Edelkrone launches SliderPLUS X and Motion Kit 4-axis motion control system

DP Review News - Wed, 12/04/2017 - 18:59

Accessory-maker Edelkrone has launched its latest motion control product for videographers. The SliderPLUS X & Motion Kit is a slider and motion head combo that offers 4 axes of control - slide, pan, tilt and focus, all controllable via a smartphone app. Edelkrone claims its new rig is the 'world’s smartest and most portable 4-Axis motion control system.'

The system allows you to lock the lens and focus onto a subject for a slide. You can program complex motion by movements the head and slider manually to 'record' the motion and it's possible to create looping sequences as well. Edelkrone is still working on a number of features that will be added at a later stage via app and firmware updates respectively. Eventually users will be able to convert programmed motion paths into time-lapse or stop-motion animations and the camera will be controllable during live recordings. You'll also be able to program your lenses into the system, so focus calibration can be saved for future use.

The SliderPLUS X & Motion Kit will set you back $3,700, $1,000 for the slider and $2,700 for the Motion head. That's a serious investment, but given the rig might help set your videography apart from the competition it could well be worth it from a business point of view. More information can be found on the Edelkrone website and in the video below. 

Categories: News

Adobe Lightroom CC 2015.10 and ACR 9.10 now available

DP Review News - Wed, 12/04/2017 - 18:38

Adobe has announced the availability of Lightroom CC 2015.10 and Adobe Camera Raw 9.10, adding 22 new lens profiles to both applications, as well as new camera support and bug fixes. According to Adobe, both new software versions are intended to expand camera raw and lens profile support, as well as fix bugs including unavailable color presets in Lightroom, trouble loading Hasselblad H6D-50c files in Camera Raw, and others.

In addition to the new camera support listed below, which applies to both the new Lightroom and ACR versions, Adobe has also added lens profile support for lenses from Apple, Canon, Nikon, Leica, Minolta, Sigma, M42, and Sony. New Lightroom versions for Android and iOS have also been released, both adding support for the lenses and cameras listed for Camera Raw 9.10.

New camera support:

  • Canon EOS M6
  • Canon EOS Digital Rebel T7i (EOS 800D, EOS Kiss X9i)
  • Canon EOS 77D (EOS 9000D)
  • Pentax KP

The full list of new Lightroom lens profile support can be found here.

Categories: News

Drone sales doubled in 2016, premium features help push sales

DP Review News - Wed, 12/04/2017 - 18:16

According to a report by analyst firm The NPD Group, U.S. dollar sales of drones more than doubled in the 12 months ending February 2017. Premium drones, which are defined as drones that cost $300 or more, drove a large portion of the growth for most of the year but during the holiday season drones with a price tag between $50- $100 saw a significant increase in sales as well. 

“While 2017 will see mid-tier and entry level drones (priced under $300) continue to drive unit demand, new form factors and innovations in sensing and imaging technology will help meet the needs of premium drone buyers,” noted Ben Arnold, executive director, industry analyst for The NPD Group.

When comparing items sold in the $300-$500 price range, researchers also identified a clear consumer demand for premium features, such as auto pilot capabilities or follow mode functionality. Models offering those features sold considerably quicker than simpler variants.

Drones have clearly left the novelty item stage behind and become a mainstream consumer products. Let's hope this transition will manifest itself with new and more powerful features, and even more affordable price points in the nearer future.

Categories: News

Graham MacIndoe's best photograph: Quentin Crisp, toast of New York

‘He was such a dandy. Drivers would honk at him, cabbies would wave – and homeless dudes would shout: Hey Quentin!’

I had already heard of Quentin Crisp when I moved from Scotland to New York in 1992. He was one of those great eccentric Englishmen. He came out so young, at a time when you could be prosecuted for being gay, and then worked for decades as a model at art schools. John Hurt had played him in The Naked Civil Servant, the film based on his autobiography, but he was still listed in the New York phonebook.

I called him and he answered in this plummy accent: “Oh yeeees?” I didn’t know what to say. “Er, hi. I just moved here. Could we go for a coffee?” “Absolutely. Charmed to do so.” All he wanted was to be bought a meal, and he would entertain you. “I sing for my supper,” he said.

‘He forewarned me: “I deplore house cleaning. It’s the biggest waste of time.” I thought: “Wow, he wasn’t joking”’

Continue reading...
Categories: News

How to take a perfect sports photograph: plan, stay calm and fight for your spot

Sports photography isn’t just about being at the right place at the right time. As Karen M. Edwards explains, you have to be prepared – and willing to jostle

By Suze Clemitson of 100 Tales 100 Tours, part of the Guardian Sport Network

Shortly after Philippe Gilbert’s win at the 2017 Tour of Flanders, one image of his walk to victory, bike aloft, was retweeted more than any other. It’s a shot by Karen M. Edwards, an Irish photographer who has been making us sit up and take notice of her unique eye since she moved from fashion shoots to the grime of professional cycling.

The photographer’s life on a major race is all about the pursuit: chasing the race and hunting down that one shot. Getting the setup right and speeding over hundreds of kilometres of roads on the back of a motorbike, the eye always alert. So what’s a typical day like for a cycling photographer?

Related: How one intrepid chef went from the Fat Duck and Noma to the Tour de France

Related: Celebrating Mien Van Bree, the brilliant and brave pioneer of women's cycling

Continue reading...
Categories: News

In the pink: Osaka and Kyoto's cherry blossom beauty – in pictures

Japan’s sakura (cherry blossom) season gave photographer Will Fearon plenty to contemplate and capture on his travels through the country

Continue reading...
Categories: News

CP+ 2017: Olympus interview: 'We chose to be bold'

DP Review News - Wed, 12/04/2017 - 11:00
Masamichi Handa, Executive Officer and Head of the Imaging Business Unit of Olympus Corp, pictured at the CP+ show, in Yokohama, Japan. 

