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Posts Tagged ‘down’

Lensrentals tears down a Canon RF 100-500mm F4.7-7.1 lens to solve the mystery of a cracked element

22 Jan

Roger and Aaron are back at it again for Lensrentals, this time with a teardown of a Canon RF 100–500mm F4.7–7.1 lens with a little secret inside.

As Roger tells it, Lensrentals has come across ‘several’ copies of Canon’s RF 100–500mm F4.7–7.1 lens with a cracked element inside. He believes this crack occurs during shipping, but notes that ‘if you’ve ever rented from [Lensrentals], you know how we pack […] Nothing should break in shipping.’ As such, he did what he usually does when he can’t get an answer from the outside, he tore the lens down (with the help of Aaron, of course).

The large crack, seen through the rear elements of the lens. Click to enlarge.

Upon taking a closer look, Roger suspected the cracked element was inside the image stabilization module of the lens, due to the crack appearing to move when the lens was shifted around. He explains that while Canon was known for physically locking down IS units in its EF lenses, that practice has become less commonplace with RF lenses due to improved engineering measures. Naturally, he assumed this lack of lockdown could be the culprit for the cracked element in shipping.

As it turns out though, that wasn’t quite the case.

Roger and Aaron went through the usual routine, starting at the front of the lens. Despite easily removing the filter barrel and front optical group, they hit a roadblock with the light baffle inside. So, ‘like the cowards [they] are,’ Roger and Aaron turned the lens around and started to take it apart from the lens mount side.

A close-up view of the ribbon cables neatly tucked away inside the barrel of the lens.

Along the way, the pair ran into the usual array of screws, ribbon cables and sensors. But it wasn’t all that bad to take apart, thanks to the lens’ modular construction. Roger particularly appreciated how Canon managed to integrate almost all of the ribbon cables into the barrel of the lens, meaning there was little need to trace and mark down where every cable was supposed to be routed to:

‘I get accused every so often of being a Canon fanboy (or Sony, or Sigma, etc.). I’m not, but I’ll readily admit I’m a Canon lens construction fan; these are a pleasure to work on compared to most brands.’

A comparison of how the internals of the lens look when zoomed out versus zoomed in. Click to enlarge.

With the rear barrel off, Roger and Aaron took a look at the intricacies of the zoom section of the lens. Roger notes ‘everything moves in an impressively complex fashion’ and is almost overbuilt in some areas. Specifically, Roger points out that the front barrel moves along six heavy-duty rollers (as opposed to three in most other zoom lenses), each of which has custom-fitted nylon bearings to ensure the tightest fit possible while still offering a smooth glide. To this, Roger says ‘This is why nice things cost more; a lesser lens has three same-size small nylon bushings over screws.’

A close-up of one of the nylon bushings precisely fitted to the guide rail. Click to enlarge.

Another detail Roger noticed is that the two optical groups responsible for zoom operate independent of one another. That is, rather than both optical groups extending together with the barrel, the rear zoom optical group moves into the barrel, but isn’t doing so at the same rate as the front optical group.

From there, it was on to the inner barrel to see if the duo could get to the broken element. Before getting to the IS module though, Roger noted the use of springs to hold the rear baffle in place. He says Canon has been using more and more tensioning springs in its lenses over the years, ‘which suggests they originally thought it was a good idea, found out they were correct and increased usage.’ This particular lens has ‘over a dozen springs.’

A look at the tensioning springs used to hold the rear baffle tight. ‘It’s a complex little bit of engineering for a baffle,’ says Roger. Click to enlarge.

Eventually, Roger and Aaron hit the IS module, which Roger describes as ‘a pretty robust unit.’ He elaborates:

‘In older lenses, we sometimes saw IS units that were encased in a ‘cage’ of plastic bars, which broke sometimes. This is not that at all, it’s heavy-duty interlocking plastic shells with multiple screws and tension springs. We could (OK, we did) shake the heck out of it. It just rattled a bit, but there was nothing but solidness here.’

A close-up view of the ‘robust’ IS unit inside the RF 100-500mm F4.7-7.1 lens. Click to enlarge.

However, as you can see in the above image, there was no crack in sight. So it was on to more disassembling to get to the problematic element. After removing countless cams, spacers, screws and more, Roger and Aaron were able to find the cracked element — a thin, single element that sits right behind the aperture assembly and is also the forward focusing element.

Note the aperture assembly in front of the cracked element. Click to enlarge.

