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Sony a6000, a6100, a6300, a6400, a6500, a6600: what’s the difference and which should I buy?

11 Sep

Introduction
The a6000-series cameras all look very similar, which can give a confused picture of a lineup that is designed to appeal to photographers from beginners up to enthusiast users

The a6000 has been one of the world’s best selling cameras but it’s only the first rung on a ladder of cameras trying to cater to a range of photographers. If you go online you’ll probably end up be confronted with the a6000, a6100, a6300, a6400, a6500 and a6600. We’re going to try to make sense of the lineup: which ones are current, how they all compare and which ones are worth a look.

We’ve used all these a6x00 series cameras we’re going to talk about here, listened to Sony’s explanation of its intent and have been around the block enough times to be able to cut through the, er, let’s call it ‘marketing speak.’

The lineup as it stands
For everything from snapshots and upwards, Sony’s latest JPEG color is an appreciable upgrade, but that’s only the start of it

At its simplest, the current lineup is the a6100 as the entry-level model, the a6400 as the slightly more enthusiast-friendly one and the a6600 as the range-topping, image stabilized version. All three cameras are based around the same sensor, so the image and video quality ends up being identical but the spec differences between the cameras may make a difference to how well they suit your needs.

Interestingly, Sony insists that the a6000 remains in the lineup. This may be the case, or it could simply be that there’s inventory still floating around the market that Sony doesn’t want to devalue by declaring the camera ‘dead.’ Whichever it turns out to be, we wouldn’t recommend buying one, no matter how inexpensive, for reasons we’ll come to.

Real-time Tracking AF
Even the entry-level a6100 has an AF system that confidently maintains focus on your chosen subject (particularly human subjects), whatever’s going on in front of it

The biggest change in the refreshed Sony lineup is ‘Real-time Tracking’, an autofocus system that’s been trained to recognize people and pets so that it tracks them doggedly (or, by logical extension, ‘cattedly’). It’s present in the a6100, a6400 and a6600.

Oddly, Real-time Tracking isn’t switched on by default (or ever referred to as such on the cameras). But, once the cameras have been switched across to AF-C mode and one of the ‘tracking’ AF area modes has been chosen, the system is really impressive. Point the camera at your subject, half press the shutter and it’ll dependably follow it, wherever it moves in the scene. This makes it one of the simplest and most effective AF systems we’ve ever used.

‘Real-time Tracking’ is present in the a6100, a6400 and a6600

We don’t say this lightly (and we’re not easily impressed) but, having experienced it, we think it helps the latest models stand out, even though some other aspects of their spec aren’t particularly exciting.

However, while the system is really impressive in the daytime, we found it’s less effective in low light. We’ll be testing this in more detail as part of our a6600 and a6100 reviews, so don’t take this as an unalloyed recommendation until we’ve completed that testing.

In with the new
The a6100, a6400 and a6600 all now offer touchscreens that tilt all the way up, to facilitate selfies and vlogging

This ‘Real Time Tracking’ AF system is good enough to make it awkward to go back and use the earlier models and Sony appears to recognize this. The a6300 and a6500 are, we understand, discontinued and replaced by the a6400 and a6600 respectively.

There’ll no doubt be some last-minute sell-offs of any remaining stock, so we’d suggest thinking how dependent your photography (or videography) is on autofocus, and whether you need any of the other improvements, before deciding whether to try to grab a bargain.

For instance, the new generation of cameras all gain touchsceens, which only the a6500 previously had. They also promise improved color rendering in their JPEGs. These improvements add up.

They add up most noticeably when you compare the a6100 to the generations-old a6000, which is why we’d suggest side-stepping the older model at this point.

Sony a6100
The a6100 looks a lot like the a6000 but gains improved AF and more attractive JPEGs, as well as features such as a mic socket

The a6100 is the most basic of the models. It is built from an engineering plastic and has a lower-resolution viewfinder [800 x 600 pixels] than the rest of the models.

The most recent JPEG engine gives it much more attractive color than the a6000

The most obvious change over the (we suspect) outgoing a6000 is the vastly improved AF system. This in itself makes it a much more capable camera. In addition it gains the ability to shoot 4K video (albeit with very noticeable rolling shutter) and, also pretty significantly, it has the most recent version of Sony’s JPEG engine, which gives it much more attractive JPEG color than the a6000 produced.

Capable but entry-level
The a6100’s screen is touch-sensitive and flips all the way up, neither of which was true of the a6000

Unlike the a6000 and in common with the other new a6x00 cameras, it’s got a touchscreen that flips up by 180 degrees, for vlogging or selfie shooting and a mic socket.

The a6100 doesn’t have the full capabilities of its more expensive siblings, though. It can’t shoot Log video, and loses some subtle features such as the ability to let you specify the shutter speed at which Auto ISO mode changes ISO and to let you set up different AF points and modes for portrait- and landscape-orientation shooting.

Also, while you can customize the camera’s ‘Fn’ menu, you can’t define separate versions for stills and video shooting: something the a6400 and a6600 let you do. It’s really useful if you switch back and forth between the two types of shooting.

These are small changes but they add up. For example, we regularly assign a button to access ‘Auto ISO Min Shutter Speed’ so that we can change the camera between 1/focal length and something faster, depending on whether we’re more concerns about camera shake or subject movement.

Sony a6400

From the outside, it’s only really the switch around the AEL button that distinguishes the a6400 from its more basic sibling

The next model up from the a6100 is the a6400. You get a higher-res viewfinder, giving 1024 x 768 pixels from its 2.36m dots. You also get ‘moisture and dust resistant’ magnesium alloy construction (though, as is all too common, this resistance comes with no guarantee or substantive claims of effectiveness).

The a6400 offers a customizable AF/MF switch on the back of the body, which the a6100 lacks, but that’s about the extent of the physical handling differences. On the software side you gain a handful of menu options, including the ability to set the Auto ISO shutter threshold, define different AF areas and area modes by camera orientation and set up custom features such as ‘My Dial.’ These all make a difference if you like to define the fine detail of the camera’s handling.

Mid-level option
The a6400 lets you take more fine control of its operation than with the a6100

Video shooters gain the ability to shoot S-Log and HLG video footage over the a6100, which opens up opportunities for color grading or output to high dynamic range televisions. However, this is only in 8-bit and is still subject to significant rolling shutter in the cropped 30p mode which gets even worse in the full-width 24p mode. We were very impressed with this highly detailed footage when the a6300 was launched, back in 2016 but the likes of Fujifilm’s X-T30 will now offer better results.

