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Posts Tagged ‘sensor’

Samsung details new 65/14nm stacked sensor design for improving power efficiency, density of mobile image sensors

08 Oct
Stacked Architecture of the chipset Samsung details in its new paper.

Samsung has published a paper detailing a new stacked CMOS mobile image sensor that uses a 14nm processing layer to deliver high-resolution images while reducing power consumption.

The stacked sensor consists of two chips: a 12MP backside-illuminated (BSI) pixel chip on the top that uses 65nm process and a bottom chip for analog and logic circuits that uses 14nm process. By using the super-fine 14nm process on the processing layer, Samsung says it could achieve a 29% drop in power consumption compared to current conventional sensors that use a 65nm/28nm process.

Microphotograph of Implemented Sensor (Left: Top Chip & Right: Bottom Chip)

Samsung says the chip is capable of outputting at 120 frames per second while consuming just 612mW of power. The analog and digital power supply requirements also drop to 2.2V and 0.8V, respectively, compared to conventional 65nm/28nm process chipsets.

What this all translates to is a more energy-efficient stacked sensor for future smartphones that also manages to improve data throughput and reduce noise. It also paves the way for creating sensors with smaller pixel pitches, maximizing the potential for even higher-resolution sensors without increasing the size of mobile sensors. As illustrated in the below graphic, a 16MP sensor with a 1.0um pixel pitch is the same size as a 13MP sensor with a 1.12um pixel pitch.

Of course, smaller pixels means each pixel will be less sensitive, but Samsung emphasizes this shortcoming can be overcome through its pixel-merging technologies such as its Tetracell (2×2) and Nonacell (3×3) technologies, which will merge data from neighboring pixels together to achieve better image quality when light is scarce.

Specifications of the 12MP sensor Samsung details in its paper.

Samsung specifically notes the power-saving nature of stacked sensors using the 65nm/14nm process will be ‘critical’ for 8K video capture and even higher-resolution sensors, as power consumption is one of the biggest factors limiting 8K capture on current smartphones.

As tends to be the case with developments of this kind, there’s no knowing when we might see this 65nm/14nm stacked sensor design inside a consumer smartphone.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a7C initial review: Compact size, big sensor image quality

15 Sep

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The Sony a7C is the company’s latest and smallest full-frame interchangeable lens camera. It fits a 24MP full-frame sensor and image stabilization into a body more closely resembling the APS-C sensor a6600.

A lot of work has clearly gone into making this one of the smallest full frame cameras available, whereas a lot of the features and capabilities are familiar. A new retractable kit zoom is being launched along with the a7C to help maintain those size savings.

Out of camera JPEG.
ISO 500 | 1/40 sec | F9 | Sony FE 35mm F1.8
Photo by Carey Rose

Key specifications

  • 24MP BSI CMOS full-frame sensor
  • Bionz X processor (same as in the a7 III)
  • ‘Real-time tracking’ AF system with human head, face, eye, and animal recognition
  • Oversampled 4K video at up to 30p, including 8-bit S-Log and HLG
  • Continuous bursts at up to 10 fps
  • Fully articulating 1.44M dot touchscreen
  • 921k dot EVF with 0.59x mag.
  • Mic and headphone sockets
  • Large ‘Z-type’ battery, rated to 740 shots per charge

The Sony a7C will be available from October 2020 at a price of around $ 1799 USD ($ 2399 CAD) or with the new collapsible 28-60mm F4-5.6 kit zoom for around $ 2099 USD ($ 2699 CAD).


Review contents

From the camera’s controls to the image and video quality it’s capable of, find out what exactly what you want to know about the a7C right here.

What’s new and how it compares

The a7C fits almost all the capabilities of the a7 III into a body that has more in common with the a6000 series. This means a smaller viewfinder but few other compromises.

Read more

Body and handling

The a7C has three dials, all controlled using your thumb. It still handles pretty well, though, with a solid body and a small but pretty comfortable grip.

Read more

Initial impressions

The a7C’s main strengths are its size and convenience. This could make it a powerful travel or family camera. But there’s a price to be paid, and this isn’t necessarily a budget option.

Read more

Sample gallery

We’ve been shooting the a7C with both its kit zoom and the sensibly compact FE 35mm F1.8, to see what the camera offers.

See the gallery

Articles: Digital Photography Review (dpreview.com)

 
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Canon launches 1/1.8-inch sensor for video recording in extreme low light

27 Aug

Canon has announced a new CMOS image sensor that is designed to perform in extreme low light conditions. The LI7050’s is a sensor of the 1/1.8-inch variant which means it has the same size as many image sensors that can be found in smartphone cameras. However, this is not the new sensor’s intended use.

Instead it’s meant to be used for industrial applications that require extreme low light capabilities. For example, it could record low light video with realistic color and good detail in security cameras that are monitoring public areas, transport infrastructure or manufacturing facilities. Thanks to its compact dimensions it could also help improve image quality in underwater drones or wearable cameras for security personnel that operates in dark environments.

Canon says in its press release: ‘Conventional nighttime monitoring employs infrared cameras and records video in monochrome. However, network cameras equipped with the LI7050 can capture video at night in such locations as public facilities, roads or transport networks, thereby helping to identify details including the color of vehicles or subjects’ clothing.’

Thanks to the ‘architecture’ of its 4.1 µm pixels the sensor is capable of recording Full-HD color video in near darkness – light levels as low as 0.08 lux – and also comes with an HDR mode that dramatically expands the dynamic range. When recording in this mode the sensor can capture scenes with extremely high contrast (light levels between 0.08 lux and 80,000 lux) while avoiding clipping in both highlight and shadow areas of the frame, achieving a dynamic range of 120dB (approximately 20EV).

HDR mode merges a bright and a dark exposure into one frame and is only available at 30 frames per second. If you need faster frame rates of 60 frames per second the sensor can still avoid clipping anywhere between 0.08 and 500 lux and offers a dynamic range of 75dB (approximately 12.5 EV).

Those are impressive numbers and they are backed up by the low light footage in Canon’s sample clips which does not only have very good exposure but also maintains excellent detail in the bright illuminated areas of the frame, something that a lot of cameras struggle with.

Even though the sensor is marketed as a security and surveillance product there could be interesting applications in consumer imaging as well. Modern smartphones come with multi-camera arrays for different focal length already. Why not add a dedicated low light video camera?

