Here are the new camera and lens rebates for the month of May:
The post Here are the new camera and lens rebates for the month of May appeared first on Photo Rumors.
Viltrox is expected to announce 7 new lenses for Sony E-mount:
Additional information on the upcoming Viltrox lenses can be found here:
Viltrox lenses are sold at Adorama, Amazon, B&H, and the Viltrox online store where you can get 8% off with coupon code NIKONRUMORS.
Via SonyAddict
The post Viltrox to announce 7 new lenses for Sony E-mount appeared first on Photo Rumors.
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The Fujifilm X100VI is a photographers' fixed-lens camera that combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens.
The X100VI is available now at an MSRP of $1599, a $200 increase over the previous models. Despite demand initially outstripping supply, the backlog does appear to be easing, somewhat.
Buy now:
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The biggest change in the X100VI is the addition of in-body image stabilization.
Interestingly, Fujfilm says the IS performance drops from 6.0EV of correction to 5.5EV of correction if you use the viewfinder in optical mode. The company has not given any insight into why this is the case.
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Very little appears to have changed on the back of the X100VI. Though hunt as you like, you won't find the phrase 'Made in Japan,' anywhere. We traditionally don't take a position on such issues but feel it's worth mentioning when it comes in conjunction with a price rise. |
The X100VI also sees a move to the 40MP BSI CMOS sensor used in the X-H2 and X-T5. It's a sensor that delivers high levels of detail capture, and from what we've shot so far, we don't have much concern about the lens's ability to make the most of this resolution bump.
The VI also features Fujifilm's X Processor V, that brings with it the machine-learning trained subject recognition algorithms. This means the X100VI has modes to recognize animals, birds, automobiles, motorcycles and bikes, airplanes or trains. As with other recent Fujifilm cameras, human face and eye detection is a separate mode, so you'll need to configure two buttons or positions on the Q Menu if you plan to swap between photographing people and a different subject type.
The X100VI gains the Reala ACE film simulation first seen in the GFX 100 II. Alongside this are added the Nostalgic Neg and Eterna Bleach Bypass simulations, taking the total number to 14 simulated filmstocks or 20 if you include the faux-color-filtered variations of the mono modes.
This is a lot to choose from, even for experimenting with them after the fact, using in-camera Raw conversion. For the most part, the options available represent film responses that you might actually choose to use, but the distinction between some modes is becoming quite subtle, and there's a balance between providing useful options and feature-bloat.
The X100VI becomes Fuijfilm's first camera to support the camera-to-cloud (c-2-c) system using its built-in Wi-Fi. This comes in addition to the usual Wi-Fi-to-smartphone options. It lets you pair the camera with a Wi-Fi network and then have the camera upload images and video directly to Adobe's Frame.io cloud-based collaboration platform. We found it was easy to set up and gives the option to auto upload files as they're created or to let you manually select the ones you wish to upload. You can select specific file types, too, so that it only uploads video or JPEGs, or just Raws or HEIFs, as you prefer.
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The X100 series has always offered video to some degree, but we've not heard of a lot of people making use of that capability. The X100VI offers essentially the same options as the X-T5 (itself not the company's most video-focused model), so you gain 10-bit recording, 6.2K capture from a 1.23x (43mm equiv) cropped region or 'HQ' 4K derived from this footage. This exhibits appreciable rolling shutter. Alternatively, there's sub-sampled 4K at up to 30p from the sensor's full with or at up to 60p with a 1.14x crop.
Like the recent GFX 100 II, the X100VI now has AF tracking in video mode, and this isn't restricted to the subjects it's been trained to recognize.
The X100VI has a mic input and can use its USB-C socket for audio monitoring, though, unlike the X-T5, no USB-to-3.5mm adapter is provided.
It's interesting to note that many movie mode settings are now accessible only when the camera is in Movie drive mode. This way, there's only a single page of basic video functions in the menu when you're shooting stills.
In addition to updating some of the camera's main specs, the X100VI also inherits many of the smaller refinements and updates that Fujifilm has developed in the four years since the last model was released. These include:
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The X100VI is 2mm deeper than the existing X100V, and 43g heavier. In practice, neither of these changes is especially noticeable. The camera still doesn't feel overly heavy.
The body's dimensions are similar enough to still fit in the existing LC-X100V leather camera case. It's also still compatible with the existing tele and wide-angle converter lenses. It uses the same lens as the previous model, so you can weather-seal the camera if you add the filter ring adapter and a filter of some sort.
The rear screen on the X100VI is a refinement of the tilting touchscreen on the previous model. It now tilts down a little further (45° rather than 30°) and pulls away from the body and viewfinder a little when tilted up for waist-level shooting. It's a small change, but a welcome one.
