360Photography

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  • Some iPhone X users report major display color and contrast changes in iOS 12

    Apple officially released iOS 12 to the public on September 17 and reports from users are rolling in. According to a post on Reddit’s Apple subreddit, some iPhone X users are less than happy with the new operating system, after experiencing decreased display contrast levels, slightly desaturated colors, overexposed black regions, and more.

    The post, made by user “shannister”, claims the display changes appeared after updating to iOS 12. “Experiencing a slightly washed out screen, colours popping less and blacks appearing more greyed out,” the post states. Several other users report similar experiences,

    One poster going by the name “RandomUser9785” states, “The OLED panel on the iPhone X had such wonderful colours and contrast on iOS 11. After the iOS 12 update, the colours and the contrast have been ruined on my iPhone X.”

    An ongoing thread on the MacRumors forum contains dozens of reports and complaints following the public iOS 12 release.

    Some users report the Accessibility contrast feature being enabled automatically after updating, requiring them to manually disable it. This doesn’t eliminate the problem, however, according to at least one user who says toggling the setting wasn’t effective. The issue is reportedly present on both the iOS 12 interface and within apps.

    This isn’t the first mention of washed out colors in iOS 12. Earlier this summer, iPhone X users reported issues with colors and contrast while using the beta version of the software. An ongoing thread on the MacRumors forum contains dozens of reports and complaints following the public iOS 12 release.

    We’ve updated our iPhone X here at DPReview and while we haven’t carried out any controlled tests, we haven’t noticed any significant changes to screen experience in iOS 12. Apple has yet to comment on the issue, but if you’re experiencing washed our or subdued colors on your iPhone, let us know.

    Via: Reddit

    Articles: Digital Photography Review (dpreview.com)

  • GoPro launches new HERO7 Black, Silver, and White models with HyperSmooth stabilization

    GoPro has announced its new collection of HERO7 action cameras, which includes three individual devices: the Hero7 Black, HERO7 Silver and HERO7 White. The three models are set to go on sale next week for $ 399, $ 299 and $ 199, respectively.

    If it’s a dramatic redesign you’re looking for with this new generation of GoPro action cams, this isn’t the upgrade for you. On the outside, all three models look almost identical to their respective HERO6 counterparts. The only notable differences are new paint jobs for the HERO6 Silver and HERO6 White to match their respective namesakes and a new logo on the lens-side of the action cams denoting what model you have.

    HERO7 Black

    The GoPro Hero7 Black is the flagship model in the collection. As with on the outside,, not much has changed inside the camera. GoPro says the Hero7 Black has the same internal components as the HERO6 Black, but notes the custom-built GP1 chip inside has been reworked and an extra bump of RAM has been added (although GoPro doesn’t disclose how much RAM has been added).

    The Hero7 Black shoots 4K at 60 frames per second, 2.7K at up to 120 FPS, and 1080p up to 240 FPS. It captures 12-megapixel still images and has built-in RAW and a ‘SuperPhoto’ HDR mode. It also has Wi-Fi and GPS connectivity for geolocation and wireless networking.

    The big change this year comes from the software and processing side of things. New this year is an improved stabilization mode GoPro calls HyperSmooth. In GoPro’s own words, ‘HyperSmooth is the best in-camera video stabilization ever featured in a camera. It makes it easy to capture professional-looking, gimbal-like stabilized video without the expense or hassle of a motorized gimbal.’ HyperSmooth even works underwater and in rough, windy environments.

    If GoPro’s verbiage sounds like hyperbole, you can check out their claims in the demo video below. A single video montage isn’t much to go off of in terms of real-world use, but from what’s shown, it looks impressive.

    There’s also a built-in hyperlapse mode GoPro calls TimeWarp. This feature smooths out timelapse footage to give what GoPro calls a ‘magic carpet ride’ aesthetic. Another new feature is the ability to livestream to online services like YouTube, Twitch, Vimeo and Facebook when connected to a smartphone’s cellular connection.

    HERO7 Silver

    Externally, the HERO7 Silver looks similar to the Hero7 Black, with the exception of the silver paint job (it’s really more of a gunmetal grey) and the absence of the front-facing settings display.

    Internally, the HERO7 Silver appears to be a revamp of the HERO6 Black. It captures 4K video, but only at 30 FPS, and 10-megapixel stills instead of the 12-megapixels of the Hero7 Black. Slow-motion video is also capped at 2x instead of 8x.

    Feature wise, the HERO7 Silver lacks the HyperSmooth stabilization, live-streaming and instead of high dynamic range (HDR) images, it only captures wide dynamic range (WDR) images. It still offers the ruggedized, waterproof design, voice control, Wi-Fi and GPS connectivity.