Still confused as to how the element cracked, the pair measured and tested everything around the element and determined there’s no way it could’ve impacted anything inside the lens. So, what could’ve caused it to crack? Roger doesn’t really know.

In his conclusion, Roger says:

‘My first thought, given that it’s winter, was perhaps temperature shock, moving from sub-zero trucks to warm indoors or something. But I’ve asked several people more knowledgeable than I and none think that’s a possibility. The ones that cracked are all early copies from a similar serial number range, perhaps there were some flawed elements early on. Maybe it’s just a statistical anomaly; we have a lot of copies and stuff happens. Or maybe it’s something we do or something with shipping. Nobody else has reported this. It’s worth looking into further, there are a number of things we’ve noticed before anyone else just because we have a lot of gear and a lot of repairs and inspections. But it may be an oddity that never happens again.’

Whatever the case, Lensrentals has sent all of its data and broken lenses to Canon, who already has a team assigned to more thoroughly investigating the issue. Roger says ‘Canon is always proactive about investigating these things and [is] one of the few companies willing to publicly say when they actually have a problem.’

Broken element aside, Roger says the rest of the teardown is what he’s come to expect from Canon RF L series lenses:

‘It’s filled with very robust construction, neatly and clearly laid out in a modular manner. It’s a very well-built and sturdy lens with cutting edge technology.’

To conclude, we’ll let Roger’s Rule of Broken Parts speak for itself: ‘the hardest to get to part is the one that’s broken.’

Articles: Digital Photography Review (dpreview.com)

 
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BCN+R data shows digital camera sales in Japan were down 40% year-over-year

12 Jan

BCN Retail (BCN+R), a Japanese analyst firm that collects daily sales data of mirrorless interchangeable lens cameras from both online and in-person points of sale in Japan, has published (translated) a summary of its 2020 camera sales data, confirming camera sales were down in the Japanese market due to an already-shrinking market further compounded by the ongoing COVID-19 pandemic.

According to BCN+R’s data, digital camera sales dropped 40.4% year-over-year (YoY). This is over double the 16.8 percent drop BCN+R recorded in 2019 (compared to 2018). BCN+R’s data shows digital camera sales were down from the onset of 2020, but dramatic decreases in March and April align with when the first spike in cases of the novel coronavirus started spreading across the globe. The YoY decrease peaked in April and slowly declined until September.

Apologies for the low-quality chart. It’s all BCN+R has shared.

October proved to be the month with the smallest YoY decrease, which could be attributed to the release of numerous mirrorless cameras being released in September and October, most notably the Sony a7C (September 15), Canon EOS M50 Mark II (October 14) and Fujifilm X-S10 (October 15). The original Canon EOS M50 has continuously proven to be the most popular cameras in Japan for quite some time, so it’d make sense its successor would sell well, too.

We’ll wait to see what the end-of-year numbers from less region-specific sources (CIPA, etc.) are before making any comprehensive overviews, but it’s clear from BCN+R’s data that the fallout from the COVID-19 pandemic managed to make a shrinking market even smaller than it was on track to be, even if the Japanese market alone isn’t indicative as to the state of the industry as a whole.

Articles: Digital Photography Review (dpreview.com)

 
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Halide developers break down the technology powering Apple’s new ProRAW image format

16 Dec

Apple’s new ProRAW format is now available to iPhone 12 Pro and 12 Pro Max users running iOS 14.3. The new format promises the power of Apple’s image processing capabilities with the flexibility of a Raw image. But what exactly is a ProRAW image, how useful is the format and what sort of results can we expect from it?

Ben Sandofsky, one of the developers behind the iOS camera app Halide, has answered all of those questions and more in a thorough overview of the ProRAW technology, with illustrations and example photos from Halide designer, Sebastiaan de With.

Sandofsky’s overview is effectively broken down into three parts. That first part explains how a digital camera ‘develops’ an image using the data from the sensor. The second part explains the pros and cons of traditional Raw files. And the third part is where we learn what’s unique about Apple’s ProRAW technology and why it ‘changes the game’ despite ‘its few remaining drawbacks.’

We suggest taking Sandofky’s advice and grabbing a coffee if you plan on reading the entire post, but we’ll summarize a few of the standout details here on DPReview as well in the case you’re in a rush or are out of coffee.