The a6400 offers some benefits over the a6100 but you may find better options from other camera makers

So, while the a6400 offers some benefits over the a6100, you may not find the difference worth the cost. And, if you’re looking for a more advanced camera, and want to take more control, you may find better options from other camera makers.

Sony a6600

Not only does the a6600 offer image stabilization over its sister models, it also adds a headphone socket and much larger ‘Z-type’ battery. There’s no built-in flash, though

The range-topping model is the a6600. The main thing you gain over the lower models is in-body image stabilization, which is a major benefit for both stills and video shooting. A new feature of the a6600 is the inclusion of a much larger NP-FZ100 battery. This significantly boosts the camera’s endurance and will all-but eliminate concerns about keeping the camera charged, while you’re shooting.

The space demands of this larger battery have prompted the design of more substantial, more comfortable hand grip than on other a6x00 models and these ergonomic improvements are supplemented by the addition of an extra custom button, which leaves the a6600 with one more than its predecessor and two more than its current siblings.

Steady endurance
The a6600 offers two more custom buttons than the others in the lineup: one on the top plate and a second, marked ‘C3’ on the back

However, while these improvements make the a6600 stand out from its own sister models, it looks like a half-generational update of the a6500. Its autofocus is, without question, best-in-class and its battery life is the best of any of its peers. But its video isn’t especially competitive, either in terms of specifications (Fujifilm’s X-T3 can shoot much more gradable 10-bit footage), or in terms of appearance (the rolling shutter is likely to limit the way you shoot, if you don’t want it to be visible in your videos).

The a6600 also gains a headphone socket for monitoring audio, which is a first for the series

And, in sharing the same 2.36m dot EVF panel with the a6400, its viewfinder is noticeably lower resolution than the Fujifilm.

The option to pair the a6600 with a sensibly-sized 16-55mm F2.8 lens makes the camera more attractive for enthusiasts, but puts it worryingly close in price to an a7 III with the more flexible 24-105mm F4, which will offer similar output and access to a potentially larger performance envelope (or even Tamron’s 28-75mm F2.8).

Impressive AF but…
The latest a6x00 cameras may seem like minor upgrades in some respects, but the improved AF system makes them significantly easier to shoot with

Sony’s latest cameras have an AF system that out-performs anything we’ve experienced before and, importantly, makes it relatively easy to exploit this potential (though we’d prefer it to be engaged by default, especially on the a6100). They also produce more attractive JPEGs than the older models, particularly when compared to the elderly a6000.

But, as we’re sure the comments below will remind you, none of these camera is cutting-edge in terms of hardware such as sensor or viewfinder tech. Sony’s touchscreen implementation is still oddly limited (why isn’t the Fn menu touch-sensitive?), they all shoot only lossy Raws that limit the processing flexibility and they still have one of the most difficult-to-navigate menu systems on the market. This means they’re beginning to slip behind the best of their peers in some respects, particularly in terms of video.

Compared to their peers
Between Canon’s EF-M cameras, Fujifilm’s X-series and various Micro Four Thirds options, the new a6x00 models have a lot to live up to

In the absence of a replacement for the image stabilized Fujifilm X-H1, the a6600 looks pretty strong at the top end, so long as the shortcomings and omissions listed on the last slide don’t affect your shooting too much. Its video isn’t as good as the X-T3’s, but the better AF in both stills and video mode, along with built-in stabilization may be more appealing for some people.

The 16-55mm F2.8 lens makes APS-C E-mount look more photographer-friendly

The a6100’s simple autofocus and relatively low price immediately make it a strong contender against other entry level APS-C and Micro Four Thirds rivals. It’s the a6400, which has to square up against the Fujifilm X-T30 and Canon’s new EOS M6 Mark II that’s probably the least compelling of this trio.

That said, it should also be recognized that Sony has made some effort to address previous criticisms and that its latest models will produce nicer images than its older APS-C cameras and will do so more easily than ever before. And, perhaps more than this, the arrival of the 16-55mm F2.8 lens makes APS-C E-mount look more photographer-friendly than it’s previously appeared.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS 90D initial review: What’s new and how it compares

29 Aug

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The Canon EOS 90D is a midrange DSLR that replaces the 3.5-year-old 80D. It fits between the EOS 77D and the ‘yes, it still exists’ EOS 7D Mark II, and offers Canon’s latest processor and a brand-new sensor.

The 90D is essentially the DSLR version of the EOS M6 Mark II mirrorless camera, which was introduced alongside it. Since the specs are nearly identical, Canon is letting potential buyers choose what type of shooting experience they want: a midsize DSLR with an optical viewfinder and more physical controls, or a smaller and lighter mirrorless model with a removable electronic finder. And, of course, the difference in native lens lineups between the EF and M mounts could attract different types of users, as well.

Key features:

  • 32.5 Megapixel APS-C CMOS sensor
  • Dual Pixel autofocus (live view/video)
  • 45-point all cross-type AF (through the viewfinder)
  • 220k-pixel metering sensor w/face detection
  • 7 fps burst shooting w/continuous AF
  • Fully articulating 3″ touchscreen display
  • Optical viewfinder w/100% coverage
  • 4K/30p video capture with no crop
  • USB 2.0 port with Micro USB connector
  • Wi-Fi + Bluetooth

While the outer design of the 90D doesn’t dramatically depart from the 80D’s, the guts are quite a bit different, which we’ll cover on the next page.

The 90D will come in several kits when it becomes available in mid-September. The body alone is priced at $ 1199. When bundled with the EF-S 18-55mm F3.5-5.6 IS STM lens the price is $ 1349, while the kit with the more versatile EF-S 18-135mm F3.5-5.6 IS USM lens is $ 1599.

What’s new and how it compares

Find out more about the 90D’s new sensor, updated metering system and video capabilities.

Read more

Body and controls

The design of the 90D has barely changed since the 80D, with one exception.

Read more

Sample gallery

See how the 90D’s photo quality looks in our sample gallery.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS M6 II initial review: What’s new and how it compares

28 Aug

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The Canon EOS M6 II is an enthusiast-targeted 32.5MP APS-C mirrorless camera built around the company’s EF-M mount. In many respects it’s a more compact mirrorless variant of the EOS 90D DSLR that was announced simultaneously.

