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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 SD4000 IS's minimalist looks might lead you to conclude that it will be a bit of a handful to control but it's actually better than initial impressions would seem to suggest. The generally good function menu (sadly not quite as quick to operate as on previous Canons), means most settings can be changed pretty quickly without navigating away from the shooting screen. Better still, in the non-Auto mode it's always very easy to access exposure compensation, giving a good level of control over the shot you're going to get.
The back of the camera is dominated by the huge 3.0" screen. It's is a lovely bright display with good anti-reflective coatings, meaning the light has to be quite bright before it becomes too hard to see. However, it's not a particularly high resolution screen: it's made up of 230,000 dots, which is perfectly acceptable in this class, but those dots are distributed in the widescreen 16:9 aspect ratio. This means that only the middle 75% of the screen is actually being used for representing the image, most of the time. As a result, the area of the screen that's actually used to show the image preview is effectively around 25% lower in resolution than a conventional 4:3 screen made up of the same number of dots.
The wide screen comes into its own when shooting movies, however, where its 16:9 aspect ratio matches that of the 720p HD video it records. Whether this trade-off makes sense for you probably comes down to how much video you expect to shoot with the camera.
|The controls on the top are limited to an on/off switch and a slider that selects the shooting mode: video, manual or auto.
Pushing the switch to the central 'Shooting' position gives you a choice of aperture priority, shutter priority or program. These semi-manual modes are essentially auto modes with manual over-rides and are the best way of getting the most out of the camera.
The SD4000 IS has the same user interface as most of Canon's current range of compact cameras and it's generally very good. In Auto mode there's very little option for manual control but the 'Shooting' mode offers such an easy way to get the most out of the camera, we'd recommend its use for everything except those 'hand your camera to the waiter in the restaurant' moments.
Shooting mode is essentially a user-overrideable auto mode - the camera will do everything for you unless you actively tell it otherwise. In this mode you get a fully populated function menu (you can choose only self-timer and image size/quality in auto), and exposure compensation.
Scene modes live within the function menu in Shooting mode - these include the seemingly gimmicky but actually rather useful face- and wink-self timer modes that only begin their two-second countdowns when they detect an additional face in the image or spot you winking at the camera.
Although the SD4000 IS has a 16:9 screen, the output used for these grabs is 4:3, so some screen elements are rearranged. Where relevant, we're simulated the image that appears on the screen.
|There are two main screen modes - with and without shooting mode and details being displayed.||Onto these it's also possible to add thirds grids, the boundaries of 3:2 shooting, or both (pictured)|
|Half-pressing the shutter button shows metered shutter speed and aperture values, along with the selected focus point.||Lightly pressing the control dial on the rear brings up a diagram showing the effect of pressing one of its cardinal points.|
|One of the great hidden features of many SD/IXUS models is the ability to lock exposure or focus and then recompose your shot. These are accessed by pressing up or left on the control dial when the shutter is half-pressed.||The function menu is not quite as quick to use as the ones on previous Canons, adding an additional button press to most setting changes. It's still fairly easy and clear to use though.|
|Pressing the menu button brings up a simple and sensibly laid-out menu. There are two tabs and around 15 options in each, so it's not overwhelming.||Slightly hidden away in the shooting mode section of the function menu are the fisheye and miniature shooting modes. Holding the Menu button lets you change their parameters.|
|We particularly liked the miniature mode, which can work in both orientations and allows you to chose the size and position of the in-focus region.||The movie shooting display is essentially the same as the stills capture version but now takes up the full extent of the screen.|
|There are four playback screens - just the image, the image with basic info, a full info screen...||...and a mode for zooming in on the focus point. A combination of the zoom lever and SET button navigates between the points.|
|Via the function menu you can rotate, protect and delete images or tag them under categories or as favorites.||There are a number of categories to tag with and, once chosen, can be used as a filter for searching or making slideshows.|
|You can also zoom out to show a 3x2, 4x3, 7x6 or 13x10 thumbnail view.||As you'd expect, you can also zoom in to check detail. At which point, turning the control dial jumps between images, retaining the level of zoom so you can compare the fine focus in different versions of the same image|
|Scrolling the dial at other times jumps to this filmstrip view. Pressing up or down jumps to the previous or next day's images.||If you press the Fn button while playing back a movie, you're given a bar that includes playback tools and an edit option.|
|Within the edit option you can define new beginning and end points for each of your movie clips.||The newly clipped file can then either be written over the original or saved as a separate movie file.|
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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
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.
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.