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Is the Panasonic Lumix DC-G95/G90 right for you?

19 Aug

Is the Panasonic Lumix DC-G95/G90 right for you?

We recently reviewed the Panasonic Lumix DC-G95 (also known as the G90, G91 and G99) and found it to be a good all-around camera. But is it best for the kind of shooting that you do? We took a look at how the G95 performed in the following use cases:

Family and moments
Travel
Lifestyle and people
Landscape
Formal portraits
Candid and street
Video
Sports and wildlife

Family and moments

A camera well-suited for capturing family and moments needs to be responsive, relatively easy to carry around and, of course, capable of taking great photos. While it’s not the smallest camera out there, the G95 can still do the job.

You don’t need to be a camera expert to get great results out of the G95. If you’re a beginner – or handing it off to someone who is – the G95’s iAuto mode will select the right scene mode, thus applying the best settings for the situation. Users who are more familiar with smartphones will feel right at home taking pictures with the G95’s touchscreen display, which is fully articulating, by the way.

The camera detects faces and eyes relatively well, though it will always choose the closest subject (and there’s no way to switch between people). It doesn’t have the most advanced autofocus system in its class, though it can track moving subjects reasonably well.

As mentioned above, the G95 is on the bulky side, though its build quality is robust (including claimed weather-sealing) and is covered with direct controls.

Photo courtesy of Robert Rose

Travel

A camera that’s well-suited for travel is all about flexibility. You want a camera that’s capable at both stills and videos, relatively portable, and offers good battery life and reliable wireless connectivity. Having a kit lens with a wide focal range doesn’t hurt, either, and Panasonic includes a 24-120mm equivalent one in the box (in most regions).

First things first: the Panasonic G95 isn’t a very small camera. While not gigantic, it’ll be living over your shoulder or in a medium-sized camera bag. That said, it’s very well-built and sealed against dust and moisture, so you need not worry if it’s raining. The fully articulating display (a standard LCD in the U.S. and an OLED elsewhere) allows for overhead, waist-level and selfie shooting, and the large electronic viewfinder makes shooting in bright outdoor light easier.

A camera that’s well-suited for travel is all about flexibility

Image quality is very good straight out of the camera, though photos will be a bit noisier than the G95’s peers at high ISOs in low light. The G95 can convert Raw images to JPEGs in-camera, so you can fix that botched white balance and share it without a PC. Speaking of connectivity, the camera has Wi-Fi and Bluetooth that’s usually reliable.

While video quality is quite good (especially in good light), there’s a substantial crop when shooting 4K footage, so you’ll need an expensive, specialized lens if you’re going to be capturing wide-angle footage.

Battery life isn’t spectacular, but the G95 does support USB charging so you can fill up via computer or portable power bank.

Photo by Jeff Keller

Lifestyle and people

The G95 makes it easy to take casual-yet-polished people photos that are ready for sharing on social media. JPEGs look great out of the camera, and with built-in Raw editing you can fix white balance or brighten shadows without having to put Lightroom onto your phone.

If you want photos with a blurred background, you’ll need a fast lens, which are often expensive

The camera focuses quickly and does a good job at detecting faces, though it’s not possible to switch between them. The direct controls on the camera allow you to change settings without delving into the menus.

When focusing you can sometimes see the image on the main display or EVF ‘wobble’ a little, which can be distracting. If you want photos with a blurred background, you’ll need a fast lens, which are often expensive. But one nice thing about the Micro Four Thirds system is that there are plenty to choose from.

Photo by Carey Rose

Landscape

While it lacks the resolution and wide dynamic range of larger-sensored cameras, there’s no reason why the G95 can’t be used for landscape photography. Its out-of-camera JPEGs have pleasing color and a good amount of detail, though don’t expect to be able to brighten shadows more than a few stops.

The G95 has a rugged, weather-sealed body that can brave the elements. Its fully-articulating display (LCD on the G95, OLED on the other models) is well-suited for tripod shooting, and changing settings is easy thanks to the G95’s numerous direct controls. Battery life isn’t great, but the camera can be powered by an external power bank.

Photo by Jeff Keller

Formal portraits

If you’re taking more formal people-pictures, the G95 can handle the job. The camera is quick-to-focus and face and eye detection work effectively. Micro Four Thirds cameras require fast, often expensive lenses to get shallow depth-of-field, but there are some really nice ones available for the system.

There are a few downsides to mention in addition to the depth-of-field issue. Resolution is on the low side for this use case, and Panasonic doesn’t have much of a flash system, though third party options are available.

Photo by Carey Rose

Candid and street

Street photographers prefer small, discreet cameras, which the G95 is not. That said, if you don’t mind carrying around a larger camera, it can do a pretty good job when you want to be stealthy.

If you turn on the electronic shutter, the G95 is totally silent

The G95’s out-of-camera JPEGs are nice enough for sharing online without having to edit Raws on your computer first. It’s a responsive camera, with good face and eye detection. If you turn on the electronic shutter, it’s totally silent, with minimal rolling shutter. If you want to quickly change settings, the direct and customizable controls will keep you out of the G95’s gigantic menu system.

Aside from its bulk, the only other negative for this use case is the fully articulating display, which stands out a lot more than a simpler tilting mechanism.

Photo by Carey Rose

Video

When you think of great video/stills hybrid cameras, Panasonic may be the first brand that comes to mind. Its GH-series cameras show what Panasonic is capable of doing, which is why the G95’s video abilities fall a bit flat.

The camera has plenty of useful tools, including support for V-Log L (albeit topping out at 8-bit capture), mic and headphone sockets, and a fully articulating LCD. The quality in 4K is very good given enough light, with minimum rolling shutter.

There’s a substantial 1.25x crop in 4K

Where Panasonic dropped the ball is when it made the decision to not use the full sensor area for capturing video. Because of that, there’s a substantial 1.25x crop in 4K, which means that if you want wide-angle footage, you’re going to need a specialty lens. Video quality also takes a hit, especially when compared to cameras that oversample, such as the Sony a6400 and Fujifilm X-T30.

Photo by Jeff Keller

Sports and wildlife

While it’s not a camera you’d want for heavy duty sports and wildlife photography, the G95 can do it, with some limitations. It has great out-of-camera JPEGs, fast autofocus, plenty of direct controls and a larger-than-average electronic viewfinder. The body is weather-sealed, just in case the weather is less pleasant, and an optional grip makes it easier to hold with a long lens attached.

If you need a fast burst rate, the G95 may disappoint

Speaking of lenses, Micro Four Thirds cameras have a 2X crop factor, so even modestly telephoto lenses have a long reach. Serious sports and wildlife photographers will find some impressive telephoto zooms, especially from Olympus.

If you need a fast burst rate, the G95 may disappoint, as it tops out at 6 fps with continuous AF. The camera is capable of tracking fairly well, though better options exist. Some may also find the ‘wobble’ when the camera is focusing to be distracting, as well.

Photo (heavily cropped) by Jeff Keller

Wrap-up

While the Panasonic Lumix DC-G95 (and G90, G91 and G99) is a good all-around camera, it doesn’t stand out in any one particular area. It can handle everyday shooting and things like travel and casual photography with ease.

However, for situations where resolution and high-speed shooting are requirements, it’s not the best choice. The same is true for video, due mainly to that 4K crop.

The G95 is certainly worth your consideration, but competitors like the Fujifilm X-T30 and Sony a6400 should not be overlooked.

If you’re a G95 owner, we’d love to hear what you use it for in the comments below.

Articles: Digital Photography Review (dpreview.com)

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Is the Panasonic Lumix DC-S1R right for you?

17 Aug

Is the Panasonic Lumix S1R right for you?

Our full review of the Panasonic S1R is live, and in it, we go in-depth to cover the camera’s image quality, handling, autofocus and more. In this article, we’re going to take a straightforward look at how well-suited it is for some popular photographic use cases. And with a camera as capable as the S1R, there’s a lot to dig into:

Landscape
Travel
Lifestyle and people
Family and moments
Weddings and events
Formal portraits
Candid and street
Sports and wildlife
Video work

Follow along as we take a closer look at what works well on the S1R for each of these types of photography, and what doesn’t.

Landscape photography

It should come as no surprise that the S1R is among our top picks for hardcore landscape shooters. After all, its sensor offers up a whopping 47MP of resolution, which should be enough on its own to satisfy most users. But, if for some reason you just want more, the S1R’s high-res mode gets you to a staggering 187MP. The S1R does this by using its moving its sensor to capture eight total frames, resulting in an image that has four times the standard resolution. Panasonic’s latest motion correction techniques are icing on the cake – they’re effective, and you can see a detailed look at them here.

Dynamic range is also an important consideration for landscape work, especially for those users photographing sunrises or sunsets. While the S1R’s sensor can’t quite match the absolute best full-framers in this area (which include Sony’s a7R series as well as Nikon’s D850), it’s a solid performer and will offer more than enough flexibility for most users.

The camera outputs very good JPEGs, and combined with in-camera Raw processing, you don’t need an editing rig to get good results

With those core considerations out of the way, let’s also take time to mention that the S1R is built extremely well, and both the camera body and the (very sharp) S-series lenses should stand up to the elements with ease. Battery life isn’t the best, but you can top up via the camera’s USB-C connection if you’re off the grid. The tilting screen makes for easy tripod work, and backlit buttons will help you out in the dark. Lastly, the camera outputs very good JPEGs, and combined with in-camera Raw processing, you don’t necessarily need an editing rig with you to get good results.

The biggest potential drawback to going on a wilderness hike with the S1R? Well, it’s pretty heavy, especially compared with its mirrorless peers. Whether that’s an issue is really up to you.