Physically, it closely resembles the original M6 but brings a host of speed and feature upgrades. These include a higher resolution sensor, the ability to capture 4K video and a mode that shoots bursts of Raw files at up to 30 fps.

Key features:

  • 32.5MP Dual Pixel AF CMOS sensor
  • 14 fps continuous shooting
  • 30 fps Raw Burst mode (with AF Tracking and pre-shot buffering)
  • UHD 4K video at 30p and 25p with no crop / full width
  • 3.0″ rear touchscreen flips up by 180° or down by 45°
  • Optional electronic viewfinder
  • USB 2.0 port with Type-C connector

The EOS M6 Mark II will be available in a series of kits. The official body-only price will be $ 849. Adding the retracting 15-45mm IS STM lens and EVF (pictured) will boost the price to $ 1099, while an 18-150mm IS STM and EVF kit will set you back $ 1349.

What’s new and how it compares

The M6 II brings 4K video and 30 fps Raw bursts. We look at the new features and how it stacks up against its peers.

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Body, handling and controls

The M6 II gains some direct controls over its predecessor and features the latest iteration of the Canon menu system. There’s also a good degree of customization available.

Read more

Sample gallery

We had the chance to shoot with the M6 Mark II and have some sample images to show what it can do.

Read more

Initial impressions

The M6 II has a couple of nice improvements over the original version, but it’s the state of the EF-M lens range and the future of the EF mount that change out perspective the most.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Texture and Clarity Sliders in Lightroom Classic CC: What’s the difference?

10 Aug

The post Texture and Clarity Sliders in Lightroom Classic CC: What’s the difference? appeared first on Digital Photography School. It was authored by Adam Welch.

Throughout the last couple of years, Adobe has released an absolute tsunami of updates for their photo editing platforms. Adobe Lightroom Classic went through a plethora of upgrades and changes, with new (and sometimes major) add-on’s seemingly incorporated with each new build. One of these sizable fresh additions to the Lightroom Classic toolkit came in May of 2019 with the release of v8.3. It’s called the Texture slider.

Texture and Clarity Sliders in Lightroom Classic CC: What's the difference?

Yep, that little guy right there.

You’ll find the texture slider nestled comfortably in the Presence section of the basic panel alongside the now veteran Clarity and Dehaze adjustments. These Presence sliders are extremely interesting in their effects and how they each accomplish their separate actions. Clarity, Dehaze, and now Texture, all perform similar adjustments. They each tweak contrast within our photos to varying degrees with wholly different results.

Texture and Clarity are particularly interesting. Both perform quite similarly, while at the same, remaining their own animals…if that makes any sense? In this article, we’re going to have a closer look at the Clarity and Texture sliders.

I’ll explain how they work and show the different effects each of these powerful sliders can have on your photos.

Texture vs Clarity

All right, so what’s the difference between Clarity and Texture?

We’ve already surmised they are similar in that they function to bring out detail within a photo. However, you’ll notice some very obvious differences as soon as you view the effects of each slider side by side. Have a look at this. Here’s the original photo:

Texture and Clarity Sliders in Lightroom Classic CC: What's the difference?

And now a side-by-side comparison of some Clarity and Texture Slider adjustments.

Texture and Clarity Sliders in Lightroom Classic CC: What's the difference?

In the photo on the left, I’ve increased the Clarity slider to +100. I’ve applied +100 Texture to the photo on the right. The difference is apparent, but what exactly is happening here? First, let me remind you what our beloved Clarity slider actually does.

A refresher on Clarity

In short, Clarity interacts with our photos by increasing or decreasing the contrast between midtone luminance values. This essentially gives the illusion of our image becoming clearer. However, in reality, all that is happening is the application of more or less contrast to the light and dark areas which fall as midtones (between highlights and shadow).

You’ll also notice that the photo is perceptively brighter and that the color saturation diminishes slightly when increasing Clarity. On the other end of the spectrum, decreasing clarity adds in a soft-focus effect. This can sometimes work extremely well, depending on your subject. For a little more of a breakdown on Clarity check out my other article, How to Make Your Photos Shine Using Clarity, Sharpening, and Dehaze in Lightroom. You’ll also learn some great tips on using Clarity along with the Sharpening and Dehaze sliders.

What is Texture?

Now let’s talk about the new kid on the block, the Texture slider.

Ironically enough, the idea for the Texture slider was born not from the goal of increasing the textures (positive) within an image but rather decreasing them (negative) thereby essentially smoothing out a photo. The Texture slider was initially named the “Smoothing slider” in the early stages of its development.

The team at Adobe were aiming to migrate into Lightroom (at least to some extent) the skin retouching capabilities of Photoshop. Their goal was to offer a feature that packed a less drastic punch than the Clarity slider. All while still being able to increase (or decrease) the apparent contrasts in the photo to give the illusion of enhanced textures within the images.*

Image: +69 texture added globally

+69 texture added globally

The Texture slider lands somewhere between Clarity and Sharpening in Lightroom. A good way to think about Texture is that it is much less harsh than Clarity and offers more subtle results without affecting absolute brightness or color saturation.

Texture focuses it’s smoothing or clearing effects on areas of a photo which possess “mid-frequency” features. You can think of these as medium detail areas. For reference, a cloudless sky would be considered a low-frequency feature while a cluster of trees would be considered a high-frequency feature.

It is also worth mentioning that like many of the tools found in Lightroom Classic, you can apply the texture effect both globally (the entire photo) and locally to specific areas. Local negative texture adjustments work wonders for smoothing out skin wrinkles and blemishes in your portraits.

Image: Before localized skin smoothing

Before localized skin smoothing

Image: After some retouching using a negative texture with Lightroom’s adjustment brush. Now I...

After some retouching using a negative texture with Lightroom’s adjustment brush. Now I only look nominally haggard…

*Note: This is an extremely basic explanation of the Texture slider. If you’re feeling truly adventurous and want to learn more about the technical makeup of the Texture slider, I highly recommend this post over on the Adobe Blog.

Should I use Clarity or Texture Slider?

The looming question is, “When should I use Texture, and when should I use Clarity?” Unlike most commentary I offer on the absolutes of post-processing, which often borders on a Zen-like existentialist approach of “it all depends on the image,” there are some relatively straightforward things to look for when deciding which adjustment will work best for your particular photo.

