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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 S3 Pro's unique selling point is that it is the only digital SLR to have an extended dynamic range, it achieves this by the use of two interleaved photodiodes. Fujifilm refer to these as the S (normal sensitivity) and R-Pixels (less sensitive). The camera's image processor can then combine the values of these pixels to extend the dynamic range of the image. (This is supposed to be similar in effect to film which has different sizes of 'grain' which are sensitive to large or small amounts of light). The S3 Pro has 6.17 million of each type of pixel (12.34 million effective total), however it's important to understand that the R-Pixels are only used to extend dynamic range they do not increase image resolution. Note that for ease of reading we're using Fujifilm's nomenclature of an (input) Pixel however the correct term would be photodiode.
The S3 Pro provides four different options for dynamic range, firstly you have to select between 'Standard' and 'Wide' dynamic range on the camera menu. Selecting standard uses only the S-Pixels (hence would be pretty similar to the S2 Pro in terms of dynamic range). Selecting the Wide option mixes data from the two 'Pixels' to create the final image. In Wide mode you have access to three different modes for 'mixing'; Auto where the camera decides (depending we assume on how much R-Pixel data there is), Wide 1 (described as 230%; just over 1 stop more) and Wide 2 (described as 400%; about 2 stops more). To be honest I think the whole 'percentage' thing is deceiving, most people don't think logarithmically, and most people won't realize that you only gain at the highlight end of the light scale.
It's worth remembering that the S3 Pro's extended dynamic range is at the highlight end of the brightness scale, it doesn't add any more 'shadow detail' at the bottom end, this means that to get the most out of the camera's dynamic range logic dictates we should be over-exposing slightly with wide dynamic range mode (as we won't lose highlight detail and this will lift the shadows).
Aren't those R-Pixel's quite small? The answer to that is yes, they are, in fact by our estimations they're about the same size as a normal consumer camera's CCD pixel which shouldn't be much of an issue in most high dynamic range situations (ISO 100, bright outdoors or studio flash) but they will obviously get noisier the higher up the sensitivity range they are pushed.
Below you can see two images, the one on the left was taken in Standard dynamic range mode, the one on the right in Wide dynamic range mode (Wide 2 - 400%). We have overlaid an animated 'blinking highlights' display on these thumbnails as you would perhaps see in digital camera playback, those pixels which blink red were either overexposed or almost overexposed. As you can see the S3 Pro's Wide dynamic range approach clearly works, maintaining more detail in highlight areas of the image and avoiding overexposure clipping.
|Standard Dynamic Range||Wide Dynamic Range (Wide 2 - 400%)|
|ISO 100, 1/180 sec, F6.7, 6 MP||ISO 100, 1/180 sec, F6.7, 6 MP|
Another example below, same setup, wide dynamic range mode is good for maintaining all types of detail, here you can see that the blown out color which we have in the standard dynamic range mode is maintained and detail recovered in wide dynamic range mode. That said it's not clear that there is a 300% gain of dynamic range in the second image.
|Standard Dynamic Range||Wide Dynamic Range (Wide 2 - 400%)|
|ISO 100, 1/60 sec, F6.7, 6 MP||ISO 100, 1/60 sec, F6.7, 6 MP|
We've tried to measure dynamic range in the past but it's always been a little hit or miss, mostly because our previous methods required multiple exposures, each of which could be subject to different automatic tone adjustment. Our new test involves shooting a calibrated Stouffer Step Wedge (13 stops total range) which is backlit using a daylight balanced lamp (98 CRI). A single shot of this produces a gray scale wedge from (the camera's) black to clipped white. Each step of the scale is equivalent to 0.3 EV (a third of a stop) and so if we find the 'middle gray' and measure outwards we can define the dynamic range captured in the shot. We have chosen to stop at the dark end of the scale where there is no longer any measurable distinction to the next step and at the high end where the step becomes clipped.
I've chosen to present this data in two forms, firstly visually, these are reduced size crops of the actual step wedge shots taken in Standard and Wide 2 dynamic range modes. Depending on how well your monitor is calibrated you may or may not be able to see a difference between the two, but essentially the Wide 2 tablet carries more detail into the highlight.
Next in graph form, this is a little easier to see, as we have described earlier the S3 Pro's dynamic range 'extension' occurs at the highlight end, our test supports this as in both modes the amount of dynamic range available below middle gray is approximately 5.0 EV. However above middle gray we can see that Standard dynamic range mode clips at about +3.0 EV and Wide 2 dynamic range mode clips at +5.0 EV.
So it's fair to say that Standard dynamic range is about 8.0 EV (8 stops - about the same as the Canon EOS 20D) and that Wide 2 dynamic range is about 10.0 EV (10 stops). This is in line with Fujifilm's claim and is typically more than most other digital SLR's, you should remember though that the gain is made in highlights only. Perhaps it would be more accurate to name it 'expanded highlight dynamic range'. It would also have been more interesting if the wide dynamic range modes used a different tone curve and/or automatically exposed for shadows.
Exposure value (EV) or stops
* In our previous tests of dynamic range this has been the average for most digital SLR sensors, we are developing a standardized dynamic range test which will be used for all our D-SLR reviews in the future.
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...
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.
Apple has unveiled the next generation of its iPhone X in the form of three variants: the 5.8" iPhone XS and 6.5" iPhone XS Max with OLED screens, and the 6.1" iPhone XR with an LCD and single rear camera.
Ahead of the launch of the CamRanger II the company has announced a mini version of its wireless remote control system that it says has a longer range than the original in a body half the size.
Lens manufacturer Sigma has announced a trio of fast cinema lenses for full-frame camera systems, that it says will also be available in the future in the LPL mount for Arri’s large format camera system.
LumaPod is a a new tripod being funded on Kickstarter that takes just four seconds to set up and uses patented tension technology to keep your shots steady in a compact design.