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What might the Z6 II and Z7 II tell us about future pro Nikon mirrorless models?

02 Nov

The Nikon Z6 II and Z7 II are solid updates to the original Z6 and Z7 but neither represents a ‘new’ concept in the Z-series lineup.

With the Z6 II and Z7 II, Nikon has modernized its high-end Z-series full-frame lineup, and made its offerings more competitive against midrange and high-end ILCs from Canon, Panasonic and Sony. But while the Z7 II is the nominal flagship, it’s clearly not a ‘professional’ model in the same sense as the D6 and (arguably) the D850. While new to the market, neither Mark II model represents a new concept. This means that the gap which has existed at the top of the Z-series lineup since 2018 is still there.

So how might Nikon fill it? What can the Z6 II and Z7 II tell us about a future Nikon pro model?

I’m going to go out on a limb and say that instead of a single semi-pro or professional ‘Z8’ we’ll actually see two high-end models from Nikon, probably announced sometime next year, to be available in summer 2021. They will offer extremely similar controls and UI, but will be based around different sensors and intended for different purposes: one for speed and versatility, and one for resolution and maximum image quality.

For the sake of simplicity as you navigate this article, I’ll call them the Z8 and the Z8 S – with the ‘S’ here being my shorthand for ‘speed and sensitivity’.

Nikon Z8 key specifications (hypothetical)

60MP sensor
10 fps continuous shooting
Full-sensor PDAF down to -4EV
Comparable autofocus performance to D850
Expeed 7 processor
D800-level weather sealing
Dual card slots (2X CFe or CFe + SD)
High-res sensor-shift mode/s

Nikon Z8S key specifications (hypothetical)

20-24MP sensor (possibly Sony 24MP stacked-CMOS from a9/II)
Super-high maximum ISO
20 fps+ maximum continuous shooting (unlimited buffer)
High-quality electronic ‘silent’ shooting
Full-sensor PDAF, sensitive down to at least -5EV
Comparable autofocus performance to D5/6
Expeed 7 processor
D800-level weather sealing
Dual card slots (2X CFe)
High-quality 4K video

Both models will feature D850-level build quality and will offer a similar UI, with a button-and-dial logic for switching exposure modes (rather than the Z6/7’s exposure mode dial). They’ll use the same battery pattern as the existing Z6/7-series, keeping the standard bodies relatively small, but both will be compatible with a twin-battery vertical grip, which will add at least one uniquely ‘pro’ expansion feature (a LAN port, maybe? Or a rear OLED sub-display?). Nikon isn’t going to make the ‘only one card slot’ mistake again so expect twin slots, either both CFexpress Type B, or maybe CFe + SD in the case of the resolution-focused Z8.

Expect the Z8 to feature a relatively low-resolution sensor in the 20-24MP range, paired with a new faster processor

The hardest thing to predict is which sensors Nikon will use in its next-generation of high-end full-frame ILCs. Let’s take the hypothetical Z8S first – the high-speed action-focused model. The 24MP sensor used in the current Z6 and Z6 II is excellent, but dated. It’s fast enough for most photography, but likely not fast enough to support super high frame rate shooting, really cutting-edge autofocus, or next-level 4K video.

It’s possible that Nikon might reuse the Toshiba/Sony sensor developed for the D6, or maybe a version of the 24MP stacked-CMOS chip introduced in the Sony a9 (assuming that Sony Semiconductor is willing and able to supply it). Either way, expect the Z8S to feature a relatively low-resolution sensor in the 20-24MP range, paired with a new faster processor called – and I’m going to go out on a limb again – Expeed 7.

The Sony a9 and more recent a9 II have defined what a ‘professional’ sports and action-focused mirrorless camera should be. I expect Nikon will want to put a Z-mount product into this category as soon as possible.

Low-ish resolution will be the tradeoff for what I’d expect to be a very high frame rate and near-unlimited buffer. The 2020 Olympics never ended up happening but assuming the world of sports and events gets back on track in 2021, you can bet that Nikon will want its mirrorless cameras to be visible on the sidelines alongside high-speed pro models from Canon and Sony.

While it’s possible that the Z6 II will remain Nikon’s flagship video/stills hybrid camera for a while longer, I think it’s more likely that a hypothetical Z8S will represent a step up, offering meaningfully different (better) 4K, aimed at satisfying the needs of semi-pro and professional multimedia shooters. If the sensor does end up being in the 20-24MP range, It won’t be able to shoot 8K but maybe that’s not a bad thing…

A continuous shooting rate of 10-12 fps seems reasonable, but the Z8 doesn’t need to be any faster than that

It’s easier to predict the chip which might go into a hypothetical resolution and IQ-focused Z8. While not currently listed as available to third parties, the Sony Semiconductor 3.76µm 61MP sensor currently found in the a7 IV may become an option for Nikon in the coming months. While not a massive step up in terms of effective resolution over the 46MP sensor in the Z7 II, this high-speed BSI-CMOS chip is a solid technological leap forward.

