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iPhone mount converts an Apple Watch into a live viewfinder for selfies and vlogging

27 Nov

Apple’s iPhones have a front-facing camera for selfies and FaceTime, but the front camera’s performance and image quality pales in comparison to the rear cameras. For those wanting a high-quality selfie or to record video content of themselves, your options have long been to use the front-facing camera so you can see your phone’s display or to try your luck with the rear-facing camera and hope everything is framed properly. Ulanzi has a new product, the ST-09 Phone Tripod Mount for Apple Watch, designed to solve this exact problem.

By using a paired Apple Watch and the ST-09, you can mount your smartwatch to the ST-09 and clamp it onto your iPhone. With the accompanying Apple Watch app, your Watch’s face becomes a live viewfinder mounted to the back of your iPhone.

As Gizmodo says, it may ‘seem like a foolish use for the $ 200+ smartwatch strapped to your wrist. But as you think about it more, you realize the mount solves a problem that many amateur vloggers who rely on their smartphones for all of their productions needs run into: using the back camera to film yourself is all but impossible.’ The target audience is somewhat niche, perhaps, but the ST-09 is an inexpensive, simple solution. Provided you already have an Apple Watch, of course.

On the bottom of the mount is a tripod a 1/4″ hole for mounting a tripod. On the top of the mount is a cold shoe, which can be used for attaching a fill light, microphone or other accessories.

Ulanzi ST-09 product details. Image courtesy of Ulanzi. Click to enlarge.

If you’re worried about scratching your devices, Ulanzi states that the product features an anti-scratch silicone pad design for the Watch mount and the clamps which adjust to your phone. Speaking of which, the tension distance is 58-89mm, meaning it will fit most iPhones, including the latest iPhone 12 models. With respect to Apple Watch model compatibility, Ulanzi only mentions the Series 5, so Gizmodo observes that the ST-09 may only be compatible with the Series 5 and Series 6 Apple Watches.

The Ulanzi ST-09 can adjust from 58mm to 89mm in order to fit a variety of iPhones. Image courtesy of Ulanzi.

The problem Ulanzi is trying to solve has been tackled by different manufacturers over the years. Gizmodo recalls the DJI Osmo Action, an action camera with a front-facing camera. (You can check out our hands-on with the Osmo Action right here). GoPro followed suit shortly thereafter with the Hero9 action camera. Smartphone manufacturers, on the other hand, have not gone this route. Smartphone displays drain battery and a second display on the rear presents power, engineering and cost concerns.

The Ulanzi ST-09 can be ordered directly from Ulanzi for $ 19.95 USD. The accessory is current on sale from its regular price of $ 29.99.

(Via Gizmodo)

Articles: Digital Photography Review (dpreview.com)

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Video: Panasonic demonstrates viewfinder to correct color-blindness

20 Feb

Panasonic has developed a special electronic viewfinder that corrects color-blindness as part of a campaign to promote equality of vision. The viewfinder, built into a Lumix DC-G95, has adjusted color saturation and color-shifted pixels to enable color-blind people to see in the same way as those with regular vision.

The company, in partnership with Indian marketing company Dentsu Aegis Network, created the new viewfinder specifically to help Indian photographer Hizol Chodhury see colors accurately for the first time. Previously Chodhury had needed assistants to explain the hues he was looking at and to ensure colors were correct in his images, but the new viewfinder compensates for the chromatic defects in his vision so he can see color clearly – through the camera.

It isn’t clear exactly how this has been achieved, though we might assume his color vision was tested and the viewfinder designed to present more strongly the colors he has trouble seeing. The press release only mentions that they used a ‘Lumix camera fitted with a customized viewfinder that saturates and balances pixels to allow colorblind photographers to see colors just like everyone else.’

It is also unclear whether this technology will become more widely available in the future to help other color impaired people. Presumably, the degree of correction would vary person to person so the solution created for Chodhury probably wouldn’t suit everyone.

Press release:

This Republic Day, Panasonic Lumix and C Lab give #RightToColour by empowering Colourblind Photographers!

Celebrating India’s 71st Republic Day, Panasonic Lumix and C Lab, the entertainment and sports marketing arm of Dentsu Aegis Network India has empowered colourblind photographers with the #RightToColour through a specially designed viewfinder lens that helps to saturate and balance colour. Bringing the gift of colour, the digital campaign #RightToColour aims to promote equality by making everyone able to experience colours in the same way.

About 300 million people worldwide and around 8% of the country’s population suffers from some degree of colour blindness and this impacts their everyday life depending on the severity. While somebody with normal vision can identify 150 hues, a colour blind aspirant can distinguish only as many as 20 hues. However, in recent times, technology has created innovations that can transform the everyday experiences of the physically challenged. The #RightToColour campaign showcases the struggles of colour blind photographers while narrating true life experiences of an Assam-based photographer, Hizol Chodhury who wishes to see his photographs as the world sees them. The film highlights how Hizol has to rely on his team for colour correction and saturation of his work and the challenges he faces in the personal and professional life. Panasonic Lumix and C Lab makes his wish come true by giving him the right to colour through a Lumix camera fitted with a customized viewfinder that saturates and balances pixels to allow colourblind photographers to see colours just like everyone else. The film captures the sheer happiness and confidence that this innovation has given Hizol, as he feels connected to his work like never before.

Talking about the campaign, Shirish Agarwal, Head, Brand and Marketing Communications, Panasonic India said, “Nearly 8% of people in India suffer from some degree of colour-blindness, there only dream is to be able to see the world as we all see it. Through this campaign we wanted to bring alive the spirit of Republic Day by enabling those affected with the right to colours. Technology has always been at the core of our business and #RightToColour serves as a remarkable example of how innovative solutions can improve the lives of our customers.”

Haresh Nayak, Group MD, Posterscope – South Asia said, “At C Lab we believe in creating solutions that enhance a consumer’s experience and subsequently, their lives. This builds brand advocacy and loyalty. Every time we work on a project, we are enthralled to see how technology is bringing solutions that one could only dream of. Our effort to bring colour back into the lives of colourblind photographers is an example of what technology can do.”

Adding to this Gurbaksh Singh, Chief Creative Technologist, Dentsu Webchutney said, “We researched around the deficiency and found a simple solution to solve this problem – a special viewfinder for the camera. This allows a colourblind photographer to see the frame in rich vibrant colours before the shot is captured, subsequently boosting the confidence to capture the subject being photographed. There’s a huge community of colourblind photographers in India and this technology is a testament to their dedication and passion.”

