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20 May 2019

Digital Photography Review...

Special edition Leica CL kit celebrates 100th anniversary of the Bauhaus school of art & design
Sun, 19 May 2019 20:39:00 Z

To celebrate the 100th anniversary of the founding of the Bauhaus school of art and design in Germany, Leica has released a special edition version of its Leica CL camera system, complete with a matching Elmarit-TL 18mm F2.8 lens and carrying strap to complete the kit.

With the exception of two small visual changes, this special edition Leica CL remains nearly identical to its less-special counterpart, complete with a 24-megapixel sensor, 4K video and wireless connectivity. The two changes are the addition of a 'Bauhaus' logo embossed into the black leather wrap on the front of the camera and a notable change to the usually-red Leica nameplate on the front—it's now black.

Leica describes the special edition as 'an elegant, iconic piece of german product design, that exemplary obeys the principle of form follows function.'

Included with the camera in the special edition kit is a matching silver Elmarit-TL 18mm F2.8 lens and a black leather carrying strap that's also embossed. The sets, of which only 150 will be produced, will be individually numbered and retail for $3,750 exclusively at Leica Stores and Boutiques.


Carpe Lux: The otherworldly nighttime landscapes of Reuben Wu
Sun, 19 May 2019 13:00:00 Z

The otherworldly nighttime landscapes of Reuben Wu

Reuben Wu's ethereal, meticulously framed location work – largely surrealist reinterpretations of natural scenes taken at night – is absolutely unparalleled in nature photography.

Inspired by illustration, film, and even the famous land artist installations of recent decades, the triple-threat talent works as photographer, filmmaker and sound designer. He often utilizes a continuous light source mounted on a drone to provide otherworldly illuminations in his images, which you'll see in his Lux Noctis and Aeroglyph projects featured here.

Equally at home in Photoshop or Premiere, he's highly sought after by a commercial roster of tech and automotive giants like Apple, Audi, GE, Google, IBM, Jaguar, Land Rover, Samsung and Tesla.

The otherworldly nighttime landscapes of Reuben Wu

Wu uses continuous LEDs for both multiple and long exposures, as in his Aeroglyphs, which use the quite diminutive Fiilex AL250 aerial LED light.

It's equivalent in tungsten output to a 200W fixture, but draws only 30W, helping him to maintain the battery life while he experiments with compositions and lighting techniques. For automotive, he employs the more powerful Fiilex P360 and P180 'portable' lights to paint on the illumination, as if chiaroscuro, he says.

Wu employs complex layering, compositing and processing in his imagery and motion work, resulting in subtle, minimalist captures that belie the complexity of the work behind the scenes.

Wu works with a GPS-enabled 3DR Solo drone, sometimes equipped simply with an iPhone, or sometimes mounted with a system as serious as the Phase One XF 100MP stills camera

He locks down his compositions during the day, and will experiment with lighting techniques throughout the night. Wu works with a GPS-enabled 3DR Solo drone, sometimes equipped simply with an iPhone, or sometimes mounted with a system as serious as the Phase One XF 100MP stills camera. At under 5lbs., the drone fits in a backpack, important for the long hikes he often finds himself on. Wu also researches each location extensively, utilizing sun- and moonrise tracking to plan for shots.

Looking to give back to image creators, Wu is active in social media as head curator for the extremely popular Instagram photography group, Imaginary Magnitude. Interested photographers can tag their photography on the site with #imaginarymagnitude for a chance to be featured. You can follow him on Instagram, Twitter and Facebook or see his full body of work on his website.

I spoke with Reuben about his work and where he gets artistic inspiration.

The otherworldly nighttime landscapes of Reuben Wu

What inspired you to start creating these images?

Svalbarg was the first photo trip that I did which was purely about me exploring and taking pictures for myself. Also, it was the first project I did which gained traction in the media. That was back in roughly March, 2011. Since, it’s been published on quite a few different channels and it was pretty much that project which made me think I should put more time into this and try to make it into a career.

The otherworldly nighttime landscapes of Reuben Wu

The work is almost surrealist, and I love your eye for color. How much of this is color processing, how much is knowing the location, and how much is lighting?