Sample shipments of the LI7050 have started in August and official sales will be launched in late October. We’ll probably see sometime next year if the new sensor will be confined to its industry niche or possibly make it out to the wider consumer imaging market.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus’s new E-M10 IV has a selfie-friendly screen and 20MP sensor

05 Aug

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Olympus has introduced the fourth generation of its entry-level OM-D mirrorless camera: the E-M10 Mark IV. While it gains a new 20MP sensor and TruePic VIII processor, the main changes compared to its predecessor relate to taking selfies. The camera’s flip-down display and on-screen buttons make taking photos of yourself incredibly easy.

Olympus has also updated the camera’s continuous autofocus system (to keep it from wandering onto other subjects) and has given it much-needed support for USB charging.

The rest of the features on the E-M10 IV are mostly unchanged. It still has built-in 5-axis image stabilization, an OLED electronic viewfinder, a host of scene modes and Art Filters, and 4K/30p video capture.

The E-M10 Mark IV will be available in your choice of black or silver. It will be priced at $ 699 for the body and $ 799 when bundled with the compact 14-42mm F3.5-5.6 EZ lens. From now until November 1st, buyers in the US and Canada will get a camera bag, extra battery and a 32GB memory card included at no charge.

Press release

THE OLYMPUS OM-D® E-M10 MARK IV

Capture Important Moments with Advanced Features in this Compact, Interchangeable Lens Camera Body

Center Valley, PA, August 4, 2020 – Olympus introduces the OM-D E-M10 Mark IV, a compact, lightweight interchangeable, Micro Four Thirds® camera body designed for the beginner, yet packed with versatile features common in mid-level camera products—offering ease-of-use and incredible portability in a classic body design that is lighter than ever before. For a limited time (through November 1, 2020), purchase a new OM-D E-M10 Mark IV and receive a free starter kit, consisting of an Olympus camera bag, extra BLS-50 battery and 32GB SD card (starter kit valued at $ 99.99).

The award-winning Olympus OM-D series has a reputation for delivering flawless, professional-quality images and video to photographers of all levels, and the E-M10 Mark IV does not disappoint. This entry-point mirrorless camera is designed to allow the user to grow with it; its powerful image sensor and image-processing engine are packed with technology to deliver a wealth of versatile shooting features; perfect for the enthusiastic beginner photographer, who values quality, yet demands results. This model also features a high-definition electronic viewfinder for optimal quality while shooting in bright outdoor or backlit conditions, and an improved grip with a secure hold for superb ergonomics and comfortable control. The compact, lightweight design is equipped with in-body 5-axis image stabilization[i] featuring up to 4.5 shutter speed steps[ii] of compensation , and a new 20 Megapixel Live MOS sensor. Combined, the two

deliver high-quality photos and videos with minimal blur in any scene, including night photography and telephoto shooting.

Bring It Everywhere

The Olympus OM-D E-M10 Mark IV is lighter than any previous model, at approximately 0.85 pounds. Even when paired with the M.Zuiko® Digital ED 14-42mm F3.5-5.6 EZ lens, the kit is just over a pound (approximately 1.05 pounds), about the size of a standard bottle of water[iii], making it incredibly portable. A deep grip provides an ergonomic, comfortable and secure feel. Easy USB charging enables in-camera charging, using a power bank – convenient when on the go. This body is also wireless radio wave external flash compatible.

Perfect Photos – Every Time

Capture blur-free photos even in dark locations, thanks to improved in-body 5-axis image stabilization, providing 4.5 shutter speed steps of compensation. Expect consistent in-focus subjects with improved autofocus tracking precision. The Olympus OM-D E-M10 Mark IV uses the same moving subject detection algorithm available in the high-end OM-D E-M1X. Using Face/Eye Detection autofocus, a feature recently introduced on the OM-D E-M1 Mark III, the OM-D E-M10 Mark IV captures beautiful portraits with more accurate face detection and tracking, even when viewing the face from the side or when partially hidden. The OM-D E-M10 Mark IV has the same 20M image sensor and high-performance TruePic VIII image processing engine available on Olympus high-end models, and now available on the E-M10 Mark IV. Never miss a fast action shot with its maximum 15 frames-per-second high-speed sequential shooting.

A first for the OM-D series, this model is equipped with a flip-down LCD monitor and dedicated selfie mode, making it easy and fun to take high-quality selfies using one hand. The camera supports high-angle and low-angle shooting, so photos and videos turn out exactly as imagined. Additionally, the OM-D E-M10 Mark IV features a high-definition electronic viewfinder, making it easier than ever to shoot in direct sunlight and in other situations where it might be difficult to view the LCD monitor.

Unleash Creative Potential.

The Olympus OM-D E-M10 Mark IV allows users to choose from 28 Scene Modes, ranging anywhere from Portrait to Fireworks, and Sport to Macro, with many other options in between, allowing optimization of settings for the best results in virtually any scenario. 16 Art Filters, such as Vintage, Soft Focus and Instant Film offer the user the creative expression of their choice. Enjoy advanced techniques easily with Advanced Photo (AP) mode — an easy-to-navigate menu walks the user through features, such as High Dynamic Range (HDR), Live Composite, Live Time, Multiple Exposure and Focus Bracketing. Record beautiful 4K hand-held video even while walking, thanks to the powerful 5-axis image stabilization. Extract and save still images from the 4K videos. 4K video can be recorded without switching to video mode. Silent mode mutes shutter sounds during shooting, which is convenient for locations where sounds are not appropriate such as during recitals, concerts or weddings.

Expandable System Grows with the User

Olympus offers wide selection of Olympus M.Zuiko interchangeable lenses, from compact zoom lenses to single–focal-length lenses in a wide variety of focal lengths to meet the needs of any photographer. Choose the lens that best suits the subject. Traveling to a national park? Capture amazing wide landscapes with the M.Zuiko Digital 17mm f1.8 lens. Or get perfect shots of a new puppy with beautiful bokeh using an M.Zuiko Digital 45mm f1.8 lens. As the user’s photography skills and interests develop, this system is the perfect tool to grow with them. Wanting to explore macro photography, the M.Zuiko Digital ED 30mm f3.5 macro lens will be perfect.

Share and Post with Ease

Built-in Wi-Fi® easily and intuitively pairs with a smart device for remote shooting, wireless uploading and fast sharing. The Olympus OM-D E-M10 Mark IV supports an always-on connection using Bluetooth , allowing the user the ability to play back or import images, even when the camera is not in hand. This built-in, stable connection antenna is the same one used in the OM-D high-end models. With Wi-Fi and Bluetooth® built into the camera body, the dedicated smartphone app Olympus OI.Share® can be used to easily and instantly import recorded photos and videos to a smartphone or for posting on social media. The Camera “How To” guide is also available in the app for learning shooting methods and techniques on the go.

