Sigma UK recently collaborated with the company Sent Into Space to send a pair of Sigma fp full frame mirrorless cameras into the upper atmosphere. Sigma 14mm F1.8 lenses were used on each camera. It’s a notable kit because it combines the world’s smallest and lightest full frame mirrorless camera with the brightest full frame 14mm prime lens available.
The Sigma fp cameras and 14mm F1.8 lenses were attached to weather balloons and sent up to an altitude of roughly 19 mi. (about 30.5km). At altitude, the cameras captured high-resolution photos and 4K RAW video of Earth.
No good marketing operation is complete without stunning media to share with prospective customers. Sigma UK published a video to document the process of sending Sigma fp cameras into near space and show off the amazing results of the project.
The launches took place in Sheffield and the first Sigma fp to gain altitude was dedicated to recording 12-bit 4K UHD Raw video and the second camera was dedicated to capturing 24.6MP still images. Each camera was part of a kit that includes on-board equipment to provide data and telemetry back to the Sent Into Space team back on the ground.
The balloons, filled with hydrogen, expand considerably during the ascent. As the atmosphere gets thinner, the gas inside the balloon tries to escape to fill the vacuum. At a certain altitude, the balloon will fail and burst, and the equipment will return to the surface aided by onboard parachutes. As Chris Rose of Sent Into Space points out in the video above, the payload will actually descend at up to 250 mph before the atmosphere gets thick enough to act against the parachute.
Each camera was sent into space with an attached 2TB SSD drive. Even with that much storage capacity, the fp couldn’t record 4K UHD RAW video for the entire flight. The stills camera was set up with an interval timer to capture a still image every five seconds for the entire journey.
To learn more about the Sigma fp, head to our First Impressions. For more on the Sigma 14mm F1.8 DG HSM Art lens and its applications for space photography, check out Jose Francisco Salgado’s ‘Astrophotography with the Sigma 14mm F1.8 Art lens’ article.
TTartisan is back with its latest lens, an ultra-affordable 35mm F1.4 lens for APS-C mirrorless camera systems.
The fully-manual TTartisan 35mm F1.4 lens retails for just $ 80 and is available for Canon EOS M, Fuji X, Micro Four Thirds and Sony E mount camera systems. It’s constructed of seven elements in six groups, has an aperture range of F1.4-F16, uses a ten-blade aperture diaphragm and has a minimum focusing distance of 28cm (11”).
The front filter thread is 39mm and the lens measures in at 44mm (1.73”) long, 56mm (2.2”) diameter and weighs just 180g. Below is a sample gallery of images captured with the lens, provided by Photo Rumors, an authorized retailer of TTartisan gear.
You can purchase the lens over on Photo Rumors’ online shop or any other authorized TTartisan retailer.
Yesterday, Nikon released a beta version of its Webcam Utility software for macOS. Like the Windows version, released back on August 6, the macOS utility will allow owners of Nikon Z series and DSLR camera owners to use their compatible cameras as webcams with popular livestreaming and video conferencing software via USB.
The macOS version of the Webcam Utility appears to function identically as the Windows version, complete with support for the following cameras: Z7, Z6, Z5, Z50, D6, D850, D780, D500, D7500 and D5600. The process is as simple as installing the utility, plugging in your camera via USB and selecting it as an input source with a compatible livestreaming or video conferencing program, such as Zoom, Google Teams, OBS Studio and others.
You can find out more information on the process at Nikon’s dedicated Webcam Utility page and download the Webcam Utility beta on Nikon’s website.
Canon has announced the EOS C70, a digital cinema camera with a body that resembles a mirrorless stills camera. Notably, the C70 uses Canon’s RF lens mount, making it the first Cinema EOS camera to adopt the company’s newest lens system.
The EOS C70 features a Super35 sensor using Canon’s next-generation Dual Gain Output (DGO) technology. The DGO sensor reads each pixel at two different gain levels, with one prioritizing saturation and highlight protection and the other suppressing noise in the shadows.
When combined, Canon claims the camera can deliver 16+ stops of dynamic range at up to DCI 4K/60p or 2K/120p (using a Super16 crop). It can also capture 4K/120p and 2K/180p without extended dynamic range. Recording choices include both All-I and intra-frame options using Canon’s XF-AVC or MP4 (H.265) codecs.
Other features that should appeal to video shooters include dual-pixel autofocus, a motorized 10-stop ND filter, C-Log2/C-Log3, PQ and HLG gamma for HDR, two mini XLR mic inputs, thirteen customizable buttons, and custom in-camera LUTs.
An air intake system provides cooling, allowing the camera to record for extended periods. The cooling system is outside the sealed part of the camera to prevent dust or moisture from reaching the electronics.
The camera features a 3.5-inch 2.76M-dot rear LCD but not an electronic viewfinder. Presumably, Canon expects many Cinema EOS users to put the camera in a rig with their preferred EVF or external monitor.
Alongside the camera, Canon also announced the Canon Mount Adapter EF-EOS R 0.71x, which allows users to attach EF-mount lenses to the C70. Unlike Canon’s existing EF to EOS R adapters, the EF-EOS R 0.71x is an optical adapter that works like a speed booster, making it possible to use EF lenses on the smaller Super35 sensor at their intended focal lengths while increasing lens speed by one stop.
The EOS C70 will be available in November for $ 5499. The EF-EOS R 0.71x adapter will follow in December for $ 599.
READY FOR ACTION: THE CANON EOS C70 4K DIGITAL CINEMA CAMERA PACKS CINEMA EOS IMAGING FEATURES INTO STILL CAMERA ERGONOMICS
The First Cinema EOS Camera with an RF Mount, this New Compact and Lightweight Model Features a Super 35mm Dual Gain Output (DGO) Sensor, DIGIC DV7 Image Processor, ?and 16+ Stops of Total Dynamic Range
MELVILLE, N.Y., September 24, 2020 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce the company’s first-ever RF mount Cinema EOS camera, the EOS C70 4K Digital Cinema Camera. When the Canon RF mount was first introduced, imaging professionals began to dream about the possibilities that this revolutionary mount system might provide them. One request that Canon consistently heard was to put an RF mount on a Cinema EOS camera so that future lens performance could capitalize on the short flange depth. Just two short years later, those wishes have come true with the new C70 camera.