Talking about the Lumix, Sandeep Sehgal, Business Chief, Imaging Business Group, Panasonic India & SAARC said, “Lumix as a brand celebrates photography as a medium to enable both the photographer and the subject to break away from any limitation and express themselves freely. Through this campaign, we are delighted to bring the gift of colour to colour-blind photographers. We are committed to making a difference by empowering people through our technologically advanced offerings and this is a testament to the same.”

Articles: Digital Photography Review (dpreview.com)

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CP+ 2019 – Nikon interview: ‘The view through the viewfinder should be as natural as possible’

25 Mar

(L-R) Mr Naoki Kitaoka, Department Manager of the UX Planning Department in the Marketing Sector of Nikon’s Imaging Business Unit, pictured with Mr Takami Tsuchida, Sector Manager of the Marketing Sector inside Nikon’s Imaging Business Unit, at the CP+ 2019 show in Yokohama Japan.

We were in Japan earlier this month for the annual CP+ show in Yokohama, where we sat down with senior executives from several camera and lens manufacturers, among them Nikon.

We spoke with three Nikon executives from the Marketing Sector of Nikon’s Imaging Business Unit: Mr Naoki Kitaoka, Department Manager, of the UX Planning Department, Mr Takami Tsuchida, Sector Manager, and Mr Hiroyuki Ishigami, Section Manager of the Product Planning Section IL, UX Planning Department.

Please note that this interview was conducted with multiple interlocutors through an interpreter, and has been edited for clarity and flow. For the sake of readability, answers have been combined.

How do you think the market for full frame mirrorless will evolve?

In terms of hardware, it is likely that mirrorless will catch up with DSLR. But one thing that is a challenge is the time lag of electronic viewfinders. Even though we have a great mirrorless [solution], we cannot beat the optical viewfinder.

For really high-level professional photographers at sports events and so on, I believe that the DSLR will survive. I think there will be a synergy between DSLR and mirrorless, so we can expand the market moving forward.

I hesitate to talk about our competitors, but while Sony only offers mirrorless cameras, both Nikon and Canon offer DSLR and mirrorless, so there are more options for our customer bases. DSLR and mirrorless cameras have their own unique characteristics.

The Nikon Z6 and Z7 feature a high-resolution optical viewfinder which prioritizes clarity and sharpness over response speed. One of the secrets behind the large, sharp viewfinder image is the complex optical unit behind the display panel, which contains multiple lenses including an aspherical element.

The Z6 and Z7 offer very high resolution finders, at the expense of response speed, compared to some competitors. Why did you make this decision?

There are various factors, however we decided on three main pillars for the Z system. The first pillar is a new dimension of optical performance. The second is reliability, both in terms of the hardware and also the technology, and the third is future-proofing of that technology.

The view through the viewfinder should be as natural as possible

To touch on the first pillar, optical performance, we’re really trying to be the best and provide the ultimate performance of the viewfinder. The view through the viewfinder should be as natural as possible. To achieve that goal we did two things – we focused on the optics, and also on image processing.

With current technology there is always some time lag, it will take some time and if we want to shorten the response time and compromise in terms of resolution, the [experience] deteriorates. Of course, we’ll continue to try to make the response time shorter.

Is it more important for the viewfinder response to be faster in a camera more geared towards speed?

That depends. In the Z7, our first priority was not speed. Therefore, if we were going to launch a camera focused on speed, we’d need to review [viewfinder responsiveness].

What kind of feedback have you received from your Z6 and Z7 customers?

Very similar to [DPReview’s] feedback. For people who don’t prioritize high-speed shooting, they’re happy with the performance and the portability of the system. In many cases they’ve totally switched away from DSLR.

The Nikon Z6 is a lower-cost companion camera to the flagship Z7, which has already out-sold the more expensive model. According to Nikon, the Z6 has proven especially popular with filmmakers.

Is the Z6 attracting a different kind of customer to the Z7?

When we launched them, we expected that sales would be about 50:50, however the Z6 already has a larger customer base. It’s more price competitive. Video shooters are telling us [the Z6] is very user-friendly, and in the US market, the Film Makers’ Kit has become popular.

We’re going to create easier to use and friendlier equipment for photographers that need to do both stills and video

In the future, would you like Nikon to appeal to serious professional videographers and filmmakers?

If you mean Hollywood or television broadcast videographers, we’re not trying to address that segment. However we are targeting freelancers, one-person team kind of videographers – that kind of shooter. That’s the kind of direction we’re going in.

We’re going to create easier to use and friendlier equipment for those photographers that need to do both stills and video. For example, photojournalists, or wedding photographers.

On the optics side, in the S-series lenses we took great care over the video functionality as well, so for example when you zoom the focus stays there, there’s no defocusing, and there’s no change in the image angle when you focus, either.

Do you think that strategy might change in the future?

We’ll keep an eye on the market, and look at the demands of our customers.

Despite the entry of the Z7 into the market, the D850 continues to be a major seller for Nikon, and in some ways remains a more capable camera for professionals.

Do you plan to increase your production capacity, to make F mount and Z mount products in parallel? Or will you scale down production of one line to make room for expansion of the other?

Even though we’ve now launched Z mount into the market, we still have a very robust [F mount] customer base, and a good reputation thanks to our DSLRs, especially products like the D750 and D850. And sales are still very robust.

I want to grow the Z series and D series at the same time – we’re not weighing one against the other. For example, developing Z lenses alongside F-mount lenses will put a lot of pressure on us, so efficiency of production will be very important from now on, because we really want to maintain production and development of both lines in future. When we can, we’ll commonize parts and platforms, and of course we’ll monitor trends in the market, and where the growth is.

Take a look inside Nikon’s Sendai factory [August 2018]

Can you give me an example of a new, efficient production process in contrast to an older, less efficient process?

We are really interested in automation, and we’d like to automate so we don’t have to depend [entirely] on human labor. For example, we’d like to have a 24/7 operation in our factories.

Since we launched the Z series, our users have been asking us to apply mirrorless technology to the DX format

Do you think the Z mount will eventually be an APS-C platform, as well as full-frame?

I cannot disclose our plans but for today I can say that since we launched the Z series, our DX format DSLR users have been asking us to apply mirrorless technology to the DX format as well. If we employ APS-C sensors [in mirrorless] maybe the system can be made even smaller. So as we go along, we’ll listen to the voices of our customers.

One of the advantages of the narrow dimensions of the 60 year-old F-mount is that the APS-C cameras that use it – like the D3500, shown here – can be made remarkably small. That will be a harder trick to pull off with the larger Z-mount.