DPReview attended the 2017 CP+ show in Yokohama, a few weeks ago, and during the show we made time to sit down with senior executives from several major manufacturers. One of them was Mr. Masamichi Handa, head of Olympus's Imaging Business Division. We spoke to Mr. Handa about reaction to the E-M1 Mark II, his ambitions for the future of mirrorless cameras, and the effect of last spring's earthquake on production.

The following interview has been edited slightly for clarity and flow.

How has reaction been to the E-M1 Mark II?

I was a bit afraid after the earthquake that we’d have to delay launch. Originally we had intended to start sales straight after the launch at Photokina. But we had to delay by a few months. We don’t like doing that, because there’s so much excitement at launch. But we started sales in December, so we’re in the middle of the initial wave of sales now, and feeling quite comfortable.

What was the exact impact of the earthquake?

There was a device shortage, so straight after the event we talked to the device manufacturer, who we had been collaborating with on the E-M1 Mark II’s customized device. The shortage lasted until around September, but we had some inventory, so we kept the factory running, and then we increased the volume of production in October.

Some people think the E-M1 Mark II is priced a little high. How do you justify its cost?

We have a target group of customers and a target group of competitor cameras in the APS-C format range. So the current pricing matches that price band. We opted for a price that would allow us to achieve higher performance levels and offer higher value to the customer. We had many discussions, and we chose to be bold and aim for a hit a higher consumer value point.

The Olympus OM-D E-M1 Mark II is a tough, fast Micro Four Thirds camera, aimed at enthusiast and professional photographers that need speed and durability in as small a camera as possible.

Cameras in the $1799+ price bracket aren’t aimed at [price-point conscious shoppers], they’re high-value products. Sales and marketing people talk a lot about ‘price points’ but our obligation is to provide a high value product. 

'we’re mainly a stills business' When you were planning the E-M1 Mark II, how important was video specification to its concept?

That discussion started around the time the E-M5 Mark II was introduced. We discussed which way we should go - more stills features, or more movie features, or both. We came to the conclusion that we shouldn’t get mixed up. Olympus wants to provide good stills cameras. Of course we should meet demand for movie shooting capabilities, but we’re mainly a stills business. Obviously we added image stabilization technology to the movie function, but it’s mainly supplemental.

It’s really good, for being supplemental!

Of course. The technology is always developing. But we’re mainly focused on the stills business. This is very important to the R&D people too. Once we start to muddle up our direction, that [affects them]. Because they might take 3-5 years for development [of a technology], so if we make a mistake when it comes to direction, they get mixed up.

So the E-M1 Mark II is primarily a stills camera. What are the challenges of integrating video features into a camera like this?

We’re still learning. We listen to various voices when we start to design a product - mainly professional stills-oriented photographers. But when we talk to professionals on the video side, they give us very different requirements, [not all of which we can realize]. But the more information we receive in this way, the more we can [incorporate this feedback in product design]. One important point that we’re incorporating is our image stabilization technology. That’s what we’re good at. This camera is very competent. As far as IS technology is concerned, we’re quite confident. But we need to listen more to comments and ideas from movie professionals.

'We’ve had some good feedback from videographers'

Technically, the major challenge is heat management. This is a stills-oriented camera, primarily, and that’s one of the reasons why [video recording] time is limited to 30 minutes. If we wanted to provide a more video-oriented product, we’d have to overcome heat. And image-quality wise, which tone-curve we should choose is completely different between stills and video capture. It’s a different mindset. Our engineers are stills-oriented, and we have a lot to learn from the professional movie camera industry. We’ve had some good feedback from videographers, so we’re on our way.

Do you know how many people are buying the E-M1 Mark II to shoot video?

Right now, we’ve only been shipping for a couple of months so [at present] our main customers are core Olympus users. And they’re mostly stills-oriented.

Do you think that Olympus will ever make a dedicated video camera?

We should never ignore [a potential audience] but right now, we have no plans. Talking about Panasonic, the GH5 is a really nice video camera. The E-M1 Mark II is more of a stills camera. Other video manufacturers make very nice lenses, and 35 manufacturers have now joined the Four Thirds standard. This is a very good thing for users.

Panasonic's new DC-GH5 is in some respects the closest competitor to the OM-D E-M1 Mark II, but it offers a much more developed video feature set. According to Mr. Handa, Olympus's main focus remains on satisfying the needs of stills photographers. 

Our R&D team is working about 3 or 4 years ahead. We’ve recently introduced very good autofocus technology, image stabilization technology and new lenses. We can do more - autofocus speed, AF tracking performance and so on - we can always do more. But our R&D people have to work hard. We want to improve image stabilization technology, too, so our users can use longer lenses without needing a tripod, for instance. Which is a lot of work. So [perfecting our existing technologies] is more important than changing direction.

professional support 'a headache' The 2020 Olympics isn’t too far away - when do you expect to see mirrorless cameras in the hands of professionals at major sporting events?

Obviously, we get asked this question a lot, and there is a certain expectation. From a business point of view, [if we were represented at Tokyo 2020] not only would we need to [provide products capable of professional shooting] but we would also need to offer professional support. And that’s a headache. You saw at the Rio olympic games, the amount of equipment that Canon took for professional support, and the amount of people for support, and maintenance… it’s not our business model.

We will provide equipment for professional photographers at sporting events, but [we don’t plan on] having a team to support photographers at events like that. It’s not our strength.

Do you have an idea of the demographic breakdown of your audience?

Users of the PEN series are mostly male, and the E-PL series is more female oriented, and they’re younger.

The E-PL series has been popular among female camera buyers, according to Mr. Handa, and attracts a younger customer base than its OM-D products.  What’s your approach to attracting this kind of market?