It's a combination of everything. Like with everything in photography, it's all about adjustment of reality, and seeing the opportunities of other realities in an environment. A lot of this comes down to imagination. If you're in a place which connects you to things that really inspire you, you key into those specific things, whether it's the color or geometry or the shape of the land.

I do postproduce, but there is an element of realness that I keep in all my work because I think that's important for people to have belief for these images to trigger peoples’ senses of imagination and wonder about the planet.

The otherworldly nighttime landscapes of Reuben Wu

Did you have any direct influences in landscape photography?

I came from a background of drawing rather than photography. So photography is the way I make art, now. I think a lot of my inspiration comes from painting, and a lot of illustrations. The old Romantic sublime landscape paintings of the 19th century, like Frederic Church, and Caspar David Friedrich, where the landscape is not exactly what you see in front of you.

As I said, it's like this inside vision, which is then translated to the outside. I think that's one of the things which inspires me in my photography. I'm working on the picture almost like a painting, so that there is a kind of crafted approach of creation, rather than straight photography.

There are also illustrators. People like the French illustrator Moebius. Film directors like Tarkovsky and David Lynch. All of these artists that I appreciate have a kind of sublime quality to their work, whether it's about color or time or motion. It has an otherworldly quality, which I really enjoy.

The otherworldly nighttime landscapes of Reuben Wu

I really love the Lux Noctis project, which seems like very complicated long exposures. Is that primarily what you're working with? Are you trying to to to say something with these environmental portraits?

One of the main concepts behind the project is the fact that everyone is flooded by all of these landscape photos that you see online, and everywhere else, and they all follow the same rules of lighting. It’s always at sunrise, or sunset, in a beautiful golden hour light. Or moon light!

The composition is always kind of governed by these celestial bodies in the sky. I wanted to be able to influence the landscape in some way without changing it physically. To light a landscape in exactly the way I wanted, was really interesting to me. I wanted to free myself from the sun, and the moon, and all that kind of conventional photography.

The otherworldly nighttime landscapes of Reuben Wu

There was an opportunity to use this new technology, of using a drone, and using a light, which fits onto a drone. This is something that was not possible in the past without using a balloon or a helicopter and a searchlight. It fits inside my backpack. It’s small, with a small light, and GPS controlled. I can control my camera and the drone at the same time.

The other thing was my own kind of personal experience of exploration. I really wanted to be able to see these places in a completely new light and for me to feel like I'm exploring the place for the first time, even though I might not be.

The otherworldly nighttime landscapes of Reuben Wu

You’re lighting for multimedia, for drones, for photography, and also for these cinemagraphs. So your lights have to be continuous to be able to address everything, right?

Yes. I’m not really a fan of using strobes. I was really interested in nighttime photography. I wanted new ways of doing that. A lot of time I'm working in the dark. I like being able to see what I'm about to photograph.

The photos are like the creation of a new world, and I like to be part of that new world. It’s the kind of the thing that gets me excited, so being able to use continuous lights is really important for me because I can see what I'm doing.

I was in touch with 3DR, and they put me in touch with Fiilex, who had this brand new light—the AL250—at that time, it was a prototype. I went out with my drone, and the camera, which actually started this series.

After they’d finished developing the final product, they sent me that light. It had its own power supply and was a question of plug-and-play, and fit onto the drone itself. That was my first experience with the Fiilex lights, and since I've been using some of their lights in other photography projects, not necessarily just the drone stuff. I really enjoy using them.

The otherworldly nighttime landscapes of Reuben Wu

I really liked the cinemagraph work that you did for Land Rover and Audi. What was your lighting?

On Land Rover, I wanted to light the panel work of the car, at night. It is quite a complicated process, because you're taking multiple pictures, for different positions of the light, against the car body panels. It’s a technique that commercial car photographers do, where you position the light against the panel so that the paint lights up without the reflection.

So it was, basically, me with my remote shutter, and one of my Fiilex lights, handheld. And in the other hand, I had my iPhone so I could see what my camera saw. Making sure that the position was right and there were no reflections, I took about 50 or 60 different photos of the same thing. Then they were all layered together. That's not an automatic thing, either. That has to be done by hand.

I was able to to make the composite layer, which was the car, and then there was the environmental lighting of the background house. There I used the headlights to be the motion aspect of the cinemagraph. I have this fog stuff which comes out, in aerosol.