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The control layout is identical to the previous model, with dedicated controls for aperture, shutter speed, exposure comp and ISO (albeit an ISO control that's fiddly to the point of primarily being decorative). As with previous models and many historic film cameras, the exposure mode is dictated by the position of the dedicated dials. Essentially you turn the dial to 'A' if you want the camera to control that value:
| Manual | Aperture Priority | Shutter Priority | Program | |
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| Aperture ring setting | F-number | F-number | A | A |
| Shutter speed dial setting | Shutter speed | A | Shutter speed | A |
Exposure compensation is available in all modes, including Manual, if you have Auto ISO selected. And, since the shutter speed dial only has whole-stop steps, you can use a command dial to give you 1/3rd stop precision, ±2/3 EV from the value selected on the dial.
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In addition, there are two pressable command dials on the front and back of the camera, which can have a series of functions applied to them if the dedicated controls aren't being used.
By default, the camera's front clickable dial is set to control aperture, ISO and exposure comp (with a click of the dial cycling between the options). However, it doesn't actually let you control any of these things unless you consciously hand off control from the dedicated dials first.
This is where things get a little complicated: the exposure comp and ISO dials have dedicated 'C' positions to pass control over to the command dials. The shutter speed dial doesn't have a C position, so instead should be turned to its 'T' (Time) setting. The aperture ring doesn't have a C position but its 'A' (Auto) position can be reconfigured to act as 'C', via the menus. This may not be obvious, given the ISO dial has both an A and a C position, but this is where the X100 series development has brought us to.
We find it hard to imagine many people are assigning three settings to the command dials, and hence needing the pressable dials to make their function toggleable, but for most permutations we can anticipate, we think you can configure them only to the functions you want to control, so at least you won't accidentally press the dial and adjust anything unexpected.
Disappointingly, if you set ISO to 'A' you can't use a command dial to select between the three Auto ISO presets that you can configure. For that you'll need to select 'C' and be careful not to scroll the command dial too far and disengage Auto ISO altogether.
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The X100VI has the same hybrid optical/electronic viewfinder as its immediate predecessor. This has three modes: fully electronic, fully optical and optical with an inset electronic display.
As with all viewfinders that are offset from the lens and sensor, the optical finder is affected by parallax: when focused at infinity, the difference in position between the lens and viewfinder is irrelevant, but it becomes increasingly important as the focus distance decreases. Not only does the framing of the photo diverge at closer focus distances, the position of the AF points effectively moves down and to the right as you focus on closer subjects.
The X100VI finder includes the improvements made in firmware 2.0 for the X100V. A 'Corrected AF point' option (AF/MF Settings pg 3) displays a bracketed indicator in the OVF, showing where your AF point will move to if you focus close to the camera. Another menu option, 'Bright Frame Position Memory' (Setup/Screen Setup pg 1) lets you decide if you want the AF box to revert to infinity after each shot or stay at the correct position for the last time you focused. Between these two options, you should be able to get the OVF to work the way you're most comfortable with.
A quick note on the tab at the bottom right-hand corner of the OVF, which can be popped-up to have an electronic display projected onto it. In MF and AF-S modes, its default behavior is to show a magnified view of your chosen AF point, and you can press the rear dial to change the magnification. In AF-C mode, it simply shows the entire scene, so it isn't terribly useful.
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The X100VI uses the same NP-W126S battery as the previous few X100 models. It's an 8.2Wh unit from which the camera is rated to deliver 450 shots per charge using the optical viewfinder or 310 shots if you use the EVF. The usual caveats come into play: in many shooting scenarios you can expect to get around double this number.
As you'd expect of a modern camera, you can charge the battery in the camera using a USB-C cable. As is becoming increasingly common, no offboard charger is supplied in the box to avoid electronic waste.
Buy now:
As part of the work on our review of the Fujifilm X100VI, we've shot and processed our standard studio test images with the camera.
Given the camera is based on a sensor we've seen before, there are few surprises in terms of its performance. It produces more detail than the 26MP sensor in the X100V, though perhaps not to the degree you'd expect of its 24% increase in linear resolution. Inevitably it shows more noise at the pixel level than lower-res sensors, but is comparable when viewed at the same output size, up until the very highest ISO settings.
The studio scene is not intended as a lens test: we typically use very high-performance lenses at an aperture that delivers high levels of cross-frame consistency with little risk of diffraction limiting the performance. However, with the X100VI, we have no choice but to use the built-in lens.