If a version does make its way into one of Nikon’s future high-end ILCs, I’d expect to see it paired with beefed-up IBIS and a sensor-shift high-resolution mode. A continuous shooting rate of 10-12 fps seems reasonable, but a 60MP camera doesn’t need to be any faster than that.

The Nikon D6 and D850 feature backlit controls for comfort during low/no-light shooting. I’d expect that future professional Z-series cameras will do the same. This shot shows a D5, with its top and rear LCD status panels also illuminated (in pale blue). Maybe a future ‘Z8’ could have an optional vertical control grip with a secondary rear status LCD?

As for autofocus, I’d expect the Z8 and Z8S to offer extremely similar systems (at least in terms of how they operate) which get much closer to the experience of the D850 and D6, including a true analog for 3D AF tracking. The Z6 II and Z7 II seem somewhat improved over the original-generation, but Nikon knows it needs to close the pro performance gap with Canon and Sony, and I expect that this will be a major priority (and a major marketing-point) in future high-end Z-series model.

Much of what I wrote above is wishful thinking, but while this is guesswork, it is somewhat informed

As for cosmetics, I wouldn’t be surprised if Nikon takes the opportunity to break from the slightly angular, skinny-feeling Z6/7-series and create somewhat larger, curvier bodies, somewhere between the D780 and D850. Expect a 10-pin remote release socket and flash sync on the front of the body (like the D850 and D6) and a return to DSLR-style rubberized, recessed control dials.

So that’s my article. And I won’t lie, much of what I wrote above is wishful thinking (I guess I just really want a Z8…). Despite the oft-expressed conviction among commenters that DPReview sees product roadmaps years ahead of time, I know no more about what Nikon is planning in 2021 and beyond than you do. But while this is guesswork, it is somewhat informed, both by Nikon’s approach to building out its DSLR lineup, and by the gaps and omissions in the current Z-series lineup compared to its competitors.

What do you think? Feel free to make your predictions in the comments.

Articles: Digital Photography Review (dpreview.com)

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Nikon might just have made the best entry-level full-framer

25 Jul

It’s famously such a fine line between stupid and clever. And, for that matter, between a brilliant piece of product planning and a complete head-scratcher. History and sales figures may well prove me wrong, but I personally think that the Nikon Z5 makes perfect sense in a way the Z50 didn’t. And that might make it the most interesting entry-level full frame camera.

I criticized Nikon when it launched the Z50, because I didn’t recognize the Instagram-friendly camera the company claimed to have made. Instead I found a rather good enthusiast-friendly camera in a system with few obvious lens options. The Z5 looks a lot like a full-frame Z50, but the different audience that its higher price implies and the shift in sensor size makes all the difference.

A Z6/Z50 hybrid

Visually the Z5 looks like a Z6/Z50 hybrid, with the conventional mode dial from the Z50 grafted on in place of the Z6’s top-panel LCD. You could describe it as a full-frame Z50 or a slightly simplified Z6 and you’d still be right.

It uses an older, front-side illuminated CMOS sensor, which is likely to mean it doesn’t quite match its big brother in terms of image quality but the differences are likely to be small, except in very low light.

With its collapsible zoom and mode dial, the Z5 feels like a hybrid of the Z50 and Z6.

The Z5’s viewfinder is the same resolution as the Z6’s and its control layout is essentially the same. Its back panel is reinforced plastic, rather than magnesium alloy, but Nikon says the weather sealing is just as extensive and both the dimensions and weight are all-but identical.

Lenses

Whereas an APS-C sensor leaves Z50 owners with the choice of a couple of variable aperture zooms (and the promise of an 18-140mm in the works), the move to full frame and slightly more lofty ambitions of the Z5 are much better fit for the Z-mount lenses currently available.

To make a broad generalization, I suspect the kinds of photographers (and, according to Nikon, non-photographers) willing to spend $ 1400 on a Z5 will be more likely to want and buy the well-priced, though still pricey, F1.8 primes the company has introduced. And, by dint of being full-frame, the focal lengths of those primes are more likely to be useful on this camera than the Z50.

The most complete entry-level

Even with its more modest video spec the Z5 isn’t out-gunned by its entry-level peers. But you don’t need to look through its higher-res viewfinder for the Z5 to look like the most interesting entry-level full-frame mirrorless camera. You get a similar perspective if you look at the other cameras’ backstories.

The Sony a7 II was designed as a mid-range camera, but an aging mid-range camera isn’t necessarily better than a modern entry-level one. The distinction is even more dramatic if you compare the higher-end a7R II (which has dropped to the Z5’s launch price) the a7R II has a very good sensor but a very different shooting experience.

Sony has very much done its product development in the public realm: each model in the a7 series has been significantly better than its predecessor (first by adding stabilization, then by offering a larger battery, better AF and revised ergonomics). This leaves the now six-year-old a7 Mark II looking awkward: it’s a very difficult camera to use as soon as you’ve seen or experienced the improvements introduced with the Mark III, no matter how keenly-priced it is.