Again, these are high-value products, so it’s about design, and supporting selfie functions, and adding Wi-Fi and so on. Our marketing is designed to focus on younger, style-conscious users.

Do you have any sense of how many of your customers use Olympus lenses, as opposed to lenses from Panasonic, or third-parties?

In the early days, our lens lineup was pretty limited, and some of our customers purchased Panasonic lenses. But these days, that number is smaller and smaller.

On Panasonic: 'we're essentially competitors' Do you work with Panasonic to ensure compatibility of technologies across the M43 system, such as Panasonic’s DFD?

We only collaborate on the [Four Thirds] standard. To make sure the standard works perfectly across different lens and camera manufacturers. Sometimes we have to compete with each other, from a technical point of view, but that’s a good engine for developing new technologies. We’re essentially competitors.

Where are the biggest opportunities for Olympus right now, in the camera market?

Right now, the biggest opportunity for our mirrorless camera department is to increase the amount of technology [in the segment], to stimulate demand. The market for conventional DSLRs is shrinking, and the ILC market is going down, the CSC [compact system camera] is doing OK, although there’s still some decline.

Although the OM-D E-M1 Mark II offers a significantly smaller sensor, Olympus sees it as competing against similarly-priced APS-C offerings, and hopes it will attract 'conservative' DSLR users as a potential second body.

Current Canon and Nikon users may not switch entirely, because they’ve already got a system, but they might purchase an additional camera for vacations, or for [outdoor recreation], and that could be a good opportunity for us. By continuously developing technology, we hope to stimulate demand and show DSLR users that mirrorless cameras are [equally capable].

How do you get that message across to DSLR users?

Current E-M1 Mark II purchasers are probably 80% existing Olympus users. But after we’ve satisfied this first wave of demand, we want to provide opportunities for new users to touch and try our products. All over the world, those people [DSLR users] are relatively old. They prefer small size, and they prefer light weight. Often it’s only when they touch our cameras that they realize they’re good. So creating touch and try events, globally, is very important. Also we want to talk more to professionals. Some younger people have no trouble going straight to mirrorless, but a majority of professional people might say ‘aaah, we want to stick to Canon and Nikon’. But when they touch and try the cameras, it's a different story. We have a rental program for professionals in Japan, and almost every rental ends in a purchase. We want to expand this globally.

'If we can continue to develop this kind of technology, even very conservative DSLR users will notice'

Also, if we continue to make innovative mirrorless products, once they [DSLR users] notice the potential of the technology we’ll [attract more users]. The big benefit of mirrorless is that we can use information read out from the sensor in many ways. Autofocus speed, subject recognition, and so on. If we can continue to develop this kind of technology, even very conservative DSLR users will notice. 

What are the biggest challenges facing Olympus right now in the camera industry?

The market is decreasing. The compact market will continue to decrease in terms of value, but the mid-range and high-end market will remain. We have a challenge in that we want to spend more money on R&D, but we have to control costs, which means we have to select the most important technologies [to develop].

Editors' note:

Olympus is an interesting company to report on. Despite its relatively small market share, Olympus consistently surprises us. And no product has been more surprising than the OM-D E-M1 Mark II. We knew a Mark II was on the way, but we didn't expect it to outperform its predecessor so roundly, or be aimed so squarely at pro-grade APS-C and full-frame competitors. The downside, of course, is price. The E-M1 Mark II is a pricey camera considering its format, and as Mr. Handa admits, it's mostly being purchased (for now) by the company's existing users. From the point of view of customer retention, this is great, but it's not how you grow your user-base.

To do that, Mr. Handa needs to tempt 'conservative' DSLR users away from their cameras of choice and towards the Olympus M43 system. This won't happen overnight. As he pointed out, it took Canon years to wrestle back a meaningful portion of the professional market from Nikon, and Olympus is a much smaller, and more resource-limited company, which hasn't enjoyed a significant share of the professional photography market for decades.

It's not impossible though. According to Mr. Handa, professional loan programs in Japan have resulted in a lot of professional photographers buying into the OM-D system, even if they don't switch their allegiance entirely or immediately. This makes sense. There are things that today's professional DSLRs do that the E-M1 Mark II can't, and vis-versa. Likewise their manufacturers. Olympus is under no illusions about its inability to provide true professional support, compared to well-established Canon and Nikon networks. For now, like Sony, Olympus simply cannot compete in this regard. As Mr. Handa told us, 'it's not our business model'.

So what is Olympus's business model? It seems that the company is hoping that by marketing as much differentiating technology as it can (in-body stabilization and high frame-rate capture being the most obvious examples), DSLR users will notice, and take interest in the OM-D system. Perhaps they won't sell their existing gear overnight, but we've met professionals that shoot some jobs on the E-M1 Mark II, and take their Canon EOS-1D X Mark II or Nikon D5 kits out for other kinds of work. 

It was interesting, if not entirely surprising, to learn that Olympus continues to regard video as essentially supplementary to its OM-D line. Despite Mr. Handa's insistence that his engineers are stills-focused, the E-M1 Mark II is a very capable video camera. Whether it achieves widespread adoption among videographers is of course another matter. They should certainly pay attention though – ultra-stabilized 4K footage from the E-M1 Mark II is quite something. 

Categories: News

This land is your land: 19th-century US landscapes – in pictures

From epic vistas to the churn of industry, 19th-century American photographers captured a country beginning to define its identity

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Categories: News

Nikon D7500: What you need to know

DP Review News - Wed, 12/04/2017 - 05:00
Nikon D7500: What you need to know

The Nikon D7200 was, and still is, an extremely capable camera. So for Nikon to truly make its successor worth its salt, something other than a granular update was needed. Fortunately, the new Nikon D7500 features enough improvements, including a lot of tech pulled from the APS-C flagship D500, that all signs point to it being the successor we'd hoped for.