The unique design of the EOS C70 camera puts a significant emphasis on operational convenience for the end-user. The small form-factor, weighing only 2.6lbs., allows the camera to be easily handheld and dramatically enhances a videographer’s mobility, providing a seamless bridge between the EOS and Cinema EOS families for cinematic applications. Cleverly designed, the camera features a slim, motorized ND filter unit – having a mere 6mm depth – that is built into the short flange back of the RF mount. The motorized 10-stop ND filter provides users with the flexibility to control exposure while keeping the desired depth-of-field and capturing images that feature the desired level of bokeh. Thirteen customizable buttons allow users to select from more than 80 functions to be assigned based on individual preferences.
“The Canon EOS C70 camera is truly a special tool that will undoubtedly satisfy and delight a variety of users on the search for a high-powered piece of video equipment,” said Tatsuro “Tony” Kano, Executive Vice President and General Manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “In today’s fast-moving, ever-changing world of filmmaking and content creation, versatility is key, and the EOS C70 will provide a familiar form and feature set to our entire spectrum of imaging customers. We are eager to see how creatives use this tool and the projects that come from it.”
The camera features Canon’s innovative and next-generation Super 35mm DGO Sensor that further extends the high dynamic range and lowers noise levels by reading out each photodiode with two different gains. One gain prioritizes saturation – protecting detail in highlight areas – while the other suppresses noise in the shadows. The result is an image with up to 16-plus stops of total dynamic range, clean, rich shadows, and vibrant highlights in up to 4K/ 60p or 2K/120p in Super16mm Crop mode. The EOS C70 camera also features Canon’s recently developed DIGIC DV7 image processor that collects the extensive information captured from the DGO sensor and processes it into exceptional HDR imagery while offering choices between Canon Log 2 and 3, in addition to PQ and HLG gamma functionality. The C70 camera can also record 4K DCI or UHD up to 120fps and 2K DCI or HD up to 180 fps – with an important flexibility in the choice of codecs.
The camera supports XF-AVC format (in variable bit-rate) – both Intra and Long GOP with MXF file format. The intra-frame format compresses the data after analyzing each frame separately, while Long GOP format compresses data at a higher rate, creating an even smaller file size. A secondary choice is Long GOP 10-bit 4:2:2/4:2:0 MP4/HEVC (a next-generation HDR video recording compression standard) with an MP4 file format – a first in the Cinema EOS line.
The camera’s independent air intake system is separated from the electrical systems to protect the sensor from water, sand, and dust. In addition, the camera also features two air outlet vents that allow uninterrupted recording for extended periods of time.
Additional features of the Canon EOS C70 4K Digital Cinema Camera include:
New Direct Touch Menu System
Coordinated Electronic Image Stabilization
Two built-in Mini XLR inputs
Time-code input/output terminal
Custom picture processing via import of 3D LUTs and recording to Look Files
Dual-SD card slots
Built-in stereo mic
Support for optional Canon RC-V100 remote control
Canon Mount Adapter EF-EOS R 0.71x
The Canon Mount Adapter EF-EOS R 0.71x is a new optical adapter that allows users to tap into Canon’s extensive collection of superb full-frame EF lenses when operating the EOS C70 camera. The adapter implements two critically important functions – preserving the similar FF wide angle image onto the 4K Super 35mm image sensor while simultaneously elevating the lens camera sensitivity by one stop. The mount adapter preserves full electronic communication between the lens and camera, enabling optical lens corrections and transfer of lens metadata between the EOS C70 camera and select Canon EF lenses*. ?
Price & Availability?
The Canon EOS C70 4K Digital Cinema Camera is scheduled to be available in November 2020 for an estimated retail price of $ 5499.00. The Canon Mount Adapter EF-EOS R 0.71x is scheduled to be available in December 2020 for an estimated retail price of $ 599.99**. For more information please visit cinemaeos.usa.canon.com.?
* Compatible EF lenses are EF16-35mm F2.8L III USM, EF24-70mm F2.8L II USM and EF24-105mm F4L IS II USM. As of September 24, 2020. Firmware update provided free of charge, compatibility will be added for additional EF lenses in the future. Even if you do not update the firmware, you can use the EF lens, but it is recommended to use the firmware update in order to effectively use the function linked with the camera.
** Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
The post Nikon’s 2019 Mirrorless Shipments Lag Behind Sony, Fujifilm, and Olympus appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Last month, we reported on Nikon’s decreased 2019 market share (Nikon now sits behind both Canon and Sony, but ahead of Fujifilm, Panasonic, and Olympus).
And we can now follow that up with additional data that highlights Nikon’s struggles, recently published in Nikkei article.
In 2019, over eight million interchangeable lens cameras (ILCs) were shipped, and here’s the breakdown by camera manufacturer:
Canon: 4.16 million ILCs
Nikon: 1.73 million ILCs
Sony: 1.66 million ILCs
Fujifilm: 500,000 ILCs
Olympus: 330,000 ILCs
Other Manufacturers: 280,000 ILCs
These numbers are pretty much what you’d expect, with Canon leading the digital camera manufacturers by a large margin and Nikon in second place, closely followed by Sony. Fujifilm sits at the back half of the pack, then Olympus, while Panasonic and Ricoh/Pentax fail to make the top five.
Here, we can see that Nikon still remains competitive, even as Sony threatens its position. But bear in mind that these numbers include all interchangeable lens cameras, not just mirrorless models.
And when you look at mirrorless cameras (MILCs) alone, Nikon’s position becomes much more tenuous:
Sony: 1.65 million MILCs
Canon: 940,000 MILCs
Fujifilm: 500,000 MILCs
Olympus: 330,000 MILCs
Nikon: 280,000 MILCs
Others: 240,000 MILCs
As the data indicate, Sony is firmly on top, though I expect its lead will narrow over the next year or so. Canon’s dedication to its full-frame mirrorless system, as displayed in the EOS R5/EOS R6 release, will boost Canon’s numbers to at least become competitive with Sony.
But for Nikon, the future isn’t looking so rosy. It’s now been two years since the release of Nikon’s initial mirrorless offerings, the Z6 and the Z7. And while we’ve gotten two additional mirrorless cameras to show for it (the full-frame Z5 and the APS-C Z50), Nikon hasn’t even outperformed Olympus, a company in the process of selling its unprofitable camera division.