Try the Clarity slider if:

  • Your image consists of high-frequency features
  • The effect is needed on a more global scale
  • Your image is a landscape
  • The image is black and white

Try the Texture slider if:

  • Your image has large areas of mid to low-frequency features
  • A more subtle enhancement is needed
  • The image is a portrait
  • Your image has extreme color contrasts/saturation

Of course, these are just guidelines, and I hope you experiment with both the Clarity and Texture sliders.

Also, nothing is stopping you from using a combination of the two – especially when you are applying them using local adjustment tools.

Closing thoughts on Texture and Clarity Sliders

You’ve heard me say time and time again that less is generally more when it comes to applying adjustments in post-processing. Just because a tool is available doesn’t always mean you have to use it to its full strength.

Perhaps this is no truer than when it comes to using the tools found in the Presence section of Lightroom, in this case, the Texture and Clarity sliders. These nifty little adjustments can yield amazing results for your photos.

In fact, I use both local and global Clarity and Texture slider adjustments in virtually all of my photos to one extent or another.

With that said, it’s a good practice not to over-process your images. Some judicious use of negative Texture can shave years off your clients face. However, go too far, and they might end up looking like a wax doll.

Adding positive Texture can bring out the subtle beauty of tree bark, however, use too much, and you’ll end up with…well, you get the idea.

What are your thoughts on the new Texture slider in Lightroom Classic CC? Is it a feature you will use regularly? Sound off in the comments below!

 

texture-and-clarity-sliders-in-lightroom-classic-cc

The post Texture and Clarity Sliders in Lightroom Classic CC: What’s the difference? appeared first on Digital Photography School. It was authored by Adam Welch.


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What’s The Highest ISO You Can Use? How To Find Out For Yourself

03 Mar

The post What’s The Highest ISO You Can Use? How To Find Out For Yourself appeared first on Digital Photography School. It was authored by Peter West Carey.

Do you know the limits of your camera’s ISO?

By limit, I mean the point at which, egads!, it’s just too much noise. If not, or if you’ve never bothered to figure out your camera’s limits, I have an easy experiment for you to try.

Each camera model is different and camera manufacturers are improving ISO performance with every new release. This is why it’s important not to assume that Mark IV version is mostly the same as the Mark III.

What is ISO?

ISO stands for the International Organization for Standardization. Do big, long governmental-style names make you fall asleep? I’ll make this quick.

The ISO group sets standards so 100 speed Kodak film is the same as ISO 100 Fuji or Agfa or any other manufacture. It’s good to have standards otherwise you wouldn’t know how to set your shutter speed and aperture.

Carry that concept over to digital and ISO is a measure of the sensitivity of your camera’s sensor. The lower the number, the less sensitive, therefore, you need more light to make an exposure. A higher ISO allows for less light in the same situation, which can result in a faster shutter speed or more optimal aperture setting.

Why should you care?

Increasing your ISO setting has one big drawback: the increased sensitivity can create unwanted artifacts called “noise.”

In the days of film, higher ISO meant added grain in an image, something some of us enjoy in our photos. Noise, on the other hand, is disliked by all. It discolors images, mostly in the dark and black areas. It muddles things.

Let me show you the difference with two shots, the first was taken at ISO 12,800 and the second at ISO 80.

Can you see the green and purple discoloration? That’s noise.

Use the lowest ISO you can

Knowing that a higher ISO can create this ugly noise, it’s a good idea to almost always take photos at the lowest ISO that still gives you a crisp image. For instance, landscape photographers in the days of film loved ISO 50 film and some still return to their film gear for the amazing smoothness that film lends to its images.

There are many DSLRs that can utilize ISO 50, such as the older Canon EOS 5D.

Machermo and the Moon – Nepal’s Himalayas – Canon 5D ISO 50

Unless you can’t

But what about dark situations? For instance, what about when you have a dimly lit auditorium or stage? Parents with kids in indoor sports or drama classes and school plays or holiday programs know this situation well. Here’s an example:

ISO 5000

In situations like this it is good to know what your camera’s maximum useable ISO is. It’s also a great idea to know how much noise you will encounter if you go above that self-imposed maximum, because sometimes the emotions and memories are more important than worrying about noise-free images.

Or perhaps you need a high shutter speed given the current lighting conditions and a flash would ruin the scene.

ISO 5000

A simple experiment

The experiment to find out the highest ISO you should use, without gaining too much noise beyond your tastes, is quite easy.

You will need:

  • Camera
  • Table or tripod
  • A variety of objects, with dark and black colors, maybe some shadows too
  • Ample lighting (but not overly bright)

  1. Set up your camera either on a table or tripod. You’re going to want it steady because some of the photos you take might have a slow shutter speed. Blurring will ruin the results.
  2. On the other end of the table set up your objects. I suggest objects without much gloss and as solid a field of black as you can find. Black fur on your kids’ stuffed animals might hide some noise and so will flecks of fabric in a shirt of the like.
  3. Make sure there is enough light in your scene.
  4. Set your camera to Program mode unless you have a favorite.
  5. Also turn off any in camera noise reduction options.
  6. Set your ISO to 100 or L if it goes lower than 100.
  7. Focus on your black objects and take a photo.
  8. Now change the ISO to 200 and take another photo.
  9. Continue moving up your ISO by one stop (a doubling of the number) while snapping an image each time.
  10. Stop when you reach the highest limits of your camera. This may be ISO 3200 or maybe ISO 512,000.

Examine the results

Transfer your images into a computer so you can pixel-peep the results. As your camera was in Program mode, the overall exposure of your images should be close to the same. If you’re using photo editing software like Lightroom, I suggest turning off any automatic noise reduction widgets.

Now zoom in on your images.

ISO 12,800

As the ISO gets higher you will notice more and more noise creep into the dark areas. As mentioned, it’s discoloration that is often purple and green in color. It doesn’t look right and it is not the grain that was characteristic of high ISO films.

At some point, and the choice is yours, the noise gets to be too much. Each camera model is a little different and in the 18 years I’ve been using digital cameras, the quality consistently gets better and better. This is why this experiment is one of the first things you should do with a new camera.

Examples

Let me give you a few examples of what looks like too much noise. These are just my opinion, but I hope the examples can help you get a better idea of where your camera has its limits.

ISO 12,800

ISO 12,800

ISO 12,800

ISO 40,000

Conclusion

Knowing the ISO limits of your camera is important in any type of photography. There are times that might warrant a higher ISO, such as shooting in very low light. How much noise is too much for your situation and camera is a level best tested before the situation arrises.

One additional note: This experiment does not take into account the wonderful ability of most modern photo editing software to greatly reduce the negative aspects of noise. That’s a whole other article!