The 35mm equiv field of view means we have to move much closer to the target but this is still at over 40x focal length, so isn't especially close-up. An aperture value of F5.6 means the test isn't as aggressive as it could be.
And the X100VI's lens appears to acquit itself well in these circumstances. In the JPEGs it's comparably detailed near the center as the X-H2's results, using the 56mm F1.2 R lens we use for X-series ILCs (though the X100VI is possibly having to apply more sharpening to deliver this result). Things get a little softer towards the corners and exhibit some (easily corrected) lateral chromatic aberration and a degree of vignetting in the Raw conversion. For a lens that's as compact as it is, it appears to be doing a good job in front of a high-resolution sensor.
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The X100VI's tiny eight-element lens isn't the absolute sharpest, and a 40MP sensor means pixel-level performance noticeably drops away if the light isn't pretty bright. But Fujifilm's JPEG engine and its wide array of interesting and attractive 'Film Simulation' color modes give excellent results. Fujifilm X100VI | ISO 250 | F2.8 | 1/1500 sec |
As with all the other 40MP X-Trans cameras, the Adobe Camera Raw conversion isn't showing the same levels of contrast or sharpening that the camera's own JPEGs do, so it's worth downloading the Raw files to see whether your preferred software and processing workflow produce results you're happier with. But overall, we feel it does well.
Most importantly, we have found it to show solid (if not outstanding) results in real-world shooting, which tends to be a lot less demanding than a highly detailed chart that allows side-by-side comparison with some of the best lens/sensor combinations money can buy. It's not especially sharp when used wide-open at close distances, but we weren't unhappy with the results.
Autofocus is one of the most expanded areas of the X100VI and yet, somewhat paradoxically, one of the least changed.
The X100VI gains the subject recognition system first introduced in the X-H2S. It's been trained to recognize your choice of subjects. This is guided by the underlying AF controls, so you can still select anything from a single, variable-size AF point, via customizable AF zones up to the whole image area, and the camera will focus on the recognized subject nearest your specified area. In AF-C mode, there's also an AF tracking mode that gives a mid-sized AF point that will then follow the selected subject around the frame if they move.
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The addition of subject detection AF can make it quicker to select a target or be more confident that the camera will focus in the right place, but it doesn't particularly improve AF performance itself. We mainly found ourselves using the X100VI in AF-S mode. Fujifilm X100VI | ISO 125 | F4.0 | 1/640 sec |
As mentioned earlier, subject recognition is a distinct series of settings from human face/eye detection, so you'll need to configure two of the camera's scarce custom buttons if you wish to regularly swap from face/eye detection to and from one of the subject detection modes.
Subject detection and eye detection do not work when you are using the optical viewfinder, where you have only a single AF point size. AF tracking (without subject recognition) is available, though. This means you lose most of the camera's more advanced focus capabilities if you try to use one of its defining features.
However, while subject recognition works very well at identifying subjects, the X100VI's heavy, unit-focus lens can't move quickly enough to sensibly maintain focus on moving targets. So, despite its interface being very similar to cameras such as the X-H2S, its AF system as a whole is much, much less effective.
While subject recognition makes it slightly easier and quicker to focus on an animal or bird in your image, it doesn't particularly improve the likelihood of you getting your shot if your subject moves.
As with the X100 cameras that came before it, you're better off learning to pre-focus and anticipate movement than you are to place too much faith in continuous AF.
The X100VI is a little faster to focus than most of its predecessors, but it's still very much a camera where you work around its AF system's performance, rather than depending on it.
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The X100VI offers essentially the same video features as the X-T5, which means footage at up to 6.2K at up to 30p from a 1.23x crop of the sensor, line-skipped 4K at up to 30p from the full-width of the sensor, 4K 50 or 60p from a 1.14x crop or a high-quality 4K mode at up to 30p derived from the cropped 6.2K footage. The main limitation being that the camera's older UHS-I card slot limits bitrates to a maximum of 200Mbps, lower than the X-T5's highest quality settings.
As with the X-T5, each mode is a trade-off between detail, rolling shutter and the need to crop: which not only means more noise but on a fixed focal length lens also dictates a new angle-of-view.
| Fujifilm X100VI | Equivalent focal length* | |
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| 6.2K | 1.23x (native) crop / 24.9ms | ∼45mm equiv |
| 4K (HQ) | 1.23x crop / 24.9ms | ∼45mm equiv |
| 4K 60p (sub-sampled) | 1.14x crop / 13.5ms | ∼42mm equiv |
| 4K (sub-sampled) | Full width / 15.3ms | ∼37mm equiv |
The line-skipped standard 4K footage won't stand up to intense pixel peeping and will be more prone to moiré and noise than a low-res sensor that can read out all its pixels suitably quickly, but for most applications, it looks pretty good.
