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Posts Tagged ‘Tears’

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

22 Jan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In his conclusion, Roger says:

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

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

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

24 Nov

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

Image courtesy of iFixit and Creative Electron.

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

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

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

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

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

01 Sep

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

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

That is not how a PCB should look.

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

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

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down the Canon 600mm F11 IS STM

25 Aug

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

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

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

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

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

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

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

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

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down Nikon’s $10,000 Nikkor AF-S 120-300mm F2.8 lens

15 May
Aaron of Lensrentals uses his new, specialized driver to carefully remove screws from the Nikkor AF-S 120-300mm F2.8 FL ED SR VR lens.

Roger and Aaron at Lensrentals are back again with another lens teardown; this time, the Nikkor AF-S 120–300mm F2.8 FL ED SR VR lens.

While no reason is needed to take apart another lens to see what goodies lurk within, Roger specifically notes he chose this lens because he wanted to see if the new modern design of Nikon’s Z-mount lenses is being carried over to newer F-mount lenses as well. In the introduction paragraph of his teardown post, Roger says:

‘We were interested to see if newer F lenses would pick that up, or if they would continue in ‘classic’ format. While it’s pure speculation on my part, I thought that if F lenses were starting to pick up Z characteristics, it would, perhaps, signify a unified approach going forward. If not, maybe then Nikon is maintaining separation of the Z and F design teams.’

Roger notes Lensrentals only has ‘a few of these,’ almost all of which have been rented out. However, one came in with dust inside and although it wouldn’t affect the image quality of the lens, Roger thought it’d be a perfect opportunity to do a teardown. Plus, ’t customers like to receive really sparkly clean lenses, and we didn’t want to deal with the inevitable “I can’t believe there’s dust in this $ 10,000 lens” complaint,’ he says.

The disassembly started in the front, as that’s where the dust was located. The first notable observation is that Nikon has made the front filter barrel fairly easy to remove—and therefore replace—as it slides out after removing half a dozen screws and a bit of tape.

From there, it was onto removing the first group of lenses, which Roger believes consists of 3–4 elements (Nikon is yet to publish an optical diagram for this lens yet). After a brief moment of concern that the dust was lodged between these elements, he and Aaron discovered the dust was instead on the next group of lenses—the optical zoom group. As you might expect for a 120–300mm F2.8 lens, this group has quite a bit of travel in it.

Upon diving further into the lens, Roger found the answer to the initial question he had for this teardown. When looking underneath the rubber grip of the zoom optical group, he saw an aluminum cover; a discovery that made him ‘sad.’ He elaborates:

Note the clear plastic tape and aluminum shielding beneath the zoom ring rubber.

[The aluminum covers are] what Nikon uses to cover old-time position-sensor brushes, which means this lens has ‘classic’ brush position sensors, not newfangled optical sensors. They work just fine, don’t get me wrong, but this is a strong hint we’re not going to find new ‘Z- style’ electronics inside this lens.

At this point, no further assembly could be done from the front of the lens, so he and Aaron turned it around and started taking off the rear bayonet mount, which was ‘thoroughly weather resistant with both hard rubber and foamed rubber gaskets.’

From there, Roger and Aaron break it down all the way to the aperture assembly, carefully maneuvering through a messy array of soldered wires, ribbon cables and enough glue that it might just give Roger nightmares. In wrapping up the teardown, Roger says:

‘We had seen what we most wanted to see. The lens is well built in the old, classic Nikon F way. Obviously, we don’t think that’s pretty, and it’s not fun to work on. But it’s been an effective method of manufacturing for decades. The moving parts are solid, the chassis and assembly are solid, the weather resistance is as good as anything, maybe better.’

While the teardown was done, Roger also ran an optical test on the lens to see how this copy performed. He notes ‘there will be better or worse copies’ out there ‘but given the price of the lens, I assumed it should be clearly better than the Sigma 120–300mm F2.8 lens.’

His assumption ended up being correct, with the MTF curves looking much cleaner than the Sigma (which he notes is a great lens in its own right) and ‘at least as good as, perhaps better than’ Nikon’s own 300mm F2.8 lens.

Nikon AF-S Nikkor 300mm F2.8G ED VR II Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF Sigma 120-300mm F2.8 DG OS HSM Sport (@300mm) Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF

When all was said and done, Roger concludes that ‘Roger’s Law,’ which states ‘that Zooms Are Never as Good as Primes has at least one very expensive exception. At one of its focal lengths. This zoom is ‘prime good’ at 300mm.’ Other lessons learned include that the 120–300mm F2.8 is incredibly well-build and ‘spectacularly good optically, particularly at the long end.’

You can see more images and read a more detailed breakdown of Roger’s thoughts over on the Lensrental blog post.

