The Chinese lens manufacturer Cheecar has a new 100mm f/2.8 full-frame 2x magnification ratio macro lens that will be officially announced on October 21st for Canon R+EF, Nikon Z, Sony E, and Leica L mount. Here is the teaser:
This year we attended Adobe Max in person, where we got to demo several of the new features in Photoshop, Lightroom, and Adobe Camera Raw. If you missed the announcement, you can read our coverage of it here, though we'll be covering the hits here.
We documented the demos on our Instagram, but in case you missed it, we're rounding them up here. We were also able to interview some folks at Adobe while at the show, so stay tuned for more on the future of Photoshop, Lightroom, and other Adobe projects like Content Credentials.
Adobe Camera Raw Adaptive profile
Adobe has added a new profile to Adobe Camera Raw, called Adaptive. It uses AI to analyze what's in the scene, and adjust exposure, tones, saturation, and other parameters automatically, potentially giving you a better starting point for your own edits. It's also designed to work with HDR images and produces both HDR and SDR profiles, making it even more useful for those who aren't used to editing for HDR displays yet.
Since it's substantially more opinionated than other profiles like Adobe Color or Adobe Landscape, there's also an amount slider that lets you tone down or turn up the results.
Perhaps one of the niftiest features Adobe added to Photoshop is the automatic distraction removal tool. It analyzes your photo for cables, wires, or people that may be in the way of your subject, then automatically fills in the areas they took up.
Lightroom's new Quick Actions, available on Mobile and Web, will automatically mask parts of your image like subjects, backgrounds, and skies, and let you make adjustments to them.
Frame.io is now built into Lightroom, letting you access images uploaded to the cloud service. Combine that with Frame.io's Camera To Cloud feature, available on some Fujifilm, Panasonic, Nikon, Canon, and Leica cameras, and you can take pictures on your camera then watch them appear wirelessly in Lightroom.
Adobe's Content Credentials system is part of a larger industry-wide initiative to help prove what content on the web is authentic, and to keep track of what edits have been made to it. While at Max, we got to take a look at the Chrome extension meant to surface the credentials attached to images on social media and other sites, as well as the closed beta site that lets you attach content credentials to your own images, and view what credentials are attached to existing images.
We got to sit down with one of the senior directors of the Content Authenticity Initiative at Adobe while at the conference, so expect a more thorough check-in of the technology to come.
Photoshop has had several generative AI features in beta for a while now, but now Adobe has introduced one for its Premiere video editing software. It lets you extend a clip by up to two seconds, helping you fill in gaps, transitions, or slightly flubbed takes with imagery generated by Adobe's Firefly model.
According to Meagan Keane, Principal Product Marketing Manager for Adobe Pro Video, the idea came from asking customers what some of their biggest editing pain points were. The Pro Video team was then able to take that to the research team, and the result is Generative Extend.
When you use DPReview links to buy products, the site may earn a commission.
Updated Oct 17, 2024
By the time you're spending over $2,500, you're looking at getting one of the best cameras around. You should expect it to deliver exceedingly detailed images and capture high-end video, all without having to compromise much on speed for when the action picks up.
For most applications, a camera around $2000 will be more than enough, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.
At this level, there aren't really any bad picks, so if you have any investment at all in the lens system of one company, this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.
Excellent image quality in a range of circumstances
Very fast autofocus with great subject tracking
Good video support tools, including waveform display
What we don't:
Slight reduction in dynamic range in extreme scenarios
Eye control can be tempermental
Temperature limits require considered shooting in heaviest video modes
Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.
The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always
The EOS R5 II does a vast range of things and does most of them extremely well: it's a really impressive all-rounder for action, landscapes, video, you name it.
The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps.
The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right.
It has plenty of video options up to Raw 8K/60p, offering high levels of detail, though it can overheat when shooting in its most impressive modes. Its rolling shutter rates are generally quite good.
The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.
This widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.
Should I still buy the EOS R5?
Short answer: yes. It lacks some of the newer camera's features like eye-controlled subject selection, action priority modes and AI noise reduction, but if those don't matter to you – or aren't worth the $400 MSRP premium of the EOS R5 II – the EOS R5 is still plenty capable in 2024.
The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor. It's an extremely strong competitor compared to the EOS R5 II, but Canon's action sports settings and eye control push it over the edge.