Since most DPReview readers are familiar with how a camera processes data from the sensor, as well as the pros and cons of Raw files, we’re going to skip right to Sandofky’s rundown of the new ProRAW technology from Apple.

Sandofsky gets straight to the point, answering a question we’ve seen a few people ask in the comments of previous articles on Apple’s new ProRAW technology — ‘Technically, there’s no such thing as a ProRAW file.’ ProRAW image files, as he explains, are simply regular DNG files that use little known features in the DNG file format specifications, as well as a few new features Apple worked with Adobe to implement in the new 1.6 specification.

Specifically, Adobe and Apple worked together to add a new set of tags for the open Raw format that enable much of what Apple is doing with its ProRAW-branded DNG files. In fact, the new DNG 1.6 specification went live the day Apple released the iOS 14.3 public beta, showing just how closely the two worked together on the new specification.

As Sandofsky points out, Apple opting to use the DNG format means, despite their attempt at rebranding the technology as its own Raw format, nothing about the resulting files is proprietary. The photos should, in theory, be able to work with any other device or program that chooses to make the most of the new DNG 1.6 standard.

Sandofsky goes on to state that ProRAW images store pixel values after the demosaic step. These demosaiced color values still contain all of the original colors and dynamic range of the scene, he says, they just cut out the step of choosing what demosaic algorithm will be used on that data—something usually done in post-processing based on the editing software you’re using.

Sandofsky argues that, aside from saving time and taking another step out of the equation, it’s ‘quite possible that iOS can do a better job demosaicing your images than any third-party RAW editor’ considering Apple’s strength of its vertical integration of hardware and softrware. That is, Apple ‘know[s] exactly the sensor you’re using, and how it behaves with different ISO settings.’ Sandofsky even points out that with Apple’s image recognition technology, iOS could apply a specific demosaic algorithm depending on the scene to achieve an optimal result.

One example he uses is a set of starscape images from photographer Austin Mann, who has also shared a detailed breakdown of the new ProRAW technology on his website alongside a beautiful collection of images.

A ProRAW file before and after editing.

Another benefit of this approach is Apple could, in theory, start to develop its own sensors, eschewing the current bayer sensors they use. By doing so, they could tailor-make the best sensor possible for their smartphones and as long as the resulting image is saved as a ProRAW file, ‘it would work from day one in every pro photography process and app like Lightroom without having to wait for Adobe to write a new demosaic algorithm’ for the new sensor.

Next, Sandofsky explains how Apple is baking in the ‘local tone mapping and other computational photography goodies’ right inside the DNG using the new tags found in the DNG 1.6 standard. By using the new tags, Apple is able to apply its Smart HDR and Deep Fusion technology to the ProRAW images. While Halide is opting to not use all of this technology — Sandofsky explains why in detail within his post — it’s still there to leverage in the image editor of your choice or use with another third-party camera app should the developers choose to. ProRAW images also store semantic maps — the depth data used in Portrait mode — which gives developers yet another piece of information to work with.

A comparison image showing the semantic maps of an image next to the original photo.

Sandofsky goes on to explain the file size flexibility of ProRAW files. A standard ProRAW file, captured with the default 12-bit data, is roughly 25MB. But it’s possible for developers to drop that to 10-bit, which roughly halves the file size while still getting ‘most of the ProRAW benefits.’ If that’s not small enough, it’s also possible for developers to use lossy compression on ProRAW files, which drops the files down to as little as 1MB, but as Sandofsky notes, this results in a ProRAW file that isn’t much more versatile than a standard 8-bit JPEG.

A list of Raw and ProRAW shooting options the Halide team has implemented into its camera app.

Another neat trick is that it’s possible to store a fully-processed JPEG version of an image directly inside the DNG file. Apple doesn’t do this by default in its iOS Camera app, third party developers can choose to do this, which would ensure apps that don’t support DNG files, such as Instagram, can still use the processed JPEG image. Halide says it’s added this option in its app, but do note it will add an extra 4MB or so to the file size, due to the extra baggage.

In conclusion, Sandofsky notes that ProRAW ‘is a leap forward for everyone, but it will be especially impactful for beginning photographers.’ With Apple supporting Raw editing directly in its iOS Photos app, even casual photographers will be able to have the flexibility of editing a ‘Raw’ file format — even if they’re not using more advanced editing apps such as Affinity Photo, Adobe Lightroom, Capture One, etc.