Pricing, Configurations Availability & Specifications

Olympus OM-D E-M10 Mark IV Body (Silver/Black); $ 699.99 (U.S.)/$ 999.99 (CAD)
Olympus OM-D E-M10 Mark IV EZ Kit Body (Silver/Black) and M.Zuiko Digital ED 14-42mm F3.5- 5.6 EZ[iv] lens; $ 799.99 (U.S.)/$ 1,049.99 (CAD)

The Olympus OM-D E-M10 Mark IV will be available for pre-order at participating local authorized retailers, or at www.getolympus.com, and will begin shipping on September 25, 2020. For detailed product specifications visit https://www.getolympus.com/digitalcameras/omd/e-m10-mark-iv.html .

Take advantage of a special launch offer by purchasing a new OM-D E-M10 Mark IV before November 1, 2020; receive an Olympus starter kit, including an Olympus camera bag, extra BLS- 50 battery and 32GB SD card (starter kit valued at $ 99.99).

i) Compared with the previous model Olympus OM-D E-M10 Mark III

ii) M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ at a focal distance of f=42mm (35mm equivalent: f=84mm), conforms to CIPA standards, when corrected on 2 axes (yaw and pitch)

iii) Approx. 476 g when paired with M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ (CIPA standard compliant, including bundled battery and memory card, no eyecup)

iv) The silver camera bodies come with a silver lens, and the black camera body comes with a black lens.

Olympus OM-D E-M10 IV specifications

Price
MSRP $ 699 (body only), $ 799 (w/14-42mm lens)
Body type
Body type SLR-style mirrorless
Body material Composite, metal
Sensor
Max resolution 5184 x 3888
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 22 megapixels
Sensor size Four Thirds (17.4 x 13 mm)
Sensor type CMOS
Processor TruePic VIII
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 200-25600 (expands to 100-25600)
Boosted ISO (minimum) 100
Boosted ISO (maximum) 25600
White balance presets 6
Custom white balance Yes (4 slots)
Image stabilization Sensor-shift
CIPA image stabilization rating 4.5 stop(s)
Uncompressed format RAW
JPEG quality levels Super fine, fine, normal
File format
  • JPEG
  • Raw (Olympus ORF, 12-bit lossless)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 121
Lens mount Micro Four Thirds
Focal length multiplier 2×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.62× (0.31× 35mm equiv.)
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Scene modes
  • Portrait
  • e-Portrait
  • Landscape + Portrait
  • Night + Portrait
  • Children
  • Night scene
  • Sport
  • Hand-held Starlight
  • Fireworks
  • Light trails
  • Sports
  • Panning
  • Landscape
  • Sunset
  • Beach & Snow
  • Backlight HDR
  • Candlelight
  • Silent
  • Macro
  • Nature Macro
  • Documents
  • Multi Focus Shot
Built-in flash Yes
Flash range 7.20 m (at ISO 200)
External flash Yes (via hot shoe)
Flash modes Redeye, fill-in, off, redeye slow-sync (1st-curtain), slow sync (1st-curtain), slow sync (2nd-curtain), manual
Flash X sync speed 1/250 sec
Drive modes
  • Single
  • Single anti-shock
  • Silent
  • Sequential high
  • Silent sequential high
  • Sequential low
  • Anti-shock sequential low
  • Silent sequential low
  • 12 sec self-timer
  • 2 sec self-timer
  • Custom self-timer (regular/anti-shock)
Continuous drive 15.0 fps
Self-timer Yes (2 or 12 sec, custom)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±5 (3, 5 frames at 2/3 EV, 1 EV steps)
WB Bracketing No
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 102 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 52 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC (UHS-II supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Built-in
Battery description BLS-50 lithium-ion battery & USB charger
Battery Life (CIPA) 360
Weight (inc. batteries) 383 g (0.84 lb / 13.51 oz)
Dimensions 122 x 84 x 49 mm (4.8 x 3.31 x 1.93)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Canon releases EOS R5 with 45MP sensor, 8K video capture and next-gen Dual Pixel AF

12 Jul

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We’ve known that the EOS R5 has been coming for a while, and today Canon has made it official. The R5’s most notable features – its sensor, in-body IS system and 8K video capture – demonstrate that Canon isn’t trying to make just another mirrorless camera: the company is trying to evolve it.

The R5 uses an all-new, Canon-designed 45MP full-frame sensor, along with the DIGIC X processor found on the EOS-1D X III. This combination allows for the fast readout and data processing horsepower required to pull off many of the R5’s standout features.

The R5 uses an all-new, Canon-designed 45MP full-frame sensor, along with the DIGIC X processor found on the EOS-1D X III

The SLR-style design features a large electronic viewfinder with 0.76x magnification and 5.76 million dots, as well as a fully articulating 2.1M-dot LCD. The M-Fn bar from the EOS R is gone, replaced instead with a conventional joystick and AF-On button. Build quality is similar to that of the EOS 5D IV, meaning that it’s rugged and weather-sealed, though not to 1D standards. The camera has a USB Type C socket (with 3.1 Gen2 speeds) along with CFexpress and SD card slots.

Some of the highlights of the R5 include its in-body image stabilizer, which can reduce shake by up to eight stops when paired with some RF lenses. The camera uses Canon’s second generation Dual Pixel CMOS AF system, which offers 100% coverage and 1053 auto-selectable points. Using deep learning, the camera is able to acquire and track both people and animals.

It can capture 8K/30p video for up to 30 minutes, with your choice of Raw or H.265 output

The R5 can shoot bursts at 20 fps with continuous focus using electronic shutter and 12 fps with its mechanical shutter. Buffer memory is plentiful, especially if you’re using a CFexpress card. The camera can shoot 10-bit HEIF images in addition to Raw and JPEG.

The R5’s video specs are, well, stunning. It can capture 8K/30p video for up to 30 minutes, with your choice of Raw or H.265 output. If that’s too much for you, it also captures 4K/120p footage or it can output its 8K footage as oversampled 4K/30p. The camera can internally record 10-bit 4:2:2 footage using C-Log or HDR PQ. As one would expect, both mic and headphone jacks are available.

The EOS R5 has dual-band (2.4Ghz and 5Ghz) Wi-Fi built-in, along with Bluetooth. The camera can transfer images over FTP/SFTP as they are taken.