So it’s not the automatic bargain that getting a formerly $ 1700 for $ 1000 might appear to be. The areas in which it once excelled are at least matched by its entry-level peers and it hasn’t gained any of the ergonomic or interface improvements that have subsequently been developed. So it’s the only camera here without a touchscreen and it hasn’t got the usability improvements of the Mark III. By contrast, the Z5 includes all the AF improvements that the Z6 has gained in firmware over the past two years.

The Canon EOS RP is a really likable camera and the least-expensive full-frame digital camera yet launched, but Nikon has provided a lot of camera for a launch price just $ 100 higher.

Canon approached things from the other direction with the EOS RP: building what software developers might describe as a minimum viable product: the bare basic specs to deliver a credible camera. The result is actually rather likable: it’s not very fast at shooting, the video’s not great and it uses a sensor that’s never been considered particularly good, but the dials are in the right place, it’s easy to use and it produces attractive images. Only the battery life really detracts from the day-to-day experience.

With the Z5 Nikon has clearly started with the Z6 (originally a $ 2000 camera) and found a way to to offer it with a launch price 1/3rd lower. You even get the twin card slots that internet commenters suddenly decided were essential when Canon and Nikon didn’t include them on their mid-priced models (an argument that feels more convincing when it comes to the higher-end Z7).

So it’s not the full-frame Digital Rebel that Canon made, nor is it the tired-looking ex-middleweight champ that Sony offers. It’s not even comparable to the Z50, with its odd mixture of enthusiast-friendly experience and mass-market zooms. Instead the Z5 is a more affordable way to get most of a Z6, and it includes a great many of the improvements that Nikon has made on its Z-mount journey so far.

Now I just really hope it tests and shoots as well as it handles.

Articles: Digital Photography Review (dpreview.com)

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Canon EOS R5: Here’s why you probably don’t need 8K right now (and a few reasons why you might)

23 Mar

Here’s why you probably don’t need 8K right now (and why you might)

Canon’s recent announcement of the new EOS R5 wasn’t completely unexpected, but one of the camera’s key specifications, 8K video, did catch us a bit by surprise. 8K video has been in development for several years, but to date it’s mostly been limited to Hollywood-level cinema production and tech demos by Japanese broadcaster NHK.

With the R5 it looks like that may be about to change. In fact, we now know that the R5 will be able to capture 8K/30p using the full width of the sensor. Of course, there’s a lot more to video quality than just resolution, and we don’t expect the R5 to challenge a camera like the RED Helium 8K, but the fact that 8K is making its way into any consumer mirrorless camera suggests that this could be the tip of the iceberg.

With that in mind, let’s look at some reasons why you probably don’t need 8K video anytime soon – as well as a few reasons why you might.

Almost nobody is watching 8K

8K displays are absolutely incredible, and once you’ve seen one in person you can’t unsee it. It’s exciting to think that some day 8K displays will be everywhere.

But today, they’re not everywhere. In fact, they aren’t really anywhere except for niche locations like post-production environments or the living room of that guy down the street who always has the latest gizmo (and isn’t afraid to pay top dollar for it). Sure, 8K TVs are coming down in price, but they still run into the thousands of dollars and it will be a while before they’re commonplace.

8K TVs are coming down in price, but they still run into the thousands of dollars…

There’s also the question of whether most viewers will be able to see the difference between 4K and 8K. Even with good eyesight, human vision at typical viewing distances will be a limiting factor unless you’re using an exceptionally large display.

In short, there’s really no reason to get an 8K camera in order to deliver 8K content today.

You’ll probably need a new computer

Unless you’re in the high-end video production business, or possibly a really serious gamer, chances are pretty good that your current computer won’t be up to the task of editing 8K video.

The same thing happened when 4K video came on the scene. It wasn’t uncommon to discover that video rigs designed to cut through 1080p footage like butter could get mired down when working in 4K. We needed faster processors, faster video cards, faster storage and, of course, new 4K displays to take advantage of all that resolution.

We can expect similar challenges in the early days of 8K video. Early adopters will pay a premium to upgrade their editing equipment, so unless you really need to shoot 8K today it might be better to wait a couple years for better, and more affordable, mainstream support.

The files will be huge

Remember when we first started shooting 4K video and discovered just how big the files could be compared to HD? We needed larger memory cards, more of them, and in may cases, faster cards to accommodate the increased bit rates required for high quality 4K. Check out our recent review of the Panasonic S1H for a real world example of how this impacted DPReview’s Richard Butler.

Remember when we first started shooting 4K video and discovered just how big the files could be compared to HD?

Larger files also resulted in workflow changes. Some videographers who were used to editing entire projects on a laptop’s internal hard drive had to start carrying around external hard drives, and later, portable SSDs. Even archiving projects required more storage.

High quality 8K video will, to some degree, begin this cycle over again. At least this time we’re starting out in a world in which SSDs are ubiquitous, but we’re still going to need larger SSDs and faster connections to effectively work with 8K files. The good news is that SSDs are gaining capacity as prices continue to fall, and USB 4 promises to deliver faster connections for consumers without the high cost of Thunderbolt, but early adopters will again pay a premium.

