Slideshow: International Garden Photographer of the Year Winners

International Garden Photographer of the Year Winners

'Fireworks' by Jill Welham | IGPOTY

The winning photographs from the International Garden Photographer of the Year Competition 12 have been announced, with the top prize going to photographer Jill Welham of North Yorkshire, England for the above photograph titled 'Fireworks' that was submitted under the Abstract category.

Passionate about the cyanotype print process, 'Fireworks' showcases the details of three Allium heads created using a wet cyanotype process.

'This image of three Allium heads was created using a technique known as wet cyanotype. Two chemicals, ammonium citrate and potassium ferricyanide, are mixed together to create a photosensitive solution which is painted onto the surface of watercolour paper and left to dry,' says Welham in the image's description. 'This process needs to be conducted away from UV light, and once dry the paper must be kept in a light-proof bag until it is used.'

In addition to Welham's photograph, we've rounded up the remaining dozen winners from each of the remaining twelve categories. The winning photographs were narrowed down from more than 19,000 entries from over 50 countries.

The IGPOTY Competition 13 contest is already taking submissions. You can find out more information and submit your work on the IGPOTY website.

International Garden Photographer of the Year Winners

'Bressingham Gardens in Autumn' by Richard Bloom | IGPOTY

'Bressingham Gardens in Autumn' by Richard Bloom | IGPOTY

1st Place in Beautiful Gardens

Norfolk, England, UK

Glorious early morning sun bathed TheSummer Garden at Bressingham in rich, warming light. Ornamental grasses are featured with swathes of Aster and Rudbeckia.

Gear/Settings: Canon EOS 5D Mark IV, Canon 16-35mm lens, 1/4sec at f/16, ISO 100. Tripod, cable release, polarising filter, neutral density graduated filter.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

'Farewell' by Andrea Pozzi | IGPOTY

'Farewell' by Andrea Pozzi | IGPOTY

1st Place in Breathing Spaces

Torres del Paine National Park,Patagonia,Chile

The sun had already risen and the dawn had been incredible. Wandering through the vegetation, however, I realised that the essence of the territory was only revealing itself in that moment. The extraordinary colours of the sunrise had dissolved, leaving behind a unique intimate feeling amongst one of the most beautiful mountain ranges on Earth.

Gear/Settings: Canon EOS 6D, Canon 24-70mm lens, 1.3sec at f/13, ISO 200. Tripod, neutral density graduated filter, polarising filter.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

'Lost in the Lush Beauty' by Vincenzo Di Nuzzo | IGPOTY

'Lost in the Lush Beauty' by Vincenzo Di Nuzzo | IGPOTY

1st Place in Captured at Kew

Royal Botanic Gardens, Kew, London, England, UK

Opening the door of the Palm House at Kew is like entering a hidden paradise. It never fails to amaze me how fascinated and stunned I become in the presence of such natural beauty. I took this photograph whilst my friend was having a similar reaction to the sheer scale and abundance of lush tropical plants.

Gear/Settings: Canon EOS 5D Mark III, Canon 24-105mm lens, 1/60sec at f/8, ISO 400. Post-capture: basic image management

International Garden Photographer of the Year Winners

'Cork Oak' by Scott Simpson | IGPOTY

1st Place in European Garden Photography Award

Gazebo Cádiz, Andalucía, Spain

There cannot be too many gardens in Europe that combinecork oaks (Quercus suber) with manicured gardens. I was commissioned to photograph such a place at a luxury real estate property in Andalucía. The garden had the added bonus of a raised gazebo, which was nestled amongst the mature cork oaks.

Gear/Settings: Canon EOS 7D, Canon 70-200mm lens, 1/30sec at f/13, ISO 100. Tripod.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

'Greenbelt' by Halu Chow | IGPOTY

'Greenbelt' by Halu Chow | IGPOTY

1st Place in Greening the City

Kowloon, Hong Kong, China

I used infrared to precisely define the exact locations of plant life around the city, highlighting the scale and proximity of their presence. It is easy to forget the intimacy and importance of this relationship.