If those things don’t matter much to you, you can pretty much base your decision on whether you prefer Nikon or Canon’s lens lineup. They’re broadly similar, and both brands tightly control which options third-party manufacturers can offer. Still, there are some key differences, like how Nikon’s Z mount 70-200mm F2.8 can be used with a teleconverter while Canon's RF-mount version can’t.
The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action.
Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and dependable AF make it easy to shoot with.
The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.
The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.
The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much.
"If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat."
The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO.
The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.
Very detailed Raw files with excellent dynamic range
Tilt/articulating display suits both photo and video
Very reliable autofocus, especially for human subjects
What we don't:
Pixel shift high res and focus stacking require desktop s/w
Severe rolling shutter for e-shutter and many video modes
The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.
The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 and EOS R5 II offer. It can shoot 8K video but only with a major crop and significant rolling shutter.
The a7R V is an excellent tool for capturing high-resolution images.
The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.
As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.
This widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.
Should I still buy a Sony a7R IV?
The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so it's still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which gives the V's footage more editing flexibility.
For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.
IQ above all else: Fujifilm GFX 50S II
51MP CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p
Photographer-friendly ergonomics, with lots of customization
Effective in-body stabilization
What we don't:
Contrast-detect AF is slower than its peers
Image quality not signficantly better than the best full-frame
Eye-detection AF isn't as dependable as rival systems
Unimpressive video specifications (HD only)
The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.
Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike.
The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.
The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.
The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.
The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.
It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.
You may also consider the EOS R5C, which is essentially a video-focused version of the original EOS R5. Compared to the FX3, it gains a fan but omits an image stabilization mechanism, though we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.
Why you should trust us
This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
"SmallRig's color event has just started. In response to users' demand in August, we launched colorfed camera cages, which were a huge hit selling out in just one day. This time, we have extended colors to other products, introducing colorful V-Mount batteries, camera batteries, and cages featuring Halloween-themed orange, as well as red, green, and blue."
"The DJI Air 3S drone may not be available in the United States due to the Countering CCP Drones Act, which aims to address concerns about data security and potential ties between DJI and the Chinese government"
Now, DJI has posted this on their website:
"A customs-related misunderstanding is currently affecting DJI's ability to import select drones into the United States. This appears to be part of a broader initiative by the Department of Homeland Security to scrutinize the origins of products, particularly in the case of Chinese made drones.
...
The U.S. Customs and Border Protection (CBP) has cited the Uyghur Forced Labor Prevention Act (UFLPA), as the reason for the current holdups. This assertion made against DJI, however, is entirely unfounded and categorically false. There is no reason for CBP to be detaining DJI’s drones. (DJI)"
I do not think this is a misunderstanding. I think this is just the beginning of DJI drones being banned in the US.
The new DJI Air 3S drone is available for sale in Europe Erhardt | Koch | WEX
When you use DPReview links to buy products, the site may earn a commission.
Photo: DPReview staff
As part of DPReview's 25th anniversary celebration, we're looking back at some of the more significant cameras to come along over the past 25 years, and today, we're highlighting the camera that led the 4K revolution in consumer cameras: the Panasonic GH4. Officially announced in early 2014, we published our GH4 review on October 16, 2014 – ten years ago today.
But, of course, it wasn't always that way, and we have the GH4 – the first mirrorless camera to capture 4K video internally – to thank for opening the metaphorical floodgates and ushering in the 4K era.
I had a personal interest in the GH4: as someone who had adopted the GH line early on for video projects, I was as curious as anyone to know how it stacked up. Although I was on staff at DPReview, I wasn't involved in writing the GH4 review and probably read it with as much anticipation as anyone else.
Photo: DPReview staff
It's worth remembering that the GH4 was a hybrid camera designed to appeal to both stills and video shooters, and it had features to appeal to those who wanted to do both. Like the GH3, the camera was built around a 16MP sensor, but it supported 12fps burst shooting (7.5fps with focus tracking), a 1/8000 shutter speed and 1/250th flash sync. It even had a rather lovely 2.36M-dot OLED viewfinder.
But realistically, nobody was buying a GH4 just to shoot stills. You bought it because you wanted a solid video camera that could shoot stills when needed.
"Realistically, nobody was buying a GH4 just to shoot stills."
The GH4 could capture 4K video at up to UHD 4K/30p (3840x2160) or DCI 4K/24p (4096x2160) internally and supported both Long GOP and All-I codecs at bit rates up to 200Mbps. Although we take bit rates like this for granted today, this was very high at the time. The camera also produced pleasing 1080p video, though as we called out in our review, its HD video wasn't as good as the perfectly oversampled 1080p video from the Sony a7s.