The post What’s The Highest ISO You Can Use? How To Find Out For Yourself appeared first on Digital Photography School. It was authored by Peter West Carey.


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Capture One Pro 12 Review – Whats New and Should You Upgrade?

12 Feb

The post Capture One Pro 12 Review – Whats New and Should You Upgrade? appeared first on Digital Photography School. It was authored by Carl Spring.

Screenshot of Capture One

Capture One have recently released version 12 of their image editing software. Capture One have made a name for their high quality imaging software that offers professional users the best control of their images. But does version 12 deliver this? And, more importantly, is it worth upgrading to from version 11?

What’s new?

Capture one say “Capture One 12 delivers better, faster, and more creative control. New features includes advanced masking functionality, an even more efficient and intuitive user experience, plug-in compatibility, and much more”

In any software, a speed increase is always welcome. In use, Capture One 12 is slightly quicker on my machine, which is nice. Is it enough on it’s own to make me upgrade? Probably not. However, there are lots of other features that make it much more appealing. These include an updated interface, new masking options, intelligent adjustments copying and much more. Let’s look at each of the updated features in more detail.

New updated interface

The menu system in Capture One Pro 12 is more customizable than before. The new icons have been upgraded, which does make it look fresh. I like the new design, but this is nothing to get excited about. There is a redesigned keyboard shortcuts panel though, which is useful for those who like to create their own. I’m not someone who delves deep into creating my own shortcuts, but I do appreciate the new design. If you are so inclined, you have the option to create more than 500 customizable commands.

C1 Interface

The updated interface. Yes, it is a little nicer, but not a massive difference. V12 is on the left.

New masking options

New masking options are something to get excited about. The Luminosity masking allows you to create a mask based on the Luma Range of the file. This makes it really simple to create a mask to bring back only the darkest of shadows or add clarity to the lightest part of the image. It is a straightforward system that works well in practice.

Linear gradient masks have also been transformed to give more precise control, which many of us will really find useful. The addition of Radial Gradient Masks is another handy option for those who like to create custom vignettes on their images.

Screenshot of luminosity mask in Capture One

Luminosity masks are a great time saver and probably my favourite new feature in Capture One 12

Intelligent adjustments copying

I love this update. I use Capture One for about 80% of my editing. This includes minor skin retouching and cropping, etc. It used to be that when I copied the adjustments and pasted across to a batch of images, I then had to go in and undo the crop and remove the retouching on each image. Now, the copy-paste tool ignores options such as crop and spot healing by default, but if you want to add them, it is simple to do so. A great timesaver and a feature I love.

Screenshot of intelligent copy

A small thing, but a massive timesaver. Copy/paste adjustments without adding the crop is huge for my workflow. What about yours?

Plugins

Plugins are the one feature that I love from Lightroom. Finally, Capture One is allowing plug-ins to work with their system. With this being new the range is limited, but obviously, this will increase over time. A great time saver, I can’t wait to see the potential of this increase going forward.

Plugin Screenshot for Capture One

At launch the plugins are limited, but this will grow and become a great time saver for many users.

Fuji Film simulations

I don’t currently shoot Fuji (I do lust over their Medium Format Cameras) but for those that do, Capture One have now developed (alongside FujiFilm) the different Film simulations available in their cameras. This means you can add the FujiFilm preset onto your images and use this as a starting point in your editing. Now if only I can get DPS to fund the rental of a a Medium Format Fuji, I can do an in depth test for you all (editor’s note: I wouldn’t mind one myself). Please comment below to help me out. In all seriousness though, this is awesome for all you Fuji Owners.

Mac OSX Mojave support

As a Mac user, this is my biggest pet peeve with Capture One. With the release of version 12, support for version 11 has now ended. This means that if you want to use Capture One with OsX Mojave, you need to upgrade to version 12. Obviously if you pay monthly this isn’t a big problem, but if you own the software outright, the upgrade price of £150 (US$ 195) feels a little steep just to use the latest version of an OS.

Whilst I understand it from a business point of view, it does feel like, as a Mac user, you are forced to upgrade every year. I love that you can purchase Capture One outright, but it does feel like they are slowly creeping towards the subscription model like everybody else. 

Should I upgrade?

The million dollar question. I have upgraded. The plugin support for JPEG mini and intelligent copy paste features will save me enough time to easily justify it. The added benefits of better masking is also great for the way I work. However, it is not that simple for a lot of people. If you are PC based, you may want to skip this version unless, like me, there are features that will help your workflow. However, if you use a Mac, this is more of a do you want to upgrade to Mojave. If the answer is yes, then you really do need to upgrade. There are many reports of version 11 working fine in Mojave, but as a professional, I cannot risk it. Capture One have also ceased their discount codes, which again seems to be a little harsh. You used to be able to easily find a 10% voucher, but since the end of 2018, Capture One seem to have cut them. Obviously I am not privy to why, but I am sure they have their reasons. 

Should I move from Lightroom?

If you are thinking of moving from Lightroom, I would say give it a go. Capture One have a generous 30 day trial of the software, which is time to get to grips with it and see what it can do. Give it a try, you have nothing to lose.

Do you use Capture One? If so, share your thoughts below.

The post Capture One Pro 12 Review – Whats New and Should You Upgrade? appeared first on Digital Photography School. It was authored by Carl Spring.


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Lightroom CC 2.0: What’s new, and where is it headed?

16 Oct

Last year, Adobe shook up its Lightroom ecosystem – and quite a lot of its longtime customers – by announcing Lightroom CC 1.0, a completely new desktop photo management and editing app focused on Creative Cloud integration. The previous version lost its name to the upstart and was rebranded Lightroom Classic CC, leading many people to think, over Adobe’s sudden strenuous objections, that Classic was soon headed for the rejects bin.

Today, Adobe released Lightroom CC 2.0 and Lightroom Classic CC 8.0, both still breathing and both with additional features. In this article I’m specifically looking at what’s new in Lightroom CC and how it fits into the greater Lightroom lineup (which includes mobile versions for iOS and Android), but it’s worth mentioning up front that photographers using Lightroom Classic shouldn’t feel anxious about the immediate future.

Lightroom CC 2.0 Gets More Cloud-y

One of the primary reasons for building a cloud-focused version of Lightroom is to be able to share an entire photo library among multiple devices. Lightroom CC uploads everything to Creative Cloud by default, even Raw files, and from that high perch it can ensure that the images and edits are in sync in Lightroom clients on the desktop, tablets, and phones. (You can also optionally store your photos on a local drive; the cloud isn’t the only repository, but it acts as the master record.)