Gear/Settings: Canon IXUS860 IS, Canon 28-105mmlens, 1/100sec at f/2.8, ISO 100.Infrared converted camera.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

'Tropical Wonderland' by Jocelyn Horsfall | IGPOTY

'Tropical Wonderland' by Jocelyn Horsfall | IGPOTY

1st Place: Portfolios, Abstract Views

Royal Botanic Gardens, Kew, London, England, UK

The magical, dreamlike effect of infrared was the perfect way to express the mystery and exotic intrigue of the Palm House at Kew Gardens. I captured a selection of different plants and foliage to feature across the portfolio in order to show the subtle variety of textures and forms within this tropical paradise. Together the images vividly demonstrate the sense of lushness and tranquillity that the space provides.

Gear/Settings: Fujifilm X-E1, Fujifilm 14mm lens + Fujifilm 18-55mm lens + Fujifilm 18-135mm lens, 1/750sec to 1/125sec at f/7.1 to f/13, ISO 500 to ISO 800. Infrared converted camera.

Post-capture: colour tones matched across portfolio, Topaz filter, basic image management.

International Garden Photographer of the Year Winners

'Lotus Tango' by Kathleen Furey | IGPOTY

'Lotus Tango' by Kathleen Furey | IGPOTY

1st Place in The Beauty of Plants

Kenilworth Park & Aquatic Gardens, Washington D.C., USA

There are many stages of lotus growth on display at theAquatic Gardens, but to come across two twisted dancing stems of Nelumbo nuciferawas unexpected and quite magical.

Gear/Settings: Olympus OM-D E-M5 Mark II, Olympus 14-150mm lens, 1/320sec at f/5.3, ISO 200.

Post-capture: basic image management

International Garden Photographer of the Year Winners

'Colourful Fields' by Suwandi Chandra | IGPOTY

'Colourful Fields' by Suwandi Chandra | IGPOTY

1st Place in The Bountiful Earth

Sembalun Lawang, Lombok, Indonesia

I hiked to the top of Pergasingan Hill early in the morning to catch the sunrise. The view was amazing as it overlooked the rolling hills opposite and Sembalun village below. Since most of the people here are farmers, they transform the valley floor into a patchwork of agriculture, growing rice, vegetables and even strawberries.

Gear/Settings: Pentax K-3, Pentax 16-50mm lens, 1/2sec at f/8, ISO 100. Tripod, neutral density graduated filter.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

'View Over Trauttmansdorff' by Harry Tremp | IGPOTY

'View Over Trauttmansdorff' by Harry Tremp | IGPOTY

1st Place in The Spirit of Trauttmansdorff, a special award that celebrates the unique character and beauty of The Gardens of Trauttmansdorff Castlein Merano, South Tyrol, Italy.

The golden hour was just approaching when I captured this view of Trauttmansdorff in October, the green of the deciduous trees just starting to begin their autumn transformation.

Gear/Settings: Sony α7R Mark III, Sony 24-105mm lens, 1/50sec at f/13, ISO 400.

Post-capture: basic image management

International Garden Photographer of the Year Winners

'Misty Bayou' by Roberto Marchegiani | IGPOTY

'Misty Bayou' by Roberto Marchegiani | IGPOTY


1st Place in Trees, Woods & Forests

Atchafalaya Basin, Louisiana, USA

The Louisiana wetlands are a giant tangle of canals, swamps and forests of palm and cypress trees that encompass the great Mississippi estuary. Populated by numerous snakes, alligators, birds and venomous spiders, the often-hostile environment is capable of stunning beauty. Every day at dawn and dusk we motored out on a small swamp boat –the only way to get around the bayou –looking for the best light and conditions. A fog finally descended around a singular majestic cypress (Taxodium), framed by the other trees and adorned with Spanish moss.

Gear/Settings: Nikon D850, Nikon 70-200mm lens,1/50sec at f/7.1, ISO 64.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

'Mount Rainier in the Mist' by Robert Gibbons | IGPOTY

'Mount Rainier in the Mist' by Robert Gibbons | IGPOTY

1st Place in Wildflower Landscapes

Mount Rainier National Park, Washington, USA

I came across a spectacular array of summer alpine flowers on Mazama Ridge, including Castilleja, Lupinusand Anemone occidentalis, all adding character and texture to the scene as if by design.