We understand some of the benefits of a short flange back and wide diameter mount, are there any disadvantages?

In comparison to F mount, [when designing lenses for Z] we can really guide the light, even right to the edges of the frame. This gives uniformly high image quality across the whole image area. The camera can also be thinner.

There’s no particular challenge or shortcoming in this kind of design, except that the mount diameter determines the camera’s size. You can’t make the camera any smaller [than the height defined by the diameter of the mount].

Does a shorter flange back distance make the mount and lens alignment tolerances more critical? Is it harder to correct for reflections and ghosting?

Generally speaking, when it comes to alignment, no. But there is more risk of sensor damage in [such a design, with a rear lens group very close to the imaging plane ] if the camera is dropped. So we needed to create a system to [absorb shock] in this instance. When it comes to ghosting, it is more critical, so we have to really reduce reflections. Only by doing this were we able to [make the design of the Z mount practical].

Is there a software component to that, or are you achieving the reduced reflections entirely optically and via coatings?

No software is involved.

Editor’s note: Barnaby Britton

Last year was a crucial year for Nikon, and the Z system was a hugely significant move for the company – one on which the future of the manufacturer may depend. Nikon has been careful not to talk about the Z mount replacing the 60 year-old F-mount so much as complementing it, and in our meeting at CP+, Nikon’s executives were again keen to emphasize that they see DSLRs and mirrorless cameras co-existing – at least for now.

Clearly though, as they admit, ‘mirrorless will catch up with DSLR’ eventually. And already, for Nikon, mirrorless has opened the door to a new customer base for the company: filmmakers. While Nikon isn’t targeting professional production companies or broadcast customers (not yet – although the forthcoming addition of Raw video is a strong indicator that they’d like to) I get the sense that the Z6 has been more of a hit with multimedia shooters than Nikon perhaps expected. It certainly seems as if sales figures for the 24MP model have come as a bit of a surprise. It’s unclear though whether the proportionally greater sales of the Z6 compared to the Z7 are a result of the cheaper model over-performing, or the flagship under-performing in the market.

A mirrorless D5 it ain’t, but the high-resolution Z7 is an excellent platform for Nikon’s new range of Z-series lenses

The Z7 was always going to be a relatively tough sell at its launch price, with the inevitable comparisons against the incredibly capable and still-popular D850, and the fact that the similarly-specced (and in some ways more versatile) Z6 was coming fast on its heels. Regardless, Nikon clearly sees the Z7 as living alongside its high-end DSLRs, rather than as a replacement model. As the executives said in our interview, ‘in the Z7, our first priority was not speed’. A mirrorless D5 it ain’t, but the high-resolution Z7 is an excellent platform for Nikon’s new range of Z-series lenses, which are at least a generation ahead of their F-mount forebears in terms of optical technology.

We’ve heard a lot about the benefits of wider, shallower mounts for optical design (and the benefits are real, by the way, especially when it comes to designing wide, fast lenses) but it was interesting to hear about some of the challenges that emerged. Principle among them are the need to reduce aberrant reflections, which can cause ghosting, and the requirement for a robust sensor assembly to avoid damage from impact.

Right now, the Z system is a full-frame system. But in this interview we got the clearest hint yet that this might not be a permanent condition

Judging by Roger Cicala’s tear-down of the Z7 last year, it’s obvious that Nikon really prioritized ruggedness and ‘accident-proofing’ in the Z6/7. It turns out that one of the reasons for this focus on build quality is the close proximity of the stabilized sensor not only to the outside world, but also to the rear elements of Z-series lenses.

Right now, the Z system is a full-frame system. But in this interview we got the clearest hint yet that this might not be a permanent condition. Reading between the lines, a statement like ‘since we launched the Z series, our users have been asking us to apply mirrorless technology to the DX format’ is as close to a confirmation that this is being actively worked on as we’d expect to get from a senior executive. As for how far away an APS-C Z-mount camera is, I wouldn’t want to guess.

There’s always a chance, of course, that Nikon could go the Canon route and use a totally separate mount for APS-C. I doubt it, but Mr Kitaoka did make the point that the width of the Z-mount defines the size of the camera. And the Z-mount, as we know well, is very wide indeed.

Articles: Digital Photography Review (dpreview.com)

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The Pictar Pro gives your smartphone physical dials, add-on viewfinder

05 Oct

Miggo has launched the latest in its line of camera grips for smartphones with the Pictar Pro, a model that offers users enhanced handling and access to hidden features of their phones, as well as an optional viewfinder for shooting in bright conditions. The company promises that this next generation Pictar makes it easier to control the camera functions of your iOS or Android phone through new larger dials and buttons, as well as a rocker switch that can control the camera’s zoom.

The Pictar Pro clamps around the smartphone and connects to it via high frequency sound waves, leaving Bluetooth, Wi-Fi and physical ports free for other functions. The device recognizes the type and model of phone automatically by communicating with the Pictar App that users need to install. The Pictar Pro also comes with an optional built-in power supply that can roughly double the time the phone operates between charges.

The new larger press/turn dials control the app in the camera and give access to features many native camera apps don’t include. Users can control the shutter speed of their phone’s camera, as well as dial in exposure compensation, use focus and exposure lock, access different flash modes and work in ISO or Shutter priority exposure modes.

The highlight for me though is the optional viewfinder that plugs into the Pictar Pro to let the app know it is in use. When the app detects the collapsible viewfinder the phone’s display screen shrinks to the size of the viewfinder so that the whole screen can be seen through the eye piece. This allows better stability for longer exposures as well as giving users a clearer view of what they are shooting in bright conditions. It makes the phone feel much more like a ‘real’ camera.

The free Pictar App gives users a choice of RAW, TIF and JPEG file formats, advanced white balance settings, a histogram display and options for aspect ratios. A cold shoe lets accessories, such as video lights, be mounted on the top of the grip, and the base is fitted with a standard tripod thread.

Kickstarter backers will be able to get the Pictar Pro for between $ 129 and $ 189. The estimated price once the campaign finishes is $ 250 for a kit including the viewfinder and accessories.

For more information see the Miggo website, or the Pictar Pro Kickstarter campaign page.