Our notes about AF not being the fastest mean we would tend to use the AF on the X100VI only for slow focus pulls, rather than trying to rapidly refocusing to stick on a subject but the newly-added tap-to-track system is pretty good at sticking on your intended subject. The camera's IS is also a significant bonus, and can be combined with some digital correction (with, necessarily, an additional crop) to further smooth things out.
If you're really determined to shoot with the X100VI, you can use a USB-C dongle to connect some headphones for audio monitoring and an adapter to connect a mic to the 2.5mm socket, but we feel there are probably better (and probably less expensive) platforms if video projects are your thing.
The X100VI is the first Fujifilm camera to be able to upload photos and video directly to Adobe's Frame.io platform. This is primarily a collaboration platform, originally designed for video production. And, while there certainly are workflows for situations such as wedding photography, where constantly uploading files so that an off-site editor can get to work immediately, it's also worth considering as a simple way of uploading your photos if you don't have the time or skills to set up your own SFTP site.
For now, at least, Frame.io has a free service that gives up to two people access and allows you to upload 2GB of files. This may be useful to a lot of people who want to automatically offload their latest photos after a shoot, as an alternative to using Xapp to transfer low-res or small batches of images to a phone.
| What we like | What we don't |
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The X100VI is, as you might expect, an iterative update to the much-loved series of cameras. The higher-res sensor and image stabilization, along with some other little tweaks make it the best yet.
By now you probably know if you're the target audience. If you find yourself wondering whether it makes more sense to buy a mirrorless camera, for the flexibility of interchangeable lenses, or find that its looks prompt the words 'Hipster' or 'TikTok' to spring to mind, then this isn't the camera for you.
From a glass half-empty position, it's a camera of compromise. Its autofocus, while the best performing and most useable of the series yet, is a world away from the best contemporary mirrorless cameras. Its (tiny) lens isn't as sharp or as edge-to-edge consistent as a top-notch 35mm equiv could be. And, fundamentally, it's a camera whose fixed lens places limitations on your photography.
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The X100VI isn't the most practical or flexible camera, meaning you have to really want the one thing it does. But the experience of shooting and the attractiveness of the JPEGs can leave you smiling. Fujifilm X100VI | ISO 250 | F5.6 | 1/250 sec |
But I found the experience to be refreshing. A camera that just tries to be one thing makes you focus on the thing it does. Even though the OVF isn't actually very practical, it helps the camera feel distinctive and special. And for all that it's possible to worry about the corner performance of the lens, I regularly find myself looking back at the JPEGs thinking: 'that looks great.'
As a reviewer, tasked with investigating its every feature and control point, I found myself wondering if borrowing too much from other X-series models has detracted from its purity of focus, but I also found that I soon enough just ignored all the stuff I didn't want to use and got on with shooting.
As with previous X100 models, it's probably a camera you choose with your heart, not your head. But if you go into it with that knowledge, the X100VI might just help remind you of how much fun photography can be.
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Fujifilm X100VI Category: Enthusiast Large Sensor Compact Camera |
Build quality Ergonomics & handling Features Metering & focus accuracy Image quality (raw) Image quality (jpeg) Low light / high ISO performance Viewfinder / screen rating Optics Performance Movie / video mode Connectivity Value | PoorExcellent | ||||
Conclusion The X100VI is designed to give a specific photographic experience and excels at it. Its styling communicates both what it is and isn't, and this will (and should) attract or repel you accordingly. If you want a beautiful, limiting, nonsensical photo tool that will help document your life in better-than-reality color, then meet your perfect companion. It has its foibles: you may never notice or care. | |||||
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We've already looked at the differences between the X100VI and the Ricoh GR IIIx in some detail but, perhaps unsurprisingly, it's mainly a question of whether you want the classic looks and hybrid viewfinder experience of the Fujifilm or the neat pocketability of the GR. The Fujifilm wins hands-down in video, for what that's worth. The X100VI also has the edge in terms of JPEG output, we feel, but ultimately we think the underlying design concept of each camera, rather than any aspect of performance, will decide this one.
The X100VI's closest competitor is arguably its predecessor, especially now they're starting to appear on the second-hand market at less inflated prices. The 40MP sensor of the X100VI doesn't offer a devastating increase in quality, nor does the addition of image stabilization definitively seal the deal. Likewise, we could live without the Reala ACE film simulation and subject recognition modes, if we had to. But collectively they, and details such as camera-to-cloud and seemingly improved Bluetooth and Wi-Fi reliability just keep nudging the needle further towards the new camera.