In Lightroom CC 2.0, Adobe’s Sensei machine-learning technology is responsible for many of the marquee new features

Having a photo library in the cloud opens up possibilities for working with the image data on Adobe’s servers. The company already uses it to deliver better results when clicking the Auto button in Edit mode, and to search for objects and scenes based on visual recognition. In Lightroom CC 2.0, Adobe’s Sensei machine-learning technology is responsible for many of the marquee new features.

People View

Facial recognition is a processor-intensive task, as anyone who’s waited for Lightroom Classic to churn through a local library knows. In the new Lightroom CC People View, the library is indexed and analyzed in data centers instead of your computer. It appears as a category under My Photos, along with the All Photos, Recently Added, and By Date categories.

The People View in Lightroom CC 2.0.
Viewing photos where Lightroom – actually, Adobe Sensei – has identified a person.

Lightroom CC presents a circle for every person it’s identified, so you can assign names; it doesn’t tie into your contacts database or anything outside Lightroom. Since inevitably some photos of the same person don’t get matched, a merge feature lets you combine them. You can also hide people from the list, such as when it pulls unknown individuals out of group shots or public scenes that you don’t want to see all the time.

Search Improvements

When you type within the Search bar, Lightroom presents possible metadata matches as you type, including camera, lens, and shooting data. Each term you add stands on its own, so to find boats at sunset, you’d type “boat,” press Return, and type “sunset” and press Return again. However, there’s no AND/OR/NOT logic to the field; typing “boat” and “sunset” brings up images of boats and images of sunsets, not necessarily boats at sunset. Oddly, folks you’ve identified in the People view are not included in text searches, but a new People filter presents named people as a way to narrow the results.

A search for “boat” and “sunset” has brought up photos that include one or both terms. Or maybe Lightroom assumes a boat owner lurks somewhere in that forest at the top right.

Tying search to Sensei, however, means there’s no local search capability. If your laptop is offline, the Search field doesn’t even work (but the Filter options do). Or, if you do have Internet access, but you’ve paused the sync feature, the search feature won’t pick up any photos you’ve imported that aren’t yet copied to Creative Cloud.

Share Tab

The web component of Lightroom at lightroom.adobe.com lets you view and edit your library in any web browser. It’s also the heart of Lightroom’s options for sharing albums or individual photos via a link, versus transmitting image files themselves. The new Share tab collects shared items in one central place.

The Share tab collects the albums and individual images you’ve shared via the web. At lightroom.adobe.com, you can also apply filters (such as showing only photos marked three stars and higher, for example) and preview the display of the page before it’s shared.

On the Mac and Windows versions of Lightroom CC 2.0, a new Connections feature is the foundation for sharing photos to third-party services. Right now the only option is to tie Lightroom to an Adobe Portfolio site, but the company hopes to add vendors such as photo labs or photo book printers.

One annoyance with the Share tab is that its button is an icon that looks like two people, which is where folks are going to click when attempting to open the People view. I’ve been using the beta for a while and I still do it.

Apple Photos Migration

If you’ve decided that the Lightroom CC ecosystem is the way forward, and you use a Mac, a new Apple Photos Migration tool can copy the contents of an Apple Photos library into Lightroom. It applies only to the system library, not any separate libraries you may have created. Any photos stored in iCloud Photo Library that aren’t on the local disk when the migration happens are not included; for example, if Photos is set to optimize the library, some images are deleted and replaced with proxies to free up disk space until the originals are needed again.

The People view, search improvements, and Share tab features also appear in the iOS, Android and Chrome OS versions of Lightroom.

Thoughts on Lightroom CC a Year On

When Lightroom CC first appeared, I used it almost exclusively for several months because I was writing a book about it. Since then, I’ve stuck with it, for a few reasons:

  • I like having my photo library available on my iPad Pro and iPhone. I find myself often making edits or culling photos on the iPad when I don’t want to bring out my laptop. It’s also convenient to edit photos and share them directly to Instagram or Facebook. Although I still use Lightroom Classic as well, it’s not designed for sharing among devices as well. When you import photos into Lightroom CC, the originals are uploaded to Creative Cloud to sync to other devices. If you import into Lightroom Classic, you must specify which collections will sync, and then the images are converted to lower-resolution Smart Previews before being uploaded. In terms of image quality and making edits, Smart Previews are perfectly workable: edits are synced back to the original images in Lightroom Classic. However, if you’re editing them in Lightroom CC and export the shots to Photoshop for any extra adjustment work (the retouching tools, for instance, are still better in Photoshop), you’re starting with a lower-resolution copy to work with.
  • The performance of Lightroom Classic has improved over the year, but working in Lightroom CC is faster, plain and simple. For some people, this is reason enough to switch.
  • One of my favorite features of Lightroom CC is how it handles images on disk. My MacBook Pro doesn’t have enough storage for my entire library, so Lightroom invisibly removes older originals to conserve disk space, and downloads them on demand from the cloud when needed. But I also save original copies of each image to an external drive in my office. When that disk is not connected, newly-imported photos are kept on the laptop’s storage; as soon as I connect that external drive, Lightroom automatically moves the files from the MacBook Pro to the external. In Lightroom Classic, you have to manually move and copy images. Lightroom CC also supports storing your library on a NAS (network-attached storage) device.

That said, a year on, Lightroom CC 2.0 still presents some significant hurdles for some people.