Landscape photo by Dale Baskin

Travel

As we stated in the previous section, the Lumix S1R is a bit of a bulky beast in the mirrorless world. So if you’re a world traveler that likes to travel light, well, you can probably stop reading now. However, if you’re the type of person for whom photography is the reason for your travels, or you’ve got a back-breaking history of carting a full-frame DSLR kit in your carry-on, well, the S1R has a lot to offer.

The S1R should handle whatever’s thrown at it – rain, dust, the occasional door frame, and so on

First of all, travel can be unpredictable, and the rugged nature of the S1R means it should handle whatever’s thrown at it – rain, dust, the occasional door frame, and so on. It outputs some seriously nice JPEG images, with great color, detail and noise reduction, so you can easily send those to your phone for instant sharing with your mates back home. You can also leave the wall charger with those mates back home, thanks to USB-C charging, and though the dual card slots are mis-matched, you can use one as a backup and thus forego a laptop and external hard drive if redundancy is a concern.

But what good is a camera without lenses? Thankfully, Panasonic’s 24-105mm F4 ‘kit’ zoom is a fantastic lens optically, and provides some great flexibility for all types of shooting. But – like the camera, it’s a bit bulky. You can always throw the newly announced Sigma 45mm F2.8 into your bag as well, if you want a lighter, more casual walk-around option.

Travel photo by Carey Rose

Lifestyle and people

Ah, lifestyle photography – the avid, influencing Instagrammer’s bread and butter. For taking polished photographs of people doing things, like reading what looks to be an empty diary next to a porcelain ocelot, the Lumix S1R is a worthy and full-featured option.

Of paramount importance here is connectivity, and the S1R’s wireless options work well. Plus, good JPEGs and in-camera Raw conversion mean you can easily get the results you want onto the internet in short order. Adding to the artsy appeal, the S1R’s full-frame sensor will allow for very shallow depth-of-field with the right lenses, if that’s your thing.

The S1R’s full-frame sensor allows for shallow depth-of-field with the right lenses,
if that’s your thing

But what good is all that if your images are out of focus? Well, not only does the S1R have lightning-quick single autofocus, but its Body/Face/Eye detection works well in continuous AF, and seems to minimize the distracting ‘wobble’ we see in the viewfinder when shooting in other autofocus area modes. Unfortunately, if you start to have too many detectable subjects in a scene, it can be awkward and frustrating to cycle between them.

Lastly, it bears mentioning that between Panasonic, Sigma and Leica, there’s a robust lens lineup for the S1R for all types of looks – though most of those lenses cost a pretty penny.

Lifestyle and people photo by Dan Bracaglia

Family and moments

So, you’re looking for a camera to capture fleeting moments of family and friends, and are considering the Lumix S1R for the purpose. The good news is that there’s a lot going for the S1R here – the bad news is that there a few things working against it as well.

I remember sitting down for breakfast with a friend at the bar of Jake’s Cafe in Ritzville, WA, and plonking the S1R down on the counter. The waitress looked at it, said ‘whoa,’ and looked at me like I was crazy. The camera also took up about the same amount of counter space as my subsequent plate of buttery calories, so it mostly lived under the counter, carefully tucked between my feet.

Do you really need 47MP images of your friends chowing down on their eggs? Probably not.

Again, the main issue with the S1R comes down to its relatively large size and weight. Sure, it’s not a Nikon D5, but to most people, it may as well be. Capturing fleeting moments means having a camera with you, at the ready, all the time. And frankly, there will simply be days, moments and events where you just don’t want to lug it with you. Sad but true. Plus, do you need 47MP images of your friends chowing down on their eggs? Probably not.

But let’s say you have bigger biceps than I, and a bigger tolerance for the attention the S1R brings. You’ll be rewarded with a solid ‘Auto’ mode for handing the camera off to novice users or family members, solid face detection for one or two subjects, excellent low-light performance for indoor or evening shooting, and the best video quality of all the high-resolution mirrorless bodies currently out there. Plus, the S1R is incredibly responsive in general operation, so you won’t miss a moment because you’re waiting for the camera. So if you do want to carry an S1R with you, it’ll have no trouble helping you capture memories and moments with ease.

Family and moments photo by Carey Rose

Weddings and events

Fun (and obvious) fact, the above image isn’t of an actual event, but it is of an actual event venue. Anyway. For those hardened wedding shooters who are used to having two full-size DSLRs and F2.8 zooms, the Lumix S1R’s size and weight won’t be huge concerns (though someday, your spine will go into open revolt against you for all that you’ve done to it). But truthfully, the S1R has a lot to offer wedding and event shooters.

The weather-sealing is great for when someone inevitably dumps a beer onto you as the dance party heats up

First let’s touch on the handling (pun!). The camera’s large, deep grip is comfortable, and makes it easier to handle large, fast lenses. The incredible array of external controls means almost any setting is at your fingertips, without having to jump into menus – the layout of the autofocus switches and buttons is a particular strong point. Also, the weather-sealing and robust build are great for when someone inevitably dumps a beer onto you as the dance party heats up.

Image quality is, as we’ve covered, superb, so no issues there. The dual card slots are mis-matched, but allow for redundancy. The camera’s interface allows for easy switching between stills and video, and the faster-than-average 1/320th flash sync speed is welcome.

But for a lot of wedding and event shooters, 47MP of resolution simply won’t be necessary, and will devour hard drive space. First-party flash options are a bit limited, and the on-camera flash AF assist lamp is a bright LED which will distract (or simply blind) your subjects. Lastly, the burst rate of 6fps with autofocus might be too slow for some shooters and some moments, and occasionally, you’ll find a mis-focused shot mid-burst. But overall, if you want or need the resolution, the S1R is a solid option for this type of photography.

Photo of plants by Carey Rose

Formal portraits

Formal portraits, whether studio-based or in a more natural setting, are no problem for the Lumix S1R. First off, the image quality: The S1R gives you expansive resolution, options for very shallow depth-of-field, and excellent color (including skin tones) right out of camera. The fast 1/320th flash sync speed is a nice touch, and single AF is very fast and accurate. Face and eye detection are effective for single subjects as well.

Eye detection will occasionally choose to focus on eyelashes, and not the pupil

On the other hand, before you get too excited about the 187MP high-res mode for portraits, be aware that you cannot use traditional strobes with it – you’ll need to use constant lighting thanks to the camera’s electronic shutter. Also, eye detection will occasionally choose to focus on eyelashes, and not a subject’s pupil. This might seem nit-picky, but remember, 47MP of resolution. You will see the difference. Lastly, Panasonic’s own-brand flash system isn’t terribly fleshed-out, but third-party options are plentiful.

If you’re a portraitist looking for your next high-quality body, the S1R could be just right for you.

Photo of Dan ‘I don’t like having my picture taken’ Bracaglia taken by Carey Rose

Candid and street

There are two key requirements for a camera to be good for street photography. The first is responsiveness – you need the camera to react at a moment’s notice, when the light’s just right, before your subject exits your composition. The second is subtlety, as you don’t necessarily want to call too much attention to yourself. Now, you only get one guess as to which of these the S1R falls short at.

Bingo – the S1R is big, with a lens lineup that is also almost universally big. When you carry the S1R around, people will look at you and think, “that person must be a photographer,” or “that person’s camera must take really great pictures,” or “that person is a creep.” It is a camera that will get you noticed, whether you want the attention or not.

The S1R will reward you with responsive operation

But if you’re in a big crowd, or a big city, you may yet be able to blend in despite the S1R’s imposing presence. In this case, the S1R will reward you with responsive operation, settings you can check on the top LCD, a touchscreen that tilts so you can shoot from the hip, and an option for a fully-silent electronic shutter. The connectivity will help you send a file off to a subject should you wish, and the weather-sealing means you don’t have to cut your photo walk short if the weather takes a turn.

Candid and street photo by Carey Rose

Sports and wildlife

The Lumix S1R isn’t our first choice for shooting sports and action, but that doesn’t mean the camera can’t do it. First of all, the 47MP of resolution may simply be overkill for most action shooters – but on the other hand, that gives you cropping flexibility in post. The grip makes it easy to handle big telephoto lenses (and Panasonic’s own 70-200mm F2.8 S Pro lens is coming soon), and the external controls make it easy to react to changing scenarios. If you choose to use the XQD card slot as your primary storage option, the buffer is deep, and for those on tight deadlines, the excellent out-of-camera JPEGs are sure to please.

Count on some images mid-burst to be slightly front-or-back-focused

But 6fps burst shooting with autofocus just looks awfully slow in this day and age, especially for capturing peak-action moments. The experience of using the S1R’s big, beautiful viewfinder is marred by a distracting ‘wobble’ and resolution drop when using continuous autofocus – which you’ll be using a lot when shooting sports. Also, count on some of those images mid-burst to be just slightly front-or-back-focused. It probably won’t matter for a thousand-pixel-wide web display, but if you’re the official team photographer shooting images for archival or print purposes, this may be a concern.

In all, you absolutely can shoot sports and action with the S1R (after all, you can shoot sports with an ancient Speed Graphic if you’re David Burnett). But if this is your main photographic calling, there are simply better options out there, and for a lot less money.

Sports and action photo by Carey Rose

Video

There are no bones about it, the S1R is the least video-capable of Panasonic’s new S-series full-frame cameras. But happily, our testing shows it to be the most video capable of the current crop of high-resolution mirrorless cameras. There’s something to be said for that.