So what about a mirrorless camera with a 35mm-equiv lens? Sony's a6700, for example, is pretty small, has an electronic viewfinder and a decent choice of lenses (including options such as 85mm-equiv primes that the Fujifilm can't match). It also offers both autofocus and video that significantly outperform the X100VI, making it vastly more flexible. But within the bounds of what it's trying to be, the X100VI offers a more coherent, consistent and distinctive user experience than a mirrorless camera does, and a hybrid viewfinder that can set this experience apart. We think both approaches can be very good, but they're terrible substitutes for one another.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
For the review gallery we've primarily shot using the new Reala ACE profile, which offers a fairly subtle color response with less contrasty shadows. The Film Simulation used for each image is indicated.
Here are the latest lens discounts:
The post The latest lens discounts from Canon, Nikon, Sony, Tamron, Sigma, Tokina, Fujinon, Samyang, and Voigtlander appeared first on Photo Rumors.
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The post What else is new? appeared first on Photo Rumors.
Here is the second leaked picture of the upcoming Fujifilm X-T50 camera - the official announcement is expected on May 16, 2024:
The Fujifilm X-T50 camera will be announced alongside the Fujinon XF 16-50mm f/2.8-4.8 kit lens:
Fujifilm XF 16-50mm f/2.8-4.8 R LM WR lens confirmed and other Fuji related updates
The first leaked picture of the Fujifilm X-T50 camera can be found here:
Visit the official Fujifilm Store on Amazon.
Via camerainsider
The post Second leaked picture of the upcoming Fujifilm X-T50 camera appeared first on Photo Rumors.
The Viltrox AF 40mm F2.5 Z is a full-frame lens for Nikon Z-mount cameras. The lightweight prime lens provides a normal field of view, roughly approximating the perspective of human vision.
We put the AF 40mm F2.5 on a Nikon Z7 and captured photos from rain-soaked Seattle to the sunny high desert of central Oregon, in a variety of lighting conditions. Check out our sample gallery to get a better idea of how this lens performs in the field.
View our Viltrox AF 40mm F2.5 Z sample gallery
Today DJI refreshed their entry-level Mini 4K drone and they kept the same price of $299 (check out also the official DJI store).
The post New entry-level DJI Mini 4K drone announced (no license/registration needed in the US) appeared first on Photo Rumors.
Every week, we ask newsletter subscribers a question about gear, creativity or life. Last week we looked back in time to ponder which classic cameras are overdue for a comeback. We asked readers: If you could update one camera from the past and bring it back to the market, what would it be?
Hundreds of readers wrote in to share thoughtful and surprising responses. Thematically, many reminisced about old film cameras, others wanted an update to DSLRs of yesteryear and a few just wanted to see the guts of top-of-the-line cameras mashed into camera bodies they loved.
Here are five of our favorite responses:
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Not the CT-1A but a model that was very similar and a variation from Cosina. These cameras were very manual with no frills, but they did the job. Image credit: Aaron Stidwell/Wikipedia |
A DPReview reader wrote: "Cosina CT1-A. It was amazingly light and had simple metering, no fuss, no choice. Digital has somehow removed the essence of the moment."
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Image credit: Wikipedia |
A DPReview reader wrote: "Kodak Retina iic. A wonderful built camera in Leica Quality with the possibility to just like Fuji x100 use wide and telephoto adaptors. Nice in hand, small and foldable that is the one!"
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A DPReview reader wrote: "For me the Nikon D300s is special. The sound of the shutter, sounds 'just right' to me. The grip is big and comfortable. I compared it to my D3300 with twice the resolution and it's much sharper, oddly. The menus have nearly all the options I'd like. If I could change the sensor for one with more detail and reduce the weight I'd be very happy. Now I'm a Z user, I would prefer an EVF, with all the features that brings."
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A DPReview reader wrote: "The original Olympus Pen-F, or, the last one with a self-timer. Wouldn't want the middle one with the internal meter because it darkened the viewfinder."
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A DPReview reader wrote: "Epson R-D1. No other proper digital camera has come close to it in replicating the feeling of film shooting. Still my favorite camera but could really use a modern refresh."
What's your take? Let us know in the comments.
If you want to participate in the next question, sign up for the newsletter. It's the best photography, camera and gear news, delivered right to your inbox.
Sign up for the free DPReview Newsletter
And we don't just stop at the news. Newsletter subscriber benefits include behind-the-scenes articles, letters to the editor, exclusive contests, sneak peeks on what we're working on, ways to share feedback directly with DPReview editors to help us shape future stories and more! There is no AI here, only real people writing the newsletters and reading your feedback (me!)