Miggo Returns to Kickstarter and Goes Pro with the New Pictar Pro, the World’s Most Advanced Camera Grip for iPhones and Androids

Pictar Pro unlocks possibilities on the smartphone camera to take control and get the best quality video and photography

Offers 12 incredible camera features to create a highly capable DSLR camera and mobile studio with advanced video features

Miggo is further enhancing the mobile photography and video experience with the introduction of Pictar Pro exclusively on Kickstarter the same community-driven platform that helped launch its original breakthrough smartphone camera grip concept worldwide a year and a half ago. Pictar Pro unlocks smartphone possibilities (for both iPhones and Androids) to enjoy remarkable camera control and creativity not possible with the smartphone camera by itself. Starting August 28, 2018, anyone can back the development of Pictar Pro on Kickstarter at http://crwd.ly/pictar_pro1

Smartphone cameras’ potential aren’t fully realized. Despite the fact that Apple and Android smartphone makers invest tens of millions of dollars yearly in optical lens development, most users don’t take full advantage of their smartphone’s photography tools. And controlling the smartphone’s camera is done through menus, which isn’t very convenient.

“Photography is about capturing the moment, not digging around menus to figure out the best way to capture the moment,” said Guy Sprukt of Miggo. “Pictar Pro helps take control of your photography along with the best-quality video not possible with the smartphone camera alone.”

Feels like a Real Camera and Shoots like a Real Camera

Pictar Pro takes all the exciting features that made Pictar One a world-class success, and upgrades them further, offering unmatched control over the phone’s camera with four improved external camera control buttons, a ‘shark-skin’ ergonomic grip, Qi wireless charging to keep the smartphone charged for continuous shooting, a unique viewfinder for shooting on bright days, advanced video capabilities and more. And the new Pro version is designed to be more like a Leica camera with a classic solid satin-finish brass body used in traditional cameras to offer a more substantial feel.

The heart of the system and the engine that drives Pictar Pro is Pictar App, a powerful advanced photo application for iPhones and Androids with pro-level features and user-friendly interface – which allows unmatched control over a variety of photo options.

A lot of intelligence is built inside, from recognizing which device is being used (i.e.: iPhone vs Samsung Galaxy, vs Sony) to intelligently adjusting the camera for macro shots to uniquely connecting the viewfinder that automatically shrinks the image down on the phone to the size of the viewfinder via proprietary technology. And the Pictar Pro is simple as plug and play. Simply slide the phone in and start using it with the Pictar App. No need to attach anything or rely on connecting to Bluetooth nor the lightening port.

Turn your smartphone into a powerful video camera. Whether recording a family event or vlogging on YouTube, Pictar Pro offers advanced video capabilities and allows for professional accessories to be connected such as a tripod, microphone, LED lighting and external lenses.

12 Incredible Camera features not available with smartphones by itself – but only with Pictar Pro.

These include:

New classic satin-finish brass body with sturdy camera grip that provides the feeling of a real camera and allows for one-handed shooting.
Four external larger control wheels and buttons for easy one hand and one-touch use with better control over the camera’s features for sharper pictures.
Exposure compensation wheel for superior control over the exposure and darkness or brightness of the image.
Multi-state Shutter Release button offers two modes: a half-press to lock the focus and exposure, and a full click to shoot.
Rocker Zoom Switch for ease of use and continuous smooth motion of the zoom, even in video shooting. And depress it to change from front-to-back camera for fun selfies.
Smart Wheel – Rotate the wheel left and right to switch between 9 different shooting modes: Auto, Shutter Priority, ISO Priority, Manual, Macro, Video, Selfie, Sport and Filters
Press the wheel to switch between the different flash modes. The button can be easily programmed to change its function via the application.
Viewfinder, which easily connects to see the smartphone’s screen even on a very bright day.
Qi wireless charging via an internal battery to keep smartphone going to never miss a great shot.
Shutter speed control for “freezing” or blurring the image.
ISO control for “cleaner” pictures.
Larger zoom range over iPhone to get even closer to the object.
Advanced image formats: jpeg / tiff / raw for larger and more detailed files.
Multi-featured camera app (free) for better performance and many more options.
Tripod attachment great for night photography, long exposures and family selfies.
“Cold shoe” connector designed for a microphone or lighting accessories for adding light to any dark scene. Designated side-window allows cord connection
Breakthrough wireless connectivity to connect to Pictar Pro to the Pictar App, transferring commands from the various buttons using patented technology of high frequency sound waves.

Pictar Pro fits all sizes of iPhones (from 6 to X, including all Plus models), and a wide range of selected Android and is future proofed for new iPhone models that will be launched soon. Included are a hand strap and neck strap made from a stylish parachute cord with real leather elements, and a premium quality fabric pouch for keeping the Pro when not in use.

Rewards
Miggo has four successful crowdfunding campaigns under its belt with all products delivered to its backers. Miggo chose to bring back Pictar Pro to its loyal Kickstarter community and will be providing special offers including an early-bird price starting at $ 119 (limited availability). Rewards will be range from $ 129 to $ 189. Pictar Pro is estimated to retail for $ 245, which includes the Pictar Pro unit, carrying case, neck strap, wrist strap, viewfinder, charging cable, and Pictar app. It is now available for pre-order on http://crwd.ly/pictar_pro1. Delivery estimates of the Pictar Pro are for the beginning of 2019.

About Miggo
Miggo was established five years ago to bring photography lovers innovative and fun products that make the photography experience more enjoyable and successful. With decades of experience in product development in the field of photography, Miggo develops and markets breakthrough products for smartphones, DSLR cameras, drones and action cameras. The company headquarters are located in Israel and its development center is located in the UK.
Website: myMiggo.com

Articles: Digital Photography Review (dpreview.com)

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OKO is an immersive viewfinder for your smartphone camera

02 Aug

There’s an abundance of smartphone camera accessories available but until now we’ve been missing one item: a viewfinder. Thanks to the OKO crowdfunding project on Kickstarter this gap might soon be filled, however.

The OKO is designed to do pretty much the same things as a conventional viewfinder. It blocks screen reflections, offering an immersive and undistracted view of the scene and allowing for a more stable shooting stance when holding it up to your face. Its design is far from conventional, however.

The OKO resembles a VR-headset and is compatible with most 4.7″ and larger smartphones. The mobile device is inserted at the front and in the bottom there is a fairly large hole, allowing you to control the camera on the touch screen of your phone (but probably also letting some light in).

In front of the phone screen two 6x magnifying oculars provide a view that should be much closer to the real scene than what your smartphone display alone can provide and many photographers might find that using two eyes to frame your shots is more comfortable than just using one, like with a traditional camera viewfinder.

The OKO’s major downside is pretty obvious: you’ll look pretty ridiculous wearing the thing on your head while hunting for photo opportunities. For some this might be a small price to pay for the perfect shot, however.