    HERO7 White

    On the budget-end of things, the HERO7 White keeps it simple. It shoots 10-megapixel stills and 1080p video at 60 FPS — no 4K capture. It lacks the wide dynamic range (WDR) capture mode and also loses the GPS connectivity of its more powerful counterparts.

    Pricing and pre-orders

    The HERO7 Black, HERO7 Silver and HERO7 White are available for pre-order starting today for $ 399, $ 299 and $ 199, respectively. They are expected to be available at various retailers starting September 30, 2018.

    Articles: Digital Photography Review (dpreview.com)

  • Samsung launches Galaxy A7 triple-camera mid-range smartphone

    Huawei’s P20 Pro started the trend towards the end of last year and now triple-cameras are quickly becoming the norm. Samsung just launched the Galaxy A7, a mid-range device that features a triple-camera on its rear.

    A 24MP / F1.7 main camera is joined by an 8MP / F2.4 super-wide-angle with a 120-degree field of view and a third 5MP module is reserved for creating the background-blurring fake bokeh effect in portrait mode. So, unfortunately the Samsung’s triple-cam setup does not come with a tele lens but maybe that’s too much to ask from a mid-ranger at this point.

    The rear camera uses Samsung’s Intelligent Scene Optimizer system, which uses scene recognition to automatically adjust contrast, brightness and color for optimized image output.

    The front camera features a 24MP / F2.0 camera module, LED flash and bokeh mode, so should be good for decent selfies, even in low light conditions. The rest of the specifications look very respectable for a mid-range device as well. The 6-inch Super AMOLED display comes with a 1,080 x 2,220 resolution and the Android OS is powered by an 8-core Exynos chipset and, depending on region, 4 or 6GB of RAM.

    Internal memory options go up to 128GB and a microSD slot is on board as well. A side fingerprint sensor and Dolby Atmos sound complete the package. The only unknown at this point is the price. However, Samsung has promised to provide more information at a Galaxy event on October 11th. We’ll keep you posted.

    Articles: Digital Photography Review (dpreview.com)

  • Hands-on with the Sony 24mm F1.4 G Master

    Hands-on with the Sony 24mm F1.4 G Master

    The Sony 24mm F1.4 is the latest lens to join the company’s premium G Master lineup. It’s impressively compact given its size, and at 445g (0.98lb), it’s 200g – or almost half a pound – lighter than the Sigma 24mm F1.4 Art for DSLR cameras. It’s even lighter compared to the E-mount Sigma 24mm Art lens – 335g lighter – or about half the weight.

    The 24mm F1.4 balances really nicely on a Sony a7R III, with the center of gravity very close to the body. Sony claims that the short flange distance as well as the inclusion of two XA (extreme aspherical) elements help keep the lens’ size down.

    Hands-on with the Sony 24mm F1.4 G Master

    The optical formula comprises 13 elements in 10 groups. Sony claims that the two XA elements combine with three ED (extra dispersion) elements to provide great resolution and coma suppression even at F1.4. The XA elements also help to combat field curvature and astigmatism, which are aberrations common to wide-angle lenses.

    Hands-on with the Sony 24mm F1.4 G Master

    The XA elements are claimed to contribute to the quality of the bokeh rendition, which our initial shooting shows to be very smooth. Sony says that these elements are manufactured to a precision of 0.01 microns, which should help prevent busy ‘onion ring’ patterns in your out-of-focus highlights, and generally yield smoother bokeh.

    The 24mm F1.4 G Master features a 67mm filter thread, compared with the 77mm threads found on comparable offerings from Sigma, Canon and Nikon.

    Hands-on with the Sony 24mm F1.4 G Master

    The 24mm F1.4’s 11-blade aperture (seen here wide-open) also contributes to smooth bokeh, remaining circular down to F2.8. Continue closing the aperture down and you’ll be treated to some lovely 22-point sunstars.

    Hands-on with the Sony 24mm F1.4 G Master

    In terms of controls, the 24mm F1.4 comes with a physical aperture ring that allows you to select F1.4 – F16 in 1/3 stop increments. You can also click it to ‘A,’ which allows you to use the command dials on the camera to control aperture instead.

    This lens handles very nicely for video shooters, as well. The aperture ring can be de-clicked for smooth, silent control during video shooting, and the manual focus ring comes with excellent feel and a linear (as opposed to speed-sensitive) response for those who like to manually pull focus. Sony claims minimal focus breathing thanks to a precision internal focus mechanism. Lastly, the light weight makes it easier to mount and use on a gimbal.