Your current video lenses might hit their limits

A single frame of 4K video delivers around 8.2MP of resolution, something that’s comfortably within the resolving range of almost any lens from the modern digital era (and many earlier ones). In contrast, 8K video delivers roughly 33MP frames.

That’s within the working range of quite a few still cameras, and many recent optics are certainly capable of resolving that level of detail. If you already have higher resolving lenses that’s great, but if you’ve been shooting video using older lenses – including some from the digital era – you may find that you need to upgrade your glass to get the most out of 8K video.

To capture still photos from video

We’ve talked about several reasons why you probably don’t need 8K video today, but let’s consider a few reasons why you might want it anyway.

One might be to capture high quality still images from video. Heck, even 4K video provides enough resolution for many purposes, and features like Panasonic’s 4K and 6K Photo modes have been useful to many photographers. Having the option to capture 33MP images from video takes this to a whole new level.

At a recent NAB Show, Canon displayed a gallery of stunning photos that were extracted from 8K video frames; the quality was so high that they could have been shot with a modern DSLR. Of course, extracting photos from video may not be the ideal workflow for all types of photography, but for some it can work very well. We may very well see 8K photo modes on some cameras. Maybe even the R5.

For video post-production

8K video will provide immediate advantages when shooting and editing 4K projects; the camera operator will be able to plan a shot knowing it will be possible to ‘punch in’ later, and the editor will have more creative flexibility when cutting the project together.

The resolution provided by 8K will facilitate 2x cropping to 4K in post with no apparent loss of resolution, making it possible to simulate longer lenses or edit out distracting elements at the edges of a scene. It will also enable editing tricks like virtual zooms and pans. These techniques are frequently employed when editing 4K footage for HD delivery, but now the entire process can be scaled up.

8K will also allow you to do better green screen work. Good chroma-keying depends on the ability to discern fine details around the edges of your subject, such as hair. The more resolution you have to play with, the better. Other factors, such as color sub-sampling, are also important to the quality of green screen work, but all else being equal more resolution is an advantage.

To create even better 4K video

4K video is impressively detailed, but oversampled 4K video is even more detailed. So, even if you don’t need to create virtual crops, zooms or pans in your video you’ll still benefit from the effects of oversampling.

We’ve already seen a number of mirrorless cameras that oversample 4K in-camera, typically from a 6K starting point. However, sampling theory says that 8K is the minimum resolution you need to correctly capture the maximum resolution that 4K can show. In effect, it’s perfect oversampling, similar to the way the original Sony a7S (above) captured 4K and downsampled it to 1080 with zero luma aliasing.

To future-proof equipment

This one is tricky because it requires us to predict the future a bit more. However, there are a couple useful data points we can look at: 1) As a consumer technology, 4K video experienced more rapid adoption than many expected, and 2) The trend among camera buyers is to upgrade their cameras less frequently than they did in the past.

This suggests that 8K technology could be widely available more quickly than we anticipate as well. In fact, it’s already showing up on some smartphones. As a result, if you plan to keep your next camera for a while and want to make sure it’s future-proof, then it may be a good idea to ensure your next purchase is 8K-ready.

To future-proof content

There was a time when widespread access to HD TVs and displays seemed a long way off, but savvy content creators, including a lot of small, independent videographers, were already producing content in HD instead of SD. Why? Because they knew that if they didn’t, once HD was more widely adopted their content would appear dated quickly (and possibly even be excluded from some platforms).

This was true during the transition from HD to 4K as well, and we’ll likely see a similar trend as we move to 8K. Whether the visual difference between 4K and 8K at standard viewing distances is as noticeable as the previous transitions is debatable: both have so much detail it might be difficult to tell them apart.

Whether the visual difference between 4K and 8K at standard viewing distances is as noticeable as the previous transitions is debatable…

However, screens keep getting larger over time: the 24″ TV that sat in a family’s living room in the 1980s became a 65″ TV by the 2010s. If screens get big enough, the difference between 4K and 8K might actually become noticeable. There’s a counter argument to this, of course, which is that many people watch more content on the tiny screen that fits in their pocket than on a TV, so it depends a lot on your target audience.

Ultimately, if future-proofing your content is important, it might make sense to begin working in 8K early.

8K is coming, but do you need it now?

The Canon EOS R5 is likely the first of many cameras we’ll see with 8K video. At a technical level, we should at least recognize that this is a pretty impressive accomplishment for any manufacturer. However, whether you truly need 8K video in the near future is debatable.

If you’re the type of person who mostly shoots video to capture your own life adventures, share movies with friends on social media, or does fairly minimal editing on the video you shoot then there’s little incentive to adopt 8K today. Chances are good that you won’t notice much difference.

If you’re the type of person who mostly shoots video to capture your own life adventures… chances are good that you won’t notice much difference.