Gear/Settings: Canon EOS 5D Mark II, Canon 24mm tilt-shift lens, 1/13sec at f/20, ISO 200. Tripod.

Post-capture: basic image management

International Garden Photographer of the Year Winners

'Starlings' by Jonathan Need | IGPOTY

'Starlings' by Jonathan Need | IGPOTY

1st Place in Wildlife in the Garden

Snowdonia National Park, Wales, UK

A heavy snowfall brought a lot of hungry birds to my garden feeder. This old nearby tap provided a convenient resting place for this trio of starlings (Sturnus vulgaris) while they waited for their turn to feed.

Gear/Settings: Nikon D3S, Sigma 500mm lens, 1/500sec at f/5, ISO 800. Tripod.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

'Ladies of the Meadow' by Jake Kneale | IGPOTY

'Ladies of the Meadow' by Jake Kneale | IGPOTY

1st Place in Young Garden Photographer of the Year

Wiltshire, England, UK

The rising sun backlit this group of lady’s smock (Cardamine pratensis) in a Wiltshire meadow.I used the aperture to turn the water droplets into beautiful bokeh and created a smooth, clean and glistening background.

Gear/Settings: Canon EOS 7D, Canon 70-200mm lens, 1/160sec at f/7.1, ISO 100.

Post-capture: basic image management.

Kosmo Foto launches Mono 120 black-and-white film, now available for pre-order

Kosmo Foto has launched pre-orders for its Mono film in 120 format, adding the new product alongside the 35mm version launched in 2017. According to the company, the first batch of Mono 120 has entered production and will be sold exclusively through the Kosmo Foto shop. Future batches of the film will be available through Kosmo's retailers and distributors, as well.

In its announcement today, the company explained:

Mono has proven to be really popular with film photographers – it’s now stocked in photography shops all over the world, and been bought by photographers from Greenland to Greece and Costa Rica to the Czech Republic.

Not everyone, however, shoots 35mm film. The resurgence that film has enjoyed over the last few years has also seen many people shooting on medium format cameras from humble Holgas through to Hasselblads.

So Kosmo Foto is very pleased to be able to say that Kosmo Foto Mono 120 is now available to pre-order.

According to Kosmo Foto, Mono features a traditional black-and-white chemistry that can be developed using Tetanal, Rodinal, Perceptol, and similar formulations, but it can't be developed by mini-labs with only C41 processing. Mono 120 is suitable for use in a variety of shooting conditions, including both sunny and overcast environments.

Kosmo Foto requires pre-order customers to purchase at least three, but no more than 10, rolls of Mono 120 when ordering. Each roll costs £4.50 / $5.80 and is available now through the Kosmo Foto store; the company expects its first batch to be ready for shipment in May.

This website uses AI to generate portraits of people who don’t actually exist

A new website called This Person Does Not Exist went viral this week, and it has one simple function: displaying a portrait of a random person each time the page is refreshed. The website is pointless at first glance, but there's a secret behind its seemingly endless stream of images. According to a Facebook post detailing the website, the images are generated using a generative adversarial networks (GANs) algorithm.

In December, NVIDIA published research detailing the use of style-based GANs (StyleGAN) to generate very realistic portraits of people who don't exist. The same technology is powering This Person Does Not Exist, which was created by Uber software engineer Phillip Wang to 'raise some public awareness for this technology.'

In his Facebook post, Wang said:

Faces are most salient to our cognition, so I've decided to put that specific pretrained model up. Their research group have also included pretrained models for cats, cars, and bedrooms in their repository that you can immediately use.

Each time you refresh the site, the network will generate a new facial image from scratch from a 512 dimensional vector.

Generative adversarial networks were first introduced in 2014 as a way to generate images from datasets, but the resulting content was less than realistic. The technology has improved drastically in only a few years, with major breakthroughs in 2017 and again last year with NVIDIA's introduction of StyleGAN.

This Person Does Not Exist underscores the technology's growing ability to produce life-like images that, in many cases, are indistinguishable from portraits of real people.

