notably on the Pro 70, all of Kodak's DCS Pro series shoot in a proprietary RAW format (despite the TIFF extension), Nikon's D1 also has a RAW format. Canon have (thankfully) resurrected RAW format for the EOS-D30 and G1. The new RAW format stores 10 or 12 bits (in the case of the EOS-D30) of data per pixel which is then losslessly (like a ZIP file) compressed, obviously the success of this compression depends on the image content, we found the average size of a D30 RAW file to be about 3.0 MB (certainly an improvement on it's 9.1 MB 8-bit TIFF or 18.2 MB 16-bit TIFF equivalent).
Supplied with the D30 is a TWAIN acquire module (driver) which allows you to open RAW (or D30 JPEG) files from any TWAIN compatible photo package (Photoshop, Paint Shop Pro, etc. etc.). It's actually the very same driver used for other Powershot products.
This window allows you to select the files to be imported, these can be on your local hard disk (or any attached file system device) or on the card in-camera via USB. Clicking on an image (or group of images) and select "Set RAW Param" displays the window shown below:
Which allows the modification of parameters such as white balance, sharpening, contrast and colour saturation which can be left as default (camera settings), set individually or for the group of images. White Balance can even be manually "picked" from a white area on the image. The EOS-D30 TWAIN allows for linear import of the image at 16-bits per channel, this image has not been correct in any way and is simply an interpolation of the colours from the RAW file to 36-bits per channel (example below):
|RAW acquired normally
1,401 KB JPEG (8-bit per channel)
|RAW acquired "Linear"
17,718 KB LZW TIFF (16-bit per channel)
966 KB JPEG (8-bit per channel)
One thing I think is missing is an exposure compensation slider which would allow you to adjust the exposure +/- 2 EV, this should be easily possible and would allow you to get more out of the fact that the RAW file itself contains 12-bits of information (without having to acquire and adjust huge linear files as above). This is a standard part of Kodak's acquire modules, I'd like to see Canon consider it when updating their software. I'd also hope they could speed up acquisition in an update too, it currently takes about 40 seconds to acquire an image (on my dual processor workstation).
Frame the main window you can also extract shooting information from an image (RAW or JPEG):
Below we've provided a few samples of the same RAW file acquired with different "RAW parameters" to try to give an impression of why RAW is useful and allows for flexibility. All images were acquired into Photoshop then re-saved with a quality level of 12.
Contrast: Normal, Saturation: High, Sharpness: Normal
|White Balance: Auto||White Balance: Daylight||White Balance: White Point|
Auto white balance had a slight blue cast, Daylight was the most accurate closely followed by manual white point.
White Balance: Daylight, Sharpness: Normal
I was most comfortable with Saturation High, Contrast Normal, though of course the great thing about having the RAW data is you can decide on a per image basis (if you can stand the wait).
White Balance: Daylight, Contrast Normal, Saturation High
|Sharpness: Low||Sharpness: Normal||Sharpness: High|
|Sharpness: Low &
Photoshop Unsharpen Mask 128%, Radius 0.6 pixels, Threshold 2 levels
In these samples I threw in another option, acquiring with Normal sharpening then sharpening the image with an Unsharpen Mask.
This is an update to the originally published review, we had a lot of interest from our forums questioning whether it was worth shooting RAW and what (if any) image quality advantage there is (understanding there's always more 'headroom' in a RAW because it's recorded as 12-bits of data per pixel and that you can apply white balance, sharpness, saturation and tone settings later).
Our findings are that up to ISO 400 there's little difference between RAW and JPEG images, obviously if you have the storage (and time to convert the images later) then RAW provides more flexibility, but it also limits the number of frames you can shoot on a single card and the burst abilities of the camera. At ISO 800 and 1600 it appears that the noise introduced into the image generates increased noise when shot in JPEG rather than RAW, this is probably because of the way the JPEG algorithm works, thus in nearly every test there was always less green channel noise in RAW images.
|ISO 100 RAW, available as 8-bit TIFF (9,124 KB)|
|ISO 100 JPEG, original JPEG (1,027 KB)|
|ISO 200 RAW, available as 8-bit TIFF (9,124 KB)|
|ISO 200 JPEG, original JPEG (1,125 KB)|
|ISO 400 RAW, available as 8-bit TIFF (9,124 KB)|
|ISO 400 JPEG, original JPEG (1,276 KB)|
|ISO 800 RAW, available as 8-bit TIFF (9,124 KB)|
|ISO 800 JPEG, original JPEG (1,493 KB)|
|ISO 1600 RAW, available as 8-bit TIFF (9,124 KB)|
|ISO 1600 JPEG, original JPEG (1,799 KB)|
(Please refer to linked images above for originals)
|ISO 800 RAW|
|ISO 800 JPEG|
|ISO 1600 RAW|
|ISO 1600 JPEG|
I think you can see from the samples above that although there's little difference between in the red and blue channels between JPEG and RAW but that the noise visible in the green channel of JPEG images was almost none existant in RAW images. The conclusion? If you've got the storage and you're shooting at ISO 800 and 1600 then you'll get better results shooting in RAW.
Imaging-Resource have updated their Canon EOS-D30 preview to a final review (of a production D30). "While not coming anywhere near the speed or incredible ruggedness of the EOS 1V film camera or its brethren, the D30 nonetheless shows solid engineering, and at nearly 3 frames per second is fast enough for most applications. When you toss in its excellent image quality, generous ISO speed capability, superb low-light shooting, excellent flash integration, and compatibility with the full range of Canon EF lenses, it'd be a bargain at twice the price. "
Neil Turner, Contributing Editor has written a lengthy second look at the Canon EOS-D30. Neil had the D30 for three days, in which time he used it for pretty much all of his professional shooting. "Quite simply I have substituted the D30 for one of my DCS520s for the past few days, and it has been my main camera at all times. Obviously, I have no control over where the paper sends me so the D30 hasn't had it's assignments chosen to suit it at all. I have amassed three pages of handwritten notes and there are a million thoughts going through my brain, so here goes."
Rob Galbraith has published his appraisal of Canon's EOS-D30 from a photojournalists point of view, Rob introduces the article, "D30 image quality is top-notch and 550EX flash photography is a breeze. But the camera may not be the best choice for peak action sports. This article looks at some of the Canon EOS D30's main strengths and weaknesses, and includes 14 full-resolution photos."
Jeff over at DCResource has just posted his own Canon EOS-D30 user review. Here's what Jeff had to say about the D30 "I don't feel that I can answer the above question, since this is the first Pro SLR digital camera I've used. Is the D30 a great camera? Yes, absolutely -- it continually amazed me every time I used it. If you've got a collection of Canon lenses and want to go digital in a big way, the D30 is for you. Even if you don't, and can afford the D30, it's definitely something to consider. Most of our readers will just daydream about the D30, but if it's in your price range, you should definitely check it out!"
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.
|_ERN9064 by ernesto juarez|
from Shoot yourself ! (with your camera)
|walkersons fields by George Veltchev|
from -Waiting for Autumn- (in Full Colours Only)
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.
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.