Feature-wise, the S1R can shoot up to 4K/60p video, as well as 180fps high speed Full HD footage. There are a ton of customization options for separating settings between stills and video, and the in-body image stabilizer will smooth out your handheld clips. Body / face detection is the most effective way to track focus on people in video, the audio pre-amp is of good quality, and the camera shoots far longer than you’d expect on a single battery charge.

No other high-resolution camera body on the market can touch the S1R’s video quality and feature set

But being based around a high-res sensor, there are some compromises that had to be made in the Lumix S1R. 4K capture comes with a minimum 1.09x crop, which admittedly isn’t too bad. Cropping in further to Super35 will give you the absolute best 4K quality, but that’s quite a crop depending on your lenses. Generic autofocus ‘tracking’ is unreliable at best, and unlike the cheaper S1, there are no options for HLG or 10-bit capture.

But let’s say that high-resolution stills are your top priority, and you may occasionally need to do some video on the side. In this situation, the S1R is easily recommendable – no other high-resolution camera body on the market can touch its video quality and feature set.

The wrap

And that’s a wrap! If it isn’t obvious, the Lumix S1R is a camera we really enjoyed reviewing and using – even if it’s a bit of a bear to lug around. Our only real reservations concern its autofocus system and burst speeds – in this day and age of 10fps high-resolution competitors with hybrid AF systems, the S1R isn’t a great fit for those that need to shoot lots of sports and peak action. But for other professional photographers that want a serious, versatile, high-resolution tool, the S1R is easy to recommend.

To get all the nitty-gritty details on the S1R and its features and capabilities, check out our full review. Lastly, do you own an S1R? What do you like to photograph with it? What do you think of the camera overall? Let us know in the comments!

Read our full review of the Panasonic Lumix DC-S1R

Articles: Digital Photography Review (dpreview.com)

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How to Choose the Right Mirrorless Camera For You

13 Aug

Are you a video photographer, sports photographer or Vlogger looking for a quality mirrorless camera for your job? Then, worry not as you’ve come to the right place. Currently, there are many mirrorless cameras on the market since Panasonic first introduced the first mirrorless camera in 2008. You will find different mirrorless camera models for all kinds of users from Continue Reading

The post How to Choose the Right Mirrorless Camera For You appeared first on Photodoto.

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What Size Beauty Dish is Right For Your Portrait Photography?

03 Jul

The post What Size Beauty Dish is Right For Your Portrait Photography? appeared first on Digital Photography School. It was authored by John McIntire.

What Size Beauty Dish is Right For Your Portrait Photography?

Beauty dishes are common and well-loved lighting modifiers. They are particularly useful for portraits (beauty is in the name after all). They also tend to be a lot cheaper than decent sized softboxes. Years ago, your choice of beauty dish was quite limited. Nowadays, if you try searching for beauty dishes, you will be presented with a multitude of options that greatly vary in size and even how they set up.

Although the numbers don’t seem to be that different, the actual sizes of these beauty dishes vary greatly, and they all have a distinct effect on the light in your images.

What do you do when faced with this kind of choice and how do you know what size beauty dish you should buy? This article discusses three common sizes of beauty dishes and shows you what effect they have on your images. All of the beauty dishes discussed here are silver, and none of them are collapsible. As long as they are of decent quality, the fact that a beauty dish is collapsible should have no impact on your images.

What is a beauty dish?

Three different size beauty dishes. Left: 16″ Middle: 20″ Right: 27″

Beauty dishes are bowl-shaped modifiers that are known for the contrasty light they provide. The quality of light is usually somewhere between hard and soft (when brought in close to your subject). This sets them apart from other modifiers, like umbrellas and softboxes, where the goal is to achieve the softest light possible. This allows you to achieve well-defined edges and shadows, but still retain a flattering light on your subject.

This image shows an unmodified beauty dish on the left. A gridded beauty dish in the middle, and a beauty dish fitted with a diffusion sock on the right.

Often, you will find that beauty dishes come with grids and diffusion socks to help modify them further. Grids alter and increase the directionality of the light, while diffusion socks diffuse the light further, softening it a bit and altering the shape.

What sizes are there?

Any search for a beauty dish should reveal a huge amount of results these days. You can find tiny beauty dishes that are only a few inches across that are designed for flashguns and you can find massive beauty dishes that would be ideal for lighting groups of people. This article compares three sizes that fall more into the normal sized category. These are a 27″, 20″ and 16″.

All three beauty dishes were positioned the same distance from the subject to clearly demonstrate the differences in the effect they provide.

1. 27″

At 27-inch in diameter, this beauty dish is at the upper reaches of what you can expect to find in terms of size. When it’s in close, the light it provides is really soft and is comparable to a medium-sized softbox, but with a bit more contrast to it. It also provides large catchlights in your subject’s eyes.

Because of its size, it’s easy to bring the light further away from your subject to achieve a similar effect to that of smaller beauty dishes, while giving you more room to work. This beauty dish would also be great for lighting multiple people, whereas smaller dishes might struggle.

The 27″ beauty dish provides really soft light when placed in close. Pay attention to the shadow and highlight transitions as well as to how the light wraps around the subject.

There are a couple of disadvantages to a beauty dish this big. The bigger the light source is in relation to your subject, the less bright your subject’s eyes are going to be. If you want bright, clear eyes, a smaller beauty dish may be the way to go. It is also harder to control the light fall off (without a grid) as the bigger source will cast more light behind your subject.

2. 20″

The second beauty dish we’re going to discuss comes in at 20 inches. This is pretty close to what may be considered a standard size for a beauty dish (if there is such a thing). Placed a few feet (1-4) away from your subject, the qualities of light it produces are great for all sorts of portraiture and for a wide variety of subjects.

It is great for male and female subjects, though for flattering portraits of older people you may want to consider not using a beauty dish. Instead, opt for large softboxes and umbrellas. As the beauty dish isn’t a great deal bigger than your average subject’s head (from an appropriate distance), you also have good control over the light fall off, and you have even more control when you introduce a grid.

The 20″ beauty dish also provides good, soft light but the edges of the transitions from shadow to highlight are more defined. You’ll also note the light wraps around the subject less and results in darker shadows toward the back of the subject’s head.

3. 16″

This last beauty dish is 16-inches in diameter. This is the size that I have used the most ever since I bought it well over a decade ago. You can see in the images just how battered and well-used it is.

Because it is quite small, it is easy to control and great to bring in really close to your subject. This beauty dish clearly lights and defines your subject’s eyes. The harder light source also provides clearly defined edges between shadows and highlights but in a flattering manner.

If you want to reduce light fall off as much as possible, this size is definitely the way to go. However, if you want to increase it, you are better off with a larger modifier. This is because moving this beauty dish any distance from your subject will result in really hard light that you might find unflattering to most subjects.

The 16″ beauty dish also provides excellent light. Here you can see the transitions from shadow to highlight are clearly defined. Also, the rapid light fall off means the areas towards the back of the subject’s head are more in shadow.

In terms of portability, this size beauty dish is great. It doesn’t weigh very much at all and just carrying it in your hand takes minimum effort.

When used as something other than a key light, this size beauty dish is really effective. Its small size makes it unobtrusive and easy to position anywhere you need, whether that’s for use as a hair light or fill.

What size should you get?

Left: 16″ Middle: 20″ Right: 27″

Some of the differences between these three modifiers can be subtle and hard to spot if you’re new to lighting. If you’re still wondering which you should opt for, my best advice (which is by no means gospel) would be to evaluate what you need it for.

Do you need portability? Get a small one or consider a collapsible one.

Will you be shooting groups of people often? Go for the largest one you can.

Are you shooting in a small space? Go for the small one again.

Are you shooting in a large space where you can’t get the lights very close to your subject? Again, go for the biggest one possible.

Whichever you choose, make sure that it comes with both a grid and a diffusion sock for the most control possible.

No matter which way you choose to go, you are going to find yourself with a versatile and useful modifier that will last you for years.

Have you used these modifiers? Share your thoughts with us in the comments below.

The post What Size Beauty Dish is Right For Your Portrait Photography? appeared first on Digital Photography School. It was authored by John McIntire.

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Nikon Z6 vs. Panasonic S1 vs. Sony a7 III, which is right for you?

01 Jul

Introduction

Product Photos by Dan Bracaglia

A significant group of camera makers have decided that full frame mirrorless cameras are the sector most likely to remain profitable as the camera market contracts. This leaves us with a selection of cameras priced around $ 2000, all trying to get you hooked on a new system.

We’re going to look at three 24MP full frame mirrorless cameras from Sony, Nikon and Panasonic. The other potential contender here is the Canon EOS R but, while its lens lineup is looking interesting, we think the other three cameras are stronger contenders, so will concentrate on those for now.

This leaves us with a selection of cameras, all trying to get you hooked on a new system

When it comes to their sensors, similarities go way beyond just the headline pixel count. Performance is so close across the trio that you might reasonably conclude that they had similar underlying silicon.

There are differences, of course: Panasonic hasn’t topped its chip with phase detection AF masks, which reduces the (already small) risk of striping artifacts at the cost of slightly lower continuous AF performance. Meanwhile Sony restricts you either to lossy Raw compression that can slightly limit your processing flexibility, or honking-great uncompressed files. But in terms of image quality, lenses are likely to make much more difference to your photos than the brand name that appears on the front of the camera.

Other spec differences

Beyond the sensors, there are a handful of other differences. There are subtle differences in terms of which features each brand provides, with Panasonic generally throwing everything it can at the S1.

All three cameras have in-body image stabilization, the Panasonic and Nikon both feature top-plate display screens, while the Sony and Panasonic offer twin card slots.