Articles: Digital Photography Review (dpreview.com)

 
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iFixit tears down a Galaxy S20 Ultra to show off the ridiculous camera array

05 Mar

Repair site iFixit has published its in-depth teardown of Samsung’s new flagship smartphone, the Galaxy S20 Ultra. In addition to the video above, iFixit also shared a detailed account of the autopsy, including close-up shots of the impressive camera array Samsung has packed inside this monster.

The motherboard assembly, which includes the camera array, is carefully removed from the Galaxy S20 Ultra unit.

As a quick refresher, the Galaxy S20 Ultra features a camera array consisting of three individual modules: a 12-megapixel F2.2 ultra-wide camera module, a 108-megapixel F1.8 wide-angle camera module and a 48-megapixel F3.5 telephoto camera module, the last of which offers up to 100x zoom through a combination of optical and digital zoom with a little AI and software trickery for good measure. On the front of the S20 Ultra is a ridiculous 40-megapixel front-facing camera as well.

The 108-megapixel sensor inside the Galaxy S20 Ultra (top) shown alongside the 12-megapixel primary sensor inside Apple’s iPhone 11 Pro.

First up on the docket was the 108-megapixel (9.5mm x 7.3mm) wide-angle camera, powered by Samsung’s ISOCELL Bright HM1 ‘Nonacell’ image sensor. As iFixit points out, this massive sensor features roughly double the surface area compared to the iPhone 11 Pro’s 12-megapixel primary sensor and uses Samsung’s Nonacell pixel-binning technology to bring the final image down to approximately 12-megapixels.The 12-megapixel F2.2 ultra-wide camera module was glossed over in the teardown, but given a nod in the video as it’s removed from the main camera assembly.

From there, iFixit took a closer look at the 48-megapixel F3.5 telephoto camera module, which is responsible for the 100x ‘Space Zoom’ advertised on the outside of the camera bump. Similar to other periscope-style zoom lenses seen in past smartphones, Samsung uses an array of zoom lenses behind an optically-stablized prism (which is used to redirect the light 90-degrees) to get up to 4x zoom capability. As noted above, the 100x ‘Space Zoom’ is achieved through a combination of sensor cropping, digital zoom and software.

The prism (top) redirects the light 90-degrees through the lenses housed within the assembly (black box, above where the tweezers are positioned), which slides back and forth within the guides to offer up to 4x optical zoom.

Other components onboard the Galaxy S20 Ultra include the 6.9-inch Quad HD+ Dynamic AMOLED Infinity-O Display (3200 x 1440 pixel, 511ppi, up to 120Hz refresh), a Snapdragon 865 processor, up to 16GB of LPDDR5 RAM and a 5,000mAh battery. As you might expect for a smartphone that manages to pack that much tech inside its frame, the device doesn’t score too well on iFixit’s repairability chart. When all was said and done, iFixit gave the Galaxy S20 Ultra a three out of ten.

You can find more images and read peruse through the entire teardown over on iFixit’s website.


Image credits: Photos via iFixit, used with permission

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down the Sony 400mm F2.8 G lens to its magnesium alloy skeleton

04 Jan
Photos kindly provided by Lensrentals

The week before Christmas, Roger Cicala and his team at Lensrentals tore apart Canon’s recently announced 400mm F2.8L IS III lens. While the Canon teardown was fantastic in its own right, it was only the first step of the process. As promised, Cicala and Aaron Closz have returned with a similar teardown of Sony’s 400mm F2.8 G lens to see just how well Sony did with its first attempt at a 400mm F2.8 super-telephoto lens.

Starting out with the basic optical formula, Roger noted that both Canon and Sony have opted to take a similar approach in how they arrange the individual elements inside the lens. That is, smaller elements have been placed at the rear of the lens.

Roger notes that Sony uses three flourite elements while Canon’s 400mm F2.8 uses only two. This little tidbit piqued his interest though. ‘That does beg the interesting question about where Sony sourced their fluorite elements. Sony doesn’t make fluorite glass, and Canon has long been the one lens company that grows and polishes large fluorite in-house,’ says Roger in the full teardown. ‘There are other manufacturers of fluorite lenses, but they have generally been limited to small lenses, such as in microscopes and telescope viewfinders.’

As he did with the Canon 400mm F2.8, Roger starts with the tripod ring before diving into the back of the lens. Throughout the deconstruction process, Roger notes how many ‘robust’ seals Sony has opted to use throughout the 400mm F2.8 lens, from the mount plate to the switch panel.

A large, robust rubber seal is seen behind the lens mount.

From there, it was a few hex bolts later before the rear barrel assembly could be removed. Roger says that while he’s ‘not a metallurgist […] the magnesium alloy looks and feels the same [as that used in the Canon 400mm F2.8.’

