Popüler ücretsiz mesajlaşma servisi WhatsApp, daha önce 13 yaşını doldurmuş herkesin platformuna kayıt olmasına izin veriyordu. Öte yandan Avrupa Birliği Genel Veri Koruma Yönetmeliği artık 16 yaşın altındaki herkesin engellenmesini şart koşuyor.
Yönetmelik, bir çocuğa ait kişisel verilerin işlenmesi için özel önlemlerin alınmasını gerektiriyor. Bundan dolayı WhatsApp, 16 yaşın altındaki herkesin servisi kullanması için ebeveyn veya vasi onayına sahip olması anlamına gelen asgari yaş şartını getirmiş durumda.
By Eugene Kim 
See How We Test Cell Phones
WhatsApp lets you send person-to-person messages, but you can also send a group message to up to 10 participants and assign a title for the discussion, such as "Max's Birthday." These work as you'd expect: Messages sent to the group are filed in a special thread, separate from other conversations. Participants can easily unsubscribe and tweak their notifications, so no one has to feel spammed with group messages.
WhatsApp recently rolled out voice calling and the ability to use the messaging service through a Web portal. Android was the first to get these features, though voice calling has since come to iPhone as well. This rollout is a bit odd, however, as Facebook Messenger had voice calling long before WhatsApp.
Like many modern headphones, the M40 features a detachable cable, which can connect to either ear. A 1/4-inch adapter is also included with the pair, but it is otherwise light in the accessories department; there's no carrying pouch or extra cable to speak of, but that's to be expected for this price.
See How We Test HeadphonesThus, on tracks with less deep low-end, like Bill Callahan's "Drover," the M40 doesn't coat Callahan's baritone vocals with even more low-mid richness, nor do the drums on this track get more deep bass than they already have. Things here are firmly rooted in the mids—Callahan's voice could sound a bit more crisp, perhaps, but you wouldn't call this sound signature muddy. At times, things can sound slightly sculpted or tweaked in the high-mids. It's in the name of providing a clear, articulate mix, but it can sound a bit tinny.
By Jeffrey L. Wilson 
Thermal Imaging and Use
Mostly for Contractors
The lens omits optical stabilization, which is an acceptable trade-off given its cost and focal length. It's not a big deal for stills when shooting at wide angles, but if you're recording handheld video, you'll notice that it's not quite as steady as footage captured with a stabilized lens. The latest Sony body, the Alpha 7 II, includes in-body stabilization, so if you pair the 28mm with it the lack of stabilization becomes a complete nonissue.What I did find to be a real issue when shooting with the FE 28mm is its minimum focus distance. It can lock onto objects as close as 11.4 inches from the image sensor, which is just a little bit lacking compared with what I'm used to. Yes, it's significantly better than the 27.6 inches you'll get with a rangefinder lens like the Leica Summicron-M 28mm f/2 ASPH. (which can be mounted on an Alpha 7 via an adapter), but when compared with some popular alternatives for SLR it's lacking. The Nikon AF-S Nikkor 28mm f/1.8G and the Canon EF 28mm f/1.8 USM both focus to 9.8 inches, and I still use a manual focus Nikkor 28mm f/2.8 AI-s that gets as close as 8.4 inches. I've also been spoiled by a fixed-lens compact that matches the field of view of this 28mm lens; the Ricoh GR focuses to 4 inches in macro mode. The practical side of this is that I often found myself needing to crop shots to get the framing I wanted when using the 28mm lens; I took the image below down from 24 megapixels to 3.3 megapixels, for instance. That's adequate for sharing on the Web, but does limit print size.
While the focus distance prevents the FE 28mm from being the Swiss Army knife that other 28mm lenses can be, Sony does market a pair of adapters that expand on its functionality. I didn't receive the 21mm Ultra-Wide Conversion Lens ($249.99) or the 16mm Fisheye Conversion Lens ($299.99) for review, but be aware that both halve the light-gathering capability of the lens, making it an effective f/2.8 optic. The only other native lens that covers such a wide angle is a zoom, the Zeiss Vario-Tessar T* FE 16-35mm F4 ZA OSS.
See How We Test Digital CamerasI used Imatest to check the sharpness of the lens when paired with the Alpha 7 II. At f/2 it scores 2,350 lines per picture height on a center-weighted sharpness test. That's better than the 1,800 lines we like to see in a photo, but while the lens is sharp throughout most of the frame, the outer third is a bit weak, showing about 1,625 lines. Stopping down to f/2.8 improves the overall score to 2,478 lines, and the edges to 1,750 lines, but you'll need to stop down to f/4 for true edge-to-edge crispness. There it shows 2,649 lines and the edges top 2,000 lines. It gets getter at f/5.6 (2,678 lines with edges that approach 2,300 lines). At f/8 there's a slight drop in the overall sharpness (2,566 lines), but the edges approach 2,400 lines. Diffraction sets in and hurts overall image quality at f/11 (2,677 lines), f/16 (2,188 lines), and f/22 (2,051 lines).
As long as you're not shooting a landscape where edge and corner sharpness is paramount, shooting at f/2 is a perfectly viable option—depth of field will hide any muddiness at the edges in most cases. And for wide shots where you want a lot of the scene in focus, stopping down is a necessity anyway. The real issue I saw with the optical design of the lens is distortion. If you're shooting in JPG you won't have to worry about it—it's automatically corrected—but Raw shooters will see an image with serious barrel distortion, about 4.6 percent. It gives images a bulging, mild fisheye look, with straight lines bowing noticeably outward. Lightroom doesn't currently have a profile for the lens (it should be included in the next update), so one-click correction is not available. I found that dialing in about +35 Distortion correction manually did a good job of straightening things out, but doing so causes the field of view to be narrowed a bit if you select the Constrain Crop option.
The Sony FE 28mm F2 isn't an optically perfect lens like some others available for the Alpha 7 family, but at its price point, we didn't expect it to go toe-to-toe with Zeiss-branded offerings. It's a very capable wide-angle lens, and you'll be able to play with depth of field and shoot in low light. But I was turned off by its close focus capability, which lags behind other fast 28mm lenses with full-frame coverage. Distortion is an issue you'll need to deal with when shooting Raw, but it's pretty easily corrected with software—you may want to think twice if you use a Raw converter other than Lightroom, depending on its capability to correct for barrel distortion. So despite some drawbacks, if you're in want of a 28mm prime for an Alpha 7 camera, this is a solid choice at an affordable price. It's just not the stellar performer like some other lenses for the system, including the compact Zeiss Sonnar T* FE 35mm F2.8 ZA.