If you fall into that latter group, you can now pledge between $ 39 for the early bird basic kit and $ 160 for a full-blown package including 4 accessory lenses. At the time of writing the project has almost reached its funding goal with 56 more days to go, so there’s a good chance the project will go ahead. Shipping is expected in March 2019.

Watch the video below for more information or head straight to the OKO Kickstarter page.

Articles: Digital Photography Review (dpreview.com)

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Viewfinder Image Blurry? You May Need to Adjust Your Camera’s Diopter – Here’s How

23 Jul

Have you ever looked through a camera’s viewfinder and only been able to see a blurry image even after focusing? If you are always seeing a blurred image the diopter is not set correctly for your eyes. This happens every time I pick up my wife’s camera. She is near-sighted and I am far sighted.

Demonstration of diopter blur photo - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How

What your viewfinder looks like when the diopter is not set correctly for your eye.

What is a diopter?

The diopter is a small lens in your camera’s viewfinder. It allows you to match the focus of your viewfinder to your eye. So before I can see anything clearly through the viewfinder on my wife’s camera I must focus this small lens. She has to do the same when she uses my camera.

If your eyesight is good and you are using a camera that’s had the diopter adjusted, you will see a blurry image in the viewfinder. You will need to adjust the diopter to correct this so you can see a sharp image.

I am surprised by the number of people who join our workshops here in Thailand that tell me they never see anything sharp in their viewfinder. After a quick adjustment, they are often surprised by how sharp the image is appearing in their viewfinder.

sharp photo illustrating diopter setting - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How

When your diopter is adjusted properly you will see a sharp image and a sharp information display.

The easiest way to see if your diopter needs adjusting is to look at the information and guidelines you see in your viewfinder. If you cannot clearly see the numbers and lines sharply this means your diopter is not set correctly for your eyes.

How to Adjust the Diopter

DSLR cameras with optical viewfinders and mirrorless cameras with electronic viewfinders all have diopters.

Locate the Diopter Adjustment Control

The diopter adjustment control will most likely be a small wheel or slider close to your camera’s viewfinder. Most diopter controls are labeled with + and – signs.

Mount Your Camera

When you want to adjust the diopter it is best to have your camera mounted on a tripod or somewhere it will not move. You want to do this where you have a scene with good contrast. Something that your camera can autofocus on easily.

Focus Your Camera

Focus your camera using the autofocus. If you are using a camera or lens without autofocus you will need to look at the focus indicators in the viewfinder to ensure the lens is in focus. If your diopter is adjusted incorrectly for your eyes you will not see a sharp image in the viewfinder at this point.

Adjust Your Diopter

Start to turn the diopter wheel or move the slider. As the image comes into focus keep adjusting until you see a blurred image again. Now dial back your control so you see a sharp image (go back and forth until it’s as sharp as you can get). Now your diopter should be set correctly.

If you cannot see a sharp image in your viewfinder at any point of the adjustment you need to look at the display information. The exposure display in the viewfinder will come into focus at some point. If the display info is sharp in your viewfinder but the image is still blurry, you have a different problem.

The problem may be with the camera’s autofocus system or the lens. Here are a few suggestions for what to do in this situation:

Try changing lenses or zooming.
Make sure your lens is set to autofocus.
Attempt to focus manually.
Check focus using your camera’s LCD screen and Live View
Take your camera for repair.

Chinese Woman Photographer - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How

Wearing Glasses or Contacts

If you normally wear glasses or contact lenses you can adjust your diopter to suit. If you prefer wearing glasses while using your camera, adjust the diopter with your glasses on.

But if you prefer not to wear your glasses while using your camera’s viewfinder, make the adjustments while you are not wearing them. If your eyesight is quite bad you may not be able to adjust your diopter sufficiently though and may need to keep your glasses on.

Add-On Diopter Accessories

If your diopter will not adjust to give you a clear image in your viewfinder you might need an add-on accessory diopter. Not all camera models will accommodate these so you will need to check your camera manual.

Boy with glasses - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How

Diopter adjustment is simple but can make a significant difference to your photography enjoyment. It is always good to see a sharp image when you look through your viewfinder.

The post Viewfinder Image Blurry? You May Need to Adjust Your Camera’s Diopter – Here’s How appeared first on Digital Photography School.

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Sony reveals faster, higher-res OLED viewfinder display

30 May

Sony has unveiled a faster, higher-resolution OLED panel for use as an electronic viewfinder. The UXGA panel gives a 1600 x 1200 pixel resolution (5.76m dots) for those of you who don’t still think in terms of 1980s PC monitors. This is a 25% increase in each direction, compared with the panel used in the likes of the Panasonic GH5 and Sony a7R III. Despite the resolution increase, Sony says the panel uses the same amount of power.

The panel can be run either progressively (with one row being shown after another), at 120 fps or in a dual-line progressive mode that we expect to halve the vertical resolution in return for a 240 fps mode to give a more lifelike preview.

A redesigned structure places the color filter array directly on the light-emitting silicon, maintaining the angle of view, despite the move to smaller pixels. Sony says it has also designed a circuit to mitigate some of the voltage and consistency drawbacks of the move to finer pixels.

Unusually, Sony specifies a sample price for the panel: ¥ 50,000 (~$ 460). We suspect this price will come down once production ramps up, especially for orders of tens or hundreds of thousands of panels, but it hints at the costs of including a high-res viewfinder in a camera, and why the a7 III misses out on the 3.69m dot display used in the more expensive a7R III.

Sony Releases 0.5-type OLED Microdisplay with Top-of-Class UXGA Resolution, Featuring the World’s Smallest Pixel Pitch of 6.3µm

Tokyo, Japan—Sony Corporation today announced the upcoming release of the ECX339A OLED Microdisplay featuring UXGA (1600 x 1200 resolution), the highest in class for a 0.5-type. This product achieves the world’s smallest pixel pitch of 6.3?m by leveraging Sony’s OLED display technology and miniaturization technology, enabling a resolution 1.6x higher than the previous model^*1. By employing a new drive circuit design that operates on half the voltage of the previous model^*1, the new product achieves the same level of low-power operation as its predecessor but with much higher resolution. When paired with Sony’s original driving system^*2, a frame rate up to 240 fps is supported—double that of previous product^*1.