    Hands-on with the Sony 24mm F1.4 G Master

    On the other side of the lens is a customizable function button as well as the AF / MF switch. In terms of autofocus, a high-power direct drive SSM provides fast and silent autofocus, and Sony claims the new motor provides a higher level of positioning accuracy.

    Sony also claims that this new motor provides three times greater thrust than the previous model, which we presume is the motor in the FE 35mm F1.4. In our preliminary shooting, we found the 24mm F1.4 GM focused slightly faster than the Sigma 24mm F1.4 Art, which itself is already quick for an F1.4 lens. The Sony had no problem keeping up with the newest member of the DPReview team, an excitable pup named Belvedere.

    Hands-on with the Sony 24mm F1.4 G Master

    As with all of Sony’s G Master lenses, the 24mm F1.4 is built to a high standard. Despite its light weight it feels quite solid, it’s dust and moisture-sealed and comes with a gasket on the mount. All focusing is taken care of internally, providing an additional measure against dust incursion.

    Hands-on with the Sony 24mm F1.4 G Master

    Until now, the most comparable option for Sony users wanting a fast 24mm was to adapt Sigma’s 24mm F1.4 Art (or Canon’s EF 24mm F1.4L II), or by the newly available E-mount version of the 24mm Art. The Sigma is a truly lovely lens, but even aside from the weight, the adapter pushes the center of gravity further out and it’s just not as comfortable to handle as the new G Master. The same holds true for the E-mount Sigma 24/1.4, which is essentially the same length as the DSLR version with the adapter.

    Remove the adapter and the two lenses are more comparable, with the G Master actually measuring 2mm longer. But the G Master’s weight savings alone will make a significant difference for frequent travelers and users on all-day shoots.

    Hands-on with the Sony 24mm F1.4 G Master

    Though we’ve yet to fully test the 24mm F1.4 G Master, our initial impressions of its optics are positive. The contrast is high even at F1.4 (like the Sigma Art), and is noticeably better than the more ‘veiled’ look of the Nikon and Canon equivalents wide-open.

    Wide-open sharpness is great, though as you’d expect, stopping down to F2 or F2.8 gets you even sharper results thanks to the elimination of purple fringing visible around high contrast edges at F1.4. Bokeh is smooth, with no onion ring artifacts. As with all fast, wide-angle primes, you’ll notice some longitudinal CA (purple/green fringing), but it’s reasonably well-controlled. There’s some lateral CA near the edges, but it’s easily removed in post-processing. Distortion and coma also look to be well-controlled. Vignetting is noticeable, but it’s mostly gone by F2.8. If you shoot directly into the sun you’ll get some ghosting flare artifacts, particularly at smaller apertures, but the Sony fares very well in this regard compared to the Sigma Art. There’s not much veiling flare wide open even with the sun just out of the frame.

    We think the 24mm F1.4 G Master fills a useful gap in the Sony ecosystem, with a focal length and aperture combination that make it useful for reportage and event shooting. The lens will ship in October for a retail price of $ 1400 USD.

    Articles: Digital Photography Review (dpreview.com)

  • Sony announces lightweight FE 24mm F1.4 G Master prime

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    Sony has taken the wraps off of its new full-frame 24mm F1.4 G Master prime lens. Despite that fast maximum aperture, Sony has created a remarkably small and light lens compared to its peers, with a weight of just 445 grams (15.7 ounces). Compare that to the Sigma 24mm F1.4 Art shown below, which is 50% heavier and considerably more bulky, albeit cheaper.

    It’s a departure from traditional GM lenses, which tend to be large so as to not sacrifice optimal performance. This lens bucks the trend by prioritizing both optical performance and size and weight.

    Sony’s new 24mm F1.4 GM is significantly smaller than the Sigma equivalent to its left. In hand on a Sony body, it feels more like a F1.8 prime, which is really quite an achievement for a F1.4 lens, particularly one with the optical performance of the 24mm GM.

    The 24mm F1.4 GM has a total of 13 elements, including two XA (extreme aspherical) which significantly reduce coma, and three ED elements. Sony’s Nano AR coating reduces flare and ghosting, and so far, we’re impressed by the lack of distracting flare artifacts and high contrast images even when shooting into the sun. 11 aperture blades yield smooth bokeh and circular out-of-focus highlights even when you stop down to F2.8, as well as 22-blade sharp sunbursts if you stop down further with bright, pinpoint light sources.

    Focus is is driven by a new, evolved Direct Drive SSM motor that deliveries ‘approximately three times greater thrust’ than the previous system, but with high positional accuracy, according to Sony. In our initial tests, it’s faster to focus than the Sigma 24mm F1.4 Art, so we’re impressed by the speed of focus considering its F1.4 maximum aperture.