I ran the fog through the headlights and recorded video of that, and laid that on top of the still in Premiere Pro. Immediately, you have a really highly finished commercial photo with a moving aspect to it, and it works really well.

This time we were shooting out in Utah. The landscapes are really crazy out there... like being on the moon

With Audi, I used my Fiilex P180e kit, which was the the smallest kit that they had, and fits inside a backpack. I really love it because I can carry it everywhere. It's really lightweight. I had those two lights kind of positioned around the Audi. This time we were shooting out in Utah. The landscapes are really crazy out there. This was like being on the moon. There was no sun. It was just darkness. You couldn't see the car in front of the camera.

I was testing the lights in different directions in different positions. I positioned one behind the car, so that it would light the ground, and it would silhouette the profile. The lights are all gelled, obviously. I also used the drone overhead to light the car from above. So I had different points of lighting, and different lighting scenarios, which were all captured in separate plates. The beauty of doing it this way is that once you have everything that you need, you can create a sequence that you want in post, rather than having to deal with shooting an entire sequence on set.

The otherworldly nighttime landscapes of Reuben Wu

Explain Imaginary Magnitude!

It's a curated feed which I set up in late 2016. It was born from a desire to share the photography which really excited me, stuff which inspires me, but also stuff which I see from day to day on social media. The stuff created by artists who don’t have huge followings, and also artists from all different walks of life.

The actual name, Imaginary Magnitude, is a science fiction book from an author, Stanislaw Lem. It’s kind of a text about books that haven’t been written yet. So this is kind of speculative, fictional, imaginary artwork that I’m thinking of. I really enjoy doing it. I never thought I’d enjoy it so much, talking to other artists and sharing other artists’ work and the sense of community which forms itself around it. I've been getting in touch with photographers and artists that I like, and asking them to curate the feeds. That's another side of how it works, as well.


The FAA releases new rules for recreational drone users
Sat, 18 May 2019 18:37:00 Z

For the past several years, thousands of hobbyist drones, plus fleets from over 116,000 commercial remote pilots, have entered the airspace causing concern amongst regulators on how to combat aerial interference. Yesterday, the Federal Aviation Administration (FAA) issued a notice stating that recreational pilots of unmanned aircraft must steer clear of controlled airspace and other restricted airports.

While the notice is not legally binding, if any operation by a recreational pilot fails to satisfy any of the eight statutory conditions outlined in the notice, the FAA has the authority to take enforcement action — especially if the safety of the national airspace system is compromised.

Included in the act was the repeal of Section 336, a law that exempts model (hobbyist) aircraft from new FAA rulemaking, otherwise known as the 'Special Rule for Model Aircraft.' The agency is now demanding compliance.

The new set of measures is the first step in addressing some of the rules and regulations outlined in the FAA Reauthorization Act of 2018, signed by President Donald Trump after passing overwhelmingly by a 93-6 vote. Included in the act was the repeal of Section 336, a law that exempts model (hobbyist) aircraft from new FAA rulemaking, otherwise known as the 'Special Rule for Model Aircraft.' The agency is now demanding compliance.

'While recreational flyers may continue to fly below 400 feet in uncontrolled airspace without specific certification or operating authority from the FAA, they are now required to obtain prior authorization from the FAA before flying in controlled airspace around airports,' the FAA said in a statement Thursday. 'Furthermore, they must comply with all airspace restrictions and prohibitions when flying in controlled and uncontrolled airspace.'

Prior to this notice, recreational pilots simply had to notify the airport operator and the airport air traffic control tower before flying within five miles of said airport. Now they need to obtain the same authorizations as commercial drones in controlled airspace. Because Low Altitude Authorization and Notification Capability (LAANC) is not yet available for recreational users, they're confined to fixed sites within 5 miles of airports and Class G airspace.

The FAA intends to upgrade LAANC to allow recreational users to access the system. There are also plans for an aeronautical knowledge and safety test. Recreational users are required to pass and provide proof to the FAA or law enforcement if requested.

As the FAA’s Executive Director for UAS Integration, Jay Merkle, explains, 'we view this as a very positive step forward for the safe integration of UAS. Including everyone under the same rules really does move everything forward.'