0.5-type OLED Microdisplay ECX339A

Model name	Sample shipment date	Mass-production shipment date (planned)	Sample price (excluding tax)
ECX339A 0.5-type OLED Microdisplay	January 2018	November 2018	50,000 JPY

Enhancing the resolution on microdisplays has traditionally presented problems such as deteriorating image quality due to decreased pixel pitch and inferior viewing angle properties. The new product features optimized transistors layout and process to address uneven characteristics and loss of withstand voltage, the issues associated with transistor miniaturization. The Sony original variation compensation circuit also enhances picture quality. Additionally, the color filter is deposited directly on the silicon substrate, reducing its distance from the light emitting layer, and the filter’s color array has been modified. This helps to secure the viewing angle properties while achieving high resolution.

OLED Microdisplays are widely used in digital camera electronic viewfinders (EVF) for their superior high contrast, high color gamut, and high-speed responsiveness. Sony, having achieved this high resolution and high frame rate, now offers even more realistic image display and accurate capture of subjects for use in high-end cameras that demand extremely high image quality.

Going forward, Sony expects this high-definition OLED Microdisplay to be employed in a diverse range of fields and applications such as AR (augmented reality) and VR (virtual reality) head-mounted displays.

Comparison of images on OLED Microdisplays. New product (UXGA, left) and previous product (QVGA, right)

Main Features

1.High-resolution UXGA in a 0.5-type
The new product has achieved the world’s smallest pixel pitch of 6.3?m by leveraging Sony’s proprietary OLED display technology and miniaturization technology, and has superior resolution 1.6x higher than the previous model^*1. Generally, transistor miniaturization results in characteristic variation and reduced withstand voltage. This product uses a Sony original compensation circuit and optimized layouts and process for each individual transistor to address these adverse effects. Furthermore, the color filter is deposited directly on the silicon substrate, reducing its distance from the light emitting layer, and the filter’s color array has been modified to secure the viewing angle properties while achieving high resolution.

Measures to secure viewing angle even with smaller pixel pitch
New product (UXGA, left) and previous product (QVGA, right)

2.High-speed frame rate
A new drive circuit design supports a high frame rate of up to 240 fps^*2, nearly double that of its predecessor^*1. This has made it possible to capture fast-moving subjects in the viewfinder with higher accuracy, so users will not miss a photo opportunity, delivering a more comfortable shooting experience. In head-mounted display devices, this will help to improve image delay issue for items superimposed on real-world vision of AR and to avoid motion sickness during usage of these kinds of devices.
3.Low power consumption
By employing newly-designed peripheral circuits that operate on half the voltage of previous model^*1, the new product delivers the same low-power operation as its predecessor when operating at the same frame rate, despite the nearly 1.6x increase in the number of pixels.

Key Specifications

Name	ECX339A
Display Size	0.5 type (12.6 mm Diagonal length)
Resolution	UXGA?1600×RGB×1200?
Pixel pitch	6.3?m
Max. frame rate	120 fps (progressive) / 240 fps (dual-line progressive)
Power consumption (200cd/m2)	310 mW @ 60 fps (progressive) / 120 fps (dual-line progressive)
Video interface	LVDS/Sub-LVDS
Max. luminance	1,000cd/m2
Contrast	100,000:1 or higher
Color gamut (u’v’)	sRGB ratio: 110%

Footnotes

*1 Compared with the Sony OLED Microdisplay ECX337A (0.5-type QVGA (1280×960)).
*2 Driving method of dual vertical line simultaneously (“Dual-line progressive” driving technique)

Articles: Digital Photography Review (dpreview.com)

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Leica CL brings built-in viewfinder, conventional control layout to L lineup

22 Nov

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Leica has just released the CL, the forth in its series of APS-C L-mount cameras. While it shares a name with a camera released in the mid-70s, the new CL is a thoroughly modern ILC, with a 24MP sensor, 10 fps continuous shooting and 4K/30p video capture.

Compared to the TL2, the CL offer more conventional handling, including twin exposure dials, physical buttons for menu and playback, and a 4-way controller. It also features a high-resolution 2.36 million-dot EVF built in. Despite the more traditional ergonomics, the CL’s rear LCD is touch-sensitive, and supports swipe gestures for image navigation and mode switching.

The CL is being launched alongside a new Elmarit-TL 18mm F2.8. At just 20.5mm/0.8in in length, Leica calls the “smallest wide-angle APS-C pancake lens currently available in the market.”

Pricing for the CL and the new 18mm follows below:

Body only, black anodized finish : $ 2,795.00
Leica CL Prime Kit with 18 mm : $ 3,795.00
Leica CL Vario Kit with 18-56 mm : $ 3,995.00
Elmarit-TL 18 F2.8 ASPH, black / silver anodized : $ 1,295.00

Press release

Leica Camera Unveils Expansion of its APS-C System with the New Leica CL and Smallest Wide-Angle APS-C Lens

The new mirrorless camera and lens unite innovation, ease of use and compact design for exceptional visual storytelling

November 21, 2017- Leica Camera unveils the latest addition to its APS-C system with the Leica CL, a new camera that boasts an exceptional balance of state-of-the-art technology, mechanical precision and intuitive, classic design to make it the ideal everyday companion, a perfect fit for all types of photography. With stunning image quality – even in low-light scenarios – new electronic viewfinder technology and superb video capabilities, the Leica CL is the ultimate tool to capture everyday moments, all customizable to the photographer’s style. Available on its own or in two new camera-and-lens kit options, the Leica CL makes it simple to incorporate the art of photography into one’s daily life.

Alongside the Leica CL, the iconic photography brand is further diversifying the APS-C system’s portfolio of lenses by introducing the Elmarit-TL 18 mm f/2.8 ASPH., the smallest-in-class wide-angle lens with supreme imaging performance.

Evolution of the Leica APS-C system portfolio
With the launch of the Leica CL, the Leica APS-C System now encompasses two remarkable camera models, the Leica CL and the Leica TL2. In technical terms, the two cameras are equals, but retain stark differences in regards to their design and handling. The Leica CL reflects the traditions of Leica with its iconic industrial design, classic physical button controls and dials, while the Leica TL2 embodies a futuristic look, featuring a touchscreen and full-body aluminium. Coupled with the extensive portfolio of lenses, the Leica CL and Leica TL2 make for a formidable system portfolio offering an array of specialized and distinct photographic experiences.