After all, it uses the same 20.9MP sensor with no optical low pass filter as the D500, as well as its Expeed 5 image processor. This new processor is 30% faster than the Expeed 4 processor in the D7200, a speed advantage that gives the D7500 a leg up in a few key areas like: burst speed, buffer depth, video capability and native ISO sensitivity.

Nikon D7500: What you need to know

Before we jump into tech specs, let's talk about the body of the D7500, because some minor changes should add up to an improved user experience, including a 3.2” 922k-dot tilting touch LCD. It's fewer dots than the 1.2M-dot LCD of the D7200, but it's the same 640 x 480 pixel resolution (but without a white 'dot' at each pixel). The touch capabilities are a welcomed inclusion. They can be used for selecting an AF point in live view, or navigating the camera menus and playback images.

The D7500 is also 35 g / 1.2 oz lighter than its predecessor and its body is slightly more narrow. The slimmer body design results in a marginally deeper grip. Weather-sealing on the camera has also been beefed up over its predecessor, though the camera loses its second memory card slot.

Nikon D7500: What you need to know

The D7500 is now capable of 4K video capture in 30, 25 and 24p. Users can now also shoot 4K UHD timelapses. But don't expect your lenses to offer the same field of view when shooting video as they do for stills, because like the D500, the camera uses a 1.5x crop of the sensor when capturing 4K (that's a total crop factor of 2.25x relative to full-frame). Recording time is similarly cut off at 29:59.

That processing speed boost also translates to an increased burst rate of 8 fps (up from 6 fps on the D7200) with a buffer depth of 50 14-bit Raw files or 100+ full-size JPEGs. The ISO range is 100-51,200, and expandable from ISO 50 to 1.6M – the same as the D500.

Nikon D7500: What you need to know

When shooting in movie mode, users can make use of both Auto ISO as well as power aperture to maintain exposure in a smooth manner. The camera also features helpful video tools like a flat picture profile (to give a little more post-processing flexibility, though not as much as a true Log curve) and zebras. In addition to 4K it can also shoot Full HD in 60p down to 24p, with no additional crop. And when in HD capture there is an electronic VR option to help stabilize footage. Users can also use Nikon's Active D-Lighting (in HD only).

Nikon D7500: What you need to know

Other gains from the D500 includes its 180k-pixel RGB metering sensor for more accurate focus tracking and metering. The D7500 also now offers Nikon's much-loved highlight-weighted metering mode.

Not everything is borrowed from its big brother though: The D7500 uses the same 51-point AF system with 15 cross-type points as its predecessor, as opposed to the 153-point AF module found in the D500. That means more potential for hunting in challenging light with off-center points. It also does not support UHS II media, like the D500.

Nikon D7500: What you need to know

Despite using the same AF system as the D7200, there are important improvements to the overall AF experience. For instance the camera gains the D5/D500's ability to fine-tune lens precision using Live View, thanks to 'Auto AF Fine Tune'.

And the updated 180k-pixel RGB metering sensor should allow for very precise subject (including face) recognition and tracking to maintain focus on subjects that move, even erratically, around the frame. Additionally, the camera gains Nikon's group area AF mode.

Nikon D7500: What you need to know

Users can record 4K UHD directly to an external recorder via HDMI out, while also capturing compressed 4K to a memory card. The camera also offers a USB 2.0, microphone, headphone and a remote control port.

The D7500 is also now compatible with Nikon's radio transmitters for flash control.

Nikon D7500: What you need to know

The viewfinder remains the same as its predecessor, offering 0.94x magnification with nearly 100% coverage. Like the D500, the viewfinder uses an OLED info display for easy viewing.

The camera's shutter is rated for 150k shots and now features a shutter monitor, which automatically adjust shutter speeds to keep them accurate. The D7500 also gains an electronic first curtain shutter, though unfortunately it's still only available in Mirror Up mode, which severely limits its utility in casual use (we'd like to see it implemented in Single drive mode with a short delay added after the mirror and mechanical shutter are opened).

Nikon D7500: What you need to know

SnapBridge compatibility should come as no surprise in the D7500: it offers both Wi-Fi and Bluetooth connectivity for transmitting images and shooting remotely. However NFC has been removed. Speaking of transmitting images, the D7500 now offers an in-camera batch Raw processing option.

Nikon D7500: What you need to know

There is also a new Multiple Exposure mode that combines 10 images into one (but saves each of the 10 images individually as well). As well as a new Auto Picture Control function that analyzes the scene to provide a pleasing tone curve.

Other improvements come in the form of a new battery, the EN-EL15a, which apparently manages power better than previous EN-EL15 batteries. Fortunately it is both backward and forward compatible. Less fortunate: the D7500 offers lower battery life than the D7200: CIPA rated 950 shots per charge vs 1110.

Nikon D7500: What you need to know

The Nikon D7500 will be available this coming summer for a body-only price of $1250 and a kitted with the Nikkor 18-140mm F3.5-5.6 ED VR for $1750. European customers get a wider choice, with 18-300mm and, 16-80mm F2.8-4E ED VR kit options, too. 

Categories: News

Nikon announces midrange D7500 DSLR

DP Review News - Wed, 12/04/2017 - 05:00
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Nikon has announces its midrange D7500 DSLR. While its design has been slightly tweaked, the big story are the features that it's inherited from the D500. It uses the same 20.9MP APS-C sensor, Expeed 5 processor and 180k-pixel RGB metering sensor, and is capable of 4K video capture.

The D7500 looks a lot like the D7200 that preceded it, though it's a bit lighter, and the grip has been deepened. Nikon also says that weather-sealing has been improved. While the LCD remains at 3.2" in size, it's now tilting and touch-enabled. Something that Nikon has removed is one of the SD card slots; the D7200 had two, the D7500, one. This slot does not support UHS-II media, unlike on the D500. The D7500 includes a new battery, known as the EN-EL15a, but battery life is about 15% lower than on the D7200, at 950 shots per charge.