It’s clear that Nikon has big plans for the future (rumors of a Nikon Z8 abound), and Nikon recently announced several impressive Z-mount lenses. But right now, the company seems to be held up primarily by DSLR sales, which just doesn’t seem sustainable.
Let’s just hope that Nikon manages to turn things around in the coming years. For me (and, I imagine, for most photographers), more camera choice is pretty much always better.
Now over to you:
What do you think about Nikon’s recent camera sales? Do you think the company will make a comeback? What do you think Nikon needs to do to be successful? Share your thoughts in the comments!
The post Nikon’s 2019 Mirrorless Shipments Lag Behind Sony, Fujifilm, and Olympus appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Venus Optics has announced the release of its latest lens, the Laowa 14mm F4 FF RL ‘Zero-D’ lens for full-frame mirrorless camera systems.
The compact ultra-wide-angle lens is constructed of 13 elements in 9 groups, including two aspherical elements and three extra-low dispersion elements. The lens features a 114º angle of view on a full-frame sensor while maintaining near-zero distortion as the ‘Zero-D’ moniker alludes to.
The lens features an aperture range of F4-F22, uses a five-blade aperture diaphragm, has a minimum focusing distance of 27cm (10.6″) and uses a 52mm front filter thread. It measures in at 58mm in diameter, 59mm long and weighs just 228g (8oz).
Below is a gallery of sample images provided by Venus Optics:
The Loawa 14mm F4 ‘Zero-D’ lens is available in Leica M, Leica L, Sony FE, Nikon Z, and Canon RF mounts on Venus Optics’ website. All versions retail for $ 549, with the exception of the Leica M mount, which retails for $ 649. Shipping will start in late September for all but the Leica M and Canon RF mount versions, which will see the first shipments go out in late October.
Venus Optics has announced the release of its latest lens, the Laowa 14mm F4 FF RL ‘Zero-D’ lens for full-frame mirrorless camera systems.
The compact ultra-wide-angle lens is constructed of 13 elements in 9 groups, including two aspherical elements and three extra-low dispersion elements. The lens features a 114º angle of view on a full-frame sensor while maintaining near-zero distortion as the ‘Zero-D’ moniker alludes to.
The lens features an aperture range of F4-F22, uses a five-blade aperture diaphragm, has a minimum focusing distance of 27cm (10.6″) and uses a 52mm front filter thread. It measures in at 58mm in diameter, 59mm long and weighs just 228g (8oz).
Below is a gallery of sample images provided by Venus Optics:
The Loawa 14mm F4 ‘Zero-D’ lens is available in Leica M, Leica L, Sony FE, Nikon Z, and Canon RF mounts on Venus Optics’ website. All versions retail for $ 549, with the exception of the Leica M mount, which retails for $ 649. Shipping will start in late September for all but the Leica M and Canon RF mount versions, which will see the first shipments go out in late October.
Sony has announced the a7C, a compact 24MP full-frame mirrorless camera. The company heralds it as the world’s smallest full-frame camera with image stabilization.
The a7C camera crams in most of the a7 III’s specifications, including 5-axis image stabilization, 10 fps shooting with autofocus, and oversampled 4K video into a body that’s smaller in every dimension than the existing camera. A one-piece magnesium alloy structure helps keep the weight down (22% less than the a7 III, at 509g / ~18oz).
Despite the size reduction, Sony has made room for a large NP-FZ100 battery, which powers the a7C to a rating of 740 shots per charge using the rear screen or 680 using the viewfinder.
The a7C camera crams in most of the a7 III’s specifications, including 5-axis image stabilization
The viewfinder is perhaps the most obvious area in which compromises to the specification have been made: the a7C uses a smaller-than-usual 1cm (0.39″-type) viewfinder panel. So although on paper, the 2.36M dot resolution is a match for the a7 III, the magnification ends up being a rather low 0.59x.
Alongside the a7C, Sony has announced a collapsible 28-60mm F4-5.6 kit zoom. It’s a manually extending zoom lens, that when retracted ensures a small camera/lens combination.
The a7C will be available in late October with a list price of $ 1799 body-only or $ 2099 with the new FE 28-60mm 4-5.6mm zoom lens.
Find out what we think so far in our Sony a7C initial review
Sony Electronics Introduces Alpha 7C Camera and Zoom Lens, the World’s Smallest and Lightest[i] Full-frame Camera System
New HVL-F28RM Compact Flash is also Announced
SAN DIEGO, CA – September 14, 2020 – Today, Sony Electronics Inc. announced several additions to an already impressive imaging lineup — the Alpha 7C full-frame camera (model ILCE-7C), the FE 28-60mm F4-5.6 (model SEL2860) zoom lens and HVL-F28RM flash.
The Alpha 7C is the world’s smallest and lightest[ii] full-frame body with uncompromising performance, featuring advanced AF (autofocus), high-resolution 4K video[iii] capabilities and more. When paired with the world’s smallest and lightest[iv] FE 28-60mm F4-5.6 standard zoom lens, this versatile combination delivers an experience unlike any other, maximizing portability and versatility without sacrificing any of the power of full-frame imaging. The HVL-F28RM flash allows users to broaden their photo expressions with outstanding compactness, and an intelligent light intensity control linked to camera face detection[v].
“We are committed to creating the best tools possible, based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “The new Alpha 7C camera and FE 28-60mm F4-5.6 zoom lens pack many of our most advanced imaging technologies in a brand new design that is the smallest and lightest full-frame camera and lens system in the world. This opens up a new world of possibilities for creators, giving them the uncompromised power of a full-frame system in the palm of their hand.”
New Alpha 7C: Uncompromised Full-frame Performance in a Compact Design The new Alpha 7C combines Sony’s full-frame image quality, advanced AF capabilities and versatile video shooting functions in a stunningly light and compact design. The new camera features a 24.2MP (approx. effective) 35mm full-frame back-illuminated Exmor R™ CMOS sensor and BIONZ X™ image processing engine, offering high sensitivity, outstanding resolution, 15-stop[vi] wide dynamic range and high-speed image data processing.