Battery life is rated at 320 shots/charge using the LCD and 220 shots with the EVF running at 120 fps (using the default rate of 60 fps gives you 330 shots). If you need more battery life, the $ 349 BG-R10 grip will double those numbers. There’s also a Wireless File Transmitter grip, which adds an Ethernet jack and enhanced multi-camera linked shooting. It’s priced at $ 999.

The EOS R5 will be ship in late July for $ 3899 body-only and $ 4999 bundled with the RF 24-105mm F4L lens.

Read our first impressions of the camera in our Canon EOS R5 initial review

Take a closer look in our Canon EOS R5 hands-on

Press release

THE SECRET IS OUT: CANON OFFICIALLY ANNOUNCES THE CANON EOS R5 AND R6, THE COMPANY’S MOST ADVANCED FULL-FRAME MIRRORLESS CAMERAS EVER

The Company is Also Announcing Four RF Lenses, Two RF Lens Extenders, and a PRO Printer

MELVILLE, N.Y., July 9, 2020 – With anticipation at a fever pitch, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the company’s next generation of full-frame mirrorless cameras – the EOS R5 and EOS R6. These groundbreaking cameras are the result of many years of collecting and listening to feedback from Canon users and are sure to meet the needs and demands of a variety of creators. The EOS R5 is a camera designed for professional applications featuring a new 45-megapixel full-frame CMOS sensor and uncropped 8K video recording up to 29.97 fps. The EOS R6 is geared towards advanced amateurs featuring a 20.1-megapixel full-frame CMOS sensor and 4K video recording up to 59.94 fps. The addition of the EOS R5 and the EOS R6 cameras within the EOS R series lineup further solidifies Canon’s commitment to providing the equipment needed for users to bring their content to the next level.

Canon is also introducing four RF lenses and two RF lens extenders: The Canon RF100-500mm F4.5-7.1 L IS USM, Canon RF600mm F11 IS STM, Canon RF800mm F11 IS STM, and RF85mm F2 MACRO IS STM lenses. All four new lenses were designed to meet the ever-expanding demands of the skilled creatives who capture amazing imagery using EOS R series cameras, including the new EOS R5 and EOS R6. In addition to the lenses, there are two new RF lens extenders, a 1.4x and a 2x model, allowing for users to take their compatible RF lens focal lengths even farther, and a 13-inch professional printer, the imagePROGRAF PRO-300, to bring photos to life through the power of print.

“For all of the Canon research and development team members who worked tirelessly on the production of these new products, today marks the culmination of a long journey. For those people looking for the next great tools to work with to expand their creative possibilities, the door is now wide open,” said Tatsuro “Tony” Kano, Executive Vice President and General Manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “The industry has asked for new products that can push their levels of creativity to new heights, and we are confident that the EOS R5 and EOS R6, alongside the new lenses, lens extenders, and the pro printer, will fulfill those needs and more.”

Canon EOS R5 and EOS R6
Both the EOS R5 and EOS R6 cameras have the ability to capture the action of a variety of fast-moving subjects with impressive accuracy and speed. When using the mechanical shutter, each can shoot up to 12 fps and up to 20 fps when using the completely silent shutter. Both cameras are the first to be outfitted with Canon’s advanced Dual Pixel CMOS AF II which utilizes up to approximately100 percent coverage of the AF area and EOS iTR AF X incorporating AF tracking algorithms using deep learning technology and enhanced readout speed of the CMOS sensor and processing speed thanks to the DIGIC X image processor. The 1,053 automatically selected AF Zones are made even more potent by the ability to detect the human eye, face or head as well as the eye, face or body of animals such as dogs, cats and even birds. Adding to the feature set is the 5-axis In-Body Image Stabilizer, having coordinated control with Optical Image Stabilizer in IS equipped RF lenses. This provides up to 8 stops of shake correction, a feature that many creators have long asked for from Canon. Both the EOS R5 and R6 cameras come with a new LP-E6NH battery with a higher capacity than the previous model.

As the new flagship model in the EOS R series lineup, the EOS R5 camera has features that pack a punch for a variety of users who create both still and video content. It has a powerful 45-megapixel full-frame CMOS sensor and is driven by the speedy DIGIC X image processor, giving wide dynamic range as well as boasting an ISO range of 100-51,200 that is expandable up to 102,400. In a camera full of eye-popping features, one that really stands out is the ability to record uncropped 8K RAW internal video recording up to 29.97 fps and 8K internal video recording up to 29.97 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). The camera can also record 4K internal video recording up to 119.88 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). External recording in 4K is also available up to 59.94 fps. When in DCI modes, the 8K and 4K video recording is uncropped and Dual Pixel CMOS AF II is available in all 8K and 4K recording modes. Additional features of the EOS R5 camera include:

  • Dual-card slots: 1x CFexpress and 1x SD UHS-II
  • Built-in 0.5-inch OLED EVF with approximately 5.76 million dots and a 119.88 fps refresh rate
  • 3.2-inch 2.1 million dots vari-angle LCD touch screen
  • 5GHz/2.4GHz Built-in Wi-Fi® and Bluetooth Technology with the ability to utilize the image.canon application, as well as optional WFT-R10A wireless file transmitter with Ethernet support
  • Enhanced operating controls such as rear-dial, multi-controller • The ability to voice tag photos and videos
  • Weather, drip and dust sealing on par with the EOS 5D series

The EOS R6 camera is well-equipped with a host of new features to push the limits of creativity for imaging enthusiasts. The combination of the EOS-1D X Mark III based 20.1-megapixel full-frame CMOS sensor and the DIGIC X image processor produces an ISO range of 100-102,400 and is expandable to 204,800. Internal video recording at 4K is capable up to 59.94 fps or 1080p up to 119.88 fps in 10 bit 4:2:2 Canon Log(H.265) or HDR PQ(H.265). The camera also features a built-in 0.5-inch OLED EVF with approximately 3.69 million dots and a 119.88 fps refresh ratevi. Additional features of the EOS R6 camera include:

  • Dual UHS-II SD card slots
  • 3-inch 1.62 million dots vari-angle LCD touch screen
  • 2.4GHz Built-in Wi-Fi®vii and Bluetooth Technologyviii with the ability to utilize the image.canon application
  • Enhanced operating controls such as rear-dial, multi-controller
  • Weather, drip and dust sealing on par with the EOS 6D series

Battery Accessory
The optional BG-R10 battery grip accessory will be available for both the EOS R5 and EOS R6 full-frame mirrorless cameras. The BG-R10 accommodates up to two batteries and is compatible with the new LP-E6NH, LP-E6N and LP-E6 batteries. The convenient BG-R10 grip accessory can also improve handling for users while capturing portrait photography.