    Its manual focus ring offers a linear response: a rarity on mirrorless lenses and useful when shooting video. It almost feels like a mechanically coupled focus ring. An aperture ring (with a ‘de-click’ feature), customizable focus hold button and AF/MF switch are also available. As with all G Master lenses, the 24mm F1.4 is weather-sealed.

    Focus is silent, and there’s minimal focus breathing. That combined with the linear focusing behavior and small lightweight design makes this lens very suitable for video.

    The Sony FE 24mm F1.4 GM will ship in October for $ 1400. Stay tuned for in-depth analyses of the optical characteristics of this lens, but in the meantime you can judge the performance yourself from our sample images, linked below. And if you’re itching to assess sharpness, have a look at our aperture progression of a cityscape at the end of our sample gallery.

    View our Sony FE 24mm F1.4 GM sample gallery

    Watch DPReview TV’s first impressions

    Press Release

    Sony Expands Full-Frame Lens Lineup with Launch of 24mm F1.4 G Master™ Prime

    New Large Aperture Wide-Angle Prime Lens is the most compact and lightest in its class[i] , with superb sharpness even at F1.4

    SAN DIEGO, Sept. 20, 2018 – Sony Electronics, Inc. – a global leader in digital imaging and the world’s largest image sensor manufacturer – has today introduced an exciting new addition to their acclaimed G Master series of full-frame E-mount lenses, a 24mm F1.4 prime lens.

    Expertly engineered to deliver best in class performance across all aperture settings, the new FE 24mm F1.4 GM (model SEL24F14GM) utilizes Sony’s most advanced optical technologies to satisfy the needs of the most demanding photographers. The new lens is the most compact and lightweight in its classi, measuring approx. 3.0 inches x 3.64 inches and weighing only 15.7 ounces, with a filter diameter of 67mm. Built to meet the strict standards of Sony’s flagship G Master series, the FE 24mm F1.4 GM offers exceptionally high resolution and beautiful bokeh, two qualities that are signature attributes of the G Master brand.

    “We are continuing to evolve our lens lineup to maximize the power of our innovative ? camera lineup, ” said Neal Manowitz, vice president of imaging solutions at Sony Electronics. “The new 24mm prime brings an exciting new perspective to our flagship lens series. With its incredibly lightweight design and signature G Master quality, our 30th native full-frame mirrorless lens opens up a new world of creative opportunities for today’s photographers, videographers and multi-media creators.”

    Realizing consistently high resolution across the entire frame, even at F1.4, the FE 24mm F1.4 GM boasts a new optical design comprised of 10 groups with 13 elements, including two XA (extreme aspherical) and three ED (Extra-low Dispersion) elements. The incorporation of two XA elements effectively suppresses sagittal flare[ii] to ensure that point light sources like distant stars can be accurately reproduced, making the FE 24mm F1.4 GM a compelling proposition for astrophotography. For impressive clarity, Sony’s unique Nano AR Coating is applied to reduce lens flare and ghosting, even in landscape shots where the position of the sun can be problematic with a normal lens.

    This outstanding performance is packaged in an extremely compact and lightweight body weighing it at only 15.7 ounces, a welcome relief for landscape or adventure photographers that are hiking, climbing or traveling over long distances. This advantage is further compounded when the FE 24mm F1.4 GM is paired with one of Sony’s award winning ?7 / ?9 cameras. The lightweight lens design has been realized in part by the development of a new high power DDSSM (Direct Drive SSM) that delivers approximately three times greater thrust than the previous focus system, enabling fast response, high positioning accuracy and quiet operation for both stills and movie shooting.

    This incredible lens is also a perfect complement to Sony’s APS-C sensor mirrorless cameras such as ?6500 and ?6300, and brings the total number of native Sony ? E-mount lenses to 48[iii].

    In addition to its landscape and starscape shooting abilities, the FE 24mm F1.4 GM also has excellent close up performance of 0.24 meters (0.79ft.) and delivers soft and natural bokeh, a feature that is common across Sony’s entire G Master series of lenses. This is achieved by extreme control over factors like spherical aberration, and axial and lateral chromatic aberration, at the design and manufacturing stages, as each lens is individually tested and adjusted to achieve maximum performance.

    The FE 24mm F1.4 GM also includes a number of professional controls that aide ease of operation for both stills and movie shooting. These include an aperture ring that allows direct, intuitive aperture control, and a focus ring that features Linear Response MF for fine, responsive manual focus control. There is also a customizable focus hold button, and a focus-mode switch that makes it possible to quickly select auto or manual focus to match changing shooting conditions.