DPReview TV: Canon EOS Rebel SL3 / 250D Review
Sat, 18 May 2019 13:00:00 Z

The SL3 is the latest rendition of Canon's super-tiny, entry-level Rebel. Added to the formula is 4K/24p video and enhanced eye-detection in Live View, but as Canon giveth... Canon taketh away. Find out Chris and Jordan's impressions of the SL3's still and video capabilities, and get ready for an intense case of déjà vu – especially if you've seen their review of the SL2.

Sample gallery from this week's episode

Our Canon EOS Rebel SL3 / 250D sample gallery


Demon of the Deep: Shooting Kawah Ijen Volcano
Sat, 18 May 2019 12:00:00 Z

A few weeks ago I returned from a fantastic trip to South East Asia. After 13 years without setting foot there (a bit of a frightening number – the last time was before I ever held a DSLR!), I was getting a serious itch that had to be scratched. I was craving the feel of Asia, its food, wildlife and landscapes. When I found the right partner to join me, I jumped on the opportunity and booked my flights.

While this wasn't purely a shooting trip (I also spent time in Malaysia, Singapore and Hong Kong without shooting), two weeks of it were shooting-oriented. I spent a week photographing orangutans in Northern Sumatra, but the experience I want to share here is shooting the well-known East Java volcano of Kawah Ijen.

Kawah Ijen (Ijen crater) was one of the icons I had long wanted to visit and shoot. As a volcano enthusiast and keen shooter, there was no chance I was going to pass on this special place.

Part of a larger group of composite volcanoes located in the far east of the island of Java, it is one of the main attractions of the island and draws much tourism. Ijen is extremely photogenic and tells several stories worth exploring. It's also the site of intensive sulfur mining, wherein miners extract elemental sulfur solidified from gases bursting out of an active vent in the crater. The miners then carry the sulfur by hand in baskets that can weigh up to 90kg (about 200lb), up to the crater rim and 3km / 1.9mi down the mountain up to a weighing station, where they get paid for the load.

An 80 kg load of sulfur inside Ijen's crater

While the miners' story is indeed fascinating (and controversial due to the health hazards, even though the work is comparatively well paid), I'm a nature photographer, and I came to shoot the natural features of the volcano. Ijen is very well known for the colors of the ignited sulfuric gasses in the mined vent, and also for the turquoise color of its crater lake. I spent two days hiking up the volcano and shooting it, and I'd like to share the experience.

A aerial view of Kawah Ijen. Vertical panorama from 2 shot, taken with DJI Mavic II Pro. The panorama allowed me to capture the entirety of the lake as my foreground, creating a better framing. Shot using a circular polarizer kindly supplied by Polar Pro.

While not very difficult, hiking Ijen is quite physical. To get to the crater in time and maximize your photography, you need to start the journey at about midnight. This gives you time to locate a porter should you need one (I suffer from minor shoulder and knee problems and so was happy to support the local economy and hire a porter to carry my heavy photo bag), and be ready for the opening of the gate at 1 a.m. – and you had better be early rather than late. On the first hike I headed up at 2:30 a.m., the and trail was jam packed with tourists, which made it much harder to hike in my own pace. I didn't make the same mistake again the second time around.

A look to the vent from the crater rim. The converging gas clouds are an important compositional element here.

The hike up to the crater rim took me 1.5 hours the first night, when I was tired from the travel and had to make my way through other hikers. The second time, without anybody hiking beside me other than my travel partner, guide and porters, I was well rested and Red-Bulled, and made the way up in less than an hour. Once up the crater rim, a trail goes down to the mining vent, and hiking it also depends highly on how many people are there. A good estimate would be 45 minutes with people around, half an hour without if you're early.

Going down into the crater is more technical than going up and one should be very careful when doing it. In general, remember to always do the hike with a certified guide, as an experienced guide will make sure you stay safe and protected from the elements, especially when smoke gets thick inside the crater.

The crater can fill up to the brim with noxious gasses.

Near the end of the hike up, I had to put my respirator on. The sulfur smell was getting overwhelming, and I knew it was time to protect myself against the noxious gasses. Soon after starting the hike down to the vent, I felt the sting in my eyes telling me to put my goggles on. Both respirator and goggles were absolutely essential to be able to function when inside the crater. Closer to the vent, even they were not enough to prevent me from tearing when the wind carried the sulfuric gasses my way.