On the other hand, if you’re serious about video and produce 4K content, 8K has the potential to benefit your workflow: cropping to 4K in post, digital pans and zooms, and downsampling to create better 4K video being just a few examples. 8K will appeal to some stills photographers as well. Do you enjoy using 4K and 6K photo modes on your camera to nail the perfect frame? If so, you’ll probably love 8K photos.

Not sure if 8K is in your future? You can watch this 8K video on YouTube while you decide. Of course, you’ll need an 8K monitor to properly watch it, which you can find here. We’ll wait while you try it out.

Articles: Digital Photography Review (dpreview.com)

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Video: The crowdsourced winner of MKBHD’s blind smartphone test might surprise you

21 Dec

Popular tech personality Marques Brownlee has published his latest blind smartphone camera test, this one featuring many of the most popular flagship smartphones from 2019, including the iPhone 11 Pro, Google Pixel 4, Galaxy Note 10+, Huawei Mate 30 Pro, and OnePlus 7T Pro.

Each smartphone camera was used to capture a basic profile shot of Brownlee in a natural lighting environment in front of a partly cloudy blue sky. Assessments of the results came from public opinion; millions of Instagram and Twitter users were asked to choose which images they thought had the best quality.

Brownlee reveals the results from these polls in his 2019 blind smartphone camera test video above. The results from the first polling bracket are surprising: the One Plus 7T Pro smartphone, for example, beat the iPhone 11 Pro in the court of public opinion.

Both the Samsung Note 10+ and the Galaxy S10e took the final two bracket slots, with the Note 10+ ultimately crowned the victor.

Articles: Digital Photography Review (dpreview.com)

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LG’s G8X ThinQ Dual Screen might just be a killer feature ahead of its time

17 Nov

The LG G8X ThinQ is the South Korean brand’s latest high-end smartphone and was launched at IFA in September. It’s powered by Qualcomm’s Snapdragon 855 top-of-the-line chipset and features a 6.4-inch AMOLED display with FullHD+ resolution, 6GB RAM and an under-display fingerprint reader.

On the camera side of things the new model relies on similar hardware as previous LG devices but has to make do without the dedicated tele lens that could be found on the G8 ThinQ. The X-model’s dual-camera setup combines a primary camera using a 12MP 1/2.55″ sensor and F1.8 27mm equivalent lens with an ultra-wide camera that offers a 13MP resolution, F2.4 aperture and 16mm equivalent field of view. The primary camera also features OIS and PDAF.

The device’s standout feature is an attachable dual-screen case, though. It allows you to double the overall screen size and resolution, similar to other recent dual-screen devices, such as the Huawei Mate X or Samsung Galaxy Fold.

We’ve had the chance to use the LG G8X ThinQ with Dual-Screen accessory for a few weeks now. Read on to find out what the Dual Screen has to offer for mobile photographers.

The Dual Screen accessory

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The G8X ThinQ’s dual-screen solution is different from other dual-screen devices in that the secondary screen can be removed when not needed. This means you have a very visible border between the two displays, but you can also leave the secondary display at home when not needed – which is a good thing as it adds quite a bit of bulk and weight.

The secondary display is embedded into a case that the G8X can be inserted in, and connects to via its USB-C port. This means you need an accessory dongle for connecting a USB-cable when the Dual Screen is attached. This is not a major issue but, like any small accessory item, the dongle is quite easily lost if you’re not careful. The G8X is capable of wireless charging as well, though.

There’s no need to open the case to check the time or to see if you have any new notifications

The Dual Screen case does not have its own battery and instead draws power from the phone’s. LG claims the Dual Screen increases power consumption, depending on use, by between 20 and 30 percent, which is line with our experience.

The secondary display itself is the same P-OLED type, size and resolution as the primary one and we also found the color rendering to be identical. The hinges of the case allow for 360-degree movement, and at the front there’s a 2.1″ monochrome OLED cover display that shows app notifications as well as time and date. This means there’s no need to open the case to check the time or to see if you have any new notifications.

The rear portion of the case comes with a cutout, allowing you to use the phone’s camera while it’s in the case.

Dual-Screen controls

Once the Dual Screen is connected a control button appears on the right edge of the main display. A tap opens up the controls which let you swap the content of the two screens or turn the secondary display off.

The Dual Screen has its own app drawer and you can place app shortcuts and widgets on it in exactly the same way as the main display. In the Dual Screen settings you can adjust brightness of the secondary display (or set it to be the same as the main screen), turn off the cover display and Dual Screen control button, and set an app to open when the Dual Screen is turned on among other options.

Multi-tasking

Multi-tasking is the Dual Screen’s main purpose. For example, you can watch a video on one display while writing and sending a message on the other, or use Google Maps for navigation at a holiday destination while browsing a travel app.

In terms of use for imaging purposes, the options are (still) slightly limited. You could have the camera or an image editing app on one screen while browsing Instagram or another image sharing app on the other, but overall workflow efficiency gains are fairly small. At this point the Dual Screen is mostly about convenience: you can continue your Whatsapp-chat while preparing an Instagram-upload or editing an image.

