The Booker-nominated author of A Little Life has curated an exhibition of 12 photographers whose work expresses ‘the perennial mystery of being alive’Continue reading...
The Nikkor 50mm F1.4D has been around for, well, a while. Its age was something we noted even when we reviewed it back in 2008, though it's still one of five 50mm autofocus lenses that Nikon still makes today (counting the 50mm F1.8G not-so-special edition that comes with the Nikon Df). Most significantly for us, it was one of our standard studio lenses for Nikon-mount cameras for quite some time.
Notice how I said 'Nikon-mount' and not just Nikon – because, fun fact, a number of digital cameras used the Nikon F mount back in the day. Just check out the leading images for our reviews on the Finepix S5 Pro and Kodak DCS 14n. The last Nikon camera we slapped it on for such a purpose was the Nikon D3S, even though the newer G version had been out for some time. And why not? Stopped down, the Nikkor 50mm F1.4D is plenty sharp, as with most standard 50mm primes.So, you just dropped $6500 on a D5 and didn't budget for lenses - good thing the Nikkor 50mm F1.4D can be had on the cheap these days.
So when Sam discovered this lens lurking in the back of our special cabinet of studio lenses, collecting dust ever since it had been replaced with the newer G version, we got kind of excited. This is a lens I own personally and have been using on older camera bodies for years, but we were eager take it for a spin on some newer sensors to see just how well it holds up.
It should go without saying that the Nikon 50mm F1.4D holds up just fine on the old 12MP full-frame sensors of yore, but at this aperture, it should be fine even on newer setups. Nikon D700. ISO 1600, 1/200 sec, F2.8.
Photo by Carey Rose
As far as the technical details go, this iteration of the lens was introduced in 1995, though the basic optical design goes all the way back to 1977 - 7 elements in 6 groups. (For comparison, the newer 50mm F1.4G is 8 elements in 7 groups). It's made of decent quality plastic, feels fairly dense given its compact dimensions, and you'll constantly have to tell people who borrow it to keep their fingers off the focus ring while focusing, lest they blow out the motor on the camera. This lens further shows its age by focusing externally, and is very obviously not weather-sealed. On the plus side, it focuses very fast on a higher-end camera body with a good focus motor, but it doesn't focus silently like its G-series replacement.
Detail in the corners on 24MP is pretty good (as it should be at F5.6). Hopefully you're a fan of heptagonal bokeh, because the aperture blades on the 50mm F1.4D aren't rounded. Nikon D750. ISO 1600, 1/100 sec, F5.6.
Photo by Carey Rose
So while it makes a little noise while doing so, this older 50mm F1.4D focuses a fair bit faster on a pro-level body than the newer F1.G version. It was actually great on the D5, though unfortunately, you lose all the outer cross-type points when using a D-series lens. So we just stuck to the center points for low-contrast subjects when using it.The simple design is so delightfully transparent and obviously imperfect at wider apertures that I find it a lot of fun to shoot with.
On a personal note, I still love this lens. Newer designs handle flare better and are generally sharper wide-open (especially in the corners). But there's something about the character of this lens that keeps it in my bag. The simple design is so delightfully transparent and obviously imperfect at wider apertures that I find it a lot of fun to shoot with. Just watch out for fringing on backlit subjects.
So, sharpness isn't all that great wide-open. But that bokeh still looks mighty nice. Nikon D5. ISO 1000, 1/125 sec, F1.4. Processed to taste from Raw with no noise reduction applied.
Photo by Carey Rose
So what's in the future for our former-studio lens? Well, seeing as DPReview owns it and it's in almost brand-new condition, it seems fitting to give it a second life out in the real world. It's a lens that I'm looking forward to continuing to use on newer bodies when I want something a little less clinical, and it's small enough to basically disappear once it's mounted.
When you're out and about, the Nikon 50mm F1.4D will make the Nikon D5 look a little less obtrusive than with a big F2.8 zoom, and with snappy autofocus to boot. ISO 1400, 1/250 sec, F2.
