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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.
Shooting RAW on the SD1 brings all the usual advantages - you can fine-tune processing individually for each shot, adjusting such things as white balance, brightness, and colour tone. It's therefore the format of choice if you're after the best possible image quality from your camera (and let's face it, there's little point in buying the SD1 if you're not). Perhaps the SD1's greatest strength in RAW is its exposure latitude, with RAW files containing considerably more highlight data than JPEGs.
The SD1 behaves distinctly differently to most other cameras with regards to its ability to recover highlights from RAW that are blown in the camera's JPEGs. With conventional Bayer-sensor cameras we normally expect to see about a stop of luminance information in the highlights, but with ever-decreasing colour inaccuracy (as individual colour channels clip sequentially). The SD1 behaves somewhat-similarly at ISO 100, but switch to 200 or higher and it surpasses this dramatically, offering an extra stop of full-colour information in its RAW files that's simply not used in the JPEGs. This means that, at ISO200 and higher, the highlight range available in RAW at least matches the best APS-C DSLRs.
In the examples below we show how this looks using our standard studio scene. We've shot in JPEG+RAW firstly with correct exposure, then 1 and 2 stops overexposed. We've then pulled-back the RAW files to compensate, using the Exposure slider in Sigma Photo Pro. We're showing side-by-side crops from the Q60 colour checker chart in the upper right of the scene, comparing the overexposed JPEG and the recovered RAWs at ISO 100 and 200. Note that in the 'correctly-exposed' version of these shots, the lightest tones are approximately 1/2 stop from clipping in JPEG.
ISO 100, JPEG
ISO 100, RAW + SPP
ISO 200, RAW + SPP
|1 stop overexposed||+1 EV / -1 EV in SPP||+1 EV / -1 EV in SPP|
|2 stops overexposed||+2 EV / -2 EV in SPP||+2 EV / -2 EV in SPP|
In this example, at ISO 100 overexposure by a stop results in clipping of the lightest tones in the chart on the camera's JPEGs, but this data can be recovered accurately from the RAW file. However 2 stops overexposure and recovery is a complete no-go; some luminance information can be retrieved, but colour information is lost across much of the chart. In contrast, at ISO 200 and 2 stops overexposure, the results are essentially identical to overexposing ISO 100 by one stop. This means that you'll get maximum latitude for overexposure at ISO 200; we'd estimate you can expect to recover at least 1.3 stops above the JPEG clipping point with full colour accuracy. This in turn means that in bright, contrasty conditions we'd recommend using ISO 200 by default.
Here we're showing a couple of examples of how the SD1's RAW highlight recovery can benefit your real-world shooting.
|This quick close-up was shot using centre-point AF. The SD1's evaluative metering is very closely-linked to the active AF point, which has resulted in overexposure. Large regions of the JPEG are clipped to pure white, and on many cameras this image would be a complete write-off.||The playback clipping warning confirms just how much of the image is overexposed in the JPEG file. However the image was shot at ISO400, so there should be plenty of highlight data in the RAW file. Let's see what it looks like...|
|A quick click on SPP's Auto setting sets negative exposure compensation of 1.7 stops, which recovers almost everything that's clipped in the JPEGs. The red channel is probably not 100% accurate in the brightest regions, but overall this is an impressive recovery.||A little tweaking of the sliders results in this more-balanced final conversion. Here exposure compensation is set to -1.3 and the X3 Fill light to +0.3, which (as its name suggests) fills in the shadows pleasantly.|
|In this second example (again at ISO 400), the sky is clipped almost to pure white. With most cameras, if your JPEG looks like this then the RAW file will have little more to work with.||A few moments playing with SPP's image-control sliders, however, allows recovery of both the blue sky and the subtle late-afternoon light on the clouds.|
This is all very impressive stuff on the face of it, but it has to be kept in context. The SD1's huge RAW highlight recovery ability stems as much from the relatively-limited JPEG highlight range as anything else - the RAW files don't necessarily contain very much more highlight data than those from competing SLRs. We'd actually prefer to see that data used in the camera's JPEG processing, to give better highlight rendition (and therefore more usable images out-of-camera). This would also offer a more-accurate indication of what's in the RAW file when playing back your images.
Here we provide RAW files, both from the review and the sample shots we take, to allow you to apply your own workflow techniques and see whether your experiences match ours.
Sigma's new CEO, Kazuto Yamaki has announced the re-branding and re-pricing of the company's flagship camera. The SD1 DSLR will now be know as the SD1 Merrill, in honor of Dick Merrill, inventor of the Foveon sensor technology on which it is based. The price will also be revised, falling to what should be a street price of around $2,299, which Yamaki attributes to work conducted to reduce production costs of the sensor. Despite these changes, his letter promises the performance and characteristics of the sensor have not changed. To avoid disappointing existing SD1 customers, Sigma will offer a support program with 'points' that can be exchanged for Sigma products.
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.
|_ERN9064 by ernesto juarez|
from Shoot yourself ! (with your camera)
|walkersons fields by George Veltchev|
from -Waiting for Autumn- (in Full Colours Only)
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.
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 the same lens but offers a 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.