Sandofsky wraps up his post talking about how the Halide team is further pushing the boundaries of ProRAW with its app, but we’ll let you read that over on the full post, linked below. You can download the Halide camera app in the iOS App Store.

Understanding ProRAW


Image credits: All images and illustrations by Halide, used with permission.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina Shuts Down Due to “Massive Decline in Markets”

30 Nov

The post Photokina Shuts Down Due to “Massive Decline in Markets” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Photokina trade fair canceled sign

Photokina, the world’s most prominent photography trade show, will be closing its doors “until further notice.”

Photokina was first launched in 1950, before quickly becoming a biennial fair for exhibitors – including top imaging companies – to show off their latest photography equipment to the public. The event took place in Cologne, Germany, with vendors and visitors (often in the hundreds of thousands) flocking from around the world to view class-leading photography gear.

But enthusiasm for Photokina waned in recent years, with the rise of social media and smartphone photography relegating more traditional, higher-end photography equipment to the sidelines.

While the Photokina organizers sought to combat these problems by increasing the number of events (Photokina was to become a yearly trade show as of 2018) and by broadening the definition of the event so that less traditional vendors could take part, this did little to address Photokina’s fundamental problem: the overall decline of the camera market.

As the organizers explained in the press release announcing the suspension of Photokina:

In view of the further massive decline in markets for imaging products, Koelnmesse has decided to discontinue organizing Photokina at its Cologne location for the time being…The trend in this industry, with which we have always had a close and trusting partnership, is very painful for us to witness. But we are facing the situation with a clear, honest decision against continuing this event, a decision to which, unfortunately, we have no alternative.

They go on to explain that these problems were present long before the market’s COVID-19 downturn, and that “an event held in 2022 could not have met the expectations of the entire imaging community that those efforts were intended to serve.”

Hence the decision to shut down Photokina for the foreseeable future.

While this news is sad, especially for those who attended Photokina frequently in the past, it’s far from unexpected. As indicated by the initial adjustments to Photokina – changes began back in 2014 – the organizers were struggling to maintain interest. Then the 2019 event was dropped, and the 2020 event, scheduled for this past May, was canceled due to COVID-19.

Technically, Photokina could resume at some point in the future. But barring some sudden reversal to the camera market, Photokina is likely gone for good.

Now over to you:

What do you think about this news regarding Photokina’s suspension? Do you think the trade fair will ever come back? And are you worried about what this says regarding the overall decline of the imaging market? Share your thoughts in the comments!

The post Photokina Shuts Down Due to “Massive Decline in Markets” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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iFixit tears down the iPhone 12 Pro Max, showcasing new camera tech

24 Nov

Customers have gotten their hands on Apple’s latest family of iPhones, including the largest iPhone ever, the iPhone 12 Pro Max. While customers have been enjoying using the new phones, over at iFixit, the team has been busy tearing them apart. They’ve taken apart the iPhone 12 mini and the two medium-sized iPhone 12s, the 12 and 12 Pro. Over this past weekend, the iFixit crew got to work dismantling the iPhone 12 Pro Max.

Image courtesy of iFixit and Creative Electron.

Before diving in, it’s worth recapping the iPhone 12 Pro Max’s features. It is powered by an Apple A14 Bionic system on chip and includes 6GB of RAM. Internal storage options include 128GB, 256GB and 512GB options. The phone features a 6.7″ Super Retina XDR OLED display with a P3 wide color gamut and Apple’s True Tone technology. It is the largest display ever in an iPhone, and according to DisplayMate, it’s a fantastic display.

iPhone 12 Pro Max camera modules. Image courtesy of iFixit.

With respect to photography, the iPhone 12 Pro Max has unique components. It has a 12MP triple camera system like the iPhone 12 Pro, but the Max includes a 47% larger image sensor, a faster F1.6 lens, improved image stabilization, a new 65mm (equivalent) telephoto lens, and improved high ISO performance. If you want to learn more about the performance of the new camera system in the iPhone 12 Pro Max, check out this article: ‘Halide’s deep dive into why the iPhone 12 Pro Max is made for ‘Real Pro Photography’.

X-ray image of the iPhone 12 Pro Max’s rear camera module. The bottom left camera, the standard wide angle camera, has a 47% larger image sensor than the camera found in the iPhone 12 Pro. The four black magnets around the same camera are used for the new sensor-shift image stabilization feature, found exclusively in the iPhone 12 Pro Max and not Apple’s other iPhone 12 models. Image courtesy of Creative Electron and iFixit.