Photo by Carey Rose
Do you have an older, out-of-date lens that you still hold on to? What keeps you coming back to it? Let us know in the comments!
At the Flash Memory Summit conference Seagate has today announced a 60TB solid-state-drive (SSD), the largest capacity SSD at this point in time. Seagate say the driver has four times the capacity and twice the density of the next largest competing unit and could store approximately 12,000 DVD-quality movies or 400 million photos.
Thanks to its enterprise HDD 3.5-inch form factor, swapping out and connecting drives is very easy, increasing data accessibility in data centers that have to estimate short term versus long term data accessibility and storage needs. And thanks to its flexible architecture, it also provides a way for data centers to easily grow from the current 60TB capacity to 100TB of data or more in the future, using the same form factor.
The bad news is that the Seagate 60TB SSD is currently only available for demonstration purposes and will only make its debut some time in 2017. So you'll have to look for an intermediate solution if you current image storage is running out of capacity. Seagate has not given any information on pricing yet but says the drive will represent the lowest current cost per GB for flash memory once it is available.
Eye-Fi was on the receiving end of some serious backlash after announcing the September 15, 2016 End of Life (EOL) date for its X2 and earlier generation SD cards. The company cited security concerns for cards released before March 2015, advising owners that it was very important they 'cease using these products no later than' the EOL date. Customers weren't happy about this, and many vowed to avoid Eye-Fi products altogether in the future, prompting a new announcement from Eye-Fi: it has developed a new software utility that will keep the cards operational past the EOL date.
The new software utility is called 'Eye-Fi X2 Utility,' and customers can download a Mac version of it now. The company hasn’t committed to creating a Windows version of the utility, but states that it is 'exploring the feasibility' of doing so. Though the utility allows images to be transferred to a desktop computer, it doesn't have all the features of Eye-Fi Center and Eye-Fi View, and requires all Eye-Fi software to be uninstalled from the computer before the new utility can be installed.
Furthermore, Eye-Fi warns that it doesn't offer any warranties or help desk support for the utility, and that the new software is 'a one-time release.'
In a post today, Eye-Fi listed the following utility features:
X2 Utility Highlights
- Support for Pro X2 and all earlier generation products with the “Eye-Fi” branding as well as 3rd party branded cards from SanDisk and Visioneer
- Activation and set-up of cards to transfer images to a PC or Mac via an infrastructure or direct network connection
- Transferred images will be saved to a directory of users choosing but will be organized in a date based chronological order
- Eye-Fi Center software must be un-installed from the PC or Mac prior to installation of the X2U
- X2U will NOT integrate with Eye-Fi View nor Eyefi Cloud service: it will be limited to desktop transfer only
The company also issued the following advisory:
Today we are releasing the X2U on the Mac (OS X) platform. We will provide an updated notice if and when the X2U becomes available on Windows, and cannot guarantee such availability before the end of August and prior to the shutdown of Eye-Fi Center and Eye-Fi View.
The Mac version of the X2 Utility can be downloaded here.
Lighting manufacturer Elinchrom has introduced a version of its high speed sync Skyport remote flash trigger and controller that is compatible with Sony cameras. The new Skyport Plus HS transmitter allows Sony camera users to synchronize their shutter with Elinchrom flash heads using speeds of up to 1/8000sec. The system has been in use for some time for Canon and Nikon users, but now Elinchrom has added Sony to the list of camera brands with which the transmitter works.
Elinchrom’s high speed sync system is called Hi-Sync and varies from hotshoe style flash units in the way it produces light for short shutter speeds. While HSS modes in speedlights tend to use pulsing flash that gradually covers the camera sensor as the shutter slit passes by, Hi-Sync just uses a relatively long-duration burst. The company has introduced a system it calls OverDrive Sync that allows the user to calibrate the timing of the burst to the opening and closing of the individual camera’s shutter to ensure the two events coincide. This ODS system also allows a certain degree of exposure manipulation as photographers can tailor their shutter to different segments of the flash output curve.