Canon RF100-500mm F4.5-7.1 L IS USM
The Canon RF100-500mm F4.5-7.1 L IS USM is a high-performance and versatile super-telephoto zoom lens that will find its way into the bags of many photographers. The compact and lightweight lens features optical image stabilization of up to five stops* of shake correction with three different IS modes, including standard, panning and during exposure only. Two Nano USM motors are at the heart of this lens and provide users with high-speed, smooth and quiet auto focus with a minimum focusing distance of three feet. Additional features of the Canon RF100-500mm F4.5-7.1 L IS USM include:

  • Rotation-Type zoom ring and torque adjustment allows for precision control and feel
  • Customizable control ring that enables photographers to adjust exposure compensation, shutter speed, aperture or ISO
  • 12-pin Communication System
  • Canon L-Series grade dust and weather-resistant construction with a fluorine coating
  • Lens hood with side window allows specialty filters to be adjusted even while Lens Hood is attached
  • Compatible with the new 1.4x and 2x RF lens extenders (from 300 to 500mm focal length)

Canon RF600mm and 800mm F11 IS STM
The Canon RF600mm and RF800mm F11 IS STM lenses are the first fixed focal length super-telephoto RF lenses and are incredibly compact and lightweight. The portability of the new lenses is made even greater due to the ability for the lens barrel to retract and lock in place when the lenses are stowed away and not in use. Diffractive Optics technology helps to reduce the necessary number of lenses and greatly diminish the cost of the lenses, making them affordable for a broader group of photographers. Additional features of the Canon RF600mm and RF800mm F11 IS STM lenses include:

  • Lightweight – the RF600mm weighs approximately 2.05lb and the RF800mm weighs approximately 2.78lb, respectively
  • Compact size, RF600mm measures approximately 7.85inch and RF800mm with measures approximately 11.09inch when retracted, respectively
  • Fixed f/11 aperture
  • Optical image stabilization of five stops* for the RF600mm and four stops* for the RF800mm of Shake Correction
  • Lead screw-type STM enables smooth auto focusing for still-image and video shooting
  • Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
  • 12-pin Communication System
  • Compatible with the new 1.4x and 2x RF lens extenders

Canon RF85mm F2 MACRO IS STM
The third RF85mm lens in the RF lineup, the Canon RF85mm F2 MACRO IS STM is compact and lightweight, featuring a bright f/2 aperture helping to capture images that have exceptional bokeh. The lens features a maximum magnification of 0.5x and a minimum focusing distance of 1.15 feet, providing users with macro-photography capability. Additional features of the Canon RF85mm F2 MACRO IS STM include:

  • Optical Image Stabilization with up to five stops* of Shake Correction
  • Hybrid IS compensates for angular and shift camera shake during macro photography
  • Control Ring for Direct Setting Changes.
  • 12-pin Communication System
  • Nine blade Circular Aperture

RF Lens Extenders
Lens extenders have long been a practical and useful tool for a variety of photographers. That story continues with the introduction of the Extender RF 1.4x and Extender RF 2x. The new lens extenders inherit the same high image quality, precision AF and reliability, such as being drip and dustproof, of EF lens extenders. When used in combination with the newly-released compatible lenses, the capturing range can be dramatically increased, providing consumers with additional use cases for their existing RF lenses.

Canon imagePROGRAF PRO-300
Completing the lineup of professional printer options from 13 inches through 60 inches, Canon also unveiled today the new 13-inch Canon imagePROGRAF PRO-300 Inkjet Printer along with a new Premium Fine Art Rough paper. Providing an improved workflow and high-quality output within a smaller footprint compared to previous models, this new printer excels at professional printing performance. Combined with the new Premium Fine Art Rough paper that features a textured surface to express the depth of an image, the printer along with the paper and new EOS R5 or EOS R6 camera introduces a new powerhouse professional imaging trio that meets creators’ demands.

Pricing and Availability
The EOS R5 full-frame mirrorless camera is scheduled to be available at the end of July for an estimated retail price of $ 3899.00 for the body only and $ 4999.00 for the R5 and RF 24-105mm F4 L IS USM lens kit**.

The EOS R6 full-frame mirrorless camera is scheduled to be available at the end of August for an estimated retail price of $ 2499.00 for the body only, $ 2.899.00 for the R6 and RF 24-105 F4-7.1 IS STM lens kit or $ 3,599.00 for the R6 and RF 24-105mm F4 L IS USM lens kit**.

The BG-R10 battery grip accessory and WFT-R10A are both scheduled to be available at the end of July for an estimated retail price of $ 349.99 and $ 999.99**, respectively.

The RF100-500mm F4.5-7.1 L IS USM lens is scheduled to be available in September 2020 for an estimated retail price of $ 2,699.00. The RF600mm F11 IS STM and RF800mm F11 IS STM lenses are scheduled to be available at the end of July 2020 for an estimated retail price of $ 699.99 and $ 899.99, respectively. The RF85mm F2 MACRO IS STM lens is scheduled to be available in October 2020 for an estimated retail price of $ 599.99 **.

The RF Extender 1.4x and 2x are scheduled to be available at the end of July for an estimated retail price of $ 499.99 and $ 599.99** each.

The imagePROGRAF PRO-300 Printer will be available later in July for a suggested retail price of $ 899.99. Premium Fine Art Rough paper will also be available later in July for a suggested retail price of $ 44.99 for Letter size, $ 109.99 for 13” x 19” inches and $ 169.99, 17” x 22” inches**.