Measuring only 4.9 inches x 2.8 inches x 2.2 inches (124.0mm x 71.1mm x 59.7mm) and weighing just 18oz (509g)[vii], the Alpha 7C is similar in size and weight to an APS-C camera[viii], with only 1 percent more weight than the Alpha 6600. The Alpha 7C achieves the world’s smallest and lightest compact body[ii] through upgraded 5-axis in-body stabilization and shutter units, and the utilization of magnesium alloy monocoque construction, often used in the bodies of cars and aircraft. Even in this compact body, the Alpha 7C features a 5-step[ix] stabilization effect that allows for shooting snaps without a tripod. Moreover, despite the compact body, the high-capacity NP-FZ100 battery provides enough power for long shooting durations and to capture up to an industry-leading[x] 740 images[xi] when using the LCD monitor, or 680 images[xi] when using the viewfinder.
Outstanding Full-frame Image Quality
Sony’s new Alpha 7C combines high resolution with low noise for excellent image quality at all sensitivities, offering the user stunning image quality for shooting everyday photography and movies such as nature, portraits, sports, street photography and more. Standard ISO extends up to 51,200 and is expandable from ISO 50-204,800[xii] for low-light environment captures with low noise. The Alpha 7C also supports 16-bit processing and 14-bit RAW output[xiii] for natural gradations.
Advanced Autofocus
Using AI-driven functions, the Alpha 7C’s Real-time Tracking[xiv] maintains accurate focus automatically while the shutter button is half-pressed. In addition, “Tracking On + AF-On” is now assignable to a custom key and can be activated at once while the AF-ON button is pressed. Moreover, the intended subject can be specified just by touching it on the monitor when “Touch Tracking” has been turned ON via the menu and is available for both stills and movies. The Alpha 7C’s AF functions also feature Real-time Eye AF for both humans and animals to achieve fast and accurate focus[xvi]. When using Real-time Tracking while “Face/Eye Priority in AF” is ON with a human subject, the subject’s eye and face is detected and locked on in real-time with extremely high tracking precision. The Alpha 7C provides wide, fast, reliable AF that locks onto the intended subject instantly without losing focus, thanks to its 693-point focal-plane phase-detection AF system covering approximately 93 percent of the image area, with an additional 425 contrast-detection points to ensure reliable focus, even in busy environments.
The Alpha 7C also features continuous shooting at up to 10 fps[xvii] with AF/AE (autoexposure) by using a newly developed shutter unit and refined image processing system. It is also possible to shoot continuously at up to 8 fps[xvii] in live view mode, with minimal viewfinder/monitor display lag for easy, stable framing, even with intense subject motion. The Alpha 7C allows up to approximately 223 JPEG (Fine L) images, 115 compressed RAW images, or 45 uncompressed RAW images to be captured in one continuous burst[xviii], and achieves highly accurate and reliable AF precision in light down to EV-4[xix]. These features make it easier to capture fast moving subjects in challenging environments.
Expanded Video Capabilities
Full-frame full-pixel readout without the need for pixel binning makes it possible to capture more than twice[xx] the amount of data required for 4K video (QFHD: 3840 x 2160)[iii], which is then oversampled to produce high quality 4K footage with exceptional detail and depth. In addition, the Alpha 7C supports HDR (HLG[xxi]) and S-Log/S-Gamut profiles, Slow & Quick motion, high-speed full HD recording at 120 fps[iii] and other advanced video features for additional creative freedom.
Furthermore, the Alpha 7C features Real-time Eye AF (human) for video shooting. The eye is automatically tracked with high precision and reliability so that the operator can concentrate on the content rather than focus operation. Users can also customize AF Transition Speed in seven settings, and AF Subject Shift Sensitivity in five settings, in their preferences. Touch Tracking functionality is also available for movie shooting.
The Alpha 7C features a side-opening vari-angle LCD monitor, making it easy to record selfies, overhead shots, low ground-level shots or whatever the user requires. The MOVIE button has been positioned on the top of the camera making it easier to operate while recording in selfie mode. The new Alpha 7C not only records high-quality video, but also high-quality audio. A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe, allowing the ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit can be connected to input digital audio signals directly to the MI shoe for cleaner, clearer audio recordings. Like other MI shoe accessories, no cables or batteries are required, providing unrestrained freedom for Alpha system moviemaking. Headphone and microphone jacks are also provided to accurately monitor recorded sound, and metadata attached to movie footage shot vertically on the camera allows the footage after transfer to the smartphone or similar device, to also be replayed and edited in the vertical position.
Designed for Reliable Operation
The Alpha 7C is designed with the user in mind. The touch panel LCD monitor is a large touch-sensitive 3.0 type with approximately 921 thousand dots, providing optimal visibility even in bright outdoor conditions, and supporting touch focus, tracking and shutter operations. The Alpha 7C also features a high-quality view mode for finer, more natural detail in addition to a 2.35 megadot (approx.) XGA OLED Tru-Finder™ EVF. The Alpha 7C offers functions that simplify operation during and after shooting, such as Fn button customizations and more. It is also dust and moisture resistant[xxii] to support shooting needs in challenging environments.
To simplify workflow needs, Wi-Fi compatible wireless-communication functions allows images and movies to be directly transferred[xxiii] to a smartphone or tablet for convenient sharing, viewing or saving. In addition to the conventional 2.4GHz band, support for the 11ac standard allows transfer via 5GHz band (IEEE 802.11a/b/g/n/ac)[xxiv] so that users can select that stable and high-speed transfer with low interference. A USB Type-C® connector that supports SuperSpeed USB 5Gbps (USB 3.2) is also provided, allowing fast transfer of images during PC remote shooting and power supply from external mobile batteries.
New FE 28-60mm F4-5.6: The World’s Smallest and Lightest[iv] Full-frame Zoom Lens with High Image Quality
The new FE 28-60mm F4-5.6 offers the world’s smallest and lightest[iv] form factor in a standard zoom lens, delivering high optical performance that achieves the high-resolution depiction of full-frame everywhere in the image. Optimal arrangement of the three aspherical lens elements effectively suppresses aberrations throughout the zoom range and realizes high resolution from corner to corner. A minimum focus distance of 0.99 foot (0.3m) (wide-angle) to 1.48 feet (0.45m) (telephoto) delivers close-up capability, making it perfect for everyday use or vlogging with a gimbal or grip.
At 5.9oz (167g) and 2.6 inches dia. x 1.8 inches length (66.6 mm dia. x 45 mm length), along with its mechanical and optimal optical design that features a retracting structure, the FE 28-60mm F4-5.6 achieves unrivaled compactness and lightness, allowing users to easily carry it all the time. From everyday shooting to scenery, portraits and travel, it’s the ideal lens for any type of on-the-go shooting in a wide variety of environments. When combined with the Alpha 7C, the combination achieves uncompromising full-frame performance with the world’s smallest and lightest full-frame camera and lens system[i]. Even with its compact size and light weight, the FE 28-60mm F4-5.6 is dust and moisture resistant[xxii] and accepts a variety of 40.5mm filters.