Mirror Mode in the Camera app

App support for the Dual Screen is currently still quite limited but fortunately the LG Camera is one of the few apps that makes use of the secondary screen. With the Dual Screen attached you can turn on Mirror Mode. As the name suggests, it mirrors the camera’s preview image on the secondary display.

Combined with the ability to angle the latter any way you like, this feature can be really handy when shooting overhead or at low height, just like a tilting display on a regular camera. You can also use the secondary screen like a waist-level viewfinder which is particularly helpful for holding the device in a stable fashion when recording video.

It’s worth noting though that the mirrored display only comes with a shutter/video button. For all other controls you’ll still have to go back to the main screen. You can however swap the display content using the Dual Screen controls.

Wide Mode

Wide-view expands an app across both screens, offering an overall display size of 12.8 inches. This can be great for reading websites, viewing images and watching video but in many cases, especially when consuming multi-media content, the 15mm combined bezel between the two screens somewhat limits the experience.

The fact that the feature currently only works with websites viewed in the Chrome browser is another downside. Still, Wide Mode can be useful for viewing websites in desktop mode or on those occasions when additional real estate increases usability, for example when viewing and navigating a map.

Extended View

In Extended View mode an app is divided into two screens. Unfortunately this feature is currently only supported by two apps – the LG Gallery and the Naver Whale browser – but LG says it is expecting support to be expanded to additional apps in the future.

In the Gallery app you can tap on the Dual Screen button to expand the view. This allows you to browse thumbnails on one screen and open the full image on the other. You can zoom into the full image as well as share or delete it in this viewing mode. However, if you want to add a memo or edit, you’ll have to go back to the main screen, so the Dual Screen’s added value is somewhat limited in this instance.

LG’s Naver Whale is a web browser and allows you to view websites in Wide Mode, just like Chrome. However, it also lets you open links on the secondary screen by double-tapping them. This can be useful when browsing shopping websites for example, when you don’t have to jump back and forth between your list of search results and product pages. You simply keep the list open on one screen and open product pages on the other.

In a similar manner, when browsing Instagram or equivalent sites you can keep a user’s profile page open on the main screen and open individual posts on the secondary display. All this has to happen in the browser, though.

Virtual Game Pad and Keyboard

This Dual Screen use case is arguably the one that LG has implemented best so far. The Dual Screen can be used to display a virtual gaming pad. Android recognizes the app as connected bluetooth hardware which makes it compatible with any game that supports this kind of hardware. The pad is also customizable.

We’re no gamers but after a few trial runs on Asphalt 9 it’s fair to say the pad works quite well. A hardware pad is arguably a better option, but this virtual implementation isn’t far off.

The LG keyboard offers a very similar function. You can display a soft-keyboard on the main screen while having the app you are writing in, for example Gmail or Instagram, open on the secondary screen. The keys are larger than they’d be on a usual split-screen style keyboard and allow for more comfortable typing. We would not recommend it for writing your next novel but shorter pieces of text are absolutely manageable in this setup.

Conclusion

LG is a smartphone manufacturer who does not shy away from risky development decisions. Some years ago the company introduced a modular system with its G5 model which was very innovative but ultimately proved commercially unsuccessful. It was also among the first to introduce ultra-wide angle cameras to smartphone photography which today are pretty much ubiquitous.

The Dual Screen follows in this tradition but at the current stage it’s still too soon to say if it will go the way of the G5 modules or become a success like the ultra-wide camera. It’s fair to say that for the latter to happen more apps will probably need to support the secondary screen.

The most useful feature for photographers is Mirror Mode in the camera app which helps when shooting at awkward angles

Right now it provides the most obvious benefits to those users who like to multi-task, letting you work in two apps at the same time. The ability to consume content across two screens or separate app controls from the main screen are great but unfortunately only work with a very limited number of apps. Currently, the most useful feature for photographers is Mirror Mode in the camera app which helps when shooting at awkward angles.

For everybody else, and especially those who write a lot on their smartphones, the virtual keyboard on its own might be an argument to purchase a G8X ThinQ with Dual Screen. If that doesn’t quite convince you yet it’s probably a good idea to wait and see if the Dual Screen will get more support from app developers.

Articles: Digital Photography Review (dpreview.com)

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Xiaomi might be developing a phone that can shoot 8K30p video

26 Sep

Xiaomi Mi Mix Alpha

The team at XDA Developers has dug deep into the source code of the camera app that comes with the latest Xiaomi MIUI 11 update and found an interesting detail: a string in the code indicates the app will support devices that are capable of recording 8K (7680×4320) video at 30 frames per second.

No current Xiaomi model can record video at such a high resolution which suggest the Chinese manufacturer could be working on a new 8K-enabled device. The recently announced Mi Mix Alpha concept phone, which comes with Samsung’s 108MP Bright HMX sensor, is limited to 6K at 30 fps. and the only currently available device that can record 8K footage, the Nubia Red Magic 3, is limited to 15 fps.