Another difference is viewfinder resolution: one of the ways Sony has kept the cost of the a7 III competitive is to stick to a 2.36M dot viewfinder. Nikon’s Z6 has a 3.64M dot finder, which gives a 25% increase in linear resolution. It also does a good job of making the most of this resolution (rather than feeding it a low-res input signal during autofocus, for instance). The Panasonic’s S1 finder gives a further 25% linear res increase, taking it to 5.76M dots.

All three makers talk about weather resistance, but none go so far as to state ratings or give guarantees

In terms of handling, the S1 combines a big grip with a large array of direct control buttons and dials, all spread out on the largest of the three bodies. The Sony is the smallest camera and its control layout is the most cramped, as a result (though the grip is still pretty well shaped). The Nikon strikes a balance: offering less direct controls than the Panasonic but managing to fit a decent grip and well-positioned dials onto a well-sized body.

All three makers talk about weather resistance, but none go so far as to state ratings or give guarantees, in that regard. The Panasonic S1 promises the longest shutter life and certainly feels the most substantial of the three. Meanwhile, in his teardown of the Nikon Z7, Roger Cicala at LensRentals said: ‘This is engineering department weather resistance. Anything that can be sealed has been sealed.’

The Panasonic is also the only camera here to offer 4K 60p video capture or 10-bit Log recording: the Sony will capture 8-bit Log internally, while the Z6 will output a 10-bit stream to an external recorder.

Lens choice

Sony has a five-year head start when it comes to creating a lens system for its full-frame E-mount cameras, meaning it offers by far the widest choice of lenses. In addition to its own lens range, which extends to long teles, standard zooms and primes, Sony has also opened the E-mount up, allowing third-party manufacturers to broaden the range. Tamron makes a pair of F2.8 zooms, while Sigma has created E-mount versions of a selection of its Art-series primes (originally designed for DSLRs).

Panasonic is in the next-strongest position: it’s introduced three of its own lenses and joined a system that already has eight Leica primes and zooms. In addition, Sigma has promised L-mount versions of those same Art-series primes.

By going it alone and keeping the specs to itself, Nikon has only its own lenses to offer

By going it alone and keeping the specs to itself, Nikon has only its own lenses to offer: 35mm and 50mm primes, 24-70mm zooms in both F4 and F2.8, and a 14-30mm F4 wide-angle. Of course, Nikon also offers an F-mount-to-Z-mount adapter, which allows the use of its existing F-mount lenses (though only the more recent designs with built-in focus motors will offer autofocus).

Various adapters exist for all three systems, offering access to Canon EF lenses, for instance. Generally, though, adapted lenses don’t offer their full performance when adapted (though Nikon’s F-Z adapter does a good job). When sizing-up these systems, it’s worth considering whether your existing lenses can be adapted to any of these new mounts, but not a great idea to go out and buy new lenses with the intention of adapting them (the performance is likely to be inferior and their value will drop significantly when native versions are introduced).

Travel

ISO 100 | 1/1000 sec | F4 | Nikon Z6 and Nikon Z 50mm F1.8 S
Photo by Dan Bracaglia

The Nikon and Sony immediately stand out for travel, since they’re appreciably smaller and lighter than the Panasonic. Of these, the Sony has the best battery life, which is a definite advantage, but all three cameras can be charged over a USB connection, to keep them topped-up along the way.

All three are also easy enough to connect to over Wi-Fi, if you want to share your images while still on tour. The Sony makes life slightly easier for Android users by incorporating NFC (you can just tap your phone to the camera to transfer the image currently being shown), but then loses any bonus points by being the only camera here that doesn’t let you re-process a Raw file, if you decide on different processing settings.

If you like to travel with a zoom, the Sony 24-105mm F4 would probably swing us towards the a7 III: the Nikon 24-70mm F4 is smaller (and very sharp) but the Sony is more flexible and the quality is consistently excellent.

If you prefer to stick with a single prime lens, then it’ll depend on your focal length preference. For instance, Sony makes you pick between the massive (and optically unimpressive) 35mm F1.4 and the rather modest 35mm F2.8, which might be enough to make us choose the Z6 and 35mm F1.8 S or 50mm F1.8 S as our preferred traveling companion.

Video

Nikon has promised a firmware update adding Raw video output to the Z6, which may well put the cat amongst the independent production pigeons. But for the majority of videographers, the Panasonic S1 is probably the pick here.

All three cameras can shoot 4K/30p and 24p from the full width of their sensors, but the Panasonic takes this further by offering 4K/60p from an APS-C crop region. For amateur videographers the S1 offers full 10-bit Hybrid Log Gamma: a ready-for-use high dynamic range video format.

Videographers with more demanding workflows may appreciate the optional firmware upgrade (which will cost extra, depending on when you buy the camera), which makes the Panasonic the only camera here to record 10-bit Log footage internally, and the only one to offer a waveform display for optimizing exposure.

The Nikon comes closest to the Panasonic in terms of making it easy to jump back and forth between stills and video shooting, but if you tend to shoot both in the same session, we’d go for the S1.

Family and moments

ISO 100 | 1/200 sec | F1.8 | Sony a7 III and Sony FE 55mm F1.8 ZA
Photo by Carey Rose

All three cameras have eye-detection autofocus, which is especially handy for quick grab-shots of family and friends, and all three work well in this respect. We’ve had the highest success rates with the Sony system, especially in situations with multiple subjects where you need to quickly pick who you want to focus on (it’ll pick the one nearest your selected AF point), but all three cameras do a good job.

The size and weight of the Nikon Z6 and Sony a7 III certainly make it more likely that you’ll have the camera with you at key moments. The retractable Nikon 24-70mm F4 pairs with the Z6 to give a pretty compact do-everything kit, which certainly counts in its favor.

The Panasonic’s HLG video (which captures lifelike footage for playback on high dynamic range TVs) might be a benefit for family movies but, beyond that, there’s not a lot to choose between the three cameras for simple video clips. Video autofocus on the Sony and Nikon cameras is a little more dependable than the Panasonic, but Sony falls behind the others in terms of ease-of-use if you wish to select and track a specific subject.

Landscape

ISO 100 | 1/2000 sec | F4 | Pansonic S1 and Panasonic Lumix S 24-105mm F4 @ 105mm
Photo by Jeff Keller

The Panasonic S1 immediately suggests itself for landscape work thanks to its 8-shot high resolution mode. We were impressed at how well it cancels subject movement, making it genuinely useful for landscape shooting. It also has the most comprehensive top-plate display panel, which is handy when working from a tripod.

However, while the Panasonic feels like the most rugged and durable of the three cameras here, there are no formal ratings or guarantees to back that up, so we can’t be certain that the apparent sturdiness is anything more than perception. Meanwhile, we know Nikon has put a lot of effort into its sealing.

All three cameras will do a good job, but to gain the Sony’s full dynamic range you’ll need to shoot uncompressed Raw, which is something of a demerit. Lens selection is likely to be a larger deciding factor, with Sony currently leading the charge thanks to some very good ultra wide-angle lenses.

Formal portraits

ISO 100 | 1/250 sec | F1.8 | Sony a7 III and Sony FE 55mm F1.8 ZA
Photo by Carey Rose

There’s little to choose between the three cameras in terms of formal portraits. All three have eye AF systems that make it easy to focus on people, letting you concentrate on your interaction with your subject. In our experience the Sony is most consistent at putting the focus exactly on the eye, rather than the eye-lashes.

Again Sony has the head start in terms of lens selection, though Sigma has said it will make L-mount versions of its lenses, including the 85mm F1.4 Art and 135mm F1.8 Art which, in addition to the Leica 90mm F2, mean that Panasonic users will be pretty well served.

The Z6 can immediately use all of Nikon’s extensive flash system, which extends to both radio-frequency and infrared trigger options. Sony also has a radio-frequency system. There are also plenty of third-party flash triggers available for all three systems.

Lifestyle and people

ISO 100 | 1/200 sec | F1.4 | Panasonic S1 and Panasonic Lumix S Pro 50mm F1.4
Photo by Wenmei Hill

Lifestyle and people pictures are pretty much the core strength of all these cameras. Their large sensors and choice of wide aperture lenses support the shooting of those Instagram/Stock Photography shots of the picture-perfect lifestyle.

All three cameras now include autofocus that will find and focus on a subject’s eye. The Sony is the easiest of the three, if you need to focus on a specific person, but all three cameras work pretty well.

The Sony has the strongest lens selection, though the promise of a selection of Sigma primes for L-mount means the Panasonic should be pretty flexible, too. To get close to this on the Nikon you quickly have to start thinking in terms of adapting lenses, which isn’t the best long-term investment.

The Sony has the most awkward user interface of the three (particularly in terms of its menu system), but it can be set up so that you rarely need to delve into the full menu.

In terms of usability, we really appreciate the Nikon’s combination of sensible size, comfortable grip and straightforward user interface: it’s the camera we most enjoy shooting with, out of the three.

Candid and street

ISO 125 | 1/80 sec | F11 | Sony a7 III and Sony FE 35mm F1.4 ZA
Photo by Carey Rose

The Sony a7 III and Nikon Z6’s smaller size help when it comes to discreet shooting. The Sony then builds on this by having the largest selection of small lenses. Its ‘wide’ area AF mode is probably the smartest auto AF system (it’ll not only choose a subject but can be set to then track it through the scene).

The Nikon has plenty going for it, too, though, if there’s a lens you like available. Its touchscreen is more responsive than the Sony’s, as are its physical control dials. It’s also fastest of the three to start up, helping it in the ‘decisive moment’ stakes.

All three cameras shoot attractive out-of-camera JPEGs and all three make it pretty easy to then share these to your phone. And, significantly, all have a usable silent shutter mode, if you really need to be subtle.