As described by NVIDIA last year, StyleGAN can be used to generate more than just portraits. In the video above, the researchers demonstrate the technology being used to generate images of rooms and vehicles, and to modify 'fine styles' in images, such as the color of objects. Results were, in most cases, indistinguishable from images of real settings.

The Atomos Shinobi is a light, bright 5″ 1920×1080 HDMI monitor for $399

Atomos has released the Shinobi, a new super bright 5in 1920x1080 HDMI monitor designed with vloggers and photographers in mind.

The Atomos Shinobi weighs just 200g / 7oz thanks to its polycarbonate body and uses the same HDR display and color processing technology found in Atomos' popular Ninja V monitor/recorder. It features a 1000nit screen for easy viewing in bright situations, has a pixel density of 427PPI, and includes a headphone on the side of the device to add external recording, even if the camera being used doesn't have one built-in.

Atomos says the Shinobi comes color calibrated straight from the factory, but also includes calibration support using Atomos' free software and the X-rite i1Display Pro probe. It features a six-hour battery life on a single Sony NP-F750 battery, which is cleverly placed in the middle of the device to help keep it balanced on top of cameras.

The device features Atomos' AtomOS 10 touchscreen interface and all of the features that come with, including focus peaking, histogram, zebras, waveforms, guides, markers and magnification. There's even a mirrored option for vloggers who will have the monitor facing backwards on their device.

Despite having just a 1920x1080 display with 60fps support, the Shinobi's HDMI port can actually accept signals up to 4K (4096x2160) at 30fps. The screen displays 10+ stops of dynamic range when being used with Log or HLG HDR video and built-in gamma presets are included to match popular camera systems when shooting Log or HLG.

Up to eight LUTs can also be installed directly onto the Shinobi using its built-in memory, with the ability to add even more using the SD card slot. Once installed, the LUTs can be switched on-the-fly to compare one look to another.

The Atomos Shinobi is available now from B&H and authorized Atomos retailers for $399 USD.

Live Q&A with DPReview editors about the Canon EOS RP

Want to know more about the Canon EOS RP? Dying to ask a question that hasn't been addressed anywhere else online? Join the editors of DPReview for a live Q&A about this new camera next Tuesday, Feb. 19 on our YouTube channel.

If you have a question but can't watch live, leave it below in the comments and we'll do our best to answer it during the event. We'll post a direct link to the live stream shortly before it goes live. Here's a list of what time to tune in depending on your location:

Location Time Day
Seattle 9:00 AM Tuesday
New York 12:00 PM Tuesday
UTC 17:00 PM Tuesday
Europe (CET) 18:00 PM Tuesday
Tokyo 02:00 AM Wednesday
Melbourne 04:00 AM Wednesday

Video: first impressions of the Canon EOS RP

Got a couple of minutes? Then you have all the time you need to learn about Canon's second full-frame mirrorless camera body. Technical Editor Richard Butler has been able to do some shooting with the camera and gives a full rundown of its feature set – and explains why it's a compelling option for someone stepping into full-frame for the first time.

NASA Curiosity rover captures 360 panorama from its Vera Rubin Ridge ‘Rock Hall’ drill site

Last last month, NASA announced that Curiosity rover had wrapped up its work at Mars' Vera Rubin Ridge and would be making its way to a clay-rich region near the Red Planet's Mt. Sharp for additional work. In an update on that mission last week, the space agency shared a panoramic image captured by Curiosity's MastCam at the ridge drill site before it left, as well as an interactive video of the area.

Curiosity's last drill site on the ridge is known as 'Rock Hall,' and it's located relatively close to the 'clay-bearing unit' that researchers will study next. A panorama from the Rock Hall location was created using images captured by the rover before it departed the site. NASA also published a 360-degree video from the images and annotated a few landmarks in it, including Mt. Sharp in the distance.

Visible near Mt. Sharp is the clay-rich region, now called 'Glen Torridon,' where Curiosity will help researchers uncover more details about Mars' landscape and history. The rover is equipped with multiple cameras, including the MastCam and the Mars Hand Lens Imager (MAHLI), which is attached to its robotic arm.