Canon reported a decline in Imaging sales that led to lower operating profit in their latest Q1 financial reports:
"As for the camera market, last year, the aggressive promotions of each company during the selling season fourth quarter expanded unit sales. As a result, we expect the market this year to be down 4% to 5.75 million units.
In the first quarter, unit sales grew, mainly driven by mirrorless cameras like the EOS R50. However, as some of the cameras that we sold in the fourth quarter of last year were still in stock in the market, net sales declined due to reduction in the number of units shipped to optimize market inventory, and sales promotion expenses to promote sell-out of mass retailers.
From the second quarter, in addition to the optimization of market inventory, through the enhancement of our lineup of cameras and lenses, we will further strengthen our EOS R system, stimulating demand for both still and moving images. And by improving our product mix through an increase in our mirrorless camera ratio, we aim to achieve sales growth of 3.7% for the full year."
Source: Canon
The post Canon Q1 2024 financial reports: “Decline in Imaging sales leads to lower operating profit” appeared first on Photo Rumors.
Tamron releases their latest Q1 financial results:
Tamron also reported their plan to release 7 new lenses in 2024:
Two out of the seven lenses are already announced:
Source: Tamron
The post Tamron releases financial results, plans to release 7 new lenses in 2024 appeared first on Photo Rumors.
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| Peakto Search provides the ability to search your Lightroom Classic catalogs based on the content of images. |
Unless you’re one of the increasingly rare photographers who tag and organize their images, finding specific photos in ever-growing libraries tends to be frustrating and time-consuming. Peakto Search is a new utility from CYME that uses machine learning to index Lightroom Classic libraries and find photos using text prompts or image similarity.
The Lightroom Classic plug-in, which works only under macOS, is an outgrowth of Peakto, the company’s larger app for managing multiple libraries from various sources such as Apple Photos, Capture One, Luminar and others (but Peakto Search does not require Peakto to run). It’s available as a one-time purchase retailing for $129 or as a subscription ranging from $3.70 to $9.00 per month depending on whether you pay for 24 months, 12 months or single months. A free 7-day trial applies when you sign up for one of the subscription options.
Buy now:
Peakto Search appears as a floating window separate from Lightroom Classic, which you access from the macOS menu bar or from the Plug-in Extras menu in Lightroom. If you have multiple catalogs, such as to separate personal and work libraries or dedicated to separate jobs or clients, you can load them all into Peakto Search and the utility will grab results from them all, not just the currently running one.
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| Add multiple Lightroom Classic catalogs to Peakto Search and run queries across all of them, even if their images are offline. |
Typically when you do a search in Lightroom Classic, it’s based on textual metadata (found in EXIF data or as keywords you’ve added) or attributes such as shutter speed, camera model or lens. What Classic does not offer is a way to search the contents of images. (The newer Lightroom desktop app does, because Adobe performs object recognition on photos in the cloud.)
Peakto Search scans a Lightroom Classic catalog and builds an index of the objects and scenes it recognizes from the machine learning models it uses. Instead of hoping you tagged an image with the keyword “beach” or that it appears somewhere in the metadata (such as GPS information), you can type a prompt such as “smiling people at the beach” to get results that match or approximate those terms.
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| A text search for "smiling people at the beach" brings up photos from multiple catalogs. Lightroom Classic is on the left, and Peakto Search is in its own floating window at right. |
Results appear quickly and get refined as you type, so “smiling people” will bring up a host of hits that change as you continue typing “at the beach.”
You can narrow the search results by filtering for attributes such as rating, color label, flag and file type (image or video). In our example, you could find smiling people at the beach, but only images you’ve previously rated as three stars.
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| Narrowing the results to images rated three stars. |
Clicking a photo thumbnail in the Peakto Search window opens it in Lightroom Classic, even if the app isn’t currently running. When you want to open a photo from a different catalog than the currently open one, double-clicking a thumbnail directs Classic to switch catalogs and load that photo.
Since the plug-in and Classic enjoy this direct connection, you can change how multiple selected thumbnails are displayed. Instead of the default Detail view, for instance, selecting two or more thumbnails can trigger Lightroom’s Survey view, which shows the images larger in a grid for easier comparison. The Peakto Search interface includes a thumbnail size slider to change the visual density of results.
In addition to pointing you toward individual images, Peakto Search includes a feature for creating Lightroom collections based on the results of a search.
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| Create a new collection based on Peakto Search results. |
The other method of finding photos using Peakto Search is to feed it an image. That can be one you drag from outside the utility to the Find Similar Images interface, or by selecting an image in Lightroom Classic and choosing File > Plug-in Extras > Peakto Search for Lightroom > Search Similar Images.