As mentioned above, it uses the same sensor, image processor and metering system as the D500. The sensor and image processor have allowed the ISO range to be increased by a full stop compared to the D7200, with a native range of 100-51200, which expands to 50-1.64 million. The autofocus module is the same as the D7200, meaning that it has 51 points, 15 of which are cross-type, with the center point sensitive down to -3EV, but now with input from the 90-times higher-res 180k-pixel RGB metering sensor. That means credible face detect AF even in OVF shooting (in Auto area mode), and remarkably precise subject tracking to maintain focus on subjects that move around the frame. For lenses that need micro-adjustment, you can now do that quickly in live view using 'Auto AF Fine Tune'.

Burst shooting has been noticeably improved, with a top rate of 8 fps (up from 6 fps). The buffer is much deeper, as well, with the D7500 able to take up to 50 14-bit uncompressed Raws in a single burst, rather than 18. Speaking of which, the D7500 has gained the ability to batch process Raw images – handy for when you want to send a bunch of them to your smartphone.

As with the D500, the D7500 can capture UHD 4K video at a bit rate of 144Mbps, albeit with a 1.5x crop (2.25x relative to 35mm full-frame). If you drop down to 1080p you gain 3-axis digital IS and Active D-Lighting, and lose the crop factor. Power Aperture has been added, allowing for more precise control over exposure. Other video-related feature include 4K output over HDMI, a flat picture profile (similar to log gamma), zebra pattern and Auto ISO. As you'd expect, the D7500 has both microphone and headphone jacks.

The D7500 has Nikon's 'SnapBridge' wireless system, that uses Bluetooth for both remote capture and keeping a constant connection plus Wi-Fi for large file transfer. NFC, which was found on the D7200, has been dropped on its replacement.

Nikon will ship the D7500 this summer in two kits: body-only for $1249, and $1749 with a 18-140mm F3.5-5.6G ED VR lens.

Press Release


Exceptional Speed, Precision and Low-Light Ability Has Never Been as Attainable; The New D7500 Uses the Same Powerful Imaging Sensor and Includes Many Features from Nikon’s DX-Format D500 Flagship

MELVILLE, NY (April 12, 2017 at 12:01 A.M. EDT) -- Enthusiasts are a distinct type of photographer, who go to great lengths in the relentless pursuit of the perfect capture. It is for this user that Nikon Inc. announced the D7500 today, an advanced-level DX-format DSLR that provides a robust yet lightweight camera with powerful performance and premium features. Using the same 20.9-megapixel image sensor, processor and wide ISO range as the D500, Nikon’s flagship DX-format DSLR, the D7500 incorporates an exceptional combination of stunning image quality, impressive speed, astounding low-light ability and 4K UHD video capture, yet remains within reach for a diverse array of image makers and creators.

“The Nikon D7500 was engineered to be as versatile as the photographer using it, and excels whether shooting fast-action sports, stunning low-light landscapes, distant wildlife, glamorous portraits or multimedia content,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “This is a camera for the photographers who are serious about their passion, infatuated with the next frame and above all else, want speed, small size and an excellent value.”

Balance Image Quality and Low-Light Performance
The new D7500 features Nikon’s latest 20.9-megapixel DX-format imaging sensor and EXPEED 5 processing engine, the same high-performance heart of the Nikon D500. Designed to excel in a wide array of shooting conditions, the D7500 eliminates the optical low-pass filter (OLPF) for maximum sharpness and clarity, with the class-leading dynamic range flexibility that is a hallmark of Nikon DSLRs. The compact DX-format form factor also gives photographers extended focal length reach that is an advantage for sports and wildlife photography, especially when coupled with the vast selection of available NIKKOR lenses. 

Whether shooting a landscape at dawn or sports under indoor lights, the D7500 affords the latitude of low-light capability to consistently nail the shot, time and time again. Even in the most challenging light, users can capture images with minimal noise, thanks to a native ISO range that spans from 100-51,200, and an expanded ISO range up to an astonishing 1.64 million equivalent. Those same stellar image quality and low noise virtues also apply to those shooting video, whether it’s a 4K UHD production or a mesmerizing astro time-lapse of the night sky.

Focus with Precision, Capture with Confidence
The Nikon D7500 DSLR gives photographers many new premium features and advanced Nikon technologies to help create incredible images and video:

  • The D7500 is fast enough to keep pace with the quickest athletes or animals; capable of shooting at up to 8 frames-per-second (fps) with full AF/AE, with an expanded buffer of up to 50 RAW/NEF (14-bit lossless compressed) or 100 JPEG images.
  • Nikon’s proven 51-point AF system covers a large portion of the frame. A Group-Area AF function has been added, which is a preferred focus mode for those shooting fast action.
  • The slim, tilting 3.2” 922K-dot touchscreen LCD can be used to easily control, compose and play back, even while mounted to a tripod. The menus can also be easily navigated using the touchscreen function.
  • Like the Nikon D5 and D500, the 180K RGB Metering system is used with the Advanced Scene Recognition System to help ensure balanced exposures and fantastic color rendition in nearly any shooting situation.
  • Lightweight DX form factor allows for an agile, comfortable body with deep grip and comprehensive weather sealing. The monocoque body is durable and approximately 5% lighter than the D7200 and 16% lighter than the D500.
  • Shoot all day and well into the night with up to approximately 950 shots per charge (CIPA standard).
  • Like the D500 and D5, the Auto AF Fine Tune feature when in Live View allows users to automatically calibrate autofocus with specific lenses if needed.
  • Through the Retouch menu, users can access an in-camera Batch Process RAW Converter that can handle multiple images to optimize workflow.
  • The camera’s pop-up flash can act as a Commander for remote Speedlights, while the camera is also optimized to function with line-of-sight using SB-500, SB-700 and SB-5000. It can even support the radio frequency control system of the SB-5000 when using the optional WR-R10 accessory.
  • New Auto Picture Control function analyzes the picture scene and automatically generates a tone curve within the camera.
  • Images can automatically be downloaded to a compatible smartphone, and the camera can also be triggered remotely using Built-in Bluetooth1 and Wi-Fi2