Last month, NASA shared a stitched image of the full Curiosity rover at the Rock Hall drill site; that image is made from 57 individual images that were captured using the MAHLI camera. The 'selfie' features the final Rock Hall drill site in the bottom center of the image.

Xiaomi teases Mi 9 product images and camera samples

We are getting close to the largest annual mobile technology show, the Mobile World Congress in Barcelona, and one of the manufacturers expected to launch a new flagship device has already spilled some of its beans.

Xiaomi Seniro VP Xiang Wang shared a bunch of press renders of the upcoming Xiaomi Mi 9, showing the triple-camera on the rear of the device in all its glory. The main module will feature a 48MP sensor and the Mi 9 is likely one of the first handsets to be powered by Qualcomm's latest top-end chipset Snapdragon 855.

Meanwhile another Xiaomi executive, co-founder and director of the Chinese division Chuan Wang posted a few full-size camera samples on his Weibo profile. A low-light shot of some plastic flower, and indoor shot of an aquarium and an outdoor image of three golden labradors all show good color and dynamic range. When zooming in to a 100% view there is a lot of fine detail but also some of the smearing of fine textures that is typical for many smartphone cameras.

The Xiaomi Mi 9 will be officially launched on February 24. Full specifications and other information about the triple-camera will be available then.

Canon EOS RP shooting experience: better than the specs suggest

The EOS RP combines a large sensor, simple interface and excellent JPEG color, making it easy to shoot in even the most unexpected situation.
24-105mm F4L IS | F4.5 | 1/80sec | ISO 3200

I got a chance to shoot with the EOS RP just before its launch and my impression is that it's a much better, and potentially more significant, camera than its specifications reveal.

If you've only seen the specs, it'd be easy to dismiss the RP out-of-hand. The sensor from the 6D Mark II isn't going to go down as one of Canon's better efforts: 1080 video and fairly limited dynamic range rather undermine the considerable appeal of Dual Pixel AF. Surely if it's just that old chip, in the midst of a stripped-down version of the slightly underwhelming EOS R body, it's not even worth taking seriously?

Canon EOS RP Key Specifications

  • 26.2MP Dual Pixel CMOS sensor
  • 4K/24p (from APS-C crop region)
  • 4 fps continuous shooting with continuous AF (5 without)
  • Pupil detection AF in continous/Servo AF mode
  • AF rated to -5EV
  • Digic 8 processor
  • 2.36M dot OLED viewfinder
  • Fully-articulated 1.04M dot touchscreen
  • Twin command dials

Having spent a little time shooting with it, I think that's premature. It's not going to win any awards for technical performance but I'm going to argue that the RP is more than the apparent sum of its parts. In a mirrorless format, the dependable performance of Dual Pixel AF plays a greater role than it does in the 6D II. The RP can also shoot 4K (albeit only from a crop). But there are three things that stood out to me about the RP: firstly, it has much of what the EOS R did well, but less of what it got wrong. Secondly, it gains the excellent beginner-friendly interface from the recent Rebel cameras. And finally, it's really, really well priced.

History repeating?

Just over 15 years ago, Canon introduced the EOS Digital Rebel (EOS 300D to most of those outside North America): the first sub-$1000 DSLR. And, even at launch, the company predicted '[it] will be seen as the point in history when the SLR market shifted irrevocably to digital.'

An awful lot has changed since the 300D's launch, including both the predicted switch to digital and a subsequent (and similarly irreversible) shift away from standalone cameras to smartphones. But, while no camera maker is talking about the '400-500% growth' in, well, anything really, there is a market that most companies are expecting to grow: full frame.

The twin command dials on the top of the camera set it aside from the Rebel series of mass-market DSLRs, but there's a hint of the same spirit in the interface and Canon's pricing.

The EOS RP looks like Canon's attempt to repeat the same trick. At $1300 body-only it is, by some $400, the cheapest ever full-frame camera at launch. And, perhaps tellingly, its MSRP is comparable with the Digital Rebel if you take inflation into account ($900 in 2003 dollars would now be within $75 of the RP's launch price).