For more information please visit, www.usa.canon.com/virtualproductlaunch

** Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

Canon EOS R5 specifications

Price
MSRP $ 3899 (body only), $ 4999 (w/24-105mm F4 lens)
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 8192 x 5464
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 45 megapixels
Sensor size Full frame (36 x 24 mm)
Sensor type CMOS
Processor Digic X
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Yes, 100-51200 (expands to 102400)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 102400
White balance presets 8
Custom white balance Yes
Image stabilization Sensor-shift
Image stabilization notes Works with lens-based IS systems for maximum shake reduction
CIPA image stabilization rating 8 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif v2.31)
  • Raw (Canon CR3)
  • HEIF (10-bit)
Optics & Focus
Autofocus
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Manual focus Yes
Number of focus points 1053
Lens mount Canon RF
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3.2
Screen dots 2,100,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.76×
Viewfinder resolution 5,760,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec
Maximum shutter speed (electronic) 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes
Flash X sync speed 1/200 sec
Drive modes
  • Single
  • High-speed Continuous
  • Low-speed Continuous
Continuous drive 20.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Spot
  • Partial
Exposure compensation 3 (at 1/3 EV, 1/2 EV steps)
AE Bracketing 3 (at 1/3 EV, 1/2 EV steps)
Videography features
Format MPEG-4, H.264, H.265
Modes
  • 8192 x 4320 @ 30p / 1,300 Mbps, MOV, H.265, Linear PCM
  • 8192 x 4320 @ 24p / 1,300 Mbps, MOV, H.265, Linear PCM
  • 8192 x 4320 @ 23.98p / 1,300 Mbps, MOV, H.265, Linear PCM
  • 7680 x 4320 @ 30p / 1,300 Mbps, MOV, H.265, Linear PCM
  • 7680 x 4320 @ 23.98p / 1,300 Mbps, MOV, H.265, Linear PCM
  • 4096 x 2160 @ 120p / 1,880 Mbps, MOV, H.265, Linear PCM
  • 4096 x 2160 @ 60p / 940 Mbps, MOV, H.265, Linear PCM
  • 4096 x 2160 @ 30p / 470 Mbps, MOV, H.265, Linear PCM
  • 4096 x 2160 @ 24p / 470 Mbps, MOV, H.265, Linear PCM
  • 4096 x 2160 @ 23.98p / 470 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 120p / 1,880 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 60p / 940 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 30p / 470 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 24p / 470 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 23.98p / 470 Mbps, MOV, H.265, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types CFexpress and SD (UHS-II) slots
Connectivity
USB USB 3.2 Gen 2 (10 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac (dual-band) + Bluetooth
Remote control Yes
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description LP-E6NH lithium-ion battery & charger
Battery Life (CIPA) 320
Weight (inc. batteries) 738 g (1.63 lb / 26.03 oz)
Dimensions 138 x 98 x 88 mm (5.43 x 3.84 x 3.46)
Other features
Orientation sensor Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging

04 Jul

The post Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

gear news - canon SPAD sensor

Canon has just announced the completion of a 1-megapixel single-photon avalanche diode (SPAD) image sensor, making it the first of its kind.

Traditional CMOS sensors work by capturing photons (i.e., particles of light), and converting them to charge (which are ultimately transformed into digital pixels).

That way, when you press the shutter button, your camera’s sensor starts capturing photons, with each photon equivalent to a very small amount of light. These photons are turned into pixels, so that areas of a scene that produce or reflect more light are rendered brightly compared to areas of a scene that produce or reflect less light.

Now, CMOS sensors only offer a certain level of sensitivity. If you shoot at 1/8000s, unless the light is unusually powerful, you’re not going to capture many photons at all, resulting in a completely black image.

(That’s essentially what underexposure is, after all: The failure to capture a sufficient number of photons for a bright image.)

Anyways, that’s how a standard sensor works.

But as explained by Canon, a SPAD sensor works differently:

“When a single light particle…reaches a pixel it is multiplied – as if creating an “avalanche” – that results in a single large electrical pulse.”

In other words: Each photon gives you far more charge to work with, resulting in much greater sensitivity overall.

While Canon’s current SPAD sensor only captures 1 megapixel images, an imaging device that sensitive could offer plenty of benefits in terms of scientific technology. For instance, Canon’s SPAD sensor can expose its pixels in 3.8 nanoseconds, which makes it possible to capture events and features that were previously considered impossible.

Canon argues that “thanks to its ability to capture fine details for the entirety of events and phenomena, this technology holds the potential for use in a wide variety of fields and applications including clear, safe and durable analysis of chemical reactions, natural phenomena including lightning strikes, falling objects, damage upon impacts and other events that can’t be observed with precision by the naked eye.”

There are also applications in terms of 3D imaging, due to a SPAD sensor’s capacity to record precise exposure times.

While it doesn’t sound like SPAD sensors will be reaching consumer sensors any time soon, it’ll be interesting to see how this technology gets utilized!

Now over to you:

What potential applications can you imagine for SPAD sensors? Share your thoughts in the comments!

The post Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Video: How scratch-proof is a Sony a6000 image sensor?

23 Jun

If you’re a Sony user with a weak stomach, you might want to look away for this one. Photographer and YouTuber Arthur R shared a video this past week that looks at just how scratch-proof an image sensor is.

Admittedly, this isn’t the most scientific of tests, as he’s using a scrap sensor and doesn’t put it back into the camera to see if any damage not visible to the eye is affecting image quality, but it’s an interesting test nonetheless. Using small tape, Arthur divides the sensor — taken from a Sony a6000 — into four quadrants and uses four different mediums to test the durability of the sensor: dust, dirt, oils and a knife.

As Arthur details in the ten-minute video, the durability of the sensor is impressive, at least to the naked eye. Dust, dirt and oils didn’t show any noticeable markings and even the box cutter abuse only yielded a few scratches. Granted, it’s possible smaller scratches that could affect image quality may be able to be seen with a microscope, it still came out better than he expected.

You can find more videos from Arthur R over on his YouTube Channel.

Articles: Digital Photography Review (dpreview.com)

 
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Cine versions of Laowa ultra-wide lenses released for three sensor formats

20 Jun

Venus Optics has announced three additions to its cine range of lenses that each gives users an angle of view equivalent to a 15mm lens on a full-frame camera. The lenses released are for MFT, APS-C and full-frame sensor cameras and come with clickless apertures and 0.8 mod pitch gears for focusing and iris control.

The lenses are the Laowa 7.5mm T2.1 Cine for Micro Four Thirds cameras, the Laowa 9mm T2.9 for APS-C and Super35 sensors and the Laowa 15mm T2.1 for Sony full-frame models. The 9mm and 15mm lenses have the company’s Zero-D designation meaning there is minimal barrel distortion, and all have exceptional close focus abilities – 12cm/4.7in from the sensor for the 7.5mm and 9mm, and 15cm/5.8in for the 15mm lens.

Each of the lenses is an adapted version of an existing stills lens but built with a new housing that has no lens hood, a larger filter thread and slightly longer focus rotation for the 15mm – as well as the geared rings, clickless apertures and T-stop markings.