Inside the focusing mechanism Roger notes that Sony has decided to use nylon gears. ‘ If you’ve read much of my stuff you know I’m generally not a nylon gear fan,’ he says. ‘but these have almost no pressure on them so they shouldn’t wear out.’

One notable detail Roger points out is how well designed the flex/ribbon cables are throughout the lens. Nearly every cable wraps neatly around the magnesium alloy body of the lens and is secured by both double sided tape, as well as screws where needed.

Moving on, Roger and Aaron made it to the focusing module, which houses Sony’s linear motor and plenty of glass. He notes ‘As we would expect for what is now a 4th generation or so linear motor, designed to move that big beast of a lens, this is larger looks more robust than [linear motors] we’ve seen in the past.’

Roger and Aaron eventually wrap it up with their final thoughts, which you can read in their entirety on the full teardown blog post.

‘I’ll call this one a draw, and a draw is a win for Sony,’ says Roger in the conclusion. ‘Canon has been doing this for a long, long time; this is, I think they’re 8th generation of 400mm f/2.8 lens. It’s Sony’s first and to have made a product equal to the gold standard of engineering is an amazing feat.’

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down the Canon 400mm F2.8L IS III

20 Dec
Photographs kindly provided by Lensrentals

Roger Cicala, founder of Lensrentals, has torn apart the 400mm F2.8L IS III to see what Canon has done to remove 2.2lbs of weight from the third-generation super telephoto lens.

It’s only been a few weeks since Cicala shared Lensrentals 50mm F1.2L RF lens teardown, but as he hinted at in that teardown, it’s time for Canon’s much larger larger lens to get the signature treatment.

‘We tend to not publish tear-downs of super-telephoto lenses. They’re big and heavy, always well made and well engineered, like you would expect in something that costs as much as a used car,’ says Cicala in the teardown post. ‘But when the new 400mm f/2.8 lenses were released we decided it was finally time to publish a teardown of one. Largely, because they are amazingly light (you see what I did there? largely light?) and we were really interested in how they did that.’

Cicala also says he’s interested in doing a direct comparison between Canon’s latest 400mm F2.8 lens and its Sony counterpart. So it’s safe to say a Sony 400mm F2.8 teardown is just around the corner as well.

The small spring-loaded mechanism used to help lock the lens in place while rotating inside its collar.

The first order of business for Cicala and team was to remove the lens collar. While it might seem like a small detail for such a massive — and expensive — lens, the collar itself is quite complicated in its own right and often one of the first things that can break, due to an internal clicking mechanism that helps lock the lens into place at 90-degree intervals while rotating it on a tripod. As expected, the tripod collar assembly was solid and fairly straightforward — good news for photographers who prefer a more DIY approach to fixing smaller issues like a stuck collar tripod.

From there, it was onto the drop-in filter, which was probably the easiest part of the lens to remove. Cicala says ‘we really, really, really like [the drop-in filter] Because instead of being a proprietary $ 200 filter, it’s a holder that you can attach any 52mm filter to.’

With the easy stuff out of the way, now it was onto the lens itself. Without giving away all of Lensrentals findings, it’s worth pointing out a few details discovered during the teardown.

One of the adjustable screws can be seen in the internal structure of the lens (surrounded by red)

Starting with build quality, Cicala says that despite being light, the ‘inner, weight-bearing barrel is very sturdy magnesium alloy.’ It was at this point in the teardown Cicala noticed two adjustable elements integrated into the lens. The first is a set of screws found just in front of the rear element group, while the other was a set of adjustable collars where the two halves of the lens are joined together.

Regarding the image above, Cicala says ‘a couple of interesting things are in this image […] First, you see the two barrel halves are joined without shimming and held tightly together with 12 large screws – it’s a very strong joint with interlocking pieces. Also, as we saw with the RF 50mm f1.2 teardown, there are springs going down to the focusing ring, we assumed to put tension on a ball bearing ring for a smooth focusing feel in this electronically focused lens. We assumed wrong.’

A little deeper into the build, Cicala and team come across the image stabilization unit. Cicala notes the unit is roughly 2cm thick and full of various electromagnets, springs, sensor inputs and optical elements.

A look inside the intricate image stabilization unit.

In his 50mm F1.2L RF teardown, Cicala said the USM motor used by Canon in its fast prime is the exact same one used in the 400mm F2.8L IS III. Sure enough, that’s been confirmed again with this teardown, complete with the tension spring that continues to leave Cicala and team bamboozled.

A profile view of the ultrasonic motor in all its glory.

‘This is really interesting information, that the same motor and electronic focusing system is used in both lenses,’ says Cicala in the blog post. ‘Obviously, there is a business advantage in using the same subsystem in several lenses. But putting the same electronic focusing system in this EF lens makes me think that going forward Canon lenses may have a lot of internal similarity in either RF or EF mount. Converting the Canon 400mm f/2.8 to an RF wouldn’t be quite as simple as a different rear element and an RF bayonet mount, of course. The additional electronics for the RF Control Ring would have to be stuffed in here and probably some optical tweaks made, but the core structure could be very similar.’