The Panasonic S1 is pretty responsive, and its two-axis rear screen means you can shoot portrait orientation at waist level in a way you can’t with the other two. Unfortunately it’s the largest camera and the most likely to be noticed and hence to prompt a response from the people you’re trying to unobtrusively photograph.

Sports and wildlife

ISO 1600 | 1/1250 sec | F2.8 | Sony a7 III and Sony FE 70-200mm F2.8 GM @ 200mm
Photo by Carey Rose

None of these models are explicitly designed as sports cameras but are all capable enough all-rounders that you won’t find yourself lost on the sidelines.

The Sony’s autofocus is the most comprehensive (once you’ve chosen which of its area modes gives you the best results). It’s got by far the best fleshed-out range of native telephoto and super-tele lenses. It also has the fastest shooting rate, at up to 10 fps, and has tracking that’s good enough for sports use. This and the camera’s greater battery life make it the strongest choice in this company.

That said, the Nikon isn’t that far behind. Its subject-tracking AF is slower and more awkward to initiate, and less dependable but its other AF modes are very capable. The camera is compatible with Nikon’s extensive range of F-mount DSLR sports lenses, but the performance of these is somewhat variable, and we wouldn’t necessarily recommend heavily investing in non-native lenses, especially for such an expensive class of lenses.

The Panasonic is probably the weakest of the three, both in terms of AF performance (though not by as much as is sometimes suggested) and lens availability. It also has the slowest shooting rate: 6 frames per second with continuous autofocus.

Wedding and events

ISO 320 | 1/160 sec | F2.8 | Sony a7 III and Sony FE 85mm F1.8
Photo by Dale Baskin

Wedding and event shooting requires many of the characteristics needed for lifestyle and people shooting, but increases the level of jeopardy, because you only get one chance to get the shot. This puts greater emphasis on speed of operation and it one of the disciplines that hugely benefits from redundant twin-card shooting. This counts against the Nikon for wedding shooting.

The Panasonic has the most extensive array of direct control points and allows enough customization that you can always have the controls you need at your fingertips. You can also save your settings onto a memory card to bring a second (perhaps rented) body into line with your primary camera, or just correct any settings changes you may have made for another job.

If you need to deliver both stills and video, the Panasonic has both the strongest feature set and makes it easiest to quickly switch back and forth between the two modes (you have extensive control over which settings follow over from one to the other).

All this being said, the Sony has the strongest selection of native lenses at this time, and if you’re going to be carrying one or two cameras for eight hours at a time, you might enjoy the Sony’s lighter weight compared to the Panasonic.

Conclusion

We often find these application-focused articles enlightening: forcing yourself to think about how the performance differences affect different types of photography can help reveal which differences are important, and which are only relevant to a handful of users.

The two things that jumped out while writing this piece are that all three cameras are very good (and pretty consistently good at most things), but also that they’re opportunities for a fresh start if this is your first step into full-frame mirrorless. As always, lens availability should play a major role in which camera you choose but, to a large degree, it’s only really Nikon F-mount shooters who will find themselves with any dog in this particular fight. Unless you have multiple high-value long tele Nikon lenses, it might make sense to see a move to full frame mirrorless as a chance to sell-up and start again.

All three cameras are opportunities for a fresh start if this is your first step into full-frame mirrorless

The Sony is, overall, the best all-rounder: it does well at just about everything. Sony has been making full-frame mirrorless cameras longer than anyone, which gives it an advantage both in terms of technological development (especially autofocus) and lens selection. However, its focus on developing new and exciting features has left its user interface looking awkward and clunky by comparison. The Panasonic is a more feature-laden camera and yet is arguably easier to use and configure.

The Nikon Z6 runs the Sony very close, especially with its improved focus operation with firmware v2.0. In many respects we prefer the Nikon’s handling and UI over the Sony’s.

The choice you make is likely to engender a degree of commitment to a new lens system and, having looked at each camera in detail, we’d say thinking long-term about lenses is more important than focusing on the relatively minor differences between these three cameras.

Articles: Digital Photography Review (dpreview.com)

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Analog gems: 10 additional film cameras worth buying right now

08 Jun

Analog gems part 2

Back in 2017 we shared our list of 10 excellent, affordable film cameras worth considering. Jump to today, in 2019, and public interest in analog photography has only continued to grow. So much so that we thought it was high time to revisit our original list and call out ten more film cameras worthy of your time and money.

These cameras were selected based on reader feedback, research and the staff’s collective analog lust. All of them can be found pretty easily on the second-hand market in good working order, most for a relative bargain. So get ready to hunt through your freezer for a long-expired roll of film, it’s time for Analog Gems Part 2.

Read Analog Gems part 1Note: cameras are arranged from least to most expensive.

Nikon EM

History: The Nikon EM was by all measures, a commercial flop for the brand. Yet decades later it has endured as Nikon’s smallest, lightest and best-looking (opinion) film SLR. Launched in 1979, this Aperture Priority-only camera was reportedly built with female shooters in mind – the stylish good looks are courtesy of famed auto designer Giorgetto Giugiaro. It’s anyone’s guess why the camera sold poorly; manufacturing stopped by 1982, but the theory is most women at the time preferred the EM’s fully-manual siblings to what is essentially a simplified, fashion-forward, budget model. Still, despite its entry-level status, the EM is as reliable as its pricier siblings from the same era.

If you’re after a small, handsome little camera that’s super simple to use, look no further

Why we like it: If you’re after a small, handsome little camera that’s super simple to use, look no further. The EM features a very accurate center-weighted meter that’s powered by two S76 or A76 batteries. A small button below the film rewind acts as a negative two stop exposure compensation when pressed. The camera is fully electronic in operation but can function on no juice with limited shutter speeds – an ‘M90’ mode locks the shutter speed at 1/90 sec, the camera’s standard ‘Auto’ mode sets the shutter speed to 1/1000 sec. The body is mostly built of a copper and aluminum alloy, though the top and bottom covers are polycarbonate.

Find one: These cameras are incredibly easy to come across in new, or like-new condition for between $ 20 and $ 75. They only come in black. The EM’s arrival on the scene also brought with it the introduction of Nikon’s budget E line of glass. Of this line, the 50mm F1.8 E and the 100mm F2.8 E are both impressive performers and quite compact in size. It’s very easy to find the former kitted with the EM on places like Ebay.

Also consider: The Nikon FM was a step up from the EM – they’re a little pricier and chunkier but come with full manual controls.

Konica C35 EF

History: The C35 EF is a compact rangefinder camera that debuted in 1975. It sports a very sharp 38mm F2.8 lens and the World’s first pop-up flash. Other than choosing to activate the flash or not, the camera is fully automatic in nature. A small red light on the back illuminates if the exposure is too dark and the flash is needed. Focus is set by choosing one of four zones.

Why we like it: A personal favorite of Andy Warhol, there’s something oh-so-appealing about these boxy little cameras. They’re fairly well-built, easy to use and an eye-catcher for sure. Perhaps most importantly, the lens is very sharp and metering/flash output tends to be accurate. The flash is powered by standard AA batteries. The meter uses a discontinued 1.35v mercury cell battery, however the MR-44 battery adapter will allow you to use a common silver oxide battery (392 or SR41) instead without any issues.

A personal favorite of Andy Warhol, there’s something oh so appealing about these boxy little cameras

Find one: You can find a C35 EF used, in good condition for between $ 20 and $ 75. They come in two varieties, the later version has a self timer (and a greater range of shutter speeds for the camera to choose from).

Also consider: The C35 EF3 debuted several years after the original C35 and sports a redesigned 35mm F2.8 lens. It’s also got a lighter body and has an even greater range of shutter speeds for the camera to select from. Available in 7 colors, including a cherry red variety, these can be a little trickier and pricier to track down than the original C35 EF.

Note: The C35 EF3 is shown above

Fujifilm Instant Mini 70

History: Launched in 2011, the Fujifilm Instax Mini 70 is one of the brand’s most-stylish and affordable instant cameras. As its name suggests, it uses the Fujifilm’s Instax Mini format, which comes in packs of 10. The Instax brand itself was actually first introduced back in 1998 and has grown extremely popular, especially in recent years.

Why we like it: Of all the instant cameras currently on the market, we picked the Mini 70 as our favorite thanks to its balance of price to features. It’s lightweight, looks cool and is very easy to operate. The camera’s powered by two lithium CR2 batteries which provide ample power for many packs of film. It’s also fairly well-built and offers some very basic manual controls (+2/3rd EV and flash on/off).

It’s light-weight, looks cool and is easy to operate

Find one: These cameras are still being made and can be purchased new in a wide variety of fun colors for around $ 50-75. We like Island Blue.

Also consider: The Fujifilm Instax Wide 300 uses the brand’s largest format instant film and is both easy to operate and well-built. It’s certainly a chunky beast of a camera, but that’s par for the course in this format.

Olympus OM-1/N

History: The Olympus OM-1 is a small, lightweight SLR that debuted in the early 1970’s at Photokina. It was originally called the M-1, which didn’t make Leica too happy (given their existing M-series rangefinder line), so the name was later changed to OM-1. Purely mechanical in nature, the OM-1 offers only manual controls. The OM-1N was a slightly updated model offering a redesigned wind lever, and some improvements designed to make it easier to work with a flash.

Why we like it: The OM-1 features a large viewfinder packed into a small, light SLR. It’s an attractive little camera that has some unusual design elements, like its shutter speed dial around the lens barrel. These cameras are very well-built and only need batteries to operate the meter, which takes a now-discontinued 1.35v mercury cell battery. But not to worry, there’s an adapter for that too – the MR-9 battery adapter will allow you to use a common silver oxide battery (386).