The lenses are on sale now and come with their own mini Pelican hard case. The 9mm is available in mounts for Fujifilm X, Sony E and MFT, while the 7.5mm is MFT-only and the 15mm is Sony E-only, though the company says versions of the 15mm for Nikon Z, Canon R and L mounts will be coming later this year. The 7.5mm T2.1 and 9mm T2.9 cost $ 599 and the 15mm T2.1 is $ 1,199. For more information see the Laowa website.

Press release

Venus Optics unveiled 3 new Ultra Wide cine lenses for Micro Four Thirds, Super 35 and Full frame cinema cameras

Anhui China, Jun 19, 2020 – Venus Optics, the camera lenses manufacturer specialize in making unique camera lenses, unveiled three new ultra-wide cine lenses for cameras with different sensor sizes. They are the Laowa 7.5mm T2.1 Cine for Micro Four Thirds cameras, Laowa 9mm T2.9 Zero-D Cine for Super35 cameras and the Laowa 15mm T2.1 Zero-D Cine Lens for large format (full frame) cameras. All three lenses feature the same optical system as the their popular photography version and offer premium optical performance. They have also been built with robust cinema lenses housing with design up to the industry standard.

Ultra-wide FoV & fast aperture
All three Laowa cine lenses feature an ultra-wide angle of view and fast aperture. The Laowa 7.5mm T2.1 feature a 110° FoV on MFT while the 9mm T2.9 features a 113° on Super35 sensors. The 15mm T2.1 instead features a 110° FoV on cameras with full frame sensors. The fast maximum t-stop is well suited for filming under low light condition. It also allows filmmakers to have more flexibility in depth of field control.

Close-to-zero distortion
Both the 9mm and 15mm feature the distinguishing Laowa close-to-zero distortion (Zero-D) design where the optical distortion at infinity distance has been compressed to the minimal. This is extremely important for motion picture recording when shooting indoor, architecture or footage with straight lines included. This also saves tremendous amount of time in distortion correction in post processing.

Compact & lightweight
All three wide angle prime lenses are extremely compact and lightweight. Both 7.5mm and 9mm weigh close to 0.5 lbs (226g). The 15mm is a little bit heavier due to the larger coverage but Venus Optics still manage to compress it to around 1.2 lbs (540g). On the contrary to the huge and heavy wide angle lenses in the market, the new Laowa cine lenses are extremely handy for run-and-gun productions, shooting with gimbals, in-car shots, indoor scene, etc.

Close Focusing Distance
All three Laowa cine lenses possess an extremely close focusing distance. This provides a great deal of flexibility for directors to compose shots at any distance. Filmmakers can also take advantage of this close focusing to create some wide angle shots with shallower depth of field. Both the Laowa 7.5mm and 9mm can focus as close as 4.7” (12cm) from sensor to subject while the 15mm can focus up to 5.9” (15cm).

Industry standard cinema lens housing
The major difference between the new cinema version and the still version is the improved housing. The new cinema lens housing have been designed with details to facilitate filmmakers to shoot with ease. Both the aperture and focus rings have been built with industry standard 0.8 mod pitch gears for pairing up with follow-focus motors. The aperture ring is now click-less for smooth iris control. Every one of Laowa cine lenses comes with a filter thread for filmmakers to use screw-in filters and mini matte-boxes. Entire lens body is made by premium grade aluminum and build for usage in extreme environment.

Hassel-free transportation
An authentic hard case made by Pelican will be included with the lens to allow filmmakers to travel around for shooting with ease.

A variety of Current & Future mount options
The Laowa 7.5mm T2.1 Cine is available in Micro Four Thirds mount and it is a perfect companion to cameras like Blackmagic Pocket 4K, Panasonic GH5 and Z-Cam E2

The 9mm T2.9 Zero-D Cine is available in Fuji X, Sony E mount and Micro Four Thirds mount. The Micro Four Thirds mount can cover the same cameras as 7.5mm and serve as an not-as-wide alternative to MFT users. The Fuji X mount is extremely popular among XT-4 or XH-1 shooters. The Sony E mount works really well with Sony cameras with Super35 sensors including FS5, FS7, A6500 series, etc.

The 15mm T2.1 Zero-D Cine is designed for large format sensor with Sony FE mount available. It is best suited with Sony full frame cameras like Sony A7 series and FX9.

New Nikon Z, Canon RF and Leica L mount will be introduced later this year and they will certain be interesting wide angle options for cameras like RED Komodo, Canon R5, Nikon Z6/Z7, Sigma FP, Panasonic S1H and more to come.

Laowa Wide Angle Cine Lenses line-up
Together with the Laowa 12mm T2.9 Zero-D Cine released earlier for EF and PL cinema cameras, Venus Optics currently offer four wide angle cine lenses for cinema cameras with different sensor sizes.

Pricing & Availability
All three cine lenses are currently available to purchase via Venus Optics official website (http://www.venuslens.net/) and authorized resellers. The US price for 7.5mm T2.1 and 9mm T2.9 is $ 599/pc (ex-VAT) and 15mm T2.1 is $ 1,199/pc (ex-VAT). Pricing varies in different countries.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals discovers cracked sensor mounts inside some of its Sony a7-series rental fleet

12 Jun
Photo credits: All photos and illustrations (except for this one), kindly provided by Lensrentals.

As promised, Lensrentals is back with part two of its flange-to-sensor measurement test, this time testing photo-centric cameras instead of cine cameras.

As Roger and his team meticulously pored over the measurements of every compatible camera they had on hand (the testing rig only had mount options for Canon, Sony and MFT cameras), they discovered a concerning percentage of Sony a7-series cameras had suffered from an unexpected and consistent failure of a key component.

Although Roger starts off his blog post with his Canon measurements, we’re going to begin with Sony, as that’s where the surprising and concerning discovery lies. In total, the Lensrentals team tested 487 various Sony full-frame and APS-C mirrorless bodies. To those concerned the in-body image stabilization (IBIS) would affect the flange-to-sensor distance, Roger has the following to say:

‘First let me mention that we asked and answered the obvious question “does the IBIS system change the flange-to-sensor distance.” We took some cameras, measured them, put a lens on, focused it on various things to run the IBIS, and measured again, about a dozen times each. Each camera had identical measurements every time.’

An overview of the flange-to-sensor distance measurements of all Sony cameras Lensrentals tested. Note the scale on all of these charts: this chart is -0.1mm to +0.1mm.