The Skyport Plus HS 2.4GHz radio transmitter has a range of 200m/656ft when used without obstruction between the camera and the head, and 60m/196ft when used indoors. It system offers 20 channels for normal shooting and 20 more for high speed shooting, which can be arranged in 4 groups, and an AF illuminator to assist in low light conditions.
The Elinchrom Skyport Plus HS costs $249.95 USD / €249 EUR / £199 GBP.
For more information see the Elinchrom website.
Sony camera compatibility
Press release:Elinchrom expands the family of EL-Skyport Plus HS transmitters to Sony users !
Since the launch of the Skyport Plus HS for Canon and Nikon, Sony users have been patiently awaiting their dedicated Transmitter. As promised, the most advanced Skyport ever is now available to Sony users. This will give them the ability to control and visualize power settings for all their compatible Elinchrom lights and the capability to shoot at speeds up to 1/8000s in Hi-Sync mode.
Visual Feedback Interface
The Large LCD display of the Skyport HS features two-way control via a visual feedback interface that lets you see the exact power up to 10 compatible Elinchrom lights in your setup right on the transmitter.
Users can control the modelling lamp and power of each flash unit directly from the Skyport transmitter, which instantly shows the updated settings.
This provides unsurpassed levels of "two-way communication and control" for every light in your setup, right from your camera.
Hi-Sync opens up the world of flash photography
Elinchrom Hi-Sync technology lets you go beyond the X-Sync of your camera. Photographers can simply switch to Hi-Sync mode and access sync speeds up to 1/8000s to freeze motion, overpower the sun, darken backgrounds or use a wider aperture. The ODS (Over Drive Sync) enables users to fine tune the Skyport Plus HS transmitter’s trigger signal to optimize exposure at high shutter speeds while gaining up to 2 more f-stops of light.
The Skyport HS has 20 frequency channels that can be used for either Normal or Speed mode. The transmitter attaches easily and securely to the hotshoe with its one-touch quick-lock mechanism, and is powered by 2x AA batteries. Users can also enjoy a range of up to 656ft (200m) outdoors, and up to 196ft (60m) indoors.
The Skyport HS continues the Elinchrom commitment to quality
Providing photographers with tools to enhance their shooting experience whilst also showing how Elinchrom is looking firmly ahead to the future. The Skyport HS represents a seamless extension of the EL-Skyport family since it is also compatible with the three previous generations of Elinchrom flash units (those using the EL-Skyport Transceiver RX module for Style RX, Digital RX, and Ranger RX systems, and those with integrated EL-Skyport modules for the BRX, D-Lite RX, ELC Pro HD, and ELB series.)
Other camera systems are currently being evaluated for future release.
EL-Skyport Plus HS Features
* Large LCD with unique, real-time display of remote flash power settings
* Easy access buttons and rotation ring for fast setup and control
* 20 Channels, 4 Groups for Normal and Speed Sync Modes
* Hi-Sync, up to 1/8000sec with Sony, Canon and Nikon cameras
* Extended working range up to 656ft (200m)
* AF Illuminator and sure-lock mounting foot
* USB port for future-proof upgrades
The EL-Skyport Transmitter Plus HS is now available for Sony, Canon and Nikon cameras.
EL19371 - EL-Skyport Transmitter Plus HS for Sony
EL19366 - EL-Skyport Transmitter Plus HS for Canon
EL19367 - EL-Skyport Transmitter Plus HS for Nikon
Street Price: $249.95 USD / €249 EUR / £199 GBP
Frequency Band : 2.4 GHz
Channels : 40; (20 in Normal mode – green / 20 in Speed mode – red)
Groups : 4: 1, 2, 3, 4
Flash synchronization :
Normal: limited to the native X-sync of your camera
Hi-Sync mode: up to a 1/8000 sec.*
2nd curtain sync: only Canon
Range : Up to 200m (656’) for triggering
AF Assist Beam : Yes
Foot for Sony hotshoe (19371) Canon hotshoe (19366) and Nikon hotshoe (19367)
Mini-USB for firmware updates
2.5 mm remote release
Power source : 2x AA batteries
Indicators and Controls :
LCD screen display:
Sync mode, group, channel, ODS activation, Hi-Sync activation, shutter mode, remaining battery power, flash unit name, flash unit ID, flash unit power level, flash unit modelling level.
