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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.
Here you can see a generated GretagMacbeth ColorChecker chart. Place your mouse over any of the labels below it to see the color reproduction in that mode. Select a camera/setting combination from the 'Compared to' drop-down to comparative boxes inside each patch.
The 1D Mark IV offers the same Picture Styles image parameter presets that have been a feature of the EOS range for several generations.
|Canon EOS-1D Mark IV||Compare to:|
As is usually the case with Canon DSLRs, the White Balance performance is acceptable, rather than great. As we've said before, that assessment depends on whether you believe the aim of white balancing is to completely or only partially correct for the original light source. There are aesthetic arguments for the second approach but we believe white balance should do what the name implies and balance the three color channels to render whites as white, particularly when you chose a preset and specify what type of lighting you're trying to correct for.
If you do want the camera to retain some of the 'mood' or the original shooting situation then the Canon does a better job under incandescent light than under fluorescents. The Auto white balance setting leaves a rather unpleasant yellow/green tinge in images shot under our fluorescent lights, which is unlikely to represent the way most people would remember the scene.
|Incandescent - Auto WB
Red: 9.1%, Blue: -12.6%, Poor
|Incandescent - Incandescent preset WB
Red: 7.9%, Blue: -13.1%, Poor
|Fluorescent - Auto WB
Red: 5.9%, Blue: -12.0%, Average
|Fluorescent - Fluorescent preset WB
Red: 4.5%, Blue: -4.6%, Average
The 1D Mark IV doesn't have a built-in flash but can make use of Canon's Speedlite range of external flashguns. In our portrait shot we found the results to be a fraction under-exposed (shot directly) but generally the flash performance was pretty good.
The EOS-1D Mark IV's JPEGs have a distinctive, sharpened look and it's hard not to be impressed with both the color and the detail that they convey. The high ISO performance is more than a match for the 1D Mark III's, even at a pixel level, giving greater freedom to crop when you're shooting subjects moving too fast to guarantee perfect composition every time.
However the high resolution, combined with the very precise focus requirements of the kinds of work it's likely to be put to present a problem - you will see every flaw in your lenses. Even the slightest hint of mis-focus or any imperfections in optical performance are described in high detail. As a result of going out and shooting the 1D Mark IV we found more than one of our lenses is in need of a little attention.
The other obvious issue with the 1D Mark IV is that, unusually for Canon, its highest ISO setting appears to be a little beyond its capabilities. At any noise reduction setting the JPEG output from ISO 102,400 is almost unusable with large amounts of chroma noise, including large, hard-to-remove blotches. Processing from RAW does little to resolve this problem, with the noise reduction options in both Adobe Camera Raw and Canon's Digital Photo Professional both making little dent in the noise levels. Even judicious use of NR and downsizing are not enough to produce an attractive image.
Canon's rather polite take on this is that: 'When you need the photo, and image quality is not the primary concern, you can get images with these ultra-high ISO speed settings that would not have been possible with previous cameras.' And, while this is true, D3S users will get significantly better results, and there's a limit to the 'anything is good if it lets me get the shot' argument if the probability of a customer accepting the results fall too low (which we think might be the case in this instance).
Ultimately, though, the 1D Mark IV performs well enough in low light that we were able to comfortably shoot sports in light requiring ISO 25,600, and that's not a sentence we can write about many cameras.
The 1D Mark IV has Canon's usual rather enthusiastic metering, tending towards bright images but with the constant risk of losing highlight detail. We found we preferred shooting with -1/3EV exposure compensation much of the time. Engaging Highlight Tone priority is also a pretty effective solution.
Feb 22, 2010
Oct 20, 2009
Feb 20, 2013
Feb 13, 2013
As the National Football League season sweeps in, sports photographers across the United States take to the stadiums to create iconic images. In a Q&A below, veteran sports photographer Otto Greule shares insider knowledge & outstanding imagery to give insight into his fast-paced, visual craft.
Martin Kozak is a sports photographer based in Prague. His journey into photography began with a 1.3MP digital camera given to him as a birthday present more than 15 years ago. These days he's fond of the Canon EOS 1D-X when he's out shooting water sports, ski jumps, cycling and the occasional off-road rally. See his work and find out more about him in our Q&A. See gallery
Canon has posted a firmware update for its EOS-1D Mark IV and EOS-1Ds Mark III full-frame DSLRs to allow them to work correctly with the new EF 200-400mm F4 L IS 1.4x lens. Firmware versions 1.1.3 (1D Mark IV) and 1.2.2 (1Ds Mark III) allow the cameras' central AF points to achieve focus with the lens when it is used with an extender, where the combined aperture is F8. Both updates are available for immediate download.
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
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.
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.