Yours truly with full Ijen gear. Not even the goggles prevented me from tearing up when the wind swept the sulfuric gasses toward me.

So there I was, in the dead of night, watching the purple fire of ignited sulfuric gasses. This was astonishing to behold, but quite challenging to capture. As you might imagine, shooting at night required high ISO, and in order to get any detail in the fire, an ISO of at least 3200 was needed. I ended up using ISO 6400 most of the time.

Focusing was also very difficult. Naturally I had to focus manually, as usual by enlarging part of the image on live-view and turning the focus ring to get good sharpness, but the fire is so dynamic, and so often covered by smoke, that it took me several minutes to be able to focus. The goggles filling up with water from my breath sure didn't help.

Thick smoke covers part of the fire, resulting in an interesting shot. Canon 5D Mark IV, Canon 70-300mm f/4-5.6L IS. ISO6400, f/4.5, 88mm, 1/3 sec.

Negative space is an important tool in images like this one – the darkness surrounding the purple fire conveys the atmosphere around the vent: a mysterious and sometimes frightening place where noxious smoke can engulf you before you know it.

Once I got my focusing sorted out, it was time to compose. Composing a rapidly-changing fire that is covered by smoke 90% of the time and ruined by the flash of other people's cellphone cameras 80% of the remaining time was frustrating. I found myself struggling through my tears just to find some sort of balance. Two nights of shooting the fire only yielded 2-3 good shots. While indeed I didn't need more than that for my portfolio, I wish it had been an easier ordeal and that I had gotten a bigger selection.

Purple fire in Kawah Ijen.
Canon 5D Mark IV, Canon 70-300mm f/4-5.6L IS
ISO6400, f/5.6, 300mm, 1/4 sec
Note the diagonal lines and the two main centers of compositional mass in the top right and in the bottom left, balancing each other.

After shooting the fiery vent I headed back up to the crater rim for sunrise. Ijen boasts a 1-km wide crater lake, which is recognized for being the largest highly acidic crater lake in the world. The lake's colors are truly beautiful: an almost-unnatural turquoise lined with yellow streaks of sulfur.

Ijen's beautiful turquoise acidic waters decorated by sulfur streaks, covered by a thick layer of morning fog and sulfuric gases from the volcano's vents.

While simple in composition, the image is enriched by the lake's contrasting colors and the light on the fog. The circular polarizer I used (made by Polar Pro) enhanced the saturation, eliminating reflections.

While it is possible to shoot the lake from the crater rim, I found that using a drone was much more productive, and allowed me to include the entire crater in the image, in addition to the several other volcanoes around Ijen.

I had some fun trying abstract photography with the drone, as I flew it close to the crater lake. Especially nice was flying the drone through the sulfuric gasses, which create an eerie haze. Aerials can also reveal another visually interesting element of the area: the contrast between the toxic environment inside Ijen and the lush forests around it.

Click the image above for more image information

Kawah Ijen didn't disappoint; I highly recommend traveling there and witnessing it for yourself. Whether shooting the miners or nature, from the ground or from the air, it holds a special kind of beauty and tons of photographic potential. Just make sure you have a good guide, and a respirator and goggles at hand.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the most fascinating landscapes on earth with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Faroe Islands, Israel and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

Selected Articles by Erez Marom:


Sony's financial report shows 2% YOY growth for its 'Imaging Products and Solutions' division
Fri, 17 May 2019 20:42:00 Z

Editor's note: Keep in mind that each company groups different products under their respective ‘Imaging’ categories, so there may be slight differences in what products and services are offered in the financial details. However, the categories are broadly similar and comparable, and we've done our best to account for those differences using available information.

If you were to look at the most recent financials of Canon, Nikon and a few other camera manufacturers, it would seem the camera industry as a whole is facing a crisis. But not everyone in the imaging market is struggling, as Sony's latest financials show.

Sony has published its latest annual financial report and inside a number of interesting details have emerged. Sony's 2018 fiscal year (2018FY), which ended March 31, 2019, saw increased sales of 14.6 billion yen for its Imaging Products and Solutions division for a total of 670.5 billion yen. This amounts to a two percent year-over-year (YOY) growth, accounting for loss due to currency conversion.