Battery drain and overheating could be potential problems for any phone recording such high-resolution footage. We’re looking forward to seeing how Xiaomi will be managing these issues in the finalized device if it ends up coming to market.

Articles: Digital Photography Review (dpreview.com)

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6 Reasons Your Photos Might Be Lacking Sharpness

31 Aug

The post 6 Reasons Your Photos Might Be Lacking Sharpness appeared first on Digital Photography School. It was authored by Kav Dadfar.

Capturing sharp photos needn’t be difficult. Most amateur photographers who struggle to capture sharp photos make one of the common mistakes listed below. The good news is that with a little bit of practice and knowhow, you will be able to take sharp photos most of the time. At the very least, you should accept that you will make mistakes and have blurred photos from time to time when starting out. Instead of getting frustrated, try to analyze each blurred photo to understand why it might be lacking in sharpness. In the meantime here are 6 reasons your photos might be lacking sharpness.

Reasons-Your-Photos-Might-Be-Lacking-Sharpness

Reasons your photos might be lacking sharpness

1. Shutter speed too slow

Often this is the number one culprit for photos lacking sharpness. There are three potential mistakes when it comes to shutter speed. The first is simply the question of are you using a fast enough shutter speed for what you are photographing? For example, a cheetah running will need a much faster shutter speed to freeze the action. Whereas, a statue doesn’t. So the first thing you should do is understand what shutter speed you need for the subject you are shooting. As an example, you might be able to get away with something like 1/60th sec when taking a portrait. But for someone running, you will need a shutter speed of something like 1/200th sec.

The second issue is around the lens you are using. As a general rule, your shutter speed should at the least be the same as your lens focal length. So for example, if you are shooting with a 200mm lens, your shutter speed should be at least 1/200th sec. However, there is a slight caveat to this rule. Image stabilization in modern lenses is very good. It can allow you to shoot below the minimum required. But, to be safe, stick to this rule.

Lastly, how fast you need for your shutter speed also comes down to you. If you have steady hands, then you may be able to shoot sharp photos at a slower shutter speed than someone else. Test this out by photographing a scene at different shutter speeds to determine how slow you can go.

Closer inspection of this photo reveals that there is a lack of sharpness.

2. Not using the correct aperture

Your aperture determines your depth of field. This also has a major impact on the sharpness of your photo. For example, if you are photographing a landscape scene with a shallow depth of field like f/2.8, then only a small part of your scene will be sharp. Depending on where you focused, only things along that distance will be sharp. So in this scenario, where you want more of your image to be sharp, you need to use a smaller aperture (i.e., higher f/number).

For something like landscape photography, you need to use an aperture of f/8 or smaller.

Reasons-Your-Photos-Might-Be-Lacking-Sharpness

3. ISO is too high

Even though modern-day DSLRs have hugely improved in the amount of noise that appears in photos at high ISOs, unfortunately, it still does affect sharpness. If you set your ISO too high, your image will begin to look soft and as a result lack sharpness. Always remember only to raise your ISO as high as you need to.

Better still, if you can, use a tripod and keep your ISO low.

Image: This photo was taken at 6400 ISO. When zoomed in, as you can see the noise is making it feel...

This photo was taken at 6400 ISO. When zoomed in, as you can see the noise is making it feel soft.

4. Haven’t locked up mirror

A lot of amateur photographers may not be aware of this potential issue when using a tripod. Every time that you click the shutter button, the mirror inside the camera flips over to allow light to hit the sensor.

When you are using a fast shutter speed, this process doesn’t cause any problems. But when you are photographing using a long exposure where your shutter speed is very slow, when the mirror flips over, the vibrations can cause a lack of sharpness in your image. You can either use the function in your DSLR menu to “lock mirror” or shoot in live view mode for the same effect.

Image: An example of the lack of sharpness even when using a tripod when the mirror hasn’t bee...

An example of the lack of sharpness even when using a tripod when the mirror hasn’t been locked.

5. Poor quality tripod

Just like anything else, there are good quality tripods and poor quality tripods. Of course, buying a better and more sturdy tripod might be expensive, but isn’t that a price worth paying for sharper photos?

A poor quality tripod will put your expensive equipment at risk because it may not be sturdy enough even to withstand a gust of wind. However, cheap material can also be prone to vibrations, which, in turn, can mean a lack of sharpness in your photos.

So don’t take the risk. Ideally, invest in a good quality carbon fiber tripod.

6 Reasons Your Photos Might Be Lacking Sharpness

6. Not using a remote or self-timer

Even the faintest of touches can cause camera shake when photographing at long exposures. This means that even when you press the shutter button to take a photo, you are causing movement. The only way to be sure that your photos will not suffer from camera shake is to use a remote release or the self-timer on the camera. This will ensure you will not have to touch the camera when you take the photo.

Reasons-Your-Photos-Might-Be-Lacking-Sharpness

By far the best way to ensure that your photos are sharp is to use a tripod. But whilst that is not always possible or convenient, by following the advice above you can still ensure that your photos will be sharp.