Introducing the Leica CL
The Leica CL is rooted in Leica’s legacy, calling upon the brand’s heritage look with modern technical features. The instinctual and convenient design of the camera features a user-friendly handling concept, providing for an exceptionally intuitive tool whose compact size and light weight allow for maximum mobility. All essential controls are located on its top plate with just two dials for setting the aperture, shutter speed, ISO value, exposure compensation and shooting mode, for quick and intuitive handling. Keeping convenience at the forefront, all relevant shooting information is viewable on the small LCD screen atop the camera, instantly providing settings and exposure parameters at a glance.

Another outstanding feature of the Leica CL is its built-in electronic viewfinder. With EyeRes® technology developed by Leica specifically for this camera, the viewfinder enables a top-tier viewing experience. Most notable among a number of advantages of the built-in EVF, is the ability to preview the brightness and color of the final image before the shutter release is fully depressed, allowing photographers to always be in control over the composition and exposure.

Alongside an impeccable view of your subjects, the Leica CL offers best-in-class image quality. In combination with the high-resolution, 24 MP, APS-C format sensor of the Leica CL, a Maestro II series processor and fast autofocus system with 49 AF points guarantee brilliant photographs in all situations, including low-light scenes. In addition to being an impressive still-picture camera, the Leica CL also captures striking video at a resolution of up to 4K at 30 frames per second.

Keeping connectivity as a top priority, the Leica CL is equipped with an integrated Wi-Fi module allowing photographers to quickly and easily share their stunning photos and videos by email or on social networks with the Leica CL App for iOS or Android. The remote function of the app also provides the capability for mobile devices to be used as an off-camera remote viewfinder, allowing control of exposure parameters, including when shooting with the self-timer function or from unusual angles.

Thanks to the L-Bayonet mount shared by the Leica TL- and SL-Systems, SL-Lenses can also be used without an adapter on the CL and the TL2. Appropriate adapters are also available for using Leica M- and R-Lenses on the cameras, offering unparalleled creative flexibility and making the Leica CL one of the most versatile cameras in the Leica portfolio.

New Leica Elmarit-TL 18 mm f/2.8 ASPH.
To complement the Leica APS-C system, Leica is expanding the impressive TL lens portfolio with a ground-breaking new lens. Compact and lightweight, the new Elmarit-TL 18 mm f/2.8 ASPH. holds the title as the smallest wide-angle APS-C pancake lens currently available in the market. When mounted to the Leica CL, the camera and prime lens are small enough to fit into a coat pocket or small handbag – providing incredible images everywhere you go. Despite being just 20.5mm (less than one inch) in total length, the lens sacrifices nothing, providing the unrivalled imaging performance all Leica lenses are known for. Travel photography is easy with this light and dynamic lens, especially when paired with the Leica CL.

As a whole, the Leica APS-C System portfolio of lenses offer exceptionally high picture quality and infinite opportunities for creative photography. In addition to the Elmarit-TL 18 mm f/2.8 ASPH., the selection of lenses currently includes three zoom lenses (Super-Vario-Elmar-TL 11-23 mm f/3.5-4.5 ASPH., Vario-Elmar-TL 18-56 mm f/3.5-5.6 ASPH. and the APO-Vario-Elmar-TL 55-135 mm f/3.5-4.5 ASPH.) as well as three prime lenses (Summicron-TL 23 mm f/2 ASPH., Summilux-TL 35 mm f/1.4 ASPH. and the APO-Macro-Elmarit-TL 60 mm f/2.8 ASPH.).

All bundled up
To make the stunning new Leica CL more easily accessible to both new and current Leica fans looking to make their first step into the APS-C system, the Leica CL will be offered in two bundle options alongside an accompanying lens. The “Prime Kit” will include the new Elmarit-TL 18 mm f/2.8 ASPH lens, while the “Vario Kit” option includes the Vario-Elmar-TL 18-56 mm f/3.5-5.6 lens, allowing photographers to get into this new camera and growing system with a lens that best suits their photography style in an easy-to-grab kit.

Availability
The Leica CL and Leica Elmarit-TL 18 mm f/2.8 ASPH will both be available from Leica stores, boutiques and dealers at the end of November. The Leica CL body, in black anodized finish, will be $ 2,795.00 while the Prime and Vario Kits will be $ 3,795.00 and $ 3,995.00 respectively. The new Leica Elmarit-TL 18 mm f/2.8 ASPH, in black or silver anodized finish, will be $ 1,295.00.

Leica CL specifications

Price
MSRP	$ 2795 (body only), $ 3795 (w/18mm lens), $ 3995 (w/18-56mm lens)
Body type
Body type	Rangefinder-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	6014 x 4014
Image ratio w:h	3:2
Effective pixels	24 megapixels
Sensor photo detectors	25 megapixels
Sensor size	APS-C (23.6 x 15.7 mm)
Sensor type	CMOS
Processor	Maestro II
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-50000
White balance presets	5
Custom white balance	Yes (2 slots)
Image stabilization	No
Uncompressed format	RAW
File format	JPEG Raw (DNG)
Optics & Focus
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Number of focus points	49
Lens mount	Leica L
Focal length multiplier	1.5×
Screen / viewfinder
Articulated LCD	Fixed
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	0.74× (0.49× 35mm equiv.)
Viewfinder resolution	2,360,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/8000 sec
Maximum shutter speed (electronic)	1/25000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Scene modes	sport portrait landscape night portrait snow/beach fireworks candlelight sunset digiscoping miniature panorama HDR
Built-in flash	No
External flash	Yes (via hot shoe)
Flash X sync speed	1/180 sec
Drive modes	Single Continuous low/med/high Interval Exposure bracketing
Continuous drive	10.0 fps
Self-timer	Yes (2 or 12 secs)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±3 (at 1/3 EV steps)
AE Bracketing	±3 (3 frames at 1/3 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p, MP4, H.264, Linear PCM 1920 x 1080 @ 60p, MP4, H.264, Linear PCM 1920 x 1080 @ 30p, MP4, H.264, Linear PCM 1280 x 720 @ 30p, MP4, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-II supported)
Connectivity
HDMI	No
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	BP-DC12 lithium ion battery & charger
Battery Life (CIPA)	220
Weight (inc. batteries)	403 g (0.89 lb / 14.22 oz)
Dimensions	131 x 78 x 45 mm (5.16 x 3.07 x 1.77″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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PSA: Leica’s new TL2 may break if you use it with the Leica Visoflex electronic viewfinder

21 Jul

Earlier this week, word surfaced online about an issue with the newly released Leica TL2. Apparently, some cameras would simply stop working when you attached Leica’s own Visoflex electronic viewfinder.

Online retailer Lcameras.com posted a notice on its Facebook page advising customers that it had paused sales of the camera due to Leica’s recommendation, but details weren’t forthcoming. Now, Leica has issued an official statement on the matter confirming an issue with the external EVF.

