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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.
Auto HDR is only available when shooting in JPEG mode, and allows automatic exposure bracketing up to 6EV. The final HDR images are achieved by combining multiple exposures (one normally exposed, one over exposed and one under exposed.) This allows for a larger dynamic range to be recorded than the sensor is capable of capturing alone. One of the downsides to shooting and processing HDR in-camera is that you have no control over the tone-curve applied. However the default tone curve that is applied by the C3 in-camera produces acceptably realistic looking results (in all but the most extreme DR scenes) even when processing an image with a 6EV bracket. When shooting in HDR mode the camera saves the HDR image along with the normally exposed image.
Dynamic range optimization (DRO) attempts to do the same thing as Auto HDR, creating a single image containing a large range of brightness in a way that looks natural to the human eye. Instead of blending multiple images at different exposures, DRO applies sophisticated series of tone curves to each area of similar local brightness within a single image, in an attempt to balance details in the shadows while maintaining local contrast. This method can be more effective than applying a homogeneous tone curve to the entire image in post processing. For a more in-depth explanation of how the system works please take a look at our 2009 article about the technology behind DRO.
|HDR Auto||HDR Off||HDR 1EV||HDR 2EV||HDR 3EV||HDR 4EV||HDR 5EV||HDR 6EV|
|DRO Auto||DRO Off||DRO Lv1||DRO Lv2||DRO Lv3||DRO Lv4||DRO Lv5|
DRO has the benefit of being faster than Auto HDR, (no significant in-camera processing time is required) and can be used while shooting in RAW (and RAW+JPEG) modes whereas Auto HDR is a JPEG-only function. However, DRO does not provide the same level of highlight and shadow recovery as Auto HDR, as you can see from the illustration above. In this scene, DRO has a significant impact on shadow brightness, but very little impact at all on the highlight areas. When shooting with DRO enabled in RAW, the DRO is applied to the RAW file which is quite beneficial as it makes a noticeable impact when trying to bring up the shadows during processing.
Auto HDR, on the other hand, is able to pull down the brightness of highlight areas very effectively. Both HDR and DRO have their own unique drawbacks. Since HDR images are created from multiple shots blended together, ghosting can be evident if you are photographing a moving subject. And because DRO images bring up dark midtones and shadow areas by applying a tone curve, noise will become more visible in the shadows. However, the low-light capability of recent sensors makes this less of an issue.
Hand-held twilight mode functions by taking a series of images in rapid succession, then blending them into a single image. The reason for doing this is that high ISO noise is a random phenomenon and as such, is found in a different pattern in each frame. By combining these frames it is possible to remove much of the noise commonly seen in images shot at high ISO settings, whilst maintaining the visual integrity of the common scene elements.
Here we are comparing the same scene shot at ISO 6400, 12800 and in Hand-held twilight mode (EXIF recorded as ISO 1600) without a tripod. As you can see, the Hand-held twilight mode produces a final image with significantly more detail retention and less visible noise than when shot at high ISO settings.
|Hand-held twilight||100% Crop|
|ISO 6400||100% Crop|
|ISO 12800||100% Crop|
Hand-held twilight mode can't compete with long-shutter tripod mounted shots in terms of critical image quality, but it works very well for all those times when setting up a scene with a tripod is impractical. And when compared to higher ISO settings of 6400 or 12800 you may actually be served better using Hand-held twilight mode.
Anti-motion blur works in a similar way to hand-held twilight mode but instead of high ISO noise it is designed to reduce motion blur in situations where a high shutter speed might be impossible. It does this by capturing multiple exposures and combining them to create a single, sharper image. When shooting in this mode, exposure compensation is the only method of adjusting exposure, as the camera automatically sets the shutter speed and aperture. Because this feature works by analyzing and blending multiple images, it is impossible to predict precisely what the final image will look like.
At small print sizes the final result is quite convincing, but when viewed at 100% it is possible to see significant artifacting in the areas where motion was compensated for. Overall, Anti-motion Blur does a perfectly respectable job, and can make a significant difference to image quality in small prints and web use, but very often images don't stand up to critical scrutiny. For more information about this function and examples of its effectiveness, take a look at our Sony NEX-5 review.
Like the original NEX-3, the NEX-C3 shoots at a maximum video resolution of 720p at 30fps (actually the industry-standard 29.796 fps) in MP4 format. Just like the NEX-3 the C3 cannot record video in AVCHD format. Continuous AF is possible during movie recording, although is not always quick to respond, especially in low light. The results are fairly good, and although there is some rolling shutter it's no more apparent than what we would usually find in sensors of this type.
Whichever aperture setting you choose in aperture priority mode, manual mode or using iAuto's 'Bkgrnd Defocus' option, this is retained while shooting video. In all other modes the aperture is controlled by the camera. With E-mount (NEX) lenses, the aperture will adjust during the video to help maintain correct brightness (though giving the user no control over depth-of-field). With A-mount DSLR lenses the aperture is set (either manually or by the camera) at the beginning of the video and maintained regardless of the change of brightness - limiting the camera's ability to respond to big changes in light level.
This video was taken at a focal length of approximately 80mm (equivalent) using the kit 18-55mm lens. The built-in stereo microphone is quite susceptible to wind noise as you can hear in this video, but this is no worse than most built in mics. Sadly though, unlike many of its competitors, the C3 does not offer a wind-cut option.
In terms of image quality, this clip is decent without being outstanding. Exposure is accurate and color is pleasant, but this panned shot isn't as smooth as we would like. We can't help but feel that Sony has deliberately limited the C3's video specification, and it's a shame. It is worth noting the Cyber-shot HX9 boasts a much better (1080 60i/p) video mode than the C3, albeit with less depth-of-field control.
|1280x720p, MP4, 13 sec. 13.45 MB Click here to download original .MP4 file|
The dynamic range of the C3's sensor is beneficial when recording video as well as stills. The shadow detail in the foliage in this clip is well preserved without clipping too much on the waterfall's highlights. Artifacting is slightly visible in the fast moving water, however we would expect from a video with a bit rate of 9362 kpbs - fairly average for this type of file. The high audio frequency of the waterfall is somewhat overpowering in this video but can be easily remedied in almost any video editing software.
|1280x720p, MP4, 21 sec. 22.73 MB Click here to download original .MP4 file|
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
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.
|walkersons fields by George Veltchev|
from -Waiting for Autumn- (in Full Colours Only)
|A smile is worth a thousand words by alberto_b|
from Fill the frame
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.
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.