The FE 28-60mm F4-5.6 delivers high-speed, high-accuracy AF allowing for Real-time Tracking and Real-time Eye AF, using a linear motor. In addition to Sony’s advanced AF capabilities, the FE 28-60mm F4-5.6 features an internal focus design which leaves the lens length unchanged with focus motion and close-up shots, enabling users to easily capture a wide variety of content from regular movie shooting to comfortable vlogging.
New HVL-F28RM: Compact Flash with Light Intensity Control Linked to Camera Face Detection[v]
The HVL-F28RM is a compact flash designed to match Sony’s mirrorless cameras for a compact, manageable system, and offers the type of reliable, stable performance that only a genuine Sony product can provide. When compared to the HVL-F32M, the HVL-F28RM features a 12 percent reduction in volume and 7 percent reduction in weight. This compact, easy-to-use flash unit delivers the capabilities and dependability to meet the needs of both professional and advanced amateur content creators.
The HVL-F28RM offers consistent GN28[xxv] light output, optimized light distribution and continuous flash performance that won’t interrupt the user’s workflow, as well as stable radio wireless communication and multi flash radio control. The new flash also features Sony’s newly introduced flash control linked to camera face detection[v] advanced technology. When used with a compatible camera, the balance between the light falling on the subject’s face and ambient light is evaluated to automatically adjust accurate white balance so that the subject’s face is rendered with natural, lifelike color. In addition, flash compensation, light ratio, and other detailed flash parameters can be controlled directly from a compatible camera[xxvi]. A camera custom key can be assigned to call up the flash parameter display so that adjustments can be made while looking through the viewfinder and gripping the camera. Flash parameters are shown in the selected camera display language.
A newly developed “Metal Shoe Foot with Rugged Side Frame”[xxvii] that also houses the unit’s electrical contacts offers improved resistance to physical shock and impact from all directions. The Multi Interface foot is fabricated from metal for higher strength. The HVL-F28RM also features a dust and moisture resistant[xxii] design. When the HVL-F28RM is mounted and locked onto the Alpha 7C, Alpha 7S III, Alpha 7R IV and Alpha 9 II, durability to dust and moisture is improved, even when used in challenging outdoor environments.
The HVL-F28RM also features simple, intuitive operation with minimal controls including +/- light level buttons, pairing button, test button and lock lever. Plenty of light is available for bounce applications. The flash angle can also be set as required via 0, 20, 40, 60, 80, and 120 degree click stops for easy positioning. The new flash also features a built-in wireless radio trigger for reliable flash triggering when mounted on a compatible camera[xxvi] and paired with an off-camera unit. When used as a transmitter, the HVL-F28RM can control up to 15 flash and/or receiver units in 5 groups[xxviii] at distances of up to 114 feet (35 meters)[xxix] for extraordinary lighting control and versatility. The HVL-F28RM is powered by two AA (LR6) alkaline or NiMH batteries. A fresh pair of alkaline batteries can provide power for up to 110 continuous flashes (1/1 manual flash with alkaline batteries)[xxix].
Pricing and Availability
The new Alpha 7C compact full-frame camera will be available in late October and will be sold for approximately $ 1,799.99 USD and $ 2,399.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
The FE 28-60mm F4-5.6 zoom lens will be available in early 2021 and will be sold for approximately $ 499.99 USD and $ 649.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
A new kit featuring the Alpha 7C compact full-frame camera and FE 28-60mm F4-5.6 zoom lens will also be available in late October and will be sold for approximately $ 2,099.99 USD and $ 2,699.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
The HVL-F28RM flash will be available this winter and will be sold for approximately $ 249.99 USD and $ 329.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
Exclusive stories and exciting new content shot with the new camera, lens and Sony’s other imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony ? – Alpha.
[i] An Alpha 7C with an FE 28-60mm F4-5.6 lens mounted. Among full-frame interchangeable-lens digital cameras, in combination with an interchangeable zoom lens. As of Sept. 2020. Sony survey. [ii] Among full-frame interchangeable-lens digital cameras with optical in-body image stabilization mechanism, as of Sept. 2020. Sony survey. [iii] A Class 10 or higher SDHC/SDXC card is required for XAVC S format movie recording. UHS speed class 3 or higher is required for 100 Mbps recording. [iv] Among interchangeable zoom lenses for 35mm full-frame format digital camera bodies, as of Sept. 2020. Sony survey. [v] This function is only compatible with Alpha 7C as of Sept. 2020 [vi] When shooting still images. Sony test conditions. [vii] With battery and memory card included [viii] Compared to the size of Alpha 6600, 120.0mm x 66.9mm x 59.0mm and a weight of 503g (With battery and memory card included). [ix] CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off. [x] Among full-frame mirrorless interchangeable-lens digital cameras with autofocus function, as of Sept. 2020. Sony survey.[xi] CIPA standards. [xii] ISO expandable to 50 – 204,800 for stills, 100 – 102,400 for movies. [xiii] Limited to 12-bit when compressed RAW is used for continuous shooting, BULB shooting, or when long-exposure noise reduction is [ON]. [xiv] “Tracking” in the menu. [xv] Available on still images only. [xvi] Accurate focus may not be achieved with certain subjects in certain situations. [xvii] Up to 10 fps in continuous “Hi+” mode, and up to 8 fps in continuous “Hi” mode. UHS-II compatible SDXC memory card required. Sony test conditions. Maximum fps will depend on camera settings. [xviii] Continuous “Hi+” mode. UHS-II compatible SDXC memory card required. Sony test conditions. [xix] ISO 100 equivalent, F2.0 lens. [xx] 24p recording. Approx. 1.6x at 30p. [xxi] HDR (HLG) images can be viewed by connecting the camera directly to a Sony TV that supports HDR (HLG) playback. [xxii] Not guaranteed to be 100% dust and water resistant. [xxiii] Smartphone or tablet must have Imaging Edge Mobile installed. Please use version 7.2 or later. [xxiv] Models sold in some countries/regions support IEEE 802.11b/g/n (2.4 GHz) wireless LAN only. 5GHz communication may be restricted in some countries and regions. [xxv] 50 mm, at ISO 100 in meters [xxvi] Visit Sony support webpage for functional compatibility information. [xxvii] Design registration application pending. [xxviii] In group flash mode. 3 groups (A-C) in TTL or manual flash mode. [xxix] Sony internal test conditions.