The EOS RP's launch price is comparable to the original Digital Rebel's, if you take inflation into account

Of course the downside is that there was a $100 kit zoom option for the Rebel, whereas the only options for the RP are to pay an extra $700 for an EF-mount 24-105mm F3.5-5.6 lens and adapter, or $1100 for the RF-mount 24-105mm F4L IS, which rather reduces its 'full-frame for the masses' appeal. (Though, in a rather unusual move, Canon USA is immediately offering discounts on some of those bundles).

In the hand

Despite looking pretty similar to the EOS R, as soon as you pick it up you notice how much smaller and lighter the RP is. It doesn't have the heavy solidity of the R but still confers the familiar rugged plastic feel of a high-end Rebel, or even the EOS 77D. Better still, it retains the two command dials from the EOS R (one on the top of the camera, just behind the shutter button, the second on the rear shoulder). This immediately makes it a camera where it's easy to play around with your main exposure parameters, taking it out of Rebel territory.

There's an optional add-on riser for the EOS RP. Note also the ability to flip the screen in towards the body: making it easier to keep the screen safe if you've got the camera stuffed in a bag to keep with you.

There's an optional add-on plate that adds a bit more depth to the camera if you find your little finger extending awkwardly off the bottom of the front grip. I didn't find any advantage to it, personally, but I know that several other people at the launch event did. It comes in a choice of colors (the version with the red accents goes nicely with the red ring on the RF 24-105, I reckon), and it's been designed so that you can still access the battery and SD card with it attached, thanks to a hatch the size of a car door.

Even with the optional grip extension, you can still access the battery and SD card. Note that the knurled nut that screws the extension into the tripod socket itself has a tripod socket, keeping everything on the optical axis.

The viewfinder spec is dropped a little, compared with the 'R.' The RP's display offers the same 2.36M dots as the Sony a7 III, and it's nice enough to shoot with even if it isn't as detailed as its big brother. Like the EOS R, the rear screen (or a subdivision of it) can act as an AF touchpad, and that's definitely the easiest way to set focus. And, unlike any of its immediate peers, the rear screen is fully articulated, flipping out to the side for waist-level, low angle or video shooting.

Other changes over the EOS R include the ability to use Pupil Detection AF and small point AF in continuous (Servo) autofocus mode. That might sound like a small thing but it means I could mostly just stick to Face + Tracking (+ eye) mode most of the time, rather than having to jump back and forth between area modes when I switched between single and continuous AF.

Eye AF Performance

One thing I suspect a lot of people will want to know is 'how well does Eye AF work?' Several brands now offer some form of eye detection AF, but it's the implementation in the recent Sony models that has really impressed us. Once you've got used to the ability to just look at your subject, your framing and their expression, without having to give any thought to focus, it's hard to go back to a camera that isn't as easy to use.

The EOS RP's eye detection might not be quite as uncannily good as the recent Sony implementation, but it was still able to find and retain my subject's right eye in this shot, despite it being partially obscured.
EF 85mm f/1.4L IS USM | F4 | 1/125sec | ISO 640

My initial thoughts are mixed: the Canon implementation isn't as responsive in finding a subject's eye: it's quick but hasn't got the same uncanny 'I hadn't even realized they were looking towards the camera' immediacy as the latest Sonys. Equally, the RP seems slightly more prone to temporarily losing eyes and either reverting to Face Detection or grabbing the person's other eye. Overall the RP is good at finding eyes and focusing on them without any user intervention (or need to hold down a function button). It also lets you use the four-way controller to choose between the left and right eye (though only if it's recognized both eyes).

I'll need to check through all the images I shot to ensure that Eye AF has focused as well as I'd like, but from a usability point of view, it's a valuable addition, particularly on a camera that's intended to be accessible and user-friendly.

Ease-of-use

On the subject of ease-of-use, I'm pleased to see the EOS RP gain the 'Feature Assistant' simplified menus seen on cameras such as the Rebel T7i (again pointing to the idea of this being essentially a FF Rebel). These provide a results-orientated way of interacting with the camera so that, for instance, in Aperture Priority mode, it advises you how to get greater or shallower depth-of-field, rather than just showing the F-number. And, like on the Rebel, the camera guides you to use the dials and shows you what setting is being changed, so that you can learn what settings you're changing, rather than getting stuck in 'simple' mode forever.