Despite the impressive specs and beautiful video to match, we had some nitpicks. To start, 4K video captured internally only had 8-bit 4:2:0 color, providing less flexibility for color grading in post. (10-bit 4:2:2 color was supported, but only when recording externally.) Additionally, the GH4's sensor was 4608 pixels wide, requiring the camera to use a smaller, native crop of the sensor when shooting 4K. This resulted in a 1.1x crop for DCI 4K and a 1.2x crop for UHD 4K.
Equally as crucial as its video specs, the GH4 illustrated Panasonic's commitment to supporting a professional video workflow.
The camera included several now-common tools to improve the video shooting experience, including focus peaking, two zebra settings, control over Master Pedestal (black level) and luminance scale, and a 'cinema-like' gamma preset. It also allowed users to set the shutter speed and ISO as shutter angle and gain and could generate color bars for calibration. It was also possible to switch between capture frequencies, meaning the camera could support NTSC, PAL, and true 24fps cinema standards.
"Equally as crucial as its video specs, the GH4 illustrated Panasonic's commitment to supporting a professional video workflow."
Alongside the camera, Panasonic released the optional DMW-YAGH interface unit. This $1999 accessory unit added two XLR inputs for audio, an SDI input for timecode, four 3D-SDI connectors capable of outputting 4:2:2 10-bit video and a 12V DC power socket. The unit attached to the bottom of the GH4 and felt oversized relative to the camera. Beginning with the GH5, the interface unit was phased out in favor of the DMW-XLR1, a much more affordable option in the style of the hotshoe-mounted XLR adapter we've become accustomed to today.
The GH4 was also the camera Panasonic used to debut its newest autofocus technology: Depth-from-Defocus, or DFD. DFD attempted to build a depth map of a scene by making tiny focus adjustments and analyzing changes in the image. With an understanding of the out-of-focus characteristics of a particular lens, the camera could build a depth map of the scene.
The optional DMW-YAGH 'Interface Unit' provided a more extensive selection of video industry connectors for using the GH4 as part of a high-end video rig.
However promising the technology may have been, DFD never quite met expectations. Panasonic really wanted to make it work, and it's possible that, given fast enough sampling and processing, it might have continued to improve. Unfortunately for Panasonic, cameras using phase-detect autofocus consistently provided a better AF experience, particularly when shooting video, and the company eventually made the jump to phase-detection with the Lumix S5II in 2023, finally arriving in the GH series on the GH7 in 2024.
In our review of the GH4, we found a lot to like and a few frustrations. For example, despite having an autoexposure compensation dial, the camera didn't allow you to use it when using Auto ISO in manual exposure mode, and there was no Auto ISO option when shooting video in M mode. Overall, though, we were mighty impressed and saved our biggest praise for the camera's video capabilities:
"The GH4 was also the camera Panasonic used to debut its newest autofocus technology: Depth-from-Defocus, or DFD."
"It's in terms of video that the GH4 really stands out. It produces some of the best video we've yet seen - losing out only to the Sony a7S's moiré-free 1080 output. The ability to capture good quality 4K, whether for use at full resolution, downsampling to 1080 or cropping to 1080, adds real flexibility to the camera. Low light performance is solid if not exceptional," we concluded.
The GH4 landed in the retail market at a price of $1699, or about $2260 today adjusted for inflation, which isn't far off the $2199 price of the GH7. It's amazing to think about how expectations for video have changed over the years. However, the GH7 has its work cut out for it: rather than being an obvious standout in the crowd, it has to compete in a marketplace of cameras brimming with video features. Maybe in another ten years, we'll look back to see how it held up.
When you use DPReview links to buy products, the site may earn a commission.
Sample gallery
This widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.
The Fujifilm X-M5 is the company's latest APS-C mirrorless camera. Although it comes in at the budget end of the spectrum and is aimed at vloggers, it's also a great compact camera for still photography.
The X-M5 uses Fujifilm's previous generation 26MP X-Trans sensor – which is a good thing. That's the same sensor found inside cameras like the X100V, X-T4, and the X-Pro3, all cameras capable of delivering excellent image quality. Unlike some compact models and vlog cameras, it also includes twin control dials for easy operation and a fully mechanical shutter.