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| In this case, the cat photo in Lightroom Classic is the basis for locating similar photos. |
As with most AI-based tools, Peakto Search will get you closer to finding the images you want, but may not hit the target right away. A search for “bearded man sitting in a chair,” for example, brought up images that included just that, but also photos from the same shoot that included just the chair, and the man standing next to the chair.
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| With the 'Tolerant' setting, Peakto Search returns photos of the items in the text search, even if they don't all apply specifically. |
To narrow or broaden the scope of results, there are three levels of a Tolerance setting: Close, Standard and Tolerant. That latter tends to produce better results with more matches, but also more images that don’t quite fit the description. Expect to find yourself using the Peakto Search picks as jumping off points to browse nearby photos within Classic’s Library module.
Scanning images for their contents to build an index is processor-intensive. On a 2021 MacBook Pro with an M1 Max processor, updating the index for a large-ish library (around 160,000 photos) activates all of the CPU cores simultaneously. Peakto Search includes settings for choosing the maximum number of concurrent indexing tasks (1 through 6) and which component is primarily doing the indexing, such as the machine’s Neural Engine and CPU or GPU. You can also set how long search results are held in memory for when you’re jumping back and forth between Peakto Search and Classic; a lower value, such as 1 minute, triggers the plug-in to refresh the search terms more often, using more resources.
When we browse our libraries for photos, we usually look for things we recognize: people, scenes, situations. Those are all characteristics beyond what Lightroom Classic understands (unless you’re working with AI-assisted features like masks). Peakto Search adds that visual dimension to finding images in your libraries, getting you to the photos you want faster.
Several Kickstarter projects are expiring soon:
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The latest Canon rumors:
The post The latest Canon rumors appeared first on Photo Rumors.
Canon registered a new camera in Asia (DS126904). There are now a total of five registered but not yet announced Canon cameras:
Source: Weibo
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Back-lit Red Tsingy. Canon EOS 5D4 | Canon 70-300mm F4-5.6 |
In the last article, I surveyed the diverse and beautiful wildlife of Andasibe-Mantadia National Park. Today, I'd like to continue the tales of my Madagascar trip with a visit to the very north of the island.
Getting to the Red Tsingy is a bit of a task. Its location at the northern tip of Madagascar, together with the lack of adequate roads from the center of the island, means that you have to fly to the coastal town of Antsiranana (Diego Suarez). From there, it's a 2.5–3 hour drive to the park entrance, where you get the permit and hire a person to accompany you on your visit. If you wish to avoid the long daily drives, there is a very nice camp with relatively luxurious tents, which allows much quicker access to the Tsingy.
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Layers of Red Tsingy. To my eyes, they looked like lost souls. Canon EOS 5D4 | Canon 70-300mm F4-5.6 |
Before continuing, I'd like to explain what the Red Tsingy even is. "Tsingy" in Malagasy means "the place where one cannot walk barefoot." This pertains mostly to the Grey Tsingy, which is found in the Tsingy De Bemaraha National Park, located hundred of miles away, in the west of the country. The dark, karstic Tsingy De Bemaraha is indeed extremely sharp and hard, and I wouldn't dream of climbing them barefoot, but the Red Tsingy (or Tsingy Rouge in French) is a totally different phenomenon.
Not karstic, not hard or sharp and extremely gentle to the point that it's forbidden to touch them for fear of harming the delicate structures, The Red Tsingy are basically dried-up pinnacles composed of laterite and iron oxide-rich soil, which are the result of erosion, caused by the massive deforestation practiced throughout Madagascar. As always, deforestation eliminates the plants' ability to hold the soil in place, which leaves it vulnerable to being swept by rain and wind. The remaining shapes are made smooth by years of being sanded down by winds, which leaves truly wonderful, almost organic-looking shapes. New structures keep being formed and unveiled every year.
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The Red Tsingy area is predominantly red-colored, but the different hues and textures make it diverse and elaborate enough for landscape photography. Three natural pigments are found here in the soil: ochre, vermilion and magenta. Malagasies use them for face paints and natural dyes. Canon EOS 5D4 | Canon 11-24mm F4 |
There are several sections in the area with short driving distances between them. Some areas are smaller and can be covered in one session, and some require much more time to traverse and shoot. As a regular tourist, the area can be seen in its entirety in one day, but if you're coming to shoot, I recommend spending at least three days exploring the area well enough to get good compositions of the Tsingy. Another problem is the opening hours of the park; it opens after sunrise and closes before sunset, so you need a special permit to stay there for sunset and post-sunset glow.