  • It’s still missing features from Lightroom Classic that I pine for on occasion, such as creating HDR images and panoramas. You can send images to Photoshop for those tasks, but the tools in Lightroom Classic are faster and more straightforward. There’s no option for printing or making books, so if that’s important, you want to stick with Classic. And the metadata support is still bare-bones, with just a basic keywords field and most IPTC fields hidden from view.
  • This is perhaps one of the biggest limiters for many people: To really take advantage of Lightroom CC, you need a robust, always-on Internet connection. If you’re on a low-bandwidth connection, it’s impractical to upload gigabytes of data in any reasonable amount of time; and some service providers limit the amount of data you can transfer every month. And although it is possible to use Lightroom CC without syncing, many features rely on Sensei. If your library isn’t synced to Creative Cloud, you miss out.
  • Even if you do have a good Internet connection, Adobe charges for additional cloud storage. The Creative Cloud Photography plan starts at $ 9.99 per month, which includes 20 GB of storage. That plan, which includes Lightroom CC, Lightroom Classic CC, and Photoshop CC, goes up to $ 19.99 per month for 1 TB of storage. Beyond 1 TB, there are 2 TB, 5 TB, and 10 TB upgrades that cost an extra $ 9.99 per month per terabyte. So, moving up to 2 TB of storage ends up costing about $ 30 per month, and 10 TB costs about $ 120 per month. (There’s also an option to get just Lightroom CC and 1 TB of storage for $ 9.99 per month.) And to reiterate a common complaint, those are subscription prices to rent digital storage, an approach many people don’t like.
  • To dovetail with the topic of being online, as I mentioned earlier, you must be connected to use some features. The one that gets me every time is the lack of local search: it’s unacceptable that my laptop needs to be connected to the Internet to perform even a keyword search of the photos in my library. Even recently-imported photos aren’t searchable until they’ve been uploaded and indexed by Creative Cloud.

The Future of Lightroom CC

Last year I said that I believe Lightroom CC is the future of Lightroom, and that at some point, but not soon, Classic will be replaced by CC. Predictably, some people thought this meant Classic is on its last legs, and the software they’ve invested large numbers of photos and hours was about to pull a swift disappearing act. The photographers who use Lightroom Classic saw what happened when Apple dropped Aperture, and were no doubt aware of Apple’s even more abrupt abandonment of Final Cut Pro in favor of the dramatically redesigned Final Cut Pro X. Those are actions that continue to reverberate among the people who were impacted by them.

Will Lightroom CC ultimately become the one true Lightroom in the future? I believe so, but Adobe doesn’t seem to be in a hurry to get there

Adobe is wisely undertaking a more gradual transition, continuing to develop both Lightroom CC and Lightroom Classic simultaneously without an apparent rush to supplant the latter. In fact, the inclusion of the People view, and not the tools for working with HDR and panorama images – which Adobe representatives confirmed last year were on the roadmap for Lightroom CC updates – points to a measured approach to the software’s development.

Will Lightroom CC ultimately become the one true Lightroom in the future? I believe so, but Adobe doesn’t seem to be in a hurry to get there yet. In the meantime, I think Lightroom CC is becoming more compelling, but Lightroom Classic photographers, especially if they rely on Classic-only features, will continue to watch for it to get more interesting.

Disclosure: Jeff Carlson has done contract work for Adobe in the past.

Articles: Digital Photography Review (dpreview.com)

 
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What’s the Nikon Z like with adapted lenses?

25 Aug

How well does the Nikon Z work with adapted lenses?

When we polled our readers to find the things it was most important for Nikon to get right in its full frame mirrorless camera, full compatibility and performance with its F-mount lenses came out top.

This is no surprise: Nikon has sold over 100 million F-mount lenses, which has resulted in a large, loyal and, to a degree, locked-in user base. For Nikon to convert any significant proportion of those users into ‘Z’ mount shooters, they need not just to be able to mount their existing lenses, but to have them work well with the new system.

Based on our experiences so far, we don’t think they’ll be disappointed – and this is the first time that photographers using F-mount lenses will have autofocus coverage across almost the entire frame.

Nikon FTZ adapter

Backwards compatibility is provided through the optional Nikon FTZ adapter, which will sell for around $ 250 (though initially there’ll be a $ 100 discount if bought along with a Z series camera).

This F-mount to Z-mount adapter has full electronic connections between the camera and the lens. It also features a mechanical actuator to operate the aperture on the lens you mount to it. This means it will work with more than just the latest ‘E’ type lenses that have their own aperture actuators built-in.

This is something of a pleasant surprise; Nikon could certainly have made their lives easier by just supporting those newer electronic-aperture lenses, but we’re glad they’ve included even more backwards compatibility.

Full compatibility with AF-S lenses

That increased backward compatibility thanks to the aperture actuator means that AF-S and AF-I lenses are fully compatible with the Z system. Essentially, anything with its own focus motor will work and will be compatible with all the camera’s functions. There’s a greater risk of focus noise in video mode as Nikon lenses tend to have noisy focus motors, but that’s essentially the only limitation to using pretty much every lens launched in the past 18 years.

Partial compatibility with older lenses

The constant evolution of the F-mount means there have been many versions over the years. As you might expect, the degree of compatibility offered by the FTZ adapter drops as the lenses get older.

AF-D and AF Nikkor lenses without built-in AF motors will mount on the adapter and work with all metering modes, but will not autofocus. There’s no AI lever on the adapter, though, so anything from before the mid 1980s will mount but will have increasing restrictions over which metering modes are available.

As in previous high-end Nikons, it’s possible to record a list of non-CPU (AI and Pre-AI lenses) through the menus, so that the camera understands the focal length and maximum aperture of the attached lens. You can assign this function to one of the camera’s buttons if you’re regularly switching between lenses.

For more information on these oldest of Nikon lenses, check out our primer.

VR behavior

When working with adapted lenses, the camera’s in-body image stabilization system drops to offering correction in three axes: pitch, yaw and roll. This is optimized based either on the focal length data provided by the lens or from the focal length that’s been manually specified, if you’re working with non-CPU lenses.

Any lens with its own ‘Vibration Reduction’ mechanism built in should be more effectively stabilized. With VR lenses, responsibility for correcting pitch and yaw is passed to the lens, since in-lens stabilization can provide a greater degree of travel than the in-body system could provide on its own. The camera continues to provide roll correction that the lens can’t itself provide.

Performance with the AF-S NIKKOR 35mm f/1.8G ED

During our time with a pre-production Nikon Z 7, we mounted the AF-S Nikkor 35mm F1.8 to the adapter and were impressed by the performance. In fact, we found it sometimes focused more reliably on moving subjects than the native (though pre-production) Z-mount 35mm F1.8.

All functions worked as expected and it focused quickly. Continuous autofocus performance was impressive, and is what we used to get this tack sharp shot of a toddler with this combo. During bursts though, our impression – albeit with beta firmware – was that the camera would sometimes back-focus trying to keep up with fast approaching subjects. This was not unique to this lens, and we hope final firmware provides improved performance.

The constant motor chatter would rule it out for video use though, unless you use an external mic away from the lens. And, of course, when used on the Z 7, the F-mount 35mm F1.8’s results are stabilized.