After taking apart the iPhone 12 Pro Max’s new case construction, iFixit was able to investigate the new camera array. As you can see in the x-ray image above captured by Creative Electron, the standard wide camera (shown bottom left) has a noticeably larger image sensor. You can also see magnets around the sensor, which are being used for the new sensor-shift image stabilization tech found exclusively in the iPhone 12 Pro Max. For those lamenting the lack of the larger sensor in the standard iPhone 12 Pro, iFixit states that ‘There’s a decent chance this sensor wouldn’t fit in the cramped corner of the smaller iPhone 12 Pro without compromises.’

Close-up image of the standard wide angle camera module in the iPhone 12 Pro Max. Image courtesy of iFixit.

There’s a lot to see inside the iPhone 12 Pro Max. You can head to iFixit’s teardown for more photos and information about the different internal components and how they relate to the features of the iPhone 12 Pro Max. You can also see a replay of iFixit’s live-streamed teardown of the phone below.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Down

21 Nov

The post Weekly Photography Challenge – Down appeared first on Digital Photography School. It was authored by Sime.

We did ‘Up’ a few weeks back… It made me think about how SO many of us walk from place to place looking down at devices (I’m not going to start in on the whole devices thing, don’t worry!) but it did make me think about what we miss by not looking at what we’re walking over, details or cracks in the pavement, etc. It can take some extra work to make ‘Down’ look good, and so with that gauntlet thrown down, let’s see what you’ve got… (Side note, if you fly a drone, this week is a good time to share your aerial photographs!)

Make sure you tag your photograph #dPSDown wherever you post it!

Weekly Photography Challenge – Down
Weekly Photography Challenge – Down
Weekly Photography Challenge – Down

SO ‘down‘ from your camera or your drone or wherever you like, just has to be ‘down’ – and yes, bonus points for alternate interpretations of ‘down’ – Just make sure you tag your photo #dPSDown wherever you post it! Oh, and don’t forget, you can try all of our previous challenges over here —> CLICKETY CLICK!

Great! Where do I upload my photos?

Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on FlickrInstagramTwitter, or other sites – tag them as #dPSDown to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

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The post Weekly Photography Challenge – Down appeared first on Digital Photography School. It was authored by Sime.


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Lensrentals tears down the Canon EOS R5 and finds interesting sealing and thermal flow

09 Sep
Image credits: Photos published with kind permission from Lensrentals.

Since Canon announced the 8K-capable EOS R5 mirrorless camera, there has been heated discourse online about the thermal flow inside the camera and its propensity to overheat. Curious photographers have been wondering what the inside of the EOS R5 looks like and what sort of design features Canon has implemented into its latest high-resolution full frame camera. Wonder no more as Roger Cicala and Aaron Closz at Lensrentals have disassembled a Canon R5 to see what’s going on inside.

In terms of thermal design, when tearing down the R5, the duo found multiple heat sinks and thermal pads. For a photo camera, there is a lot of heat sink inside the EOS R5. However, compared to a video camera, the R5 features ‘not even a fraction of what’ is seen in a video camera.

Cicala speculates that it’s possible the camera has been designed to allow heat to exit through the top panel of the camera, as the connection of the top panel to the main body does not feature the same level of sealing found in the connections between the body and the bottom and side plates.

You can see some of the sealing along the edges where the side plate attaches to the main body. Image credit: Lensrentals

Speaking of sealing, after having removed the camera’s grip, battery door, bottom plate and side plates, Cicala and Closz found an impressive level of sealing throughout the camera. The battery door has weather resistant gaskets around the edge and the bottom of the battery door compartment itself is a soft gasket material.

Along the bottom plate, Canon placed a ‘soft rubber gasket along the entire mating edge of the pieces.’ This provides a ‘greater seal area’ than what is usually seen in disassembled cameras at Lensrentals headquarters. The same sealing gaskets found here are also present where other body parts are sealed together, such as along the sides of the camera.

Of the weather sealing in the EOS R5, Cicala writes, ‘When we took these pieces apart, you feel the suction when they disengage. That’s not something we’ve seen in other cameras. The thing about weather sealing is it only takes one weak place to leak, but this sealing seems to be a step up from anything we’ve seen before.’ This is certainly a promising find for prospective R5 owners.