Our sample gallery includes photos shot with several lenses, including the camera's XC 15-45mm F3.5-5.6 OIS PZ kit lens. Take a look and let us know what you think.
Lightroom's innovative AI-powered editing features serve as powerful shortcuts for professionals looking to maintain the quality of their edits while saving time in the process. This year's MAX introduces Quick Actions and improvements to Generative Remove. Both features help to eliminate time-consuming editing steps so that you can focus on the more creative parts of your editing process.
Quick Actions in Lightroom for mobile and web speed up fine-tuned edits by automatically creating masks based on the subject matter of your photo. Quick Actions will then suggest contextual edits and surface relevant tools to jumpstart your workflow. It’s great for editing on-the-go or any time you need to make precise edits away from your computer.
Quick Actions is available in Early Access in Adobe mobile and web apps at MAX.
Remove anything with improved selection in Generative Remove
Available on Lightroom, Lightroom Classic, Lightroom for mobile (iOS & Android), Lightroom for web, and Adobe Camera Raw
Feature Release:
Generative Remove is now generally available across the entire Lightroom ecosystem. Added enhancements to selecting objects make it easier to use. Now when the Detect Objects option is enabled, you can simply circle the distractions you want to remove in addition to brushing over them.
Photoshop Enhancements
Photoshop released a suite of cutting-edge innovations that will improve core workflows and accelerate the way users ideate and create unique assets. The Photoshop updates to core capabilities will simplify and collapse tedious tasks such as removing common distractions from images as well as expand imaging workflows by enabling intuitive placement and adjustment of 3D objects into 2D designs in Photoshop
Remove Tool with Distraction Removal (People and Wires); Desktop General Availability (GA)
The Remove tool uses smart technology to remove unwanted objects after a user brushes over them and automatically fill in the background while preserving its integrity, depth, and complex details. Now, a new capability integrated in the Remove tool enables automatic Distraction Removal. In the Remove tool, users will be able to access a dropdown menu to "Find distractions” for either “People” or “Wires and cables.” Distraction Removal then automatically detects and removes multiple people (who are not the primary subject of the image), or wire distractions from the image at once. Additionally, the Remove tool automatically determines which back-end technology is best suited to produce the most realistic result for different selections. Now, Adobe Firefly is one of the back-end technology options. Users can also select different “modes” to choose how much they want to use generative AI in the Remove tool -- “Auto (may use generative AI), Generative AI on, Generative AI off” which will choose for a user depending on the image and scene.
Benefits:
Seamlessly remove distractions from images, including people who are not the main subject in an image or cable and power lines, in a few clicks.
Use a single tool to remove multiple unwanted subjects or objects throughout an image, while replacing the background at once without manual multi-stroke actions.
Save time and effort by seamlessly and accurately removing multiple unwanted elements throughout an image instead of performing multiple manual actions.
The streamlined experience enables users to edit more efficiently and save time by reducing tedious edits. ·
Automatic detection and segmentation increase a user’s editing control and accuracy.
Users can choose how much they want to use generative AI in the Remove tool.
Generative Fill with Image 3MD – Desktop General Availability (GA)
With Generative Fill, you can add or remove content from your images non-destructively using simple text prompts right inside the Photoshop app. Imagery is automatically generated with the appropriate shadows, reflections, lighting, and perspective, enabling realistic results in just a few simple steps. This feature is now powered by the latest Adobe Firefly Image Model that yields results with greatly improved photorealistic quality, has a better understanding of complex prompts, and that generates more variety in results, so you can explore different directions. Generative Fill is powered by the latest Adobe Firefly, which is designed to be safe for commercial use, empowering you to spend more time ideating, visualizing, and creating. These capabilities are mutually reinforcing, enabling you to create with more intentionality, iterate with greater efficiency, and bring your vision to life with higher accuracy, details, and realism.
Customer Benefit:
Generate photographic images, particularly with animals, nature, objects, and structures, with new levels of detail, lighting, composition, and color. · Generate complex images with many detailed elements. · Introduce more creative controls into your workflows to achieve desired results more easily. · Create high quality detailed results for commercial use.
Results will have more photorealistic quality, details, and variety.
Results will be higher quality and more applicable for commercial and professional uses.
Users gain more creative control, confidence, and accuracy in their generative workflows.
