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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.
Standard Test Scene
The S3 Pro provides two JPEG compression levels (Fine and Normal) in combination with four image sizes (12, 6, 3 and 1 megapixel) as well as RAW mode. The RAW file size (.RAF) depends on the dynamic range mode selected, in standard mode file will be approximately 12.5 MB, in wide dynamic range mode the file will be approximately 25 MB (as twice the data is recorded). Because of the honeycomb layout of the SuperCCD sensor there is no real 'native' direct pixel-for-pixel output, however the six megapixel (3024 x 2016) should be seen as the nearest size to the input pixel count.
Below you will find crops of the same 240 x 180 portion of the center of a sequence of images taken at some of the available combinations of image size and quality. Crops shown are at 100%, saved as extremely high quality JPEG. The RAW file was converted to a TIFF using Fujifilm Hyper-Utility 2 (ver 2.3). All shots below were taken in Wide dynamic range mode.
|4256 x 2848 CCD-RAW (Uncompressed), W-Dyn
25,049 KB .RAF (not for download)
|4256 x 2848 JPEG (12 MP) Fine
4,532 KB .JPG
|4256 x 2848 JPEG (12 MP) Normal
2,262 KB .JPG
|3024 x 2016 JPEG (6 MP) Fine
2,861 KB .JPG
3024 x 2016 JPEG (6 MP) Normal
2304 x 1536 JPEG (3 MP) Fine
With such large image sizes and fairly small crops it's quite difficult to see artifacts, a closer inspection (a 'pixel peep') of the entire image revealed no JPEG artifacts with the Fine setting but some in Normal (as well as a slight softening / JPEG smearing of image detail). We would therefore recommend everyone sticking to the Fine setting unless they wish to shoot RAW (disadvantage: very big files).
The S3 Pro provides independent selection of output color space, you can select from sRGB or Adobe RGB. Images taken in the Adobe RGB color space have their filename prefixed with an underscore (_) which complies with DCF 2.0 (Exif 2.21). *
As you can see from the samples below (switch between the two by moving your mouse over the labels) Adobe RGB mode doesn't affect the gray balance of the image but does deliver a very different color response, most notably deeper blues and paler reds (although greens remain unaffected). This is a fairly dramatic difference, the only thing we can conclude is that in sRGB mode the camera is applying some additional color mapping (for that Fujifilm 'pop') which doesn't happen in Adobe RGB mode. Anyone who finds the S3 Pro's standard sRGB color too saturated could perhaps try Adobe RGB.
|sRGB||Adobe RGB (converted to sRGB)|
* This DCF naming convention makes it difficult to keep your images in the correct order if you don't routinely rename them by date/time. A suffix would have been far better.
Note that in these samples the Adobe RGB image has not been converted to sRGB and so to view it correctly you will have to load it into a color space aware photo application and assign the Adobe RGB color space. Below each sample is the CIE u'v' Color Distribution chart; larger gray triangle approximately represents the range of color which the human eye can resolve, the inner triangle the available gamut in each color space (sRGB or Adobe RGB).
Again you can clearly see the difference between sRGB and Adobe RGB in the CIE charts, while blues and greens remain close to the limits of gamut reds are paler.
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
|Neighbourhood Watch by Stevie Boy Blue|
from Zoo trip ~ Cute...
Voigtlander-Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The 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.
Konseen has launched Photo Studio, a new light box tent large enough to photograph people, as well as objects.
Seagate has introduced new high-capacity hard drives for Network Attached Storage (NAS) devices: the 14TB IronWolf and 14TB IronWolf Pro HDDs.
The case was first announced earlier this year as a Kickstarter campaign and comes with a range of features aimed at iPhone photographers.
Manfrotto has introduced a new two-in-one tripod to its Befree lineup. Called the Befree 2N1, this new addition is both a tripod and monopod in one and is available with both of Manfrotto's locking mechanisms.
This new high dynamic range editing software comes with an AI-powered Quantum HDR Engine for improved photo merging.