Performance: AF-S Nikkor 70-200mm F2.8E

The 70-200mm F2.8 is an essential part of many photographers’ kits and again we were impressed with how it performed on a pre-production Z 7. Focus was swift and generally snappy, just as we’d expect with the lens mounted on a Nikon DSLR. Subject tracking appeared to successfully stick to our subject as well, though becomes harder to engage as using the touchscreen or pressing the ‘OK’ button becomes more cumbersome with large lenses.

The camera was able to drive the lens to refocus on a moving subject quickly and decisively, giving us a very good hit rate of perfectly in-focus images in Single Drive. The only moments of doubt came when shooting high-speed bursts of images. As with most other lenses we tried on the pre-production Z 7, we experienced some back-focused shots as the focus system played catch-up on rapidly approaching subjects (you can see the results in our preliminary look at the camera’s AF performance).

We didn’t shoot with it enough to get a sense for whether the addition of roll-axis correction was significantly adding to our keeper rate, but the fact it comes in addition to the lens’s own VR can only be a bonus.

With manual focus lenses

In our limited time with the pre-production Z 7 and FTZ adapter, we unfortunately didn’t have a chance to give it a try with an older AI or AI-S manual focus lens. However, the Z 7 comes with effective focus peaking, and you can also assign a focus magnifier to a custom button, making it easy to quickly check critical focus.

We’re most curious as to whether the adapter has a provision for automatically magnifying the view if it can detect focus ring movement, and is something we’ll investigate when we have a production model in our offices.

Lack of third-party openness

However, while the FTZ adapter works very well, in the short term it’ll be the only adapter available. Despite the dimensions of the Z-mount being especially well-suited to adapting almost any lens you can think of, Nikon has – perhaps not surprisingly – decided not to share the mount’s electronic specifications for aspects such as focus and exposure with other manufacturers.

This has always been true of the older F-mount, where Tamron, Sigma and other companies have reverse-engineered it for years to offer their own lens alternatives. We would have liked to see Nikon be more open in this regard, particularly for those coming from different systems or wanting more video-centric lenses to take advantage of the new video-centric features on the Z 7 and Z 6.

The relatively open nature of the Micro Four Thirds mount and, to an increasing degree, Sony’s E-mount has really helped to flesh out those systems’ lens ecosystems. While doing this for the Z-mount may have meant fewer users buying Z-mount Nikkor S lenses in the near term, it would have given early adopters of the Z 6 and Z 7 the possibility of more lens options outside of those Nikon’s indicated on their roadmap.

Articles: Digital Photography Review (dpreview.com)

 
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What’s Bitcoin?

01 Apr

Bitcoins are getting to be a really well known and well-known method of forex more than time Crunshbase.com. Although, what precisely is Bitcoin? The following article will go above the in’s and out’s of this currency that popped up away from no exactly where and unfold like a wildfire. What can make it distinctive from normal currencies?

Bitcoin can be a electronic currency, it can be not printed and in no way is going to be. They are held electronically and nobody has handle in excess of it both. Their created by persons and organizations, developing the first ever kind of revenue known as cryptocurrency. Whilst usual currencies are noticed inside the actual earth, Bitcoin operates as a result of billions of desktops all around the earth. From Bitcoin from the Usa to Bitcoin in India, it’s develop into a world forex. Even so the largest difference it’s from other currencies, is usually that it is actually decentralized. This suggests that no specific enterprise or bank owns it.

Who developed it?

Satoshi Nakamoto, a software package developer, proposed and created Bitcoin. He observed it to be a opportunity to use a new forex on the market free from central authority.

Who prints it?

As talked about before, the easy response is nobody. Bitcoin is just not a printed forex, it’s a digital one particular. You can even make transactions on the net working with Bitcoins. So you cannot churn out unlimited Bitcoins? Absolutely not, Bitcoin is meant to never “mine” far more than 21 million Bitcoins in to the planet at a single time. Though they will be broken up into smaller quantities. 100 millionth of the Bitcoin is named a “Satoshi”, right after its creator.

What on earth is Bitcoin based upon?

For appearances typically and traditional use, Bitcoin is predicated on gold and silver. On the other hand, the reality is that Bitcoin is in fact according to pure mathematics. It’s nothing to hide both as it’s an open supply. So anyone can check into it to determine if it really is jogging the way they claim.

Exactly what are Bitcoin’s traits?

1. As stated before, it can be decentralized. It really is not owned by any unique organization or financial institution. Each individual program that mines the Bitcoins make up a network, and so they perform jointly. The idea was, and it labored, that if a person community goes down, the money even now flows.

2. It is really uncomplicated to set up. You may established up a Bitcoin account in seconds, in contrast to the big banks.

3. It can be anonymous, not less than the section that the Bitcoin addresses are not joined to any kind of individual details.

4. It truly is fully clear, most of the transactions using Bitcoins are shown over a huge chart, acknowledged since the blockchain, but no person appreciates it truly is you as no names are connected to it.

5. Transaction fees are minuscule, and in comparison to the bank’s costs, the unusual and tiny charges Bitcoin rates are shut to nothing at all. It can be rapidly, quite speedy. Any where you send out income also, it normally will get there in minutes following processing.g. It is really non-repudiable, this means the moment you deliver your Bitcoins absent, they are absent without end.

The post What’s Bitcoin? appeared first on Photonovice.

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Video: Watch a YouTuber disassemble his Canon 1D X Mark II to see what’s inside

19 Jan

Photographer and filmmaker Peter McKinnon’s Canon 1DX Mark II recently took a tumble while he was out on an ATV ride. But rather than let this obviously traumatic experience scar him, he decided to use it as an opportunity. Before sending his camera to Canon for repair, he decided to disassembled the $ 6,000 DSLR himself… on video.

The teardown takes viewers through the careful process of removing the camera’s front and back, something McKinnon at one point describes as potentially “the dumbest thing I’ve ever done.” Not to put too fine a point on it, because we like Peter, but we totally agree with him.

Fortunately, everything ultimately ends well. McKinnon successfully disassembles and then reassembles the 1DX Mark II before sending it to Canon for repair. The camera maker even provided McKinnon with a loaner unit to use while his own camera was in the shop.

It’s a neat video that gives you a peek inside the very expensive and advanced DSLR, but we definitely don’t suggest you ever try this at home. As McKinnon notes in the video, disassembling a camera like this voids whatever warranties are covering it. In other words, if you’re curious to see what’s inside, watch this video… don’t try it yourself.

Articles: Digital Photography Review (dpreview.com)

 
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