It’s an attractive little camera that has some unique design elements

Find one: These cameras can easily be found in good condition for between $ 50 and $ 150 in the two-tone silver-and-black variety. An all-black version is also available but for a good bit more cash. The OM-1 often sells with the original kitted 50mm F1.8 lens.

Also consider: The Olympus OM-2 can be purchased for just a little more than the original OM-1 and gives you automatic exposure controls as well as manual controls. There’s also no mercury battery to worry about . However the camera is fully electronically controlled, so power is needed to use most shutter speeds.

Photo by Alan Drummond

Pentax MX

History: The Pentax MX was released as a professional-level camera in 1976 during a time when competition in the SLR market was stiff and SLRs were getting ever smaller. The MX remained Pentax’s flagship until the 1980s. Externally similar to the Pentax ME, the MX is purely mechanical and offers only manual controls. The ME on the other hand is electronically-controlled with both manual and auto functions. The former was geared toward professionals, the latter toward enthusiasts.

Why we like it: The Pentax MX is a handsome camera – it’s among the smallest and lightest SLRs on our list (second to the Nikon EM) and very well constructed. Operation is fully-mechanical, so if the battery dies (two LR44 batteries) you only lose the lightmeter. Controls are simple and direct – the viewfinder is impressively large.

The Pentax MX is among the smallest and lightest SLRs in our list

Find one: The Pentax MX can be found in good condition for between $ 75 and $ 200, often with the original kitted Pentax 50mm F2 included (splurge on the much nicer 50mm F1.7 if you can find it). The two-tone silver-and-black models are far easier to find than the all-black finish.

Also consider: The Pentax ME is similar in size and weight to the MX and can be found for considerably less cash. It doesn’t have the same reputation for reliability as the MX and requires batteries to operate (except at 1/100 sec), but it is still a very good bang for your buck.

Photo by Pierre-Jean Parra

Canon T90

History: Introduced as Canon’s flagship camera in 1986, the T90 is also arguably the most advanced FD-mount camera ever made. The year after its debut Canon unveiled the all-electronic EF-mount on EOS cameras with support for autofocusing lenses, effectively nailing the coffin shut on future FD development. Still, the T90 offers a ton of modern features – like a top plate display, multi-function control dial and incredibly sophisticated ambient and flash metering modes, plus 4.5 fps burst shooting – in a tough, beautiful body. Its release also ushered in a more curvaceous era of Canon SLR design, one we’re still very much in. The Current EOS-1D X Mark II owes a lot to the T90, after more than 30 years.

Why we like it: It’s almost impossible to hold the T90 and not think about modern Canon DSLRs – so much of their ergonomic excellence is rooted in this camera. From a usability standpoint, the T90 is a pleasure to shoot with – it’s powered by 4 AA batteries. Nicknamed ‘The Tank,’ these cameras can take a lot of abuse. Did we mention 4.5 fps continuous shooting?

The T90 offers a ton of modern features like 4.5 fps burst shooting

Find one: There are some common T90 problems to keep an eye out for, like sticky shutters and faded top plate LCDs, but it’s not hard to find one in great working order. Good condition models can be had for between $ 150 and $ 250, body-only. And because the FD mount was discontinued, lenses for the T90 are often a bargain. Just be aware, almost every second-hand T90 will be missing its original eyecup.

Also consider: The Canon T70 is the boxy, more 80s-looking predecessor to the T90. It offers a top plate LCD, continuous shooting (a lackluster 0.7 fps) and multiple metering modes. Unlike the T90 it is a fully-automatic camera. You can find them for around $ 50.

Nikon FE2

History: We wavered back and forth between recommending the FE2 and the FM2 and ultimately chose the former as they’re easier to find in good condition, for a decent price. These two mid-range cameras are very similar both in design and in terms of their reliability – both are also relatively light and compact for an SLR. The FM2 was released in 1982 and only has manual controls, while the FE2 was released in 1983 and has both manual and automatic controls. The ‘M’ in FM2 refers to it’s purely mechanical design, the ‘E’ in FE2 refers to its electronically-controlled design.

Why we like it: The FE2 can be operated in a fully manual capacity or in an aperture priority mode. Conveniently, you can adjust exposure compensation by + / – 2 stops (available in third stop increments) when shooting in aperture priority. Metering is center-weighted and accurate. The camera is powered by two S76 or A76 batteries and will still work with no batteries, albeit in a limited capability (only 1/250 sec and bulb). These cameras are very well built and easy to come across in good working order.

These cameras are very well-built and easy to come across in good working order

Find one: You can expect to pay between $ 150 and $ 250 for an FE2 in nice condition, though that price seems to slowly be creeping upwards. They come in both all-black as well as two-tone black and silver. If you score a particularly minty one you can likely expect it to serve you for many years to come.

Also consider: The original Nikon FE can be had for a bit less money than the FE2, and you don’t sacrifice much (slower top shutter speed, flash sync speed, no TTL flash). On the other hand, for more cash you can get yourself the purists’ camera in a Nikon FM2.

Photo by Paul Chin

Konica Big Mini BM-200 or 300-series

History: There are a few different varieties of the Konica Big Mini that came out in the early 90’s – including several with zoom lenses. For simplicity’s sake we will focus on the non-zooming BM-200 and 300-series (which are quite similar). These lightweight point-and-shoots sport the same sharp 35mm F3.5 lens and are fully-automatic in nature. Two LEDs in the viewfinder let users know whether autofocus can be achieved and whether the flash will fire.

The flash output is well-balanced and the lens is impressively sharp

Why we like it: Big Minis are simple to use and provide excellent results – the flash output is well-balanced and the lens is impressively sharp. There’s also something to be said for their understated rectangular design. They can, however, be a tad fragile due to their mostly plastic construction. But treat a Big Mini with a little TLC and it’ll likely keep on snapping for years. One more note of caution: Be careful not to open the rear door too far when loading/unloading a roll as doing so can tear a crucial bit of electric ribbon. This is the primary failure point on these cameras. The Big Mini is powered by a CR123 battery.

Find one: These cameras can be found in good condition for between $ 150 and $ 250. They come in both silver and dark grey.

Also consider: The Big Mini F sports an even faster 35mm F2.8 lens and same boxy form-factor but tends to cost a fair bit more than its slower siblings.

Nikon F100

History: The Nikon F100 is a modern film SLR released in 1999, the same year as the Nikon D1. Slated right below the flagship Nikon F5 (and later F6) in the company’s film SLR lineup, it sports many pro-level features like Nikon’s excellent Matrix metering (as well as spot and center-weighted), 4.5 fps shooting, automatic bracketing and a variety of autofocus modes.

The F100 operates and handles a lot like a modern Nikon DSLR

Why we like it: The F100 operates and handles a lot like a modern Nikon DSLR – it looks like one too. It’s these familiar controls and use of the F-mount make it the perfect camera if you’ve got Nikon glass and are curious about trying your hands at film shooting. The F100 is also well-constructed, though a tad hefty for a film SLR – power comes from 4 AA batteries or an optional MB-15 battery pack. One word of caution: The rubber covering on the back of these cameras has a tendency to get sticky with age – this can be rectified with some careful (and time-consuming) scraping.

Find one: Because the F100 came out toward the end of the film era, these feature-packed cameras can be found for relatively little cash. Pick one up in good condition for $ 150-250. They only come in black.

Also consider: The Nikon F90 series debuted a few years prior to the F100 and offers many of the same features, but with only a single autofocus point. They can be found pretty easily for less than $ 50.

Photo by Ángeles Andrade

Fujifilm GS645S

History: Fujifilm made some wacky-looking medium format cameras in the 80’s and this one is no exception – just look at that bumper. The GS645S belongs to the greater GS645 family of compact, fixed lens medium format cameras, all of which shoot a 4.5 x 6 image. The ’S’ model offers a 60mm F4 lens that produces a 35mm (35mm-equiv.) field of view. Focusing and exposure controls are all located around the lens. There are no auto settings.

Because it shoots 4.5 x 6, you get 15 shots per roll

Why we like it: The GS645S is an excellent small and lightweight medium format option for street or travel photography. The lens is sharp and the camera is well-built. Power comes from two LR44 batteries. Because it shoots 4.5 x 6, users get 15 shots per roll. And though the default vertical orientation takes some getting use to, the camera can easily be operated vertically (for a horizontal field of view).

Find one: These cameras are slowly creeping up in price but can usually be found in good condition for between $ 300 and $ 450.

Also consider: The GS645S’ siblings are also worth your consideration. The original GS645 features a collapsible 75mm F3.4 lens and the GS645W features a 45mm F5.6 lens. You’ll pay around the same price for these models.

The wrap

There you have it, 10 cameras ranging from 70’s SLR classics to odd-ball 80’s compacts. As always, feel free to suggest other great analog camera buys in our comment section below. And for more analog fun, jump back to our original list: Analog gems: 10 excellent, affordable film cameras. Feel free to leave suggestions for Part 3 in the comments.

Articles: Digital Photography Review (dpreview.com)

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Ricoh denies rumors it will lose the right to use the Pentax brand name

31 May

Rumors that Ricoh will lose the right to use the Pentax brand name in 2020 are being denied by the company. In a statement, Ricoh acknowledged that the Pentax name belongs to Hoya but explained that there are no restrictions on Ricoh using it in the camera business.

The rumors first appeared on the Pentax Rumors website in an article that claimed that Ricoh’s license to use the Pentax name would expire in 2020. According to the rumor, this served as the reason for no new announcements in some time. Ricoh, however, states that it will introduce new items in the future, and will continue to use the Pentax name for its cameras.