Group selection, test, rotation ring to change values, confirmation, on/off and refresh.
There are also 4 buttons with variable functionality:
Power +/-, Modelling lamp off/prop/free, Individual unit selection and setup on the dashboard. Menu up, menu down and exit in the setup menu.
Dimensions : 84.1 x 68.3 x 58.5 mm (3.3 x 2.7 x 2.3”)
Weight : 120 g ( 0.27 lbs.) without batteries
DPReview is hiring! We're looking to add a Software Development Manager to our Seattle-based team. Bring your creativity, passion and talent to help us build the next generation of our web and mobile experiences. Responsibilities include building and managing our team of engineers, listening to audience feedback and driving DPReview's technical vision. See all of the details below.Software Development Manager
DPReview.com is seeking a talented, passionate, creative developer to help us craft the look, feel, and functionality of the world's most popular digital camera website. The right candidate will be capable of defining the technical vision for the product, as well as leading the team in achieving that vision.
Our engineers work closely with a small in-house product management and editorial team. Fast, scrappy development and testing, combined with regular (sometimes daily) deployment ensures that no one gets the chance to fall into a rut and that everyone has the opportunity to help shape projects from concept to delivery. You will listen to our audience, help drive our goals, and leverage our unique position in the photographic industry, and to constantly strive for better, smarter ways to deliver the content, services, and community tools that have made the site the success it is.
You'll be excited by the opportunity to build rich interactive user experiences on a large-scale public facing website. Your core focus will be to build the next generation of DPReview web and mobile experiences, including shopping and comparison tools for photographic gear, community and social features focused on photography enthusiasts, and special products in support of Amazon teams. DPReview has enough traffic to pose interesting performance challenges, so a solid knowledge of SQL, database design, and optimization techniques is important.
While we are part of Amazon, DPReview has its own unique culture, with a small but cohesive team of editorial staff and developers. You'll feel like you're at a small startup, with lean, product-focused processes, but with all the upsides of working for a large company.
DPReview.com runs primarily on .NET, but any solid experience with web technologies is sufficient. Also, we collaborate with other Amazon teams to develop features and widgets for Amazon.com, which provides the unique opportunity to show your work to a much larger audience than DPReview’s millions of daily visitors.Basic Qualifications
- Equivalent experience to a Bachelor's degree based on 3 years of work experience for every 1 year of education
- 4+ years professional experience in software development
- Computer Science fundamentals in data structures, algorithms, complexity analysis, databases, and web technologies
- Master's Degree in Computer Science or related field
- Build and manage a team of engineers. Recruit, hire, mentor, and coach technical staff
- Ability to handle multiple competing priorities in a fast-paced environment
- Demonstrated leadership ability as a lead software developer
- People management, team building and mentoring experience
- Experience taking a leading role in building complex software such as large-scale public websites that have been successfully delivered to customers
- A track record of handling ambiguity well, translating loose product and project requirements into effective customer solutions
- Hands-on expertise in many web technologies, ranging from front-end user interfaces through back-end systems and all points in between
- Knowledge of professional software engineering practices and best practices for the full software development life cycle, including coding standards, code reviews, source control management, etc.
- Strong UX intuition and demonstrated UI design skills
- Solid database design experience with an emphasis on performance
- Experience with systems administration
Nicolas Albarracin of Uruguay’s Peñarol looks like a colourful version of DC Comics super-villain Black Mask as he reacts after failing to score against Paraguay’s Sportivo Luqueño in their Copa Sudamericana first-round, first leg match in Luque, Paraguay. It would have been the winner too as the game finished goallessContinue reading...
It's the height of summer in Seattle, which is a brief but glorious window of time filled with shooting opportunities. Lately we've had the Canon EOS M3 in hand with a couple of lenses to spare. Since they fit in your pocket, why not carry a few?