While there are gaskets around the I/O ports on the R5, Cicala notes that the HDMI and digital out ports are part of the main printed circuit board (PCB). This means that users should be careful to not damage these ports, as it will result in an expensive repair. On the other hand, the tripod plate and tripod mount itself are both replaceable parts and not soldered anywhere. This is great news for the team at Lensrentals, as they regularly must take apart cameras to make repairs like this before sending them out to new customers.

Moving to the back of the camera, the R5 has more dials than the EOS R but maintains an identical wiring arrangement. There’s a new flex design on the LCD side and you can even see a mark made by a Canon tech in the image below.

On the back of the circuit boards, there is a notable difference between the EOS R5 and the EOS R. The new camera has ‘immensely more intense and dense circuitry.’ In the image below, the green sub-board ‘appears to be about DC power conversion.’ On the left black board, the large white chip is a Wi-Fi chip.

Located beneath the green sub-board is either an aluminum heat sink or an electronic shield. Cicala notes that ‘electronic shields tend to be quite thin, but this is a manly piece of aluminum, 0.98mm thick. I speculate it’s more about heat than electronics. Notice I said ‘speculate.”

When removing the main PCB, Cicala and Closz found a large aluminum heat sink on the underside of the board. There is a layer of insulating tape over the sensor as well. There is also a thermal pad located underneath the CPU, which Cicala speculates means that Canon is directing heat from the four SDRAM chips located around the CPU to one heat sink and the heat from the CPU itself to a different area.

After removing the circuitry, the Lensrentals team was able to inspect the image stabilization system and image sensor arrangement. The sensor assembly is held in place by three screws. To ensure that the image sensor stays perfectly parallel to the lens mount, Canon uses shims to make tiny adjustments. The EOS R used spring tension screws instead. Cicala assumes that ‘the vibration of an IBIS unit could loosen them over time’ and notes that ‘every IBIS camera we’ve opened uses shims.’

Once the circuitry and image sensor/IBIS unit has been removed from the R5’s body, there’s not much left besides the shutter assembly. Lensrentals don’t take apart shutter assemblies as they are incredibly labor-intensive to rebuild and if anything is not lined up perfectly, the shutter timing will be off and only factory software can be used for recalibration.

The sensor is mounted directly to the IBIS plate. Some cameras use screws and plastic tabs to support the sensor, which Lensrentals has seen result in fractures. ‘On all the edges of the Canon unit, the sensor is mounted directly to the IBIS plate; no tabs. That doesn’t mean it can’t break, of course, or glue comes loose. But this seems sturdier to me,’ says Cicala.

Summing up the findings, Cicala writes that the R5 is ‘pretty thoroughly filled up, there are lots of parts and not much air.’ The new weather sealing method found in the lower two-thirds of the camera ‘seems to give a really, really tight seal.’ The IBIS unit ‘is very compact but well-engineered.’

With respect to thermal flow, Cicala believes there are a pair of separate heat sinks. One of them is located under the voltage board and the other between the main PCB and sensor assembly. Both heat sinks include thermal pads to direct heat. There may also be a heat sink in the tripod plate, although it’s unclear. Cicala says, ‘In a small photo camera, there’s not a lot of ventilation/convection current to let the heat out. This camera is better sealed than most; I doubt there’s very much ventilation at all. Somebody should look into that.’

For many more images and details, head to Lensrentals’ full teardown.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down a $10K Fujifilm GFX 100 corroded by saltwater

01 Sep

What happens when even a splash of saltwater makes its way inside a $ 10K Fujifilm GFX 100? Just ask Roger Cicala, Founder of Lensrentals.

For their latest teardown, Roger and his trusty teardown assistant Aaron took apart one of Fujifilm’s medium format cameras that had been damaged during a rental, wherein it was used inside a dive housing. Fuji Service told Roger a ‘repair [was] not possible,’ and the insurance claims were already paid out, so the dynamic duo took it upon themselves to salvage what components they could.

That is not how a PCB should look.

The general rule of water damage, according to Roger, is ‘it’s always worse on the inside.’ And, unfortunately, in the case of this GFX 100, that tidbit proved to be true once again. While the outside looked mostly unscathed, the inside was riddled with corroded screws, flex ribbon cables and solder points.

A literal hands-on look at the massive sensor inside the GFX 100.

Roger and Aaron salvaged what they could — namely the LCD panel, hot shoe and a few other pieces — but as much as the teardown was about getting any functional pieces, it was also about being able to take apart a $ 10K camera without the risk of damaging it.