Further disassembly of the USM section also revealed it’s the section of the lens that contains the aperture assembly. From there, it was onto the front optical elements of the lens, some of which were held in place by another adjustable element, which included screws to account for centering and tilting.

The aperture assembly shows all nine aperture blades in action.

After a little more work, the focus ring comes off and bears the various springs and more adjustable components. Cicala and team come up with a theory or two as to why the tension spring is there and what it does, but a definitive purpose is still unknown. Cicala says ‘one day we’ll spend 4 or 5 hours playing with them and figure it out. But don’t tell Canon that; they get aggravated when we do void-the-warranty stuff.’

In the conclusion section titled “So What Did We Learn Today,’ Cicala shares a few of his final thoughts regarding the teardown. The first thing Cicala mentions is the movement of the optical elements inside the glass. Canon said when it announced the 400mm F2.8L IS III that it had moved elements more towards the mount of the lens to create a better center of gravity and that proved to be the case. Also, Cicala says that ‘Despite being far lighter, it’s still very solidly built with a very strong frame, tons of big screws holding everything together, and no weak joints that we can see […] It’s what we expected; Canon’s been building super telephotos for a long time.’

The USM is also elaborated on. Cicala says it’s a very likely possibility Canon will continue to use this motor for all electrically focused lenses, or at least in lenses with a hefty amount of glass in the focusing element.

Overall, it appears as though the 400mm F2.8L IS III is roughly what Cicala was expecting from Canon. A well-built lens with plenty of adjustments in a tightly packaged frame. As interesting of a teardown as this was though, Cicala says the more interesting teardown will be the Sony 400mm F2.8 G lens. ‘Hopefully, it is awesome and for once the Sonyfans* won’t line up 6 deep to explain how what I find is wrong again.’

To see the full teardown in all its glory (and to discover the footnotes on what Sonyfans* means), head over to the Lensrentals blog and take in every bit of detail.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down Canon’s 50mm F1.2 RF lens to reveal new optics, tech and surprises

13 Dec
Photo kindly provided by Lensrentals

For the latest edition of LensRentals gets down and dirty with camera equipment, Lensrentals founder Roger Cicala tore down Canon’s new 50mm F1.2L RF lens to reveal what tech and construction is lurking inside.

‘Usually, I start tear down posts with a joke about “those of you who are following along by disassembling your own lens at home”,’ reads one of the introductory paragraphs of Cicala’s teardown blog post. ‘Well, no joke today; this is not a home disassembly project. I’m not really sure it’s even a Lensrentals disassembly project. But we got out tools out and boldly went where we probably shouldn’t have gone.’

The unusual screw arrangement is seen tucked inside the front barrel assembly of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Right off the bat, Cicala came across something he had never seen in a lens before — a unique screw arrangement on the front part of the lens barrel. Figuring the unique arrangement ‘was some kind of binary code for “Do Not Enter”,’ Cicala instead flipped the lens over and started to disassemble it from the rear.

With each new layer peeled back, new surprises awaited Cicala. There was wiring, rather than simple ribbon cables (which Canon has almost always preferred), a denser PCB, and a little extra electrical shielding.

Cicala noted the denser PCB and wiring (visible bottom-right) inside the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

The teardown also confirmed Canon is using the same USM motor for the 50mm F1.2L RF as it is for its much, much larger 400mm F2.8L IS III lens, which Cicala teases as Lensrentals’ next teardown. Near the USM motor, Cicala noticed an interesting tensioning spring, but it remains unknown what purpose it serves.

Photo provided kindly by Lensrentals

Eventually, Cicala turned the lens back over and removed the front lens barrel. After a little work, what he ended up with was the stripped down optical core of Canon’s 50mm F1.2L RF lens. ‘Like a shaved cat, it’s always kind of shocking how small the core of the thing is,’ says Cicala.

The stripped-down optical core of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Other details revealed in the teardown include a piece of electrical discharge tape that seemingly leads to nowhere, additional sealing felt and a collection of springs that serve an unknown purpose.

Photo kindly provided by Lensrentals

All in all, Cicala was impressed with the lens, going so far as to say that this lens, and this lens alone, makes him lust for Canon’s EOS R system. Cicala concludes his assessment saying ‘One thing that is very clear […] Canon has invested very heavily into developing the lenses of the R system. This level of engineering didn’t all happen in the last year, they’ve been working on this for quite a while.’

To read and see the entire teardown, head over to the Lensrental blog and set aside a good ten minutes or so.

Articles: Digital Photography Review (dpreview.com)

 
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