A small snapshot from Sony's financial report showing the sales numbers (in millions of yen). On the left are the numbers are through March 31, 2018, while numbers bolded in the center are the numbers through March 31, 2019. The numbers on the right are the difference between the two years.

While two percent might not seem impressive, Nikon's imaging division reported a 17.9 percent decrease while Canon reported an annual decrease of 11.3 percent YOY.

Sony specifically mentions in its report (starting on page 26) that '[the] increase was mainly due to an improvement in the product mix reflecting a shift to high value-added models such as mirrorless single-lens cameras and the interchangeable lens lineup, partially offset by a decrease in compact digital camera unit sales reflecting a contraction of the market.' Sony also says reductions in operating costs helped to reduce to YOY numbers.

In a year when it seems nearly every other company manufacturing cameras is showing decreasing profits YOY, it seems Sony managed to find a way to keep profits growing throughout 2018.

Update (May 17, 2019): The last paragraph in this article has been removed and rephrased to account for the discrepancies in the fiscal years between companies.


ON1 launches faster, more comprehensive LR challenge with Photo RAW 2019.5
Fri, 17 May 2019 16:34:00 Z

Photo software developer On1 has introduced an update to its Raw photo processing application that it claims is up to 50x faster than the previous version and which includes a host of new features. The company says that every feature added and each improvement made in Photo RAW 2019.5 is a direct result of customer feedback.

The greatest speed increases will be felt when exporting processed images, though preview images taking on the effects of pre-set adjustments and other exporting functions happen in less than half the time they did before, according to On1.

New features include an edit history that can be rolled back, the ability to run the edit and browse windows on different screens, as well as a new keyword system that allows creating keywords inside keywords to separate a collection even more.

The changes make the software quicker to use and easier to archive images so they can be search more thoroughly, making On1 Photo RAW a bit more of an alternative to Adobe’s Lightroom.

Compatibility with 21 additional cameras has also been included in the update with the company promising it is working on bringing support for Canon’s CR3 files to the application as soon as it can. Photo RAW 2019.5 also brings compatibility with 29 additional lenses.

Below is an introduction video from On1 that walks through On1 Photo Raw 2019.5 and its latest features:

On1 Photo Raw 2019.5 is available to download immediately and will cost from $63.99 for new users. The update is free for existing users of the current edition.

For more information see the On1 website.

Press release:


ON1 Photo RAW 2019.5 – Available Today

In April we announced the upcoming release of ON1 Photo RAW 2019.5 and today we are excited to announce it is officially available for the ON1 community. Since the first release of ON1 Photo RAW, we’ve given our community a say in the features and technologies they want in their photo editor of choice. Every feature and improvement we’ve made in the latest release is a result of community input through the ON1 Photo RAW Project. We want to take this chance to say, thank you. We’ve come a long way and are excited for what the future holds here at ON1.

One of the most significant improvements in the latest release is performance and speed in several areas. Some of these optimizations give customers up to a 50x improvement compared to the previous version. Here are a few of the areas where customers will notice a significant increase in speed.

  • Preset Previews — Up to 3x faster — When navigating through presets and previewing each effect on the photo
  • JPG to JPG Export — Up to 2.5x faster — This is an example of creating “proof” sized JPGs for a client and takes advantage of a new resizing algorithm
  • RAW to JPG Export — Up to 2.5x faster — This is an example of creating JPGs for social media with your watermark
  • Export in Edit — Up to 5x faster — This is an example of saving a full-sized file for sharing or editing in another app
  • Export Edited Photo — Up to 50x faster — This is an example of exporting a large JPG from a previously edited 45MP RAW photo