Sony a7C specifications
Price
MSRP
$ 1799 (body only), $ 2099 (w/28-60mm lens)
Body type
Body type
SLR-like (bridge)
Body material
Magnesium alloy
Sensor
Max resolution
6000 x 4000
Image ratio w:h
1:1, 4:3, 3:2, 16:9
Effective pixels
24 megapixels
Sensor photo detectors
25 megapixels
Sensor size
Full frame (35.6 x 23.8 mm)
Sensor type
BSI-CMOS
Processor
BIONZ X
Color space
sRGB, Adobe RGB
Color filter array
Primary color filter
Image
ISO
Auto, 100-51200 (expands to 50-204800)
Boosted ISO (minimum)
50
Boosted ISO (maximum)
204800
White balance presets
7
Custom white balance
Yes
Image stabilization
Sensor-shift
Image stabilization notes
5-axis
CIPA image stabilization rating
5 stop(s)
Uncompressed format
RAW
JPEG quality levels
Extra fine, fine, standard
File format
JPEG (Exif v2.32)
Raw (Sony ARW, 14-bit)
Optics & Focus
Autofocus
Contrast Detect (sensor)
Phase Detect
Multi-area
Center
Selective single-point
Tracking
Single
Continuous
Touch
Face Detection
Live View
Autofocus assist lamp
Yes
Digital zoom
Yes (2X)
Manual focus
Yes
Number of focus points
693
Lens mount
Sony E
Focal length multiplier
1×
Screen / viewfinder
Articulated LCD
Fully articulated
Screen size
3″
Screen dots
921,600
Touch screen
Yes
Screen type
TFT LCD
Live view
Yes
Viewfinder type
Electronic
Viewfinder coverage
100%
Viewfinder magnification
0.59×
Viewfinder resolution
2,360,000
Photography features
Minimum shutter speed
30 sec
Maximum shutter speed
1/4000 sec
Maximum shutter speed (electronic)
1/8000 sec
Exposure modes
Program
Aperture priority
Shutter priority
Manual
Built-in flash
No
External flash
Yes (via hot shoe)
Flash X sync speed
1/160 sec
Drive modes
Single
Continuous (Hi+/Hi/Mid/Lo)
Self-timer (Std/Cont.)
Bracket (Single/Cont.)
WB bracket
DRO bracket
Continuous drive
10.0 fps
Self-timer
Yes
Metering modes
Multi
Center-weighted
Highlight-weighted
Average
Spot
Exposure compensation
±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing
±5 (3, 5 frames at 1/3 EV, 1/2 EV steps)
WB Bracketing
Yes
Videography features
Format
MPEG-4, XAVC S, H.264
Modes
3840 x 2160 @ 30p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
3840 x 2160 @ 25p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
3840 x 2160 @ 24p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
1920 x 1080 @ 120p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
1920 x 1080 @ 60p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
1920 x 1080 @ 50p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
1920 x 1080 @ 30p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
1920 x 1080 @ 25p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
1920 x 1080 @ 24p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
The post Canon EOS R Mirrorless Camera: A Hands-On Review appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The Canon EOS R isn’t the newest Canon camera on the block, but it’s one of Canon’s four full-frame mirrorless offerings.
Which means that, if you’re an advanced Canon photographer looking to move to mirrorless, you don’t have many options.
But what does the Canon EOS R offer advanced and professional photographers? And how does is hold up in the field?
That’s what this review is all about.
I’ve now had the Canon EOS R for nine months, which has given me plenty of time to test it. I’ve worked with the EOS R in rain, in snow, through blowing sand, at night, in the studio, and much more. So I know what this camera can do; I also know its limitations.
Canon EOS R | Canon EF 70-200mm f/4L | 1/160s | f/4 | ISO 400
And I’ve used the EOS R with an EF to EOS R adapter, so I can confidently say whether Canon EF/EF-S lenses work well with the EOS R, or whether you need to purchase a whole new set of (expensive) Canon RF glass.
Are you ready to discover everything you need to know about the Canon EOS R?
Let’s get started.
Canon EOS R: Overview
Canon EOS R | Canon EF 24-70 f/4L | 5s | f/7.1 | ISO 200
The Canon EOS R debuted back in 2018 as Canon’s first full-frame mirrorless camera, featuring:
A 30.3 MP sensor
A native ISO range of 100-40000
Dual Pixel Autofocus with 5655 AF points
5 fps shooting with continuous autofocus; 8 fps shooting with One-Shot AF
A fully-articulating rear LCD with touch functionality
A 3.69M-dot electronic viewfinder
One SD card slot
4K/30p video (with a 1.7x crop)
A 370-shot battery life
A brand new (RF) lens mount
Weather sealing
1.46 lb (660 g)
5.35 x 3.86 x 3.31 in (136 x 98 x 84 mm)
Current price: $ 1799 USD
While there are plenty of worthy capabilities on that spec list, at the time the EOS R was seen as something of a letdown.
Why?
For two key reasons.
First, the EOS R only offered a single SD card slot. This meant professional photographers who require redundancy in their work (e.g., wedding photographers, sports photographers) didn’t feel comfortable working with an EOS R.
Second, the EOS R didn’t include any innovative features, and certainly not any features on the same level as Sony’s groundbreaking autofocus, huge megapixel counts, blazing-fast continuous shooting speeds, and in-body image stabilization (admittedly, Sony doesn’t offer all these in the same camera, but still!).
That said, the EOS R did, and does, offer some compelling attributes.
And after testing the EOS R for nearly a year, I can say, without a doubt, that it is a great camera…
…for the right person.
Absolutely, the EOS R has some drawbacks, and it fails to really break out in most areas. But it’s also reasonably priced and gives you access to additional mirrorless capabilities that you just can’t get on a DSLR, without needing a brand new bag of lenses (not to mention its relatively fast autofocus and strong image quality that we’ve come to expect from Canon’s higher-end cameras).
Plus, no two photographers are alike, and one photographer’s trash is another photographer’s treasure.