We thought we'd share an update to our real-world sample gallery featuring some summer highlights like baseball games and a visit from the Blue Angels. And stay tuned, we'll have a full EOS M3 review ready in a hot minute. In the meantime, enjoy some new samples and pass us the SPF 30.
Balloons injected much-needed joy into the US presidential campaign this month and artists are co-opting the old tricks of the party entertainer too
Masayoshi Matsumoto’s balloon animals are just like the ones you’ll remember from your childhood, only on steroids.
I just want someone who thinks of me the way Bill Clinton thinks of balloons. pic.twitter.com/nc7M5X33GxContinue reading...
Beautiful beach shots of sun, sea and the odd bit of shade … the Italian coast is a constant source of inspiration for the Australian photographerContinue reading...
Photographs from the Eyewitness seriesContinue reading...
Photographer Ted Williams captured the musicians who made jazz into the great American art form – from superstars Billie Holiday and Miles Davis to less exalted players such as Ira Sullivan and Ray BrownContinue reading...
Printer and projector manufacturer Epson is set to begin sales of three 4K UHD digital projectors that feature HDR and 3D support, as well as extremely long lamp life. The EH-TW7300, EH-TW9300 and EH-TW9300W are designed for the home cinema market and come with a new high resolution 16-element lens. Each of the projectors uses Epson’s 3LCD-panel technology and boasts white and colored light output of 2,300 lumens in the case of the TW7300 and up to 2,500 lumens for the TW9300 and TW9300W. The TW-9300 and TW-9300W also offer a contrast ratio of 1,000,000:1 (the TW-7300 has a ratio of 160,000:1), while the TW-9300W is Wi-Fi enabled and can receive 4K, HDS and standard definition content wirelessly from host devices.
Epson claims that the bulbs in these projectors have a lifespan that allows users to watch a movie every day for seven years (based on that movie being 1 hour and 45 minutes long) with the bulb in Eco mode, and the projectors can remember up to ten lens positions to make viewing different image formats easier.
The projectors have been announced at different times in different regions but will go on sale in September at £2199, £2999/$2999 and £3299/$3299. In the USA the TW-9300 and TW-9300W will be called 5040UB and 5040Ube.
For more information visit the Epson website.
Press release:Enhancing the immersive, big-screen movie experience, Epson adds 4K enhancement, HDR and UHD Blu-ray support to three new home cinema projectors
Usability is also improved with lens position memory and motorised optics
Passionate film enthusiasts can get exceptional image quality at home with the latest state-of-the-art projectors from Epson. For the ultimate home cinema experience, the EH-TW7300, EH-TW9300, EH-TW9300W have been designed to offer 4K enhancement, UHD Blu-ray and high dynamic range support, motorised optics and lens position memory.
These HDR compatible home cinema projectors combine the latest imaging technologies to bring movies to life with extra detail. They feature 4K enhancement to bring a new level of finesse to the texture and resolution of the projected image, whether they’re displaying native 4K content or digitally upscaling Full HD 1080p content. The projectors are also designed to support the most advanced content, including HDR and 4K UHD Blu-ray discs. This gives users the optimal visual experience with more depth, detail and natural yet intense colours. In fact, their expansive colour gamut displays the entire sRGB and DCI colour spaces.
All three projectors deliver incredible definition, clarity and the deepest blacks due to an exceptionally high contrast ratio of up to 1,000,000:1 (EH-TW9300/ EH-TW9300W) and a new 16-piece glass lens. Colours are also rich and vivid thanks to Epson’s 3LCD panels that emit an equally high White and Colour Light Output of 2,300 lumens (EH-TW7300) or 2,500 lumens (EH-TW9300/ EH-TW9300W). In addition, frame interpolation and detail enhancement help to create sharp, smooth and flowing images.