In a statement to DPReview, a Ricoh spokesperson said:

‘No, [the rumor] is not a fact.

Hoya is the owner of the PENTAX trademark, but there are no restrictions or limitations attached for RICOH to use the PENTAX brand in the camera business.

We will continue to offer the PENTAX brand products including new items.’

There’s no telling what might come from the Pentax brand next, but now there’s confirmation straight from the source that the Pentax brand will continue to live on via Ricoh.

Articles: Digital Photography Review (dpreview.com)

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Is the Olympus OM-D E-M1X right for you?

29 May

Is the Olympus E-M1X right for you?

Our comprehensive Olympus E-M1X review is live if you’d like to dive deep into the camera’s image quality, handling and autofocus performance. But for a more straightforward take on the E-M1X, here’s how well-suited it is for a few popular photographic use cases:

Sports and wildlife photography
Landscape photography
Wedding and event photography
Portrait photography
Video work

All photos by Dan Bracaglia unless noted otherwise

Sports and wildlife

Fast burst shooting, reliable autofocus and controls that don’t require you to take your eye from the finder – these are just some of the things you’ll want from a camera if capturing peak action is your aim. The E-M1X is advertised as a professional-grade sports and wildlife camera and it mostly lives up to this billing. Plus it’s got an enormous family of telephoto lenses to complement its aspirations.

Many sports and wildlife photographers rely on continuous autofocus and the E-M1X can shoot up to 10 fps (mechanical shutter) and 18 fps (electronic shutter) in AF-C. Continuous autofocus performance is good, but other sports cameras like the Nikon D5 and Canon 1DX II offer slightly more reliable results. Still, subject tracking is impressively sticky and the camera’s buffer depth is also solid. If you’re okay with focus being locked after the first frame it can do 15 fps (mechanical shutter) and 60 fps (e-shutter) – just be aware that using the e-shutter can result in banding under certain lighting and rolling shutter (though this is fairly well-controlled).

The finder offers a fast refresh rate and minimal resolution loss while the shutter’s pressed, making it easy to follow fast-moving subjects

The camera’s ergonomics are excellent, full stop. I’s one of a handful of bodies on the market with built-in vertical controls. Whether shooting vertically or horizontally, dialing in settings can be done without removing your eye from the finder. Speaking of the finder, it’s not the highest-resolution nor does it offer the highest contrast on the market, but it does offer a fast refresh rate and only minimal resolution loss while the shutter’s pressed, making it easy to follow fast-moving subjects. The camera’s also got a tank-like build and IPX1-rated weather-sealing. The only thing truly missing from this pro-level body is a top plate info display.

Image quality is excellent for its sensor size – with lovely out-of-camera JPEGs – but it can’t match the resolution of higher-resolution cameras, limiting your ability to crop in post. Similarly, shadow noise at higher ISOs is more prevalent than on larger-sensor bodies – this also limits your ability to push the exposure in post.

Landscape photography

High resolution is normally the name of the game when it comes to landscape photography, and we’re not going to pretend the E-M1X’s Four Thirds chips can match the resolution or image quality of larger sensors… on its own. But this camera has some tricks up its sleeve, including a 50MP hand-held high-resolution mode and an 80MP tripod-based high-resolution mode. The latter combines 8 images and even has the benefit of improved noise performance over a standalone file. However you’ll want to avoid scenes with a lot of movement when using either high-res mode.

The E-M1X also has some other nifty tricks landscape photographers will appreciate: there’s a ‘live ND’ filter for long exposure simulations and various in-camera time-lapse options. Sadly, the two can’t be combined.

In terms of ergonomics, the E-M1X is a bit of a beast to carry around for long periods of time. On the other hand, it’s got excellent weather-sealing and a tough build, so it’s doubtful the camera will let you down in nasty conditions. Plus a fully-articulating screen is great for high and low shots, and battery life is solid thanks to twin batteries.

Photo by Scott Everett

Wedding and event photography

For those already invested in Micro Four Thirds, the E-M1X could be a great addition to your wedding or event shooting kit. Vertical controls are extremely handy for shooting portraits. And the camera’s Face Detect and Eye Detect both work with good reliability if your subject fills most of the frame. Wedding ceremonies are moments when the E-M1X’s truly-silent e-shutter could be invaluable. And we doubt you’ll be able to chew through both the camera’s batteries, even with a full day of shooting.

The E-M1X is compatible with Olympus’ flash system, however as of writing, there are no Olympus flash units that can fire an AF assist beam without triggering the strobe – something wedding and event photographers often rely on for precise autofocus in very dark scenarios. Still, the camera’s high-resolution modes can be handy for detail shots of say, a dress or the bridal bouquet.

Photo by Carey Rose

Portrait photography

As with landscape photography, resolution is also an important factor for portrait photographers. So right off the bat, the E-M1X is at a disadvantage here over its larger-sensor competition. And don’t count on the high-res modes to save the day – these are intended for static subjects, not people. Still, vertical controls are handy for shooting in the traditional portraiture orientation and the E-M1X’s Face and Eye detect both work well.

We’re also fans of Olympus’ JPEG rendition of skin tones. Plus, if you’re shooting portraits using controlled lighting, shadow noise shouldn’t be an issue. There’s also a wide range of excellent portrait-appropriate glass available for this system.

Photo by Scott Everett

Video

The E-M1X is a sports and action-oriented camera, so why use it for video? Here are a few compelling reasons: It can shoot good-looking Cinema 4K (24p only) as well as 1080/120p slow motion footage. It offers a fully-articulating touchscreen with sticky video AF. And the camera’s Sensor+Digital image stabilization offers the smoothest in-camera, hand-held shooting we’ve experienced (it does come with a slight crop, though).

Other call-outs include headphone and microphone ports, Flat profiles and Log capture. Sadly the latter is limited to 8-bit compared to 10-bit offered by some of its peers. This means you won’t get the same video dynamic range as say, a Panasonic Lumix GH5. Still, for more-casual filmmaking, without the need for a tripod or stabilization rig, the E-M1X can be a solid option.

The wrap

The Olympus OM-D E-M1X is a sports and action camera that also happens to function quite well for a number of other photographic situation. However for most of these scenarios, unless you’re already invested in the system, there are other cameras that will likely serve you better for less money.

But back to sports and action. For way less money, the E-M1X shoots faster than even the most expensive sports cameras, like the Nikon D5 or Canon 1DX II, while offering similar ergonomics and build quality. It doesn’t quite offer the same level of autofocus reliability as these cameras, nor can it match the resolution/noise performance of their larger sensors. Still, it’s an outstanding choice for Micro Four Thirds shooters who want a no-compromise camera to point at fast-moving subjects. And if you end up also photographing portraits, landscapes, events or video, well, the camera will be able to handle that too.

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Is the Sony a6400 right for you?

16 May

Is the Sony a6400 right for you?

We’ve put the wraps on our full review of Sony a6400, where we look at its image quality, autofocus and more. But is it the right camera for you, and the style of photography you enjoy? Taking the a6400 into account as a whole, here’s how we think it stacks up for these common photographic use cases.

Family and moments
Travel
Video
Lifestyle and people
Sports and action
Landscape
Candid and street
Formal portraits

Family and moments

Sometimes, a killer new feature comes along that really changes the way you take photographs – in this case, that feature is Sony’s Real-time Tracking AF. Once you get the camera set up, all you really need to do is place an AF area over the subject you want to track, whether it’s a human or not. If it’s not a human, the system will track that object very tenaciously as you recompose the scene. If it is a human, the system will automatically switch to face or eye detection and reward you with incredibly accurate focus, almost regardless of lighting or subject movement, and even at wide apertures. It’s really something.

As a point-and-shoot family cam, the a6400 is hard to beat

There’s a lot else that the a6400 gets right for this use case, as well. First of all, with the proper prime or the 16-50mm F3.5-5.6 power zoom kit lens, it makes for a compact package that’s easy to toss into a bag or jacket pocket (the very nice 18-135mm F3.5-5.6 kit lens adds quite a bit of bulk, but a very flexible zoom range). There’s above-average battery life, and if you do happen to let the battery drain, the a6400 will charge over its micro USB port. Claimed weather-sealing means a little drizzle doesn’t need to dampen your photographic creativity, and the selfie screen will be handy for, well, selfies.

Marks against the a6400 include a complex menu system that could overwhelm more novice users, and we’ve found the auto white balance can ‘overcorrect’ daylight images, making them look a little cold for our tastes. But overall, as a ‘point and shoot’ family camera, the a6400 and its Real-time Tracking autofocus are hard to beat, especially at this price point.

Photo by Rishi Sanyal

Travel

Everyone travels differently, but we believe that the a6400 comes with some merits (and, of course, demerits) that will apply broadly to the type of people that like to bring a dedicated camera with them while traversing the globe.

First off, like all of Sony’s a6x00 cameras, the a6400 is compact and lightweight. Despite this, it still comes with claims of weather-sealing, which is a nice touch should you run into inclement weather. Wireless connectivity, including NFC, is a strong point, so it’s easy to get your photos up onto the web from anywhere, without needing a dedicated computer. There’s an awful lot of lenses in the E-mount ecosystem to choose from at this point, from the flexible 18-135mm F3.5-5.6 Sony kit zoom to Sigma’s excellent 16mm, 30mm and 56mm F1.4 primes. Add on the ability to charge the a6400 from the same power bank that you can use to charge your phone, and you have a strong proposition for a travel camera right here.

