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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.
Color reproduction is a new addition to our in-depth reviews and provides a quick overview of the general look of images from the camera as well as an ability to compare this to other cameras. 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.
As you can see the E-3's color reproduction delivers almost the same hues as the competition, in the last two years or so there has been a clear 'normalization' of color among various manufacturers. The only difference comes from slightly different tone curves and saturation selection. By Default the E-3's output is a little 'punchier' (slightly more contrasty and slightly more saturated) than most of its competitors.
|Olympus E-3||Compare to:|
The E-3's automatic white balance performed flawlessly in daylight and coped pretty well with mixed lighting too. In our studio tests the AWB struggled with both incandescent and fluorescent lighting (despite the much-hyped hybrid WB measurement system), and the only way to get a truly neutral result is to switch to 'one touch' custom WB (which you'll need to assign to the Fn button).
|Incandescent - Auto WB
Red: 8.9%, Blue: -15.7%, Poor
|Incandescent - Incandescent preset WB
Red: 4.9%, Blue: -6.7%, Average
|Fluorescent - Auto WB
Red: 6.1%, Blue: -11.4%, Average
|Fluorescent - Fluorescent 1
Red: 6.1%, Blue: -4.4%, Average
No complaints here; with generally good metering (though we did occasionally see some overexposure at normal portrait distances) and good flash power output, the built-in flash is a useful addition to a camera, even if it is ostensibly aimed at the professional user. Our only complaint (occasional exposure issue aside) is that a camera at this level should have a 'proper' AF illuminator; using fit-inducing bursts of flash to illuminate a scene is a far from satisfactory solution.
|Built-in flash||Built-in flash|
The good news is that the E-3's JPEG output is superb, unusually so for a camera at this level, striking just the right balance between the subtlety of processing that high end users want and the saturated, contrasty look that gives images the requisite out of camera 'pop'. Olympus has won many fans for its rendition of colors and, when shooting outdoor scenery in particular, you can't help but be wowed by the E-3's luscious blue skies and rich green foliage. And of course there's plenty of in-camera parameters for those who want to fine-tune the JPEG output (though the range of many is limited to fairly subtle variations either side of the default setting).
Of course there are problems, though many can be overcome by the more experienced user once he or she has spent enough time with the E-3 to learn its little foibles and idiosyncrasies. Exposure (well, metering to be more accurate) isn't as reliable as we'd like from a camera at this level, and we found ourselves having to over ride the camera's decisions way too often. This is most noticeable when using the 49-zone ESP system (which seems to be far less able to deal with unusual framing and off-center subjects than we'd expect at this level. Part of the problem appears to be the link between the metering and the focus point selected (when using the multi-AF system), but the manual is far from clear on this. As we've seen with other Olympus models even the slightest re-framing of a shot can cause the metering to veer from one extreme to the other, often by two stops or more.
To be fair we tended to shoot using the center AF point only and, being in the habit of using focus and AE lock anyway, the metering issues didn't really cause huge problems in day to day photography. But it's worth noting that left to its own devices the E-3's default settings (multi AF, ESP metering) cannot be relied on to produce the results shot after shot. We've said it elsewhere and we'll say it again; the E-3 is not a camera for anyone who likes to leave everything on automatic and just 'point and shoot'.
The only other issues have been covered elsewhere in this review, but are worth mentioning here again. There is a softness / lack of resolution that robs otherwise perfect shots of the pixel-level crispness that some of the E-3's competitors can offer. Of course at normal viewing sizes we're not talking about a deal-breaker here, but if you're likely to really push your E-3 to the limit on a regular basis it could be important.
Secondly (and far more worryingly) the E-3's rather tight highlight dynamic range means that even with careful exposure there's always a danger of clipping, and it's not unusual to see hot spots on faces or to lose detail in skies. The E-3 is noticeably better than the E-410 / E-510 in this respect but, especially when shooting in challenging conditions such as the low winter sun, the stop or so of highlight detail the E-3 loses compared to the best of its competitors could make all the difference. As covered elsewhere there's a little headroom in the raw files, but not enough to bring back lost highlights in contrasty situations. Again, this makes pinpoint metering accuracy essential.
Feb 12, 2011
Feb 20, 2008
Oct 16, 2007
Feb 9, 2011
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
|_ERN9064 by ernesto juarez|
from Shoot yourself ! (with your camera)
|Neighbourhood Watch by Stevie Boy Blue|
from Zoo trip ~ Cute...
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 a longer lens, 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.
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.