With that debate wrapped up, Roger presents the overall findings for Sony mirrorless cameras (seen above) before further dividing up the Sony camera bodies, grouping the Sony a9 and Sony APS-C cameras together and grouping all of the a7-series camera bodies together. Roger grouped the data this way because the a9 and APS-C models ‘look[ed] marvelous,’ with minimal variation, while the a7-series showed rather dramatic variations, particularly with their outliers.

This is the a7-series chart, showing the a7R III (blue), a7R IV (red) and a7 III (yellow). Note the unusual number of outliers on the very extremes of the chart.

After testing each unit, Roger pulled 28 outliers for further inspection (5.75% of the Sony cameras tested). While a few of them needed to have the lens mount screws tightened or entirely replaced to correct their flange-to-sensor distance, there were a number of units that stood out as ‘large outliers.’ Upon closer inspection, Roger and his team discovered a number of these units had a more unexpected and more serious issue: there was a fracture between the sensor mount and stabilization system.

The arrow points to a fractured sensor-to-IBIS mount inside a Sony a7-series camera.

As you can see in Lensrentals’ a7R III teardown, Sony mounts the sensors to a plastic plate that attaches to the IBIS system via three screws. In two of the ‘large outlier’ units the plastic plate the sensor is mounted to had fractured; two others had screws that had wiggled their way out; one had what appeared to be a ‘metal fatigue type fracture’ in the mount; and one had a ‘displaced fracture of the sensor frame’ that was serious enough to pop off the retaining clip.

The arrow points to the tab where the retainer clip is supposed to be secured to.

While these are all serious issues that raise concerns, Roger says he was amazed to realize ‘the cameras really didn’t show much disfunction.’ He elaborates:

‘If you had just shown me the pictures above I would have expected error messages, horrible images, something dramatic. These were renting regularly, customers were happy with them, our 64-point tech inspection was passed before and after each rental.’

Even after hours of stress testing by Lensrentals’ most experienced techs, the only complaints they had with these broken units were the same minor complaints a few renters had pointed out in the past, including ‘Seems images might be a little soft on one side,’ or ‘maybe the stabilization isn’t quite as good as it should be.’

Roger says it appears as though a single broken mount (remember, there are three screws holding the sensor to the IBIS unit) doesn’t appear to have much affect on overall operation, but suggests if two of the mounts were to break it would be likely to cause noticeable issues.

Roger says the crack in this image displaced the mount by about 0.5mm, but despite this dramatic displacement, the center of the sensor shifted much less than that.

Wonky mounts and fractured components sound scary, but in total, less than 2% of Lensrentals’ Sony camera stock was found to have lens mount issues and only 1.6% suffered from the sensor mount problem. That’s not an insignificant number of cameras given how large the rental fleet is, but considering these are rental cameras and it took hours of intense inspection of the outlier samples to notice even the smallest impact on image quality, it’s hard to say how serious the issue really is in practical terms.

Wonky mounts and fractured components sound scary, but in total, less than 2% of Lensrentals’ Sony camera stock was found to have lens mount issues and only 1.6% suffered from the sensor mount problem

Still, though, any kind of failure like this is concerning and both Roger and DPReview have contacted Sony to inform them of Lensrentals’ finding and request comment on the matter.

With the Sony camera data out of the way, it’s on to Canon cameras. Within the data, Roger discovered a few interesting tidbits. First, the flange-to-sensor distance in photo cameras doesn’t vary any more than in Canon’s cine cameras. Second, of the 11 cameras (out of 478 Canon DSLR cameras tested) that Roger pulled for closer inspection due to variations, all of them were either 5D IV or 1DX bodies, i.e., pro bodies.

A chart showing the variation of the Canon DSLR cameras Lensrentals tested, with the outliers highlighted. Again, note the scale of this graph: this chart is -0.1mm to +0.04mm.

Upon further inspection of the most affected camera bodies, Roger discovered each of them had a history of a drop or required ‘significant internal work’ after being rented out at one time or another. He also notes it makes sense these cameras are more susceptible to damage when bumped or dropped due to the tendency for these cameras to be used in harsher conditions and with longer, heavier telephoto lenses, which could more easily bend the mount ‘because force proportional to mass and all.’

Roger concludes his data with a breakdown of variation in 138 Micro Four Thirds cameras: 82 Panasonic units, 36 Olympus units and 20 Black Magic Pocket Cinema Camera 4K units.

A breakdown of the various Micro Four Thirds camer models Lensrentals tested.

Overall, the variation between units proved to be relatively minimal, with only five cameras being outliers. Of these five cameras, four had been sent back to the factory to have their sensors replaced and one had a shutter replacement. Roger notes five other Micro Four Thirds cameras also had their sensors replaced and were within the nominal variation range, so don’t assume all cameras with sensor replacements will have abnormal flange-to-sensor distance measurements.

In wrapping up, Roger concludes that while it might’ve been seemed unnecessary to measure the flange-to-sensor distance of still cameras, it proved just as useful as it was with cine cameras. The team found fixable issues in roughly 2% of its still camera fleet thanks to the testing and, in Roger’s own words, ‘To me, that’s a huge thing […] Huge enough that we need to get a second Denz tool for the photo techs since the first one is already monopolized by the video people.’

Read the full article at Lensrentals.com

Articles: Digital Photography Review (dpreview.com)

 
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Samsung reported to be expanding its image sensor production line

01 Jun

According to Business Korea, Samsung is planning to convert one of its current DRAM manufacturing lines into a camera sensor production line to the tune of roughly $ 815M.

The report says Samsung will be converting its DRAM line 13 in Hwaseong, Gyeonggi Province, South Korea into a camera sensor production unit. This transition isn’t unprecedented, as Samsung did the same back in 2018 with its DRAM line 11, converting it into the camera sensor production line S4.

This transition from DRAM production to camera sensor production happens because, as noted by Android Headline, approximately 80% of the manufacturing processes and equipment for the two operations overlap. so, rather than build from scratch, Samsung can save a dramatic sum of money by simply converting an existing production line.

Despite so much overlap between the two processes, the conversion is set to cost one trillion Korean won (?), which is roughly $ 815M dollars at the current exchange rate.

Business Korea doesn’t note what kind of sensors the converted production line will manufacture, but Samsung recently showed off its new 50MP ISOCELL GN1 sensor and has also teased the development of both a 150MP sensor and a 250MP sensor, with hopes to someday create a 600MP smartphone sensor.

Android Headline cites ‘industry experts,’ saying mass production on the converted line could start as early as year’s end, ‘once it completes installing and testing the new equipment.’

Articles: Digital Photography Review (dpreview.com)

 
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