Multimedia Capabilities for Creators
The Nikon D7500 adds in a diverse array of advanced features for multimedia content creators, including 4K UHD (3840 × 2160/30p) video capture and the ability to produce awe-inspiring 4K UHD time-lapse movies in-camera. Video files can be stored as either MOV files or as MP4 files, for greater flexibility and easier playback on a wide range of devices. Like the D500, the D7500 offers 3-axis built-in e-VR image stabilization when shooting 1080p Full HD video, and can be easily focused using the rear touchscreen function.

For the advanced videographer, the D7500 offers simultaneous 4K UHD output to card and uncompressed via HDMI, as well as a headphone and microphone jack for pro-level audio recording and monitoring. To allow for smooth exposure adjustments, the camera also supports power aperture for smooth and step-less depth-of-field transitions while users can also keep highlights in-check using visible zebra stripes in live-view mode. 

Price and Availability

The Nikon D7500 will be available in Summer 2017 for a suggested retail price (SRP)* of $1,249.95 for the body only configuration, or with a AF-S DX NIKKOR 18-140mm f/3.5-5.6G ED VR lens for $1,749.95 SRP*. For more information on the Nikon D7500 as well as the latest Nikon products, please visit

1.The camera’s built-in Bluetooth® capability can only be used to connect the camera to a compatible smart device running the SnapBridge app, and to take advantage of SnapBridge features.

2 This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera.

  • Using the SnapBridge App System Requirements:
  • Android 5.0 or later or 6.0.1 or later
  • A device with Bluetooth 4.0 or later (i.e., a device that supports Bluetooth Smart Ready/Low Energy) is required.

The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the AndroidTM operating system. The app can be downloaded free of charge from Apple’s App Store® and GooglePlayTM. SnapBridge can be used only with compatible cameras.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon D7500 specifications PriceMSRP$1299 (body only), $1749 with 18-140 VR kit lensBody typeBody typeMid-size SLRSensorMax resolution5568 x 3712Other resolutions4176 x 2784, 2784 x 1856Image ratio w:h3:2Effective pixels21 megapixelsSensor photo detectors22 megapixelsSensor sizeAPS-C (23.5 x 15.7 mm)Sensor typeCMOSProcessorExpeed 5ImageISOISO 100 - 51200 (expandable to 50 - 1640000)Boosted ISO (minimum)50Boosted ISO (maximum)1640000White balance presets12Custom white balanceYes (5)Image stabilizationDigital onlyImage stabilization notes3-axis Electronic for Full HD and belowUncompressed formatRAWJPEG quality levelsFine, Normal, BasicFile format
  • JPEG: JPEG-Baseline compliant with fine, normal, or basic compression (Size priority); Optimal quality compression available
  • NEF (RAW): Lossless compressed, compressed 12 or 14 bit
  • NEF (RAW) + JPEG: Single Photograph Recorded in both NEF (RAW) and JPEG Formats
Optics & FocusAutofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lampYesManual focusYesNumber of focus points51Lens mountNikon FFocal length multiplier1.5×Screen / viewfinderArticulated LCDTiltingScreen size3.2″Screen dots922,000Touch screenYesScreen typeTFT LCDLive viewYesViewfinder typeOptical (pentaprism)Viewfinder coverage100%Viewfinder magnification0.94×Photography featuresMinimum shutter speed30 secMaximum shutter speed1/8000 secExposure modes
  • Aperture Priority
  • Auto
  • Auto (flash off)
  • Manual (M)
  • Programmed auto with flexible program (P)
  • Scene Modes
  • Shutter-Priority
  • User
Scene modes
  • Autumn Colors
  • Beach / Snow
  • Blossom
  • Candlelight
  • Child
  • Close-up
  • Dusk / Dawn
  • Food
  • Landscape
  • Night Landscape
  • Night Portrait
  • Party / Indoor
  • Pet Portrait
  • Portrait
  • Sports
  • Sunset
  • Special Effects Mode
Built-in flashYes (Pop-up)Flash range12.00 m (at ISO 100)External flashYes (Hot-shoe, Wireless plus sync connector)Flash modesAuto, On, Off, Red-eye, Slow sync, Rear curtainFlash X sync speed1/250 secDrive modes
  • Single-frame
  • Self-timer
  • Quiet continuous
  • Quiet shutter
  • Mirror-up
  • Continuous high
  • Continuous low
Continuous drive8.0 fpsSelf-timerYes (2, 5, 10 or 20 sec)Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation±5 (at 1/3 EV, 1/2 EV steps)AE Bracketing±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)WB BracketingYes (3 frames in 1-stop increments)Videography featuresFormatMPEG-4, H.264Videography notesSupports MOV and MP4 packagesModes
  • 3840 x 2160 @ 30p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 48 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 24 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 48 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 24 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 24 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 12 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 24 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 12 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 24 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 12 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 60p / 24 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 60p / 12 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 50p / 24 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 50p / 12 Mbps, MOV, H.264, Linear PCM
MicrophoneStereoSpeakerMonoStorageStorage typesSD/SDHC/SDXCConnectivityUSB USB 2.0 (480 Mbit/sec)HDMIYes (mini-HDMI)Microphone portYesHeadphone portYesWirelessBuilt-InWireless notesWi-Fi with low energy BluetoothRemote controlYes (Wired, wireless, smartphone)PhysicalEnvironmentally sealedYesBatteryBattery PackBattery descriptionEN-EL15a lithium-ion rechargeable battery & chargerBattery Life (CIPA)950Weight (inc. batteries)640 g (1.41 lb / 22.58 oz)Dimensions136 x 104 x 73 mm (5.35 x 4.09 x 2.87″)Other featuresOrientation sensorYesTimelapse recordingYes (4K output)GPSOptionalGPS notesGP-1A
Categories: News