Generative Expand with Image 3MD – Desktop General Availability (GA)
With Generative Expand, you can expand the canvas and resize any image at the same time as part of the Crop workflow. Generative Expand fills the empty space with newly generated content that naturally blends with the existing image, which saves time and produces re-sized high-quality results in a matter of seconds. This feature is now powered by the latest Adobe Firefly Image Model that yields results with greatly improved photorealistic quality and more variety, so you can explore different directions. These capabilities are mutually reinforcing, enabling you to create with more intentionality, iterate with greater efficiency, and bring your vision to life with higher accuracy, details, and realism.
Customer Benefit:
Resize an image to a larger aspect ratio (to reframe it for a desired look, to imagine what was beyond the lens of the camera, or to transform it to tell a larger story, or if the subject is out of frame)
· Straighten and then expand an image to preserve the content in the corners after the image is straightened.
In just a few clicks, expand the canvas to place a subject in a specific part of the image or create an image in different aspect ratios
Adobe Max 2024
The below updates from Adobe Max are great content sources to create new posts, or update existing posts on your site.
Today at Adobe MAX in Miami Beach, Adobe unveiled the latest version of Adobe Creative Cloud with more than 100 new features across Adobe Photoshop, Adobe Illustrator, Adobe Premiere Pro and beyond that put greater creative power and possibility in the hands of creators.
More creative power and expressiveness in Adobe Creative Cloud
Throughout 2024, we’ve delivered hundreds of powerful new features in several Creative Cloud apps, including the Selection Brush tool in Photoshop, Generative Shape Fill in Illustrator, an all-new, AI-powered audio workflow in Premiere Pro, Generative Remove in Lightroom, and so much more.
Today, we’re continuing that pace of product innovation by introducing new features that speed up your workflows and give you more power, precision and control in Creative Cloud.
The most powerful Adobe Photoshop yet
We’re introducing a major update to the Distraction Removal in the Remove tool. Distraction Removal lets you remove unwanted elements from a photo, like tourists in the background of your travel photos or pesky power lines disrupting your beautiful landscape photos. Distraction Removal automatically detects and removes wires and people and replaces the background with generated content.
We also continue to bring the power of Adobe Firefly generative AI to Photoshop so you can create in whole new ways: Generative Fill and Generative Expand are now powered by the latest Adobe Firefly Image Model, so you can get realistic, lifelike results with more control than ever before and new levels of detail, lighting, composition and color for your generated imagery. Plus, with the new Generate Similar feature, you can get more variations of generated images to find the perfect fit.
In Adobe Photoshop (Beta), we’re introducing two new features to power more of your creative process. First, Generative Workspace lets you explore more ideas in less time with generative AI right within Adobe Photoshop (Beta). Most AI image generators limit and slow your process as they only produce a few results and only allow you to submit one prompt at a time, requiring you to wait to refine your prompt or try a different one. With Generative Workspace, you can brainstorm multiple concepts simultaneously without waiting, using text prompts to quickly generate sets of images. You can search and reuse text prompts and images and generate new sets of images while previous sets are generating. Then, when you get results you like, you can easily import and refine your generated images in Photoshop.
Second, the Adobe Substance 3D Viewer (beta) is a new way to view and edit 3D files, integrated with Photoshop. Now, you can easily work with 3D files in your Photoshop designs by adding them as Smart Objects. You can try these new features today in the Photoshop (Beta) app
Integrating generative AI into Adobe Premiere Pro
Adobe Premiere Pro is introducing a completely new way to use generative AI when editing videos with Generative Extend. For those times when you need just a few more frames to sell a shot or edit: to make a cut on the beat or a little more lead in to finish a transition. Generative Extend uses Adobe Firefly generative AI to seamlessly add frames to the beginning or end of a video clip.
Enhancing graphic design in Adobe Illustrator
In Adobe Illustrator, we’re enhancing core vector design workflows to give you more speed and power. The new Objects on Path enables you to quickly attach, arrange, and move objects along any type of path in your designs. EnhancedImage Trace lets you convert hand-drawn images and raster graphics into editable vectors with more accurate image tracing and easier editability with fewer anchor points. The Mockup feature is now generally available, so you can create mockups for brand and apparel designs by placing your artwork on images of real-life objects. Illustrator will automatically adjust your artwork to fit the curves and edges of the object.
New generative AI features in Adobe InDesign
Adobe InDesign is delivering new generative AI features like Generative Expand and Text to Image to enable you to perform AI image editing right within your layout designs. For designers working on scientific or technical publications, we’re introducing MathML for adding math equations to your designs with better visual quality and accessibility. Plus, you can now export InDesign documents to Adobe Express to empower other people you work with to make minor changes while staying within the overall layout design.
