Adobe Lightroom is known to be a disappointingly slow post-processing tool, especially when it comes to basic operations such as importing, preview generation and image culling, as well as more advanced operations that involve using features such as spot healing. Adobe’s development team is aware of these issues and the company says that it is committed in delivering updates that will make Lightroom faster. The latest version of Lightroom Classic CC 7.2 has been delivered a couple of days ago and it seems like this release is mostly focused on improving Lightroom performance. I decided to see how much faster Lightroom has actually gotten by measuring its performance on a typical laptop, as well as on a desktop PC. Let’s take a look at how Lightroom 6 and CC 7.1 stack up against the most current version CC 7.2.
The Fujifilm X-H1 is the top of the line camera in Fuji’s X-series line-up. But before its release, the Fuji X-T2 was arguably the most feature-rich choice and certainly a popular mirrorless cameras among many enthusiast and professional photographers. As a current or prospective X-T2 owner, or potentially as someone interested in the new Fuji X-H1, you might be wondering how it compares to the X-T2 in terms of features, ergonomics and specifications. We have put together this X-H1 and X-T2 comparison specifically to help you make the right choice, so let’s get started!
Today Fujifilm unveiled yet another line in the X-series mirrorless cameras, the Fuji X-H1. This is a significant release for the company, because the X-H1 is the first Fuji camera to feature a 5-axis in-body image stabilization (IBIS), something many Fuji photographers have been waiting for. Fuji has long been criticized for not incorporating IBIS into its camera bodies to take advantage of its lenses that do not have optical image stabilization, so the company responded with a camera that is capable of providing up to 5.5 stops of stabilization. When compared to the Fuji X-T2, the X-H1 gains quite a few new exterior and interior features. It has a larger, heavier and more durable magnesium alloy construction, a higher resolution electronic viewfinder and a touchscreen tilting LCD. The big changes, however, are mostly in the internals of the camera. Aside from IBIS, the X-H1 has a powerful dual processor, allowing up to 4K video at up to 29.97p @ 200 Mbps with an internal F-Log capability, which is impressive (although the recording time is limited to 15 minutes – 30 minutes with a grip). The Fuji X-H1 now features an electronic front-curtain shutter feature, which was previously only available on the Fuji GFX 50S. Lastly, the X-H1 has a superior autofocus system, with improved phase detection AF sensitivity and other autofocus tweaks to make it both faster and more reliable. Price-wise, the X-H1 will retail for $1,899 MSRP and if you want to add the vertical grip that can accommodate two additional batteries, you will be able to purchase the combo at $2,199.
One of the most amazing things about Fuji as a company, is their commitment to photographers who invest in their systems. Each time Fuji makes a camera announcement, it also goes back and adds some features to some of its existing cameras. A number of cameras have been previously improved with the “Kaizen” philosophy and I have seen cameras completely transform thanks to continuous firmware updates. Last year, after having a chance to test and review the GFX 50S, I decided to invest in my first medium format system. I fell in love with this camera and its superb image quality, and I have been using it ever since when traveling all over the world. Today, Fujifilm announced a firmware update version 3.00 for the GFX 50S, which adds a new “Focus Bracketing” feature, which allows automatic focus stacking of images through the camera.
As you might already know, Lightroom is extremely slow when it comes to image culling. Although Adobe updated Lightroom CC to be able to fetch embedded JPEG previews from RAW files for the sole purpose of speeding up image culling, the process is still painfully slow when going through many images. In addition, looking at the embedded JPEG previews from the camera is far from ideal due to the fact that JPEG images do not contain enough information to be able to judge underexposure and overexposure. On top of that, if one has particular color, sharpness and other settings set on their camera, those settings could seriously impact JPEG previews and lie about what’s actually contained within the RAW file. In order to avoid such issues and move away from Lightroom’s horrid performance, I have completely moved my image culling process to FastRawViewer. Thanks to this lightweight and powerful software, I am able to cruise through hundreds of images and select the ones that I will import and edit, while making sure that bad images never make it into my post-processing software in the first place.
This is an in-depth review of the Sigma 14mm f/1.8 DG HSM Art lens that was announced in February of 2017 along with a few other Sigma Art-series lenses. At the time of its release, Sigma proudly presented the lens as “world’s first and only full-frame f/1.8 ultra-wide-angle lens”, which was without a doubt, a remarkable achievement. Its impressive optical formula optimized for extreme sharpness and virtually no distortion got many photographers excited about all the possibilities it could present for landscape and architecture photography, as well as astrophotography.
We are excited to announce our 2018 and 2019 schedule for photography workshops that will be taking place in Colorado, Death Valley and Jordan. The popular Colorado Fall Colors Workshop will take place from September 28 to October 1 of 2018. Right after, we will be taking a small group of photographers to our Jordan Photography Workshop, which will span a total of 11 days from October 8 to October 19 of 2018. Finally, our next Death Valley Workshop will take place from January 15 to January 20 of 2019 and will span a total of 6 days.
Please note that our workshops typically fill up within 24 hours after the announcement, so we recommend that you book your spot as soon as possible!
UPDATE: Jordan and Death Valley Workshops are now full, only a few spots left in Colorado workshop!
This is an in-depth review of the Nikon 28mm f/1.4E ED lens that was announced in May of 2017 along with two other lenses, the Nikon 10-20mm f/4.5-5.6G VR AF-P and 8-15mm f/3.5-4.5E ED Fisheye. The AF-S NIKKOR 28mm f/1.4E replaces the classic 28mm f/1.4D lens, which was known for its outstanding optical performance capable of rendering sharp and beautiful images on both full-frame and cropped sensor cameras. With the updated 28mm f/1.4E, Nikon completely revamped its optical formula and put the latest coating and electronic features on the lens to yield the best performance on demanding high-resolution cameras, for both photography and videography needs. Thanks to its wide aperture of f/1.4, the Nikon 28mm f/1.4E is not only a prime choice for low-light photography, but also for wide-angle portrait photography, with its ability to isolate subjects from the background and yielding pleasing images with shallow depth of field.
Regular readers will know that we’ve published a lot of beginner content in the past few weeks, including several refreshes of our old articles. We’ve received emails ranging from “I hope you have a master plan, and this is just temporary” to “thank you for remembering us!” – and while our plan can look rough around the edges, we assure you that there is one, and we’ve been preparing for something big. The first step? Review month. We have a huge backlog of reviews for popular cameras, lenses, and software (i.e., Lightroom replacements) that we can’t wait to publish. We’ve decided to bundle them all together as part of a month-long extravaganza, including giveaways and a contest along the way. So, strap in and gear up for the First Annual Photography Life Review Month!
This is an in-depth review of the Nikon 28mm f/1.8G lens that was announced in April of 2012 together with the Nikon D3200 DSLR. After releasing a number of great and affordable primes such as the Nikon 50mm f/1.8G and the 85mm f/1.8G (both of which turned out to be phenomenal), Nikon rolled out the 28mm f/1.8G lens to target photographers who are looking for a fast, inexpensive and lightweight wide-angle prime lens that can be suitable for a variety of different genres of photography.