New Features in Version 2019.5

  • Dual Mode — Easily undock the Browse Module from the Edit Module, use a second display, or make sales or client presentations on a projector or TV. The dual mode allows photographers to customize how they want to work when browsing and editing photos.
  • Edit History — A full edit history is added when working on photos. Each editing step is viewable, along with the ability to roll-back and compare adjustments. Photographers can also revert to the beginning of the editing session.
  • Settings Applied Info — Photographers can now quickly view which modules, tools, and filters are applied to a photo. This non-linear approach also allows photographers to double-click on a setting and jump straight to it for further adjustments.
  • Selective Sync — Enhanced granularity in which settings to apply when syncing your settings (or pasting and saving a preset) has been added. For example, photographers can drill down and only apply a white balance adjustment. The ability to sync cropping, retouching and brush strokes between photos is also be included.
  • Hierarchical Keywords — The master keyword list now supports nesting keywords inside of other keywords. Nested keywords allow photographers to organize keywords as they see fit. Importing a list of nested keywords from other apps like Adobe Lightroom® is also supported.
  • Apple® Photos® Extension Enhancements — Integration with Apple Photos now supports the full raw data, improving adjustments to tone and color. It also supports re-editable non-destructive editing and more native ON1 Photo RAW features like layers, crop, and text.
  • First Launch Experience — If it is your first time using ON1 Photo RAW, there are new walkthroughs to help you learn the basics. This gives photographers a running start and directs them where to learn more.
  • Tool Tips — Tool tip animations are added to improve the usability and shorten the learning curve for each tool.

Additional Enhancements in Version 2019.5

  • Layers Enhancements — Create a new canvas of any size or change the size of the existing canvas.
  • Text Tool Enhancements — Add a background color to a text box and control its opacity. Easily control the character and line spacing. New options also allow photographers to duplicate and change the order of text boxes and automatically insert text from a photo’s metadata.
  • Performance Improvements — Zooming, panning, and brushing are now much faster. A new preview quality option can help increase performance on lower-end and integrated video cards as well. Export is now up to 10x faster when resizing or exporting a photo or photos already edited.
  • Local Adjustments — The Local Adjustments tools are faster to brush and adjust.
  • Windows High-DPI — Support for high-dpi displays on Windows is dramatically improved. The scaling of the fonts and controls work much better, especially on 4k displays and laptops.
  • Keywording — Keywords are now easier to search, add, delete, and modify. Also, keywords are now case sensitive.
  • Soft Proofing in Resize — The soft-proofing feature is also be available in ON1 Resize (Genuine Fractals®).
  • Drag and Drop from Film Strip — Drag and drop photos from the film strip to add them as new layers.
  • Increased Thumbnail Size Range — The range of thumbnail size is increased, so photographers can go all the way up to two giant thumbnails or down to tiny thumbnails to survey an entire folder.
  • Default Photo Location — Now control the default photo location in Browse. This is where ON1 Photo RAW looks to find photos instead of the Pictures folder.
  • Preview the Resize Algorithm — When using the Genuine Fractals algorithm, photographers can preview the resulting quality at 100% zoom to more accurately adjust the options and sharpening.
  • Persistent Crop Preset State — The crop tool settings are persistent and remembered across photos.
  • Search by Adjustments Added — Search for photos based on specific adjustments applied such as cropped, retouched, etc.
  • Update to Lightroom Migration — The Lightroom Migration tool now migrates the pick and reject flags.

Added support for these cameras

Sony SLT-A55V, A33, A6400, RX100VA, Olympus OM-D E-M1X, Panasonic FZ1000 M2, TZ95 (ZS80, TZ96, TZ97), S1, S1R, Ricoh GR III. Note: we are still working on Canon CR3 support and it is a high priority to come in the next free update to ON1 Photo RAW