Nikon Museum 100th Anniversary Special Exhibition showcases prototype cameras

DP Review News - Tue, 11/04/2017 - 20:43

The Nikon Museum has launched its second 100th Anniversary Special Exhibition called 'Prototype Cameras -- Developers' Memories.' This exhibit, which will be running from April 4th through July 1st, showcases about 40 of the maker's prototype cameras spanning dates from the 1940s through the 1980s, including its notable Nikon Model I Prototype 1 unit.

This exhibition includes rare prototypes of cameras that never entered mass production, says Nikon, giving the general public a chance to check out cameras otherwise sealed away from public view. The museum is also offering special commentaries for the Nikon F3 prototype and the Nikon F prototype from 1975 and 1957, respectively. Those commentaries are by Nikon's Imaging Product R&D Laboratory lab manager Tetsuro Goto.

The Nikon Museum is located in Shinagawa, Tokyo. Those unable to make the trip in person can check out photos of the museum and the prototype exhibition here.

Via: NikonRumors

Categories: News

Protest photos: the power of one woman against the world

The shot of Saffiyah Khan calmly staring down an EDL demonstrator in Birmingham became instantly famous. Why are images like these so transfixing?

Shows of strength and defiance aren’t in short supply at your average protest – demonstrating, by its nature, requires a level of commitment that weeds out the bystanders, the unimpressively apathetic. But what is it that makes the money shot? The protest photo that goes viral? Well, for one, women. Or, more accurately, one woman. Often a striking, beautiful-looking woman. But mostly, a woman who looks like a badass without seeming to do anything much that is dramatic at all.

For anyone trying to work out the Venn diagram of iconic protest imagery, three tropes will immediately jump to the fore: the quiet dignity of said woman; the battle-hungry paraphernalia of male authority (your shields and batons and chunky uniforms); and the dramatic flip of power that clash presents.

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Categories: News

GoPro launches camera trade-up program in the US

DP Review News - Tue, 11/04/2017 - 18:26

Action-camera manufacturer GoPro has launched a trade-up program for its US-customers. Existing GoPro owners can receive $100 off a new HERO5 Black, or $50 off a HERO5 Session when they trade in any older GoPro HERO model.

To participate in the program you should visit the Trade-up website, select the new camera of your choice, and follow instructions to return your old camera. Once GoPro has received the latter, it will process the discount and send you a brand-new HERO5 Black or HERO5 Session camera.  The company says returned cameras will be recycled responsibly via zero landfill and recycling methods appropriate to material type. 

"Our HERO5 cameras are the best we've ever made. And when paired with GoPro's new software, they unlock the simplest, most powerful mobile storytelling solution yet," said CJ Prober, GoPro's Chief Operating Officer. "Our Trade-Up Program allows us to introduce existing customers to the modern GoPro experience and prepare our community for the new software enhancements ahead."

The HERO5 Black and HERO5 Session currently retail for $399.99 and $299.99, so the trade-in discount can cut a nice chunk from that. If you own an older GoPro and like the idea of trading it in, you can find all the information on the GoPro website

Categories: News

Share your photos on the theme of endurance

Guardian picture editors would like to see images from amateur photographers and share feedback in a new series aiming to showcase the best of your work

For this week’s topical photography project our picture editors would like you to share photographs that capture “endurance”.

On 23 April tens of thousands will need all of their physical and mental strength to run the London Marathon. This type of endurance could inspire your photography, but you might, of course, interpret the theme in other ways. Can you capture facial expressions that show endurance, an image from nature, or perhaps another subject entirely which you think suits? Whichever it is, do tell us about the image you submit.

Related: Your best photographs on the theme of diversity

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Categories: News

Your best photographs on the theme of diversity

Guardian picture editors have chosen nine readers’ pictures as part of a new series showcasing the best of your work and giving feedback

Continue reading...
Categories: News

Panasonic Lumix DC-GH5 Review

DP Review News - Tue, 11/04/2017 - 15:00

The Panasonic Lumix DC-GH5 is the fifth in the company's industry-changing video and stills 'hybrid' lineup. With its 20MP Four Thirds sensor and deep video-centric feature set, it looks likely to pick up where the GH4 left off as a favorite of indie filmmakers and photographers whose interests venture into the realm of motion picture work.

The GH5's feature set moves on suitably far from its predecessor that the company says the GH4 will remain in its lineup as a lower-cost option for users who don't need the additional capability that the GH5 brings.

For many users, the addition of in-body stabilization and 4K video without cropping might be enough to make the camera a worthwhile upgrade, but Panasonic has revised and improved almost every aspect of the camera's behavior and performance.

Key Features
  • 20MP Four Thirds sensor (no OLPF)
  • 5-axis in-body image stabilization system with 'Dual IS 2' support
  • All 4K footage taken using full width of sensor (oversampled from 5.1K footage)
  • Internal 4K/30p 10-bit 4:2:2 video capture
  • 4K/59.94p and 50p shooting with 10-bit 4:2:2 output or 8-bit, 4:2:0 internal recording
  • 1080 video at up to 180p, enabling 7.5x slow-motion
  • 9 fps shooting with continuous autofocus
  • Advanced DFD autofocus
  • Dual UHS II card slots (V60 ready)
  • Autofocus point joystick
  • 802.11ac Wi-Fi, NFC and Bluetooth
  • Pre-configurable rack focus mode
  • Waveform and vectorscope monitors
  • Paid upgrade to enable V-LogL video capture with LUT-based preview display
Two pre-announced firmware updates

It's worth noting that Panasonic already has two firmware updates planned for the camera, one expected around April, which will bring 10-bit 4:2:2 1080p capture, and a second at some point during the summer.