Keeping maintenance to a minimum, these projectors’ incredibly long lamp life means the user can watch a film every day on the big screen for the next seven years1. Installation is also simple and precise thanks to motorised optics, including a powered 2.1x optical zoom, powered focus and a new powered lens shift of ±96.3% vertical and ±47.1% horizontal. It’s quick and easy to switch between different aspect ratios, as the projectors are capable of storing up to ten different lens memory positions, enabling viewers to watch films as the director intended.
With the EH-TW9300W 4K WirelessHD projector, it’s effortless to stream content to a projector from a smartphone, games console, Blu-ray player and more. The 4K WiHD transmitter makes it possible to view high-quality 4K content over WiHD, also providing flexibility when positioning the projector.
Charlotte Hone, Product Manager, Epson UK, says: “We want customers to achieve the very best cinematic experience at home, so we’re really excited to be introducing the EH-TW7300, EH-TW9300 and EH-TW9300W. The latest technologies integrated in these models, such as 4K enhancement and UHD Blu-ray and HDR support, mark a significant improvement in image quality and will really enhance the user’s overall experience. But what’s great is that they’re also easy to use, with motorised optics and lens position memory making everything from installation to every day use simple and hassle-free.”
The EH-TW7300, EH-TW9300, EH-TW9300W are available from September 2016, priced at £2,199, £2,999 and £3,299 respectively.
Macphun has teased its customers with a brief preview of Aurora HDR 2017 ahead of its planned launch next month. The new version of the software features an updated user interface that, while similar to the original version, aims to better facilitate fast edits and help keep the user’s focus on the photo. Macphun has also added a new tone mapping algorithm for less noise and better results, a ‘smart polarizer tool’ for adjusting the sky in an image, batch processing, and more tools that haven’t yet been detailed.
According to PhotoRumors, Macphun plans to start taking pre-orders for Aurora HDR 2017 on September 15, and will officially launch the software on September 29. The pre-order will include special pricing for existing Aurora HDR and Aurora HDR Pro customers at $69 and $49, respectively, while new customers will pay $89. Those who pre-order will also get -currently unspecified special bonuses.
The original Brevite backpack was the outcome of a 2015 Kickstarter campaign. Now the Boston, MA based company has launched two new models that, like the first backpack, feature a design that doesn't scream 'camera bag,' and therefore doesn't advertise your expensive gear to potential thieves.
Both the new Rucksack and the Rolltop feature Brevite's removable and padded camera gear compartment that can be swapped between Brevite bags and holds up to a full-frame DSLR with attached lens, an extra 70-200mm zoom lens, one additional smaller lens and various accessories. The packs also come with a hideaway rain cover and a 15" laptop sleeve. They offer multiple access points to your equipment and a lens cap buckle that holds your cap when shooting. The Rucksack will be available for $165 and the Rolltop will set you back $185, but there is a 20% discount on preorders before the mid-September shipment date. More information is available on the Brevite website.
- 16MP APS-C X-Trans sensor
- 77-point autofocus system
- 1080/60p video capture
- Fixed 3" 1.04M-dot LCD
- 2.36M-dot electronic viewfinder
- ISO 200-6400, expandable to 51200
- 7 fps burst shooting
The Fujifilm X-E2S is a rangefinder-styled mirrorless interchangeable lens camera featuring a 16MP X-Trans sensor, abundant external controls, a high-resolution electronic viewfinder and a hybrid autofocus system. Feature- and performance-wise, it is all but identical to Fujifilm's existing X-E2 with the newest firmware installed, but the X-E2S launches at a $300 discount compared to its predecessor.
At an MSRP of $699 (or $999 with an 18-55mm F2.8-4 kit lens), Fujifilm has effectively taken an enthusiast-level camera with enthusiast-level controls and placed it alongside more traditionally entry-level models across the marketplace. If you're a photographer with some experience but a tight budget, that's great news. And if you're a beginner looking to get in to photography, the X-E2S might pique your interest.
Straight-out-of-camera JPEG with Velvia film simulation. Fujifilm XF 23mm F1.4. ISO 200, 1/450 sec, F1.4, 35mm equiv.