Bottom line:
While the EOS R just doesn’t work for some photographers, there are others for whom it’ll be an absolute dream to use.
So let’s take a closer look at the Canon EOS R!
Canon EOS R | Canon EF 24-70mm f/4L | 1/80s | f/6.3 | ISO 400
Canon EOS R: Build
The Canon EOS R is medium-level compact, with a relatively lightweight (but solid) build. It’s easily smaller than the full-frame Canon 5D Mark IV, which is longer, taller, and around 1.5x heavier; the same is true of the Canon 6D Mark II.
That said, the EOS R hardly feels slim, and it doesn’t really scream travel-ready to me. Personally, I don’t mind the weight of the EOS R, but if you’re coming from a smaller APS-C mirrorless body then the difference may take a little getting used to.
The EOS R packs a top LCD, as well as a shooting mode dial, a video button, a standard top command dial, and more.
Moving on to the back, you have a 3.2-inch fully-articulating touchscreen, which tilts in pretty much any direction and flips out to the side. You also get several buttons that are almost completely programmable, along with an (also programmable) multi-selector wheel.
Then there’s the electronic viewfinder and, to its right, a programmable touch bar (which I’ll discuss more thoroughly in a moment).
Now, the Canon EOS R is listed as weather-sealed, and it can clearly withstand some difficult conditions. I’ve used it (carefully) in snow and rain, and I’ve had no problems whatsoever. At the same time, the weather sealing just isn’t on the same level as some of the true professional bodies on the camera market, which is why I don’t think the EOS R is the right choice for shooters that regularly subject their gear to intense beatings.
Canon EOS R: Handling
I think I’m in the minority here, but I absolutely love the feel of the EOS R and its in-built capabilities. I’d even go so far to say that it’s the best camera I’ve ever handled, thanks to a few key features.
First, I’m a huge fan of the fully-articulating screen, which is fantastic for getting into odd angles when shooting macro photos, architectural photos, landscape photos, or even street photos when shooting unobtrusively from the hip. Plus, you get touchscreen-based autofocus, so you can easily tap your desired AF point and lock focus in milliseconds.
Second, the electronic viewfinder is clear, bright, and crisp. Thanks to its 3.69M-dot resolution, I rarely miss my optical viewfinder (which was a huge concern for me when I first added mirrorless technology to my camera lineup).
What’s also great about the EVF is how you can use it to “see” in black and white. You can literally look at a black and white world, which is ultra-helpful when it comes to composing compelling black and white images using the viewfinder.
Third, the camera fits perfectly into my hand and I can easily use it without checking where I’m pressing, due to a deep front grip and well-positioned buttons.
Fourth, the EOS R offers the programmable touch bar. This has been a point of contention among EOS R users, because some find it finicky to the point of being unusable, but I’m firmly in the opposite camp. I love the touchbar, which I immediately programmed to adjust my ISO and I haven’t changed since. It’s saved me from missing countless images, because instead of fiddling with buttons and dials, I can boost the ISO with a roll of my thumb.
Have I had occasional issues with the touchbar?
Yes. It’s very sensitive, which means that I’ve accidentally boosted the ISO without meaning to. But while this was frustrating, it was absolutely worth the trade-off discussed above.
And fifth:
I love the silent shooting mode. Unlike silent modes offered on other cameras, the EOS R’s silent shooting is truly silent or, at least, so quiet that you can’t hear the shot unless you listen very, very closely. This is one of those features that just can’t be done on DSLRs, and when it is present in mirrorless cameras, it can be inhibited in some annoying way (e.g., as a separate mode that doesn’t allow you to adjust all your other camera settings).
But on the EOS R, silent shooting is unrestricted, which is one of the reasons I love using the R for street photography. It’s a discrete option in the menu that can be toggled on and off at will. And it allows you to fire off shot after shot without being heard (which is also useful for photographing quiet events, such as weddings and concerts).
That said, there are two key usability issues with the EOS R.
First, the single SD card slot, which I mentioned above, but bears repeating. For me, it’s not a big deal, because I’m not a professional wedding photographer, sports photographer, or portrait shooter. But I can absolutely understand why certain photographers require the second card slot, and in those situations I’d simply refuse to use the EOS R; having a backup is just too important.
Second, battery life is mediocre for a mirrorless camera, which is to say very poor compared to DSLRs. Canon rates the EOS R at 370 shots, and I’ve been able to get far more than that out of it (maybe 600 shots or so), but you’re definitely going to need at least two batteries in the best of situations, and if you’re doing long photoshoots then three is probably better.
It’s also worth mentioning the lack of in-body image stabilization in the EOS R. This is disappointing, and if you’ve ever used cameras like the Olympus OM-D E-M1 Mark II, you’ll know how powerful good IBIS can be for low-light shooting. But Canon does offer a lot of image-stabilized lenses, so it’s certainly not a dealbreaker.
Canon EOS R: Autofocus and speed
The EOS R uses Canon’s much-loved Dual Pixel AF technology, which was confined to Live View modes on Canon DSLRs. In practice, the autofocus feels fast, but doesn’t really give Sony a run for its money. I spent a few hours shooting ducklings in a river, and my hit rate wasn’t as high as I’d like, especially when the ducks were backlit.
Canon EOS R | Canon EF 400mm f/5.6L | 1/2000s| f/7.1 | ISO 500
AF coverage is very good, though, and spans pretty much the entire sensor (thanks to the mindblowing 5600+ AF points).
Another bonus here is that autofocusing works all the way down to -6 EV. I’ve used the EOS R in almost complete darkness, and I’ve found that autofocus does indeed work, though it hunts as you approach that -6 EV territory.
Canon EOS R | Irix 11mm f/4 | 2s | f/13 | ISO 200
That said, the EOS R does offer Eye AF, which allows you to nail focus on your subject’s eyes when capturing portraits. Note that this is generally used instead of Face Detection AF, though the two are designed to work together to get you the best focus depending on whether the eyes or only the face are in view.
You have two options on the EOS R regarding autofocus selection:
You can select AF points using the touchscreen, or you can select AF points using the multi-selector wheel on the rear of the camera. I use the touchscreen almost exclusively, and there’s a nice implementation that allows you to make only a corner of the screen touch-sensitive for AF use, so you don’t have to worry about repeatedly selecting AF points with your nose.
In terms of shooting speeds, I do wish the EOS R were faster.