According to Leica’s notice, “a defect may occur that could stop the camera from working” when it is used with the Visoflex viewfinder. An earlier version of the statement used bleaker language, stating “If this defect occurs, then it is no longer possible to use the camera.” By all accounts, this is a serious issue that could ‘brick’ your new camera.

Earlier today, the company released another statement saying they had “identified the cause of the failure when using the TL2 in combination with the electronic viewfinder” and that “it is very likely that this can be resolved with a firmware update.” But until that firmware update is ready (it is currently being ‘intensively’ tested) users should either not attach the Visoflex viewfinder, or they should return their TL2 to the Leica dealer they purchased it from.

Articles: Digital Photography Review (dpreview.com)

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Ask the staff: electronic or optical viewfinder?

12 Mar

Fujifilm’s X100 series, together with its X-Pro series, are the only models on the market to offer both an electronic and optical hybrid viewfinder. Is it the best of both worlds, or would you just rather have one over the other?

Believe it or not, as a team, we don’t all agree on everything. So at any given time, each of us thinks the rest of us are wrong about something subjective that you can’t really be wrong about (we’re all human). That takes us to the task at hand: all the great recent electronic viewfinders (Leica SL, Panasonic GH5, Fujifilm GFX 50S…well, some of us think that one’s just okay) got us on the topic of which type of viewfinder we prefer.

Optical or electronic? There’s no wrong answer. (Or is there?)

Richard Butler

For me, I’m less concerned about the technology behind a viewfinder than the quality of it. A good optical viewfinder can be a lovely thing: giving you a sense of being ‘in the scene’ that even the best EVF can’t match. A good optical viewfinder can also be excellent when shooting in very low light: its responsiveness and resolution don’t suddenly drop, for instance. However, on most cameras, you don’t get a good optical viewfinder. APS-C sensors tend to mean small, pokey little viewfinders and most focus screens for modern cameras aren’t very good for manual focus. So, if an EVF means I can have a smaller camera with a larger viewfinder, the ability to preview the effect of my settings and the ability to shoot video, then that makes up for many of the shortcomings. It’s impossible to separate the viewfinder type from the style of camera it allows and, with the quality of the latest EVFs, the style of camera I like most usually means it comes with an EVF.

Dan Bracaglia

Photo courtesy Stan Horaczek

Depending on the situation, I could go either way on the OVF versus EVF question. If forced to pick one, I’d choose OVF because I find shooting through an optical finder offers a more pleasant and rewarding experience than using an EVF. I also personally find it easier to compose images through an optical finder.

That said, EVFs make properly exposing images much easier, and in a commercial application in which getting the shot is mission critical, I could make an argument that EVFs are superior. That said, it would be cool if more cameras offered both, like on the Fujifilm X100 series.

Dale Baskin

I can’t believe I’m about to say this, but I now lean toward using EVFs. I wouldn’t have said that a couple years ago because, until recently, EVFs on still cameras basically sucked. Today’s best EVFs still won’t fool my brain into believing that I’m looking at an OVF, but in many respects they better reflect the way I tend to shoot with digital. I love the ability to overlay real-time information such as histograms, focus peaking, and zebras, as well as being able to preview exposure adjustments as they’re made. (I may be showing some of my video bias here as well.)

Are EVFs good for everything? No. I still wouldn’t choose them for photographing sports or in situations that require rapid-fire burst shooting, but I suspect EVFs will get there at some point. Of course, the best of both worlds is a hybrid OVF along the lines of those on the Fujifilm X100 series. I love having a perfect optical image overlaid with the useful tools an EVF provides. It’s kind of like the peanut butter cup of the camera world – the two just go well together!

Sam Spencer

Optical. Optical optical optical.

Don’t get me wrong, there have been some nice EVFs. The GX8, particularly, holds a soft spot in my heart.

At the end of the day, however, I prefer an optical viewfinder over any EVF. With an EVF, no matter how fast the camera is, the light has to enter the lens, hit the sensor, get processed, reduced, rendered, and THEN makes it to the eye. There has been a lot of work to make this ‘lag’ imperceptible, but it will never be completely eliminated. I find when I’m using an EVF I struggle timing candid shots properly, usually resulting in half closed eyes or an awkward expression. Also, with motorsports there is a lot of panning, which can be difficult through an EVF.

Ideally, I’d own a D750 and X100F to get the best of both worlds, especially because AF-C through the X100F’s OVF works way better than it has before…

Carey Rose

I’ve grown to love electronic viewfinders, but if I had to choose, I’d pick an optical viewfinder any day. It’s the combination of low blackout on higher-end cameras, how I’m easily able to follow subjects during bursts, and just the immediacy of seeing things as they happen that chiefly appeals to me. Whether I’m shooting sports, an event, a wedding or even just a dog playing fetch, the experience of using an optical viewfinder is just easier for me, and being able to clearly see a scene in really low light is invaluable. There’s a lot to be said for being able to preview your results with an electronic unit, but I still enjoy that brief ‘moment of discovery’ when I see an image on the back of the camera. Plus, a good optical viewfinder almost by definition goes along with a good phase-detect-only autofocus system, which I still prefer, despite the camera used in the above photo.

Wenmei Hill

I am strongly, adamantly in favor of…both. I shoot differently depending on whether I’m using an electronic or optical viewfinder. With an EVF, I let the camera control more – I’m comfortable shooting in aperture or shutter priority and using exposure comp to adjust what I see in the viewfinder. I experiment more with presets and creative modes because I can see the effects immediately, and I like an EVF with focus peaking if I’m focusing manually. With an optical viewfinder, however, I’m more hands-on with the controls. I pay attention to what I’m doing with the camera and feel connected to the scene in a way I don’t with an EVF. If I had to choose one, I’d choose an optical viewfinder because it feels more natural and immediate to me.

Allison Johnson

Electronic. I like the ‘being there’ feeling of an optical viewfinder, but almost any camera with an EVF also allows for a easily legible level gauge, which is a must for me (plus any camera that lets you put a level gauge in the EVF will also let you put a ton of other information in there as well). I have a problem where I’m drawn to shots where a level horizon is critical, but I’m also useless at nailing a level shot without that gauge. So even though I like the experience of an OVF better, I tend to get more keepers with an EVF.

What about you?

So, dear readers, what do you prefer and why? Let us know in the comments, and happy shooting.

Articles: Digital Photography Review (dpreview.com)

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