The a6400 is compelling option for you to pack into your carry-on for the next adventure

But there are a couple of things to consider. Unfortunately, Sony is one of the few remaining manufacturers to not allow in-camera Raw processing. This is a shame, because we’ve found the auto white balance can sometimes result in unpleasant colors in JPEGs, and JPEGs are harder to correct than Raw files. This means that, if you’re a power user and really like to fine-tune your photographs, you may actually find you want a laptop with you to give those Raw files a look. This could be mitigated if Sony’s Imaging Edge app allowed the transfer of Raw files to mobile devices, but at the time of this writing, it doesn’t.

Still – if you’re primarily a JPEG shooter and don’t mind taking some more control over your JPEG and white balance settings, the a6400 is a compelling option for you to pack into your carry-on for your next adventure.

Photo by Carey Rose

Video

The new screen mechanism on the a6400 tilts all the way up for selfies, yes, but that also opens a window of opportunity for those looking to ‘vlog.’ But aside from vlogging, there’s quite a bit to unpack here, so let’s start with the basics.

The a6400, like the a6300 and a6500 before it, offers oversampled (read: highly detailed) 4K video capture. Autofocus during video is another strong point, requiring a minimum of input from the user for most types of shooting. The microphone input makes it easy to get higher-quality audio recorded in-camera, and Log capture gives power users more flexible files for post-processing. Sony has also updated the processor in the a6400, and in room temperature conditions, the camera will record 4K continuously until the battery runs out, or the card fills – without fear of overheating.

The a6400 is a great B-cam for interviews, and decent for vlogging – but it’s worth checking out the competition

But the market hasn’t stood still. Against competitors like the Fujifilm X-T30, the a6400 has an awful lot of rolling shutter – which is that sort of jiggly, jello-y effect you can often see in shaky footage. And without a stabilized lens, you’ll have a lot of shaky footage, since the a6400 doesn’t include in-body image stabilization. Plus, in 4K/30p, you’ll have an additional crop factor, meaning it will be difficult to get wide-angle footage with standard zoom lenses. There isn’t a headphone jack to make sure your audio sounds alright during recording, and that flip-up screen can be blocked by any microphone you want to put in the hot shoe.

So thanks to its unlimited recording time, the a6400 makes a great B-cam for interviews, and with Sony’s 10-18mm F4 E-mount lens, which happens to be stabilized, you have a decent option for vlogging as well (just watch that crop if you shoot in 30p). It’s just that, at this point, it’s worth checking out the competition to see if other options have a more modern feature set that will work best for the kind of video work that you want to do.

Lifestyle and people

We again see Sony’s Real-time Tracking autofocus playing a major role here; even with a wide-aperture primes, like Sigma’s 56mm F1.4 or Sony’s 24mm F1.4 GM, the a6400 will reliably lock focus on a subject’s eye with incredible accuracy.

Not only that, but malleable files with plenty of dynamic range give you more flexibility for shooting in harsh lighting conditions, and good low light performance means you don’t necessarily have to stop shooting when the sun goes down. Good connectivity options will let you send those files off to your subjects quickly and easily, so long as you’re happy with the JPEGs – it’s probably best to dial in your white balance manually for best JPEG results.

Photo by Barney Britton

Landscape

The a6400’s 24MP sensor offers a solid amount of resolution for landscape work – and there aren’t many APS-C cameras out there to offer significantly more resolution at this time, anyway. And though it’s the exact same sensor as in the older a6300, it’s still a very good sensor in terms of dynamic range, and so you’ll be able to brighten shadows significantly in high-contrast scenes without introducing a ridiculous amount of noise.

If you’re a tripod shooter, the tilting LCD will be a help for working at lower angles, though if you like to shoot in the vertical orientation, you’re out of luck on that front – the LCD only tilts on its horizontal axis. There’s a strong selection of lenses, both from Sony and third parties, particularly wide-angle primes. The claimed weather-sealing is of course a welcome addition if you’re finding yourself out in the elements, as is USB charging if you’re operating off the grid for any period of time. There’s also a robust built-in intervalometer for time lapse work, if that’s your jam.

The inability to process Raw files in-camera or transfer them to your phone may be frustrating

But for those wanting to travel light, the inability to process Raw files in-camera or transfer Raw files to mobile devices may be frustrating. The a6400 is also one of the few APS-C cameras on the market to only offer lossy compressed Raw files, meaning that you might see some artifacts if you really push your high-contrast files, such as those taken at sunrise or sunset. Overall, though, the a6400 – with the right lenses – is a solid choice for landscape shooters looking to travel light.

Photo by Carey Rose

Sports and action

Sorry to sound like a broken record (do the kids know what records even are, these days?), but Sony’s Real-time Tracking AF is a revelation for sports and action photography, as well. Whether you’re photographing your child’s soccer game or a low light concert, the a6400’s autofocus system is capable of getting you an incredible number of in-focus ‘keepers’, even if you’re firing away at a maximum burst rate of 11 fps. And as stated earlier, the system doesn’t need an eye to latch onto for accuracy – the a6400 will tenaciously track any subject, whether it’s a race car or a helmet, as long as you’ve initiated tracking over that subject.

We’re pleased with the deep buffer, but less pleased with the slow write-times

We’re pleased to find that the a6400 comes with a pretty deep buffer, but are less pleased to say that the card slot is only UHS-I. This means that write-times are on the slow side, and that the buffer will take a while to clear after a long burst. While you can still enter playback while images are being written to the card, some functions – like burst speed – cannot be changed until the buffer has finished clearing. Lastly, we’d recommend a grip extension of some sort for use with larger telephoto lenses, as the small grip on the a6400 will be uncomfortable with those lenses after extended use.

It’s worth adding that the touchscreen on the a6400 can be used for AF point placement, so you can move the area around if that makes it easier to initiate tracking on your given subject. We still prefer a joystick for AF area movement, however, but the touchscreen is better than the fiddly ‘click-click-click‘ of the rear four-way controller / dial.

Photo by Carey Rose

Candid and street

For candid and street, the a6400 is likewise a compelling option. With a tilting screen, shooting from the hip (and using the touchscreen for AF area placement) is a cinch. If you want to be able to react even faster to what’s happening around you, the ‘Wide’ AF area does a surprisingly good job of automatically deciding what to focus on without any intervention from the user. The compact size won’t be terribly intimidating or attract too much attention, and the a6400 comes with a silent electronic shutter for extra discretion.

The one caveat here, though, is that the scan rate of the electronic shutter is on the slow side. This means that if you’re using that electronic shutter and panning or photographing fast-moving subjects, you may see some odd distortion artifacts, and you may also see very pronounced banding if you’re capturing candids under artificial light.

Photo by Carey Rose

Formal portraits

Formal portraits are actually another situation in which the a6400 performs well. Again, the reliable Eye AF implementation ensures accurate focus, and though there’s no flash sync port, you can add any number of adapters to the camera’s hot shoe. The flash-sync speed of 1/160 sec isn’t great for outdoor use (though you can always use high-speed sync), but should be fine for use indoors. A nice bonus is that the a6400 can shoot tethered using Capture One software, and there’s a wide variety of excellent prime lenses available, including the excellent Sigma 56mm F1.4 that will give you a standard 85mm equivalent field of view on the a6400.

Photo by Carey Rose

The wrap-up

We wrote in our full review that the a6400 is ‘a near-universally capable midrange camera,’ a statement which is borne out through our examination of its merits across these use cases. It’s not a perfect camera – no camera is – but it’s hard to argue against the fact that Sony has created a remarkably flexible camera at an attainable price point for many people. That’s unequivocally a winning combination.

Whether you’re photographing your own family, stylized portraits, sports or looking for a photographic travel companion, the a6400 probably has just about all you need to get the shot in those situations. We have to admit, though, that some of the less tangible aspects of the camera – such as how engaging it is to use – are less impressive to us. But that doesn’t take away all that a photographer can do with the a6400, once they’ve wrapped their head around the controls and interface.

If you own or are looking into a Sony a6400, let us know in the comments what types of photography you’re into and how the camera is working for you.

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Aputure announces the Spotlight Mount, an add-on to shape light just right

09 May

New and unique in the world of light modifiers, Aputure have announced its new Spotlight. This unit interfaces with their range of C.O.B. lights, including the recently announced 120D MK II.

After the recent reveal at NAB 2019, more details have emerged for this unique light modifier. There are three lenses available at launch—19°, 26° and 36—each of which are user interchangeable to give either wider coverage or more pinpoint accuracy. This, together with the iris and shutter, allow more flexible creative options in shaping the beam.

Key features

Bowens mount to interface with Aputure’s 120D, 120D Mk II and 300D lights.
Available with a 19°, 26° or 36° lens.
Dual slots for included Gobo frame and gel holder or optional iris.
Internal shutters for precise beam shaping.
Lightweight aluminum die-cast alloy construction.
Dual Junior/Baby mount.
Includes B size Gobos

Precision lenses reduce chromatic aberrations and fall off

The Spotlight uses newly developed lenses to minimize color fringing at the edges of the projected beam circle down to less than 1 mm at 0.5 m. The new high resolution optics give 10x the native light output when used with a 120 D Mark II. This is combined with minimal light fall off and a color shift of less than 200° Kelvin.

The dual mount system also enables the spotlight to be mounted easily on C stands in the field or under slung on the lighting grid in the studio. Below is a quick video from Newsshooter detailing the new Aputure Spotlight:

The Aputure Spotlight is available to pre-order (Adorama, B&H) with one of the three lenses for $ 499. The lenses are also available separately at $ 259 (Adorama, B&H), as is the optional iris at $ 99 (Adorama, B&H). The Aputure Spotlight and accessories are expected to ship mid-May.

Articles: Digital Photography Review (dpreview.com)

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