You can work at 8 fps if you’re using One-Shot AF, but this drops to 5 fps when autofocusing continuously. I consider that 7-8 fps a minimum for action photography, and 5 fps just can’t compete in sports or wildlife or other action scenarios.
The upshot of this is that the buffer is relatively deep; you can capture 65 RAW images without pause, or 126 high-quality JPEGs, which is always nice for situations where you need to keep on shooting during once-in-a-lifetime moments.
So while the EOS R clearly isn’t well-equipped for dedicated action photography, it won’t completely fail you in fast-paced situations.
Canon EOS R: Image quality
The EOS R offers reliable image quality without being particularly groundbreaking.
First, in terms of resolution, you get 30.3 MP, which offers a middle ground between the 45+ megapixel sensors offered by Sony’s A7R series and the Nikon Z7 (as well as the Canon 5DS/5DS R), and the standard 24 MP sensor. Personally, I think this is a nice place to be, because you get good detail and significant cropping capabilities without producing huge file sizes or a lot of high-ISO noise.
Canon EOS R | Canon 24-70mm f/4L | 1/1600s | f/8 | ISO 200
Canon cameras aren’t usually known for their high ISO performance, and here the EOS R is a good performer without being great.
The Canon EOS R offers an ISO range of 100-40,000, with the ability to expand to ISO 50 on the low end and ISO 102,400 on the high end. I feel comfortable pushing the ISO to 800 or 1600 when aiming for a clean image, and I’ll often go to ISO 6400 when shooting street images at night, but this is a step down from the truly impressive low-light capabilities of the Nikon Z6 or the Sony a7 III.
The same is true of dynamic range, where images are good without being breathtaking. You don’t get the 15 stops of a Sony a7R IV, but the results are perfectly usable for, say, serious landscape photographers.
Canon EOS R | Canon EF 24-70 f/4L | 1/200s | f/10 | ISO 200
All in all, I’m pleased by the Canon EOS R’s image quality without being floored. If you’re coming from an APS-C camera or an older full-frame DSLR, you’ll notice a big difference, but the EOS R doesn’t offer much of an image quality boost compared to a camera such as the Canon 6D Mark II and is pretty on par with the 5D Mark IV.
Canon EOS R | Canon EF 100mm f/2.8L Macro | 1/3200s | f/2.8 | ISO 250
Canon EOS R: Using the adapter
There are three Canon EF to RF adapters on the market:
The basic EF-EOS R adapter, which simply allows you to connect your EF/EF-S lenses to an EOS R body.
The midrange EF-EOS R adapter, which gives you a dedicated aperture ring when using EF/EF-S lenses.
And the high-end EF-EOS R adapter, which allows you to drop in filters (such as a circular polarizer or an ND filter).
I have only used the first of these, which you can grab for $ 99 USD. I’ve tested it on the EOS R with a handful of lenses in quite a few situations, and it works flawlessly. I’ve noticed zero autofocus lag, which means that you can comfortably use your EF and EF-S lenses without worry.
However, the adapter comes with two minor drawbacks:
First, it does take up space, either in your bag or on your camera. If you’re aiming for the smallest, lightest kit possible, then it’s probably not your best option.
And second:
It’s inconvenient to work with a group of lenses, some of which are EF-mount and some of which are RF-mount, because you have to keep moving the adapter on and off the camera.
To me, these drawbacks aren’t a big deal, and I plan to keep my EF lenses for a long time. But it’s certainly worth thinking about.
Canon EOS R | Canon EF 24-70mm f/4L | 1/100s | f/9 | ISO 100
Who should purchase the Canon EOS R?
If you’re looking for an advanced or pro-level camera that’s easy to use, relatively inexpensive, and can do a lot of things well without really specializing in one area, then the EOS R is a great option. It’s especially compelling if you’re already a Canon shooter and have a slew of Canon lenses that can be attached via the EF-EOS R adapter.
Canon EOS R | Canon EF 24-70mm f/4L | 1/320s| f/9 | ISO 200
You can use the EOS R for great results if you’re a:
Portrait photographer
Street photographer
Landscape photographer
Travel photographer
Macro photographer
Architectural photographer
But it’s not an action camera, which means that you shouldn’t grab the EOS R if you’re looking to shoot sports or wildlife exclusively. Instead, I’d recommend the newly released EOS R5 or the EOS R6, which both offer a whopping 20 fps shooting via the electronic shutter. The same is true when it comes to wedding photography: Both the EOS R5 and the EOS R6 offer dual card slots, which make them much better choices for the redundancy-conscious photographer.
In fact, given the release of the EOS R5 and EOS R6, which are pretty much all-around powerhouses, it’s worth asking:
Is the Canon EOS R obsolete?
In most ways, the EOS R5 and the EOS R6 are objectively better than the EOS R.
But in the end, it comes down to price; the EOS R5 costs over twice that of the EOS R, and the “cheaper” EOS R6 is also relatively expensive ($ 2500 USD) while only offering a 20 MP sensor.
So if you’re looking for a high-quality camera but you can’t afford the EOS R5 or R6, then the EOS R is a great choice.
Rating: 3.5 out of 5.
The post Canon EOS R Mirrorless Camera: A Hands-On Review appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Venus Optics has released its latest lens, the Laowa 11mm F4.5 FF RL lens for full-frame mirrorless camera systems.
The ‘FF’ and ‘RL’ initialisms in the name of the lens refer to the lens’ full-frame (FF) and rectilinear (RL) design. The fully-manual lens is constructed of 14 elements in 10 groups, including two aspherical elements and three extra-low dispersion elements, which results in a 126-degree angle of view on full-frame cameras.
Despite its compact size, the lens features a 62mm front filter thread, making it ‘the world’s widest rectilinear lens with a front filter thread for full-frame mirrorless cameras.’ Other features include an aperture range of F4.5-F22, a five-blade aperture diaphragm, a minimum focusing distance of 19cm (7.4”) and rangefinder coupling on Leica M-mount cameras.
The lens measures in at just 63.5mm (2.5”) long, 58mm (2.3”) wide and weighs just 254g (8.9oz). Below is a gallery of sample images, provided by Venus Optics:
THe Laowa 11mm F4.5 FF RL lens is available to order now from Venus Optic’s website for Leica M, Leica L, Sony FE and Nikon Z mounts. The Leica M version costs $ 799, while the other mounts cost $ 699.
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