In the words of Roger, ‘The IBIS unit looks like it could stabilize a small child, and certainly is strong enough to support this big sensor.’

In that vein, Aaron and Roger came across plenty of interesting engineering decisions and components inside the camera. From the robust IBIS assembly to the spring-mounted shutter mechanism, the GFX 100 proved to be as well-engineered as Roger had hoped for a camera of its size (and price). That said, the weathersealing wasn’t quite as impressive as is suggested, so whether it’s freshwater or saltwater, don’t press your luck too much when out in the rain or near the sea.

You can read and view the full teardown on the Lensrentals blog.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down the Canon 600mm F11 IS STM

25 Aug

Roger and Aaron of Lensrentals are back with a new lens teardown, the Canon 600mm F11 IS STM. While it’s not the lens Roger usually goes for (he’s a self-proclaimed connoisseur of ‘high-priced wide-aperture lenses’), this lens fills a niche in the photography world and both Roger and Aaron were interested to see how exactly Canon packs a 600mm focal length into a compact body that weighs just 2lbs.

Before any screws are removed, Roger breaks down the new gapless diffractive optics Canon uses inside the lens. Instead of the first-generation of Canon’s diffractive optics technology, the 600mm uses gapless diffractive optics, which Roger says is ‘basically market lingo for ‘instead of an air space between the DO elements, we invented some special glue.’

An illustration from Canon showing the difference between the first-generation DO optics and the second-generation ‘gapless’ DO optics.

It wouldn’t be a Lensrentals teardown without a few hiccups along the way and this proved no exception. Due to the unique extending-barrel design of the lens, the teardown proved to be a bit more of a learning curve.

The twist-and-lock ring used for extending and locking the lens in place for used being removed.

After getting through the rear lens mount, it was onto the extending section of the barrel. Canon uses a series of metal guides to stabilize the lens when extended. Roger notes these were ‘quite solid pieces of metal going the length of the lens.’

A close-up look at the guides that run along the length of the lens and provide structural integrity when extended.

As you would expect for such an interesting design, the ribbon cables inside were a bit more challenging to trace out than the typical Canon lens. Roger and Aaron made it halfway through the lens before eventually offering up ‘some 4-letter prayer words to the high priests of Canon engineering, because, well, nothing was coming apart.’

So, rather than risking further damage, the duo turned the lens over and started tearing it down from the front of the lens. As was expected after seeing the initial flex cable running down the lens, the electronics of the lens proved to be much different than what’s often seen inside Canon glass, with interesting angles, plenty of tape and even flex solder being used. Despite the differences though, Roger notes that the lens is very much a Canon lens in the optics department.

A close-up view of the front-most element, which in this case is the diffractive optics group.

The duo had gotten as far as they could before Roger was due to leave, so they wrapped it up. In Roger’s summary, he notes that the lens’ electronic construction was very different for a Canon lens, while the optics had a ‘very Canon look, with numerous optical adjustments/compensations using their new, large eccentric collars.’ Roger says he’s convinced these new larger collars are used ‘because Canon is doing automated optical adjustment of subgroups during assembly.’ He adds that ‘nobody else is adjusting to this degree or in this manner.’

You can check out the full teardown in all its glory over on the Lensrentals blog.

Articles: Digital Photography Review (dpreview.com)

 
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Canon image hosting platform, image.canon, temporarily shut down after loss of users content

03 Aug

Over the weekend, Canon’s cloud media hosting platform, image.canon, suffered an outage that left users unable to login and use the service. No specific information was provided over the weekend, but we now know what went wrong.

In a statement shared on the image.canon homepage, Canon confirmed there’s been an issue with its long-term storage on image.canon that’s resulted in the loss of original image and video uploads. The full notice reads as follows:

Important Notice
Thank you for using image.canon.
On the 30th of July, we identified an issue within the 10GB long term storage on image.canon. Some of the original photo and video data files have been lost. We have confirmed that the still image thumbnails of the affected files have not been affected.
In order to conduct further review, we have temporarily suspended both the mobile app and web browser service of image.canon.
Information regarding the resumption of service and contact information for customer support will be made available soon.
There has been no leak of image data.
We apologize for any inconvenience.

To prevent any further issues, Canon has temporarily shut down both the mobile and web app versions of image.canon. Per the notice, we should have further updates ‘soon.’ We will update this article when further updates are provided.

Articles: Digital Photography Review (dpreview.com)

 
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