Amazing photos, faster with Adobe Lightroom
Adobe Lightroom is making it even easier to achieve your vision with your photos with the tools you need to do your best work. Generative Remove is now generally available with improved selection and object detection for easier, more accurate removals. The new Quick Actions (Early Access) speed up your workflow by suggesting edits tailored specifically to your photo that you can then refine further. Content Credentials (Early Access) enables you to attach your name, social media handles, and a list of edits to your photos with a digital signature tied to the Content Authenticity Initiative. We’re also introducing a handful of other workflow updates to Lightroom, including performance improvements, additional HDR support, and Smart Albums.
3D content creation for 2D designers with Project Neo (beta)
Today, we’re also introducing Project Neo, available now in beta. Project Neo is a completely new approach to creating 3D content on the web, built for designers who typically work in 2D design apps like Photoshop and Illustrator. With Project Neo, you can create and edit 3D shapes and artwork in your browser using a familiar interface and tools. Neo lets you quickly edit and refine endless variations of a design, non-destructively. Artwork you create in Project Neo can be opened in Adobe Illustrator as vectors, so you can continue to edit your artwork and add them to your design compositions. When you want to share your designs and collaborate, you can share a link to your artwork and invite other team members to collaborate on your designs with you in the browser. You can even use the history slider in Project Neo to see a time lapse of how the artwork was made.
Bringing generative AI to video with the Adobe Firefly Video Model
Earlier this fall, we introduced the Adobe Firefly Video Model. We worked closely with the video editing community to build features that creators tell us will empower them to do their best work quickly, efficiently, and beautifully. The Firefly Video Model joins a growing family of generative AI models for creativity, all designed to be commercially safe and only trained on content we have permission to use — never on Adobe users’ content.
Starting today, we’re introducing a new Generate Video (Beta) module in the Adobe Firefly web application. Generate Video lets you use text prompts to create entirely new video clips to help you communicate your creative intent, make b-roll footage to fill gaps, or to add new elements to a shot.
Managing your creative process with Frame.io
About three years ago, Adobe acquired Frame.io, an industry-leading creative collaboration platform. Since then, we’ve been hard at work evolving the Frame.io platform and integrating Frame.io into Creative Cloud apps like Premiere Pro and Adobe After Effects. And, earlier this year, we announced Frame.io Version 4 in beta, a complete reimagining of the Frame.io platform to enable teams to customize and manage any end-to-end creative workflow, faster and more effectively than ever before.
Today, we’re excited to share that Frame.io Version 4 is now generally available. With Frame.io to manage your creative work, you’ll have access to all the tools you need to support your entire creative process, including building and managing workflows, file transfer and management, running efficient review and approval cycles, and secure sharing with stakeholders and clients.
Innovation in Adobe Express, the quick and easy create-anything app
Adobe Express is the quick and easy create-anything app that’s included in most Creative Cloud membership plans at no additional cost. With Adobe Express, you can quickly create social media posts, videos, flyers, and so much more — all in one easy-to-use app available on web and mobile.
Today at MAX, we’re introducing several new capabilities in Adobe Express for all kinds of creative work.
Campaign Creation: Adobe Express helps you produce all the content you need from a single design in just a few clicks.
Rewrite: Rewrite helps you rephrase, shorten, or change the tone of copy in your designs.
Animation: Now, you can animate multiple elements in a design, including text, images, shapes and more instantly, with AI to automatically orchestrate the details.
Import from other apps: Bring in your files from other Adobe apps, like Adobe Photoshop, Illustrator, and now, InDesign. Plus, now you can browse and add photos to your designs directly from Lightroom.
1-Click Brand setup: Instantly recolor any photo or illustration to align with your brand with a single click or create brand templates with locked elements to ensure teams stay on-brand. And ensure all of your team’s content comes together and on-brand with the shared calendar in Adobe Express.
DJI has announced the Air 3S, an update to its existing dual-camera Air 3 model that upgrades the primary camera to a larger Type 1 sensor and adds features that promise to make the drone easier to operate at night. DJI is positioning the Air 3S as "perfect for travel photography."