Added lens profiles for the following lenses or non-interchangeable lens cameras

Canon EF 24mm f/1.4L II USM, Canon EF-M 11-22mm f/4-5.6 IS STM, Canon FD 200mm f/2.8 SSC, Canon PowerShot A1200 & compatibles, Canon PowerShot G1 X Mark III & compatibles, Canon PowerShot G3 X & compatibles, DJI FC2103 & compatibles, Hasselblad L1D-20c & compatibles, Huawei Huawei P10 Lite & compatibles, Huawei Huawei P20 Pro & compatibles, Leica DMC-LX10 & compatibles, Leica X Vario 18.0-46.0 mm f/3.5-6.4, Leica Camera AG Summicron TL 1:2 23 ASPH, Minolta Minolta AF 85mm f/1.4G (D), Nikon AF-P Nikkor 70-300mm f/4.5-5.6E ED VR, Nikon Nikkor AI-S 85mm f/2.0, Nikon Nikkor Z 24-70mm f/4 S, Nikon AF Nikkor 24mm f/2.8D 54, Nikon AF-S Nikkor 18-35mm f/3.5-4.5G ED, Nikon AI 80-200mm f/4.5 Zoom, OLYMPUS M.12-200mm F3.5-6.3, Olympus M.Zuiko Digital ED 14-150mm f/4.0-5.6 II, Opteka 15mm f/4 Wide Macro 1:1, Panasonic DC-ZS200 & compatibles, Pentax smc Pentax-A 50mm f/1.4, Pentax smc Pentax-F 28mm f/2.8, Samyang 10mm f/2.8 ED AS NCS CS, Samyang AF 35mm f/2.8, Sigma 14mm f/1.8 DG HSM | A, Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM, Sony DSC-RX100 VI & compatibles, Sony E 18-135mm f/3.5-5.6 OSS, Sony FE 35mm f/2.8 ZA, Sony 35mm F1.4 G (SAL35F14G), Sony Carl Zeiss Planar T* 50mm F1.4 ZA SSM (SALF0F14Z), Tamron SP 70-300mm f/4-5.6 Di USD, Venus Laowa 60mm f/2.8 2X Ultra-Macro, Venus Laowa 9mm f/2.8 Zero-D, Voigtländer Super Wide-Heliar 15mm f/4.5 III, Zeiss Milvus 1.4/50.



Sony pushes firmware updates for eight of its cameras to improve overall stability
Fri, 17 May 2019 15:26:00 Z

Sony's software engineers might have some sleep to catch up on, as eight Sony cameras have received incremental firmware updates to smooth out the stability of the cameras.

Specifically, Sony has released firmware updates for its a9 (version 5.01), a7R III (version 3.01), a7 III (version 3.01), a7R II (version 4.01), a7S II (version 3.01), a7 II (version 4.01), a6500 (version 1.06) and a99 II cameras (version 1.01). Sony doesn't elaborate on what exactly has been fixed, other than to say the updates '[improve] the overall stability of the camera[s].'

Before downloading and installing the latest firmware updates, be sure to read through the instructions provided by Sony on each of the firmware update pages linked above.


Asus ZenFone 6 features rotating camera module
Fri, 17 May 2019 13:13:00 Z

Asus has revealed its latest high-end device, the ZenFone 6. The new model comes with a unique design feature: a rotating camera module. This means there is no requirement for a front camera (and therefore no display notch), as the main module can simply be rotated to point towards the front.

It also means you get rear camera image quality when taking selfie images or recording selfie videos, which could be a real bonus for some users. The rotation angle of the module can be adjusted via the camera app, so the feature is also useful for capturing subjects that are located further down or higher up.

Asus says the camera module housing is made with Liquidmetal technology that is 4x stronger than stainless steel but lighter. It has been tested for 100,000 actuations and closes automatically when a drop is detected. In addition, the rotation mechanism can be used to automate panorama panning or to help with motion tracking to keep your subject in frame.

Inside the rotating module Asus has implemented a 48MP Sony IMX586 Quad-Bayer sensor that produces 12MP image output for a wide dynamic range and low noise. It is combined with an F1.8 aperture lens. There is also a 13MP ultra-wide-angle camera with a 125-degree field of view but, likely due to space constraints, no tele.

In video mode the camera can record 4K videos at 60fps with electronic image stabilization and like most recent high-end devices, the Asus also comes with a multi-frame-based night mode that offers better image quality in very low light.

Images can be viewed and composed on a 6.4” IPS LCD that covers 92% of the front. The device is powered by a Snapdragon 855 chipset and up to 8GB of RAM. Up to 256GB of storage is available and storage can be expandable via a microSD card. The 5,000mAh battery should provide plenty of usage time.

Below is a highlight reel from Asus' ZenFone 6 introduction:

The ZenFone 6 will first be available in Europe for €500 (approximately $560). No information on pricing and availability in other regions has been released yet.


Canon EOS Rebel SL3 sample gallery and studio comparison
Fri, 17 May 2019 13:00:00 Z

Canon's EOS Rebel SL3 is a compact, easy-to-use DSLR that takes great photos and comes packed with some of the company's latest technologies – and also some frustrating limitations. While we work our way through our final review, take a peek at how the Rebel SL3 (also known as the EOS 250D and EOS Kiss X10) handled the New Orleans heat, the gray Seattle skies, and of course, our studio test scene.


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