The EOS RP has a variant of the outcome-orientated 'Feature Assist' interface from the Rebel series [Rebel T7i example shown].

The RP takes this one step further by offering a results-focused interface for its in-camera Raw processing mode. So, rather than being confronted with a slew of icons with perhaps obscure names such as 'Len aberr correction' it gives you the option to make the image brighter or darker, or to make it warmer or cooler. Just as with 'Feature Assistant' the more complex options are still available, but you access them through the menu, rather than encountering them directly from Playback mode.

The camera's AF tracking mode isn't faultless, but it stayed focused on this flower's stigma as I recomposed, making it easy to grab a shot with focus exactly where I wanted it.
24-105mm F4L IS | F4 | 1/320sec | ISO 100

This simple reprocessing mode, along with the pretty robust-feeling Bluetooth-mediated Wi-Fi system used across recent Canons, should make it about as easy as possible to shoot high quality images then transfer them to your phone. Canon has also made an iPad version of its Digital Photo Professional software, to allow processing of the camera's CR3 Raws without ever having to go back to your computer.

Disappointing DR, joyous JPEGs

Having talked so much about ease-of-use, it's pretty clear who Canon has built the RP for. The kinds of users who shoot Raw to provide the maximum processing flexibility aren't likely to be impressed if there's as much noise lurking in the deep shadows as there was on the 6D Mark II. But for anyone shooting JPEGs (or re-processing their Raws within the constraints of the camera's JPEG engine) the RP will be able to produce really good images, with attractive color and the tonal quality and depth-of-field control that full-frame can bring.

And, even if dynamic range isn't class-leading, the 6D Mark II's low light performance is beyond reproach.

The EOS RP won't be the first choice for committed videoheads but it shoots pleasant images and brings the low light capability, depth-of-field control and tonal quality that full frame can offer.
24-105mm F4L IS | F6.3 | 1/100sec | ISO 1600

The camera's middling video capability (4K/24p from an APS-C-sized crop) is the other obvious shortcoming in the camera's specifications. It's a step up from the 6D Mark II, but still not much to crow about. But still, having spent most of my time focused on stills shooting, I wouldn't want to jump to conclusions just yet. The slow, contrast detection autofocus in 4K mode isn't very promising, though.

Battery life from the EOS M50-style LP-E17 isn't likely to be anything special, either (I'd guessed around a 220 shot-per charge CIPA rating, based on half-a-day's use: it's actually 250). This means you're likely to get a day's casual shooting if you're a committed photographer and rather longer if you're just taking shots here and there, and photography isn't your main focus. The camera charges pretty quickly over USB-C, so you can gain some flexibility by having some kind of power bank and appropriate cable with you if you're going to be away from the mains for a while.

Is it enough?

Of course, despite the impressively low launch price, the RP isn't without competition. Sony's habit of keeping older models in its lineup, then continually dropping the price means you can currently get an a7 II for around $1000 and an original a7 with lens for the same money. But, for all the apparent technical limitations, I think a lot of people might choose the Canon's more accessible shooting experience and attractive JPEGs over what now look like Sony's works-in-progress models.


Sample Gallery

Pixelmator Pro 1.3.1 released with Portrait Masks for images captured in iPhone Portrait mode

Image editing app Pixelmator Pro has been updated to version 1.3.1, gaining Portrait Masks for images taken using the iPhone's Portrait mode in iOS 12. With Portrait Masks, any iPhone Portrait mode imported into Pixelmator Pro is automatically opened with a layer mask made from the depth data.

The new feature makes it possible to rapidly isolate the portrait's foreground from the background, enabling users to replace the background or make other quick adjustments. Pixelmator demonstrated the feature in the video above.

In addition to the Portrait Masks feature, Pixelmator Pro 1.3.1 adds new keyboard shortcuts for duplicating layers, organizing content, making selections, and more. As well, the editor now uses tabs by default. Finally, the update also adds a new 'Comics' effect under Stylize for applying a comic book style to images. The update's full changelog is available here.

Pixelmator Pro can be purchased from the Mac App Store for $39.99.

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