We hope these tips help you achieve sharper photos! Do you have any other tips to add to the reasons your photos might be lacking sharpness? Share with us in the comments!

The post 6 Reasons Your Photos Might Be Lacking Sharpness appeared first on Digital Photography School. It was authored by Kav Dadfar.

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Your Canon DSLR Might Be Hacked; Here’s What You Should Do

15 Aug

The post Your Canon DSLR Might Be Hacked; Here’s What You Should Do appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-dslr-ransomware Do you use a Canon DSLR?

If so, watch out. Because hackers can exploit your camera and hold your images hostage.

Seriously.

Let me explain:

Ransomware is malicious software that hackers can use to infect your camera. Once the ransomware gains access to your camera, it encrypts your images, making them completely inaccessible to you.

That’s when the hacker makes a demand:

If you ever want to see your photos again, you must pay a sum of money. In return, the hacker will give you an encryption key, which allows you to break the encryption and access your images.

In other words:

The hacker holds your images hostage. And if you want them back, you have to pay the ransom.

For some, ransomware might not be news. Ransomware attacks have been going on for decades.

Except it was only this year that a company called CheckPoint demonstrated the hackability of Canon cameras. CheckPoint realized that Canon’s Picture Transfer Protocol (PTP) could be easily exploited by hackers through a USB connection or, more disturbingly, over Wi-Fi.

Then CheckPoint carried out a ransomware attack on a Canon 80D, and they did it over the camera’s Wi-Fi connection. The attack required absolutely no interaction with the camera owner.

CheckPoint shared their findings with Canon, prompting the company to produce a security advisory that warns consumers of the dangers of a “third-party attack.” Read the full security advisory on the Canon website.

Canon is now working hard on a patch for this vulnerability and has already produced a firmware update for the Canon 80D.

Meanwhile, Canon has released recommendations for other camera users:

Ensure the suitability of security-related settings of the devices connected to the camera, such as the PC, mobile device, and router being used.
Do not connect the camera to a PC or mobile device that is being used in an unsecure network, such as in a free Wi-Fi environment.
Do not connect the camera to a PC or mobile device that is potentially exposed to virus infections.
Disable the camera’s network functions when they are not being used.
Download the official firmware from Canon’s website when performing a camera firmware update.

So for owners of the Canon 80D, I suggest you update your camera. You don’t want to remain vulnerable.

And for anyone else with a Canon camera, keep an eye out for Canon firmware updates. This is especially critical if your camera features a Wi-Fi connection, which can be exploited much more easily than a USB connection.

Do you own a Canon with a wif-fi connection? Will you be updating your firmware?

The post Your Canon DSLR Might Be Hacked; Here’s What You Should Do appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Video: The Asus ZenFone 6 flip-camera module is more durable than you might think

21 Jun

The Asus ZenFone 6 comes with a rotating camera module that does away with the display notch and means there is no requirement for a front camera, as the main module can simply be rotated to point towards the front when required.

Asus says the camera module housing is extremely durable and the flip mechanism has been tested for 100,000 actuations. It also closes automatically when a drop is detected.

If this still isn’t enough to convince you that there’s no need to worry about the camera module’s durability, watch the video above. Zack from Youtube channel JerryRigEverything demonstrates how much abuse the ZenFone 6, and specifically its camera, can take…and it’s a lot.

Be warned though, the video does not make for easy watching. Zack pushes and pulls the rotating module, twists the hinges and even sellotapes various items to it in order to see how much weight the motor can lift.

The good news is that the Asus withstands all the abuse without any issues and motor, gears and the entire flip-mechanism keep working perfectly. In the video, you can also see the display and housing scratched and heated but most of the camera torture happens right at the beginning and from 5:17 in the clip.

Articles: Digital Photography Review (dpreview.com)

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ZTE’s next flagship phone might come with a sideways-sliding camera

18 Mar

Image: Notebook Italia

Last year we witnessed the appearance of upwards-sliding mechanisms and hole-punch displays on smartphones, both technologies designed to conceal the front camera and maximize the screen-to-body ratio.

Now it looks like Chinese manufacturer ZTE has come up with a modified version of the sliding mechanism. If the images posted by Italian publication Notebook Italia are genuine, the company’s upcoming high-end model Axon S will feature a sideways-sliding mechanism that hides both front and rear cameras.

Image: Notebook Italia

The advantages of the latter aren’t quite clear (as no additional display surface is freed up) but the feature definitely results in a design that makes the Axon S stand out from the crowd.

Labels on the device indicate the three cameras on the rear will include a 48MP primary unit and a 19MP secondary tele lens with 5x optical zoom. The primary camera will have an adjustable (F1.7-2.4) aperture and the tele camera module comes with an F3.8 aperture. The specifications of the third camera aren’t quite clear.

Image: Notebook Italia

We don’t know if or when the Axon S will be released or how much it will cost, but the device could be something to look forward to, both from a design and camera specification point of view.

Articles: Digital Photography Review (dpreview.com)

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