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A Red Tsingy "castle" shining under a strong post-sunset glow. Canon EOS 5D4 | Canon 11-24mm F4 |
Shooting the Red Tsingy is, surprisingly, quite challenging. In general, I find that the more compositional elements an area has, the harder it is to find the really good images. Since the Tsingy are usually very closely packed, some of them can get in the way and ruin an otherwise good composition. The fact that the Tsingy are all the same color makes it difficult to create separation between the photographic elements. The photographer thus needs to actively search for compositions with different colored elements, which happens, for example, when the ground is different in color from the structures.
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The difference in color between the Tsingy and the red Earth helped me create a better sense of depth in this composition, even though I didn't really have a background element or a strong foreground element. Canon EOS 5D4 | Tamron 24-70mm F2.8 |
There are many other elements and factors that must be considered when shooting in the park. One of these is the relatively short time we have with good light. The sun is very harsh in Madagascar, especially in the north (since it's closer to the equator), and drops very fast before sunset. This means the light changes quickly in quality and that the sun can be difficult to incorporate into your images.
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To get this shot, I had to stand very close to the Tsingy, raise my hands as far as I could above my head and shoot blindly at burst mode. The camera had to be placed high to get the composition (the Tsingy were very tall - next time, I'm definitely bringing a small stool), so I couldn't even look at the eyepiece or at the screen. This is a case where quantity prevailed over precision for lack of other choice. One shot turned out great. Canon EOS 5D4 | Canon 11-24mm F4 |
Another factor is the critical need to be aware of yourself when standing close to the Tsingy. They are very fragile, and hurting them must be avoided to preserve the park's beauty. It's often compositionally desirable to shoot from very close distances, but extra care must be taken. Focus-stacking is sometimes needed when some of the elements are very close to the camera.
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I had to take extra care venturing into this semi-circle of red Tsingy. Some of them were very close to my arms, which affected the variety of angles I could shoot at. Canon EOS 5D4 | Canon 11-24mm F4 |
The last problem is the lack of background elements. As you may remember from my composition series, a combination of near and far elements is often helpful in order to create a sense of depth in our two-dimensional image. In Tsingy Rouge National Park, the background is usually red slopes which climb to meet flat plains - not exactly the equivalent of Patagonia's glorious mountain ranges. This leaves the photographer with the choice to either have no background elements (perhaps apart from sky and clouds), or to include the background and risk lack of depth perception in the image, due to the elements being similar in color and texture.
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In this image, I tried to incorporate several tools to create a good sense of depth. Two worth mentioning are the different lighting in different sections of the image and the use of the shadow cast by the plant on the left of the Tsingy. The green vegetation added a much-needed splash of color. Canon EOS 5D4 | Canon 11-24mm F4 |
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In this composition, I could use the faraway Tsingy as background. Canon EOS 5D4 | Canon 11-24mm F4 |
In the next article in this series, I'll talk about photography in the wonderful Kirindy Forest, a private reserve holding spectacular wildlife and a very nice landscape.
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 and to his YouTube channel.
If you'd like to experience and shoot some of the world's most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in Greenland, Madagascar, the Lofoten Islands, Namibia and Vietnam.
Erez also offers video tutorials discussing his images and explaining how he achieved them.
Nikon Service Dresden lists Z6III and Z7III cameras on Google search results
The smc PENTAX-DA★ 55mm f/1.4 SDM lens is listed as discontinued (production completed)
Sony ZV-E10 II, Sony FE 85mm f/1.4 GM II, and Sony FE 24-70mm f/2.0 GM Updates
Fujifilm XApp and FUJIFILM X Webcam Updated For RAW Transfer and macOS 14 (Sonoma) Compatibility
Big Fujifilm X-T5, X-H2, X-S20, and X100VI Firmware Updates Released
The post What else is new? appeared first on Photo Rumors.
Vi Vante is running a Private Spring Sale where you can get up to 35% off their products. The discount is available only if you purchase from this private dedicated page - the savings are not listed on their regular Amazon products. This offer will end on April 30th. International shipping is available.
Vi Vante also has two new camera straps listed for sale on their website:
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The previously reported Kase 200mm f/5.6 MC full-frame manual focus reflex mirror lens is now in stock at:
This is the first lens announced by Kase - a company known for manufacturing filters. For now, the lens is available only for Z/E/X - other mounts will be released later. Additional information on the new lens can be found here:
New Kase 200mm f/5.6 MC full-frame manual focus reflex mirror lens announced
The post The new Kase 200mm f/5.6 MC full-frame manual focus reflex mirror lens (Z/E/X) is now in stock appeared first on Photo Rumors.
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