Photo by Carey Rose
So, the X-E2S is a re-released X-E2 with updated software, but there are still a few tweaks unique to the newer model.What's new on the X-E2S
- An 'Auto' button on the rear, which puts the camera into a point-and-shoot 'Scene Recognition' mode similar to the auto lever on the top of the Fujifilm X-T10 (this button is also reassignable)
- When shooting in Auto ISO, the X-E2S will attempt to detect motion in the scene and raise the minimum shutter speed automatically, if needed
- Maximum 'boosted' ISO comes in at 51200 (JPEG only)
- Tweaked grip, top plate loses the 'Fujinon Lens System' engraving
- Rear four-way controller now defaults to AF point selection, but all buttons remain customizable
As you can see, there's really not much in it between the two cameras — the changes are almost 'nitpicky.' More importantly, everything that we loved about the X-E2 is still here in the X-E2S: attractive retro design, plentiful and customizable controls, and most importantly, solid image quality.
In some ways, though, the X-E2 models are starting to show their age. There are cameras out there that offer better autofocus performance, better video capture and higher resolution. But they aren't all likely to offer the level of direct control, quality of this user experience, or as thorough a useful lens lineup as the X-E2/X-E2S.
And speaking of lenses, you'll pay more for the Fuji kit lens than you might on another entry-level camera, but this XF 18-55mm F2.8-4 lens is better built, sharper and has a wider aperture than any competitors' F3.5-5.6 bundled zooms. It will be more than enough to satisfy users that aren't looking to build up a lens portfolio or swap lenses very often.Dials on dials - in typical Fujifilm fashion, the X-E2S puts crucial controls at your fingertips. They're perfect for those with some photographic background, but could be intimidating for people just getting started. Photo by Samuel Spencer
In short, if you are a beginner who is serious about getting into photography, the Fujifilm X-E2S is likely to give you much more in terms of an engaging shooting experience than many other options out there. Likewise, if you're an established photographer looking to either try out the Fujifilm system or add another camera to your arsenal, the X-E2S is hard to ignore - let's investigate why.
Regular readers will know by now that we have kind of a thing for Fujifilm's out-of-camera JPEG rendering, and files from the X-E2S are no exception. Straight-out-of-camera JPEG with the Provia film emulation. Fujifilm XF 23mm F1.4. ISO 200, 1/120 sec, F1.4, 35mm equiv.
Photo by Carey Rose
Adobe released Photoshop CC 2015.5 in June, introducing features like content-aware crop and aiming to enhance the program's performance. Now the company has released 2015.5.1, resolving a number of customer-reported bugs. Photoshop CC customers can download the update as of now by opening the program and navigating to Help > Updates.Customer reported issues resolved
- Fixed customer submitted crashing issues
- Subtool reverts to primary tool after using keyboard shortcut
- Unable to Export individual layers that are nested in Artboard > Group
- “Rasterize EPS Format” dialogue box doesn’t remember Mode setting
- Embed color profile result reflects whatever it was set last time
- Text accidentally commits when try to transform Paragraph text using bounding box transform handles
- Cursor doesn’t correctly change to Commit cursor to differentiate from Rotate and Move cursor
- Print color is off when using App Manage Color (Mac only)
- Error: “Could not apply the workspace because the file was not found” when opening a file
Several fixes and improvements for Select and Mask:
- Select and Mask: Command not available on non-pixel layer masks
- Select and Mask: Refine Edge Brush Tool creating artifacts along the brush stroke in mask
- Select and Mask: Redraw corruption (RGB 16bit/32 bit) with Show Original in certain zoom levels (preview mode “black and white”)
- Select and Mask: Using the Refine edge brush on one area of a pre-existing selection may cause certain hard edges in another area to change a few pixel values, especially when the image is in very high resolution
- Select and Mask: Using brush tool with feather 8 or more and zoom level 50 or lower get redraw issue
- Select and Mask: With a selection, the output defaults to selection, even if the previous output setting was a mask
- Select and Mask: Inverting a selection outputs the original selection
- Select and Mask: Crash when double-clicking adjustment mask
- Select and Mask: Program error when image is multi-channel
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