The summer firmware update promises some very big improvements, including DCI/UHD 4K 4:2:2 10-bit recording at 400Mbps, and 1080/60p 4:2:2 10-bit recording at 200Mbps, both using All-Intra compression. Support for anamorphic 4K capture will also be added at that point.

With attachments such as the DMW-XLR1 accessory microphone unit, the GH5 promises to be a great tool for video enthusiasts and pros. 4K 60p video

The eye-catching feature on the GH5 is its ability to shoot 4K footage at up to 59.94p and 48p (or 50p if you're shooting for PAL). Footage is oversampled from 5.1K, thanks to full sensor readout, meaning sharp footage that takes advantage of the full size of the sensor. Internal recording will be limited to 8-bit 4:2:0 IPB encoding at up to 150Mbps but with higher quality available if an external recorder is used. 4K video is shot using the full width of the sensor and has no time restrictions.

At lower frame rates, the camera can capture 10-bit, 4:2:2 footage internally: the kind of quality you needed an external recorder to capture from the GH4.

To understand the distinction (and much of what is significant about the GH5), read our basic explanation of video capture terminology.

Advanced DFD

The GH5 features the latest iteration of Panasonic's Depth From Defocus autofocus system, which uses pairs of images and an understanding of a lens's out-of-focus rendering to create a depth map of the scene, to speed up focusing. The latest version samples the scene more often and builds up a higher-resolution depth map, for faster, more decisive focus.

The GH5 also gains a more advanced algorithm for interpreting movement within the scene, to reduce the risk of the camera getting confused by movement as it builds its depth map. This, combined with faster sensor readout, should mean faster and more accurate autofocus. Further to this, Panasonic has added more AF configuration options to help the camera understand subject movement and the correct response to it.

Still image processing

Panasonic is keen to stress the GH5 is intended for stills as well as video. The greater processing power of the GH5 allows the camera to consider a wider area of the image when calculating the color values from each pixel. Panasonic says this makes it possible to extract greater JPEG resolution from the captured image.

The GH5's greater processing power also allows more sophisticated sharpening, promising reduced over-shoot that can cause unnatural-looking 'halos' on high-contrast edges.

Updated noise reduction is also supposed to be better at distinguishing between noise and detail, meaning that detail is better preserved during the noise reduction process.

'6K' Photo and advanced video-derived shooting modes

Also on the stills side of things, the GH5 offers higher resolution versions of its video-derived stills features such as 4K Photo, Post Focus and Focus Stacking. The GH5 uses its higher pixel count sensor and more powerful processor to add '6K Photo' modes at up to 30 fps, in addition to 4K Photo at up to 60 fps. As before, there are various ways of triggering the mode to ensure you have a short video clip from which you can extract exactly the moment you wanted to capture.

However, don't go assuming that '6K Photo' mode is taking images from an area of the sensor 6000 pixels across: it isn't. Instead it's capturing images with the roughly the same number of pixels as a very widescreen 6000 x 3000 video clip would have. It's not the most misleading marketing statement we've ever seen, but be aware that 6K may not mean quite what you might expect.


The Panasonic GH5 will be available in late March for $1999 (body only).

Categories: News

Best photos of the day: an election photocall and a naughty elephant

The Guardian’s picture editors bring you a selection of photo highlights from around the world, including a media scrum before Iran elections and a Thai water festival

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Categories: News

Aleutian Dreams: life as an Alaskan fisherman – in pictures

Corey Arnold is a fine art photographer and a commercial fisherman, working the stormy waters of the Bering Sea by Alaska. His latest work documents life in this remote wilderness, both at sea and on the shore, capturing trawlers, foxes, eagles and the grandeur of the scenery. Aleutian Dreams can be seen at Charles A Hartman Fine Art in Portland, Oregon, until 27 May

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Categories: News

What is your favourite view in Britain?

The vista from the summit of Mount Snowdon has been voted the best view in Britain – and we want your alternative suggestions

The view from the top of mount Snowdon on a clear day has been voted the best in Britain, according to a new poll.

Coming in second was the Three Sisters mountains, in Scotland’s Glen Coe. Third was a view of Stonehenge, the famous and ancient ring of standing stones in the English county of Wiltshire.

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Categories: News

2017 Pulitzer Prize winners for photography announced

DP Review News - Mon, 10/04/2017 - 22:41

The winners of the 2017 Pulitzer Prize for photography have been announced, which illustrate violence in two locations on opposite sides of the world.

The award for breaking news photography went to freelancer Daniel Berehulak, whose work published in The New York Times showed the violence in the Philippines during a government crackdown on drug dealers and users.

.@berehulak has won the Pulitzer Prize for breaking news photography. Photos of the war on drugs in the Philippines:

— The New York Times (@nytimes) April 10, 2017

The other finalists include the AP Photography Staff and freelancer Jonathan Bachman.

The Chicago Tribune's E. Jason Wambsgans won the award for feature photography. His photos document the story of a 10-year-old boy and his mother as they try to recover from the child's shooting in Chicago.

Chicago Tribune photographer wins Pulitzer Prize

— ChicagoBreaking (@ChicagoBreaking) April 10, 2017

The other contenders in this category were Katie Falkenberg of the LA Times and Jake May of The Flint Journal.

Each prize winner receives a $15,000 prize as well as the famous Pulitzer medal.

Via: The Pulitzer Prizes

Categories: News
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