The main camera on the Air 3S gains a 50MP Type 1 (13.2 x 8.8mm) CMOS sensor and features a 24mm equiv. F1.8 lens. That's an upgrade from its predecessor, which utilized a smaller Type 1/1.3 (9.6 x 7.2mm) CMOS sensor with a marginally faster F1.7 lens. The telephoto camera remains unchanged between the two models, using a 48MP Type 1/1.3 sensor and featuring a 70mm equiv. F2.8 lens.
In addition to stills, both cameras can capture up to 4K/120p or 4K/60p when shooting HDR. All video can be captured in 10-bit, even in regular color mode, and D-Log M and HLG modes are available. The maximum ISO has been raised to 12,800 (3200 when shooting D-Log M). However, DJI says the Air 3S includes a new, more advanced video encoding algorithm that reduces video file size by over 30% without compromising image quality.
DJI claims both cameras can capture up to 14 stops of dynamic range and says the new main camera should capture even more detail than the camera on its more expensive Mavic 3 Pro model.
The DJI Air 3S is similar to its predecessor, the Air 3, but it gains a larger Type 1 (13.2 x 8.8mm) CMOS sensor on its main camera.
Image: DJI
Beyond the cameras, DJI has added several appealing features to the Air 3S:
A new Free Panorama mode enables users to create panoramic shots by stitching together images across a manually selected subject area. This works with either camera, but DJI suggests the best results will come from using the telephoto camera, which reduces distortion.
The Air 3S also includes features designed to make it easier and safer to fly at night, including Nightscape Obstacle Sensing, with the Air 3S becoming the first DJI drone to feature forward-facing LiDAR. Additionally, the drone includes downward-facing infrared sensors and six vision sensors (two each at the front, rear and bottom). According to DJI, this combination of sensors provides the Air 3S with "nightscape omnidirectional obstacle sensing," which should allow the drone to automatically identify and navigate around obstacles for safer nighttime photography.
This technology also enables DJI's next-gen Smart RTH (return-to-home) feature, intended to allow the drone to return safely to its takeoff location, even at night.
The Air 3S is available with either DJI's RC-N3 controller, which requires a smartphone to monitor the camera feed and aircraft status, or the RC 2 controller (above), which includes a built-in 700-nit 5.5" 1080 screen.
Image: DJI
The Air 3S also includes real-time vision positioning and map construction technology, designed to allow the drone to memorize a flight path and to return safely when adequate light is available, even in areas without satellite coverage.
The new model also features DJI's ActiveTrack 360 subject tracking but introduces a new subject focusing feature designed to keep a subject in sharp focus, even during manual flight or when a subject moves off-center. This should allow a pilot to focus on creative decisions like composition or camera movement while ActiveTrack keeps the subject in focus.
There are a few hardware specs worth noting as well. The Air 3S weighs 724g (1.6 lbs), just 4g more than its predecessor, and is rated for 45 minutes of flight time. It includes DJI's O4 video transmission system that transmits 10-bit video at up to 1080/60p and 42GB of built-in storage. A new Off-state Quick Transfer feature allows files to be transferred from the drone to a smartphone or a computer even when powered off.
Finally, for the privacy-conscious, a new Local Data mode completely disconnects the drone from the internet, ensuring that all data stays only on the device. DJI likens this mode to airplane mode on a smartphone.
The Air 3S is available in several packages. The Fly More combo shown above includes the RC 2 controller, ND filter set, two additional batteries (for a total of three), a charging hub, extra props and a shoulder bag, will retail for $1599.
Image: DJI
The charging hub that ships with the Air 3S supports PD fast charging and features a power accumulation function. It allows users to transfer the remaining power from several depleted batteries into the battery with the most remaining power – something anyone who has had to use drones in remote locations without a charging station is likely to appreciate.
Price and availability
The DJI Air 3S is available for purchase in several configurations: the drone with the RC-N3 controller, which requires a smartphone to monitor the camera feed and flight status, will retail for $1099. A Fly More combo with the RC-N3 controller, ND filter set, two additional batteries, a battery charging hub and shoulder back will retail for $1399. Finally, a Fly More combo with DJI's RC 2 controller, which includes a built-in 700-nit 5.5" 1080p screen, ND filter set, two additional batteries, charging hub and shoulder pack, will retail for $1599.
For some reason, the new DJI Air 3S drone is not listed for sale in the US - check again at Adorama | Amazon | B&H.
The DJI Air 3S drone may not be available in the United States due to the Countering CCP Drones Act, which aims to address concerns about data security and potential ties between DJI and the Chinese government
Connexion