    Pricing and Availability

    The FE 24mm F1.4 GM will ship in October 2018 for approximately $ 1,400 US and $ 1,900 CA. The lens will be sold at a variety of Sony authorized dealers throughout North America.

    [i] Compared to other full-frame 24mm F1.4 auto-focus prime lenses. As of September 2018 press release, based on Sony research

    [ii] A phenomenon that results in an unnatural spreading of point light sources that appears somewhat like a bird spreading its wings and becomes more pronounced towards the image periphery. It is most common in large-aperture lenses

    [iii] Including converters, excluding discontinued models

    Sony FE 24mm F1.4 GM specifications

    Principal specifications
    Lens type Prime lens
    Max Format size 35mm FF
    Focal length 24 mm
    Image stabilization No
    Lens mount Sony FE
    Aperture
    Maximum aperture F1.4
    Minimum aperture F16
    Aperture ring Yes
    Number of diaphragm blades 11
    Optics
    Elements 13
    Groups 10
    Special elements / coatings XA (extreme aspherical) + ED elements, Nano AR coating
    Focus
    Minimum focus 0.24 m (9.45″)
    Maximum magnification 0.17×
    Autofocus Yes
    Motor type Linear Motor
    Full time manual Yes
    Focus method Internal
    Distance scale No
    DoF scale No
    Physical
    Weight 445 g (0.98 lb)
    Diameter 75 mm (2.95″)
    Length 92 mm (3.62″)
    Sealing Yes
    Colour Black
    Filter thread 67 mm
    Hood supplied Yes
    Hood product code ALC-SH154

    Articles: Digital Photography Review (dpreview.com)

  • Cosina announces Voigtlander 21mm F3.5 lens for Sony E-mount systems

    Cosina has announced its new Voigtlander Color Skopar 21mm F3.5 E-mount lens.

    This is the eighth Voigtlander lens designed specifically for Sony’s full-frame E-mount support. As with past lenses, the Color Skopar 21mm F3.5 features full EXIF support. In addition to having the extra metadata there, this also means Sony’s in-body image stabilization should work without issue when shooting with the lens.

    The lens constructed of nine elements — including one aspherical element and one anomalous partial dispersion element — in eight groups. It has a minimum focusing distance of 20cm/7.87in and uses a ten-blade aperture diaphragm.

    The diameter of the lens is 62.8mm/2.47in and the length is 39.9mm/1.57in. It weighs just 230g and features a 52mm filter size.

    Below are a collection of sample images provided by Cosina:

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    The lens is currently available for pre-order and is expected to start shipping in October 2018. Cosina has it listed for ¥85,000, which equates to roughly $ 758 at the current exchange rate. Fred Miranda notes though that the price is suspected to be $ 799 when it lands stateside.

    Articles: Digital Photography Review (dpreview.com)

  • Canon PowerShot SX70 offers 65X zoom lens, 4K video and CR3 Raw support

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    Canon has introduced its latest superzoom camera, the PowerShot SX70 HS. Its equivalent focal range of 21-1365mm hasn’t changed, but the sensor, image processor, viewfinder and video capabilities have been greatly improved.

    The SX70 has a 20.3MP BSI-CMOS sensor paired with Canon’s latest Digic 8 processor. The lens remains at 65X (almost half that of Nikon’s new P1000,) with a maximum aperture range of F3.4-6.5. The new image processor has improved the effectiveness of the camera’s image stabilization system according to Canon, which can now reduce shake by up to five stops. The Digic 8 also brings along support for Canon’s CR3 Raw format, which has smaller file sizes than the previous CR2 format.

    While the design of the camera isn’t radically different from that of the SX60, there are three notable changes. First, the electronic viewfinder is now OLED with 2.36 million dots, compared to LCD with 922k dots. There’s also an eye sensor that wasn’t present on the SX60. Second, there’s now a zoom switch on the lens barrel. The final change is a ‘deprovement’: the hot shoe on the SX60 is gone on the SX70.

    The SX70 HS can shoot bursts at 10 fps with focus locked or 5.7 fps with continuous AF. UHD 4K video can be captured at 30p with a bit rate of 120Mbps. The SX70 continues to offer a microphone socket. The camera’s wireless connectivity includes Wi-Fi and Bluetooth.

    The PowerShot SX70 HS will ship at the end of November for $ 549.99.

    Press Release

    Zooming With Features: Canon Introduces Latest High-Power Zoom Digital Camera, The PowerShot SX70 HS

    Latest Edition Provides 65x Optical Zoom, High-Resolution Electronic Viewfinder and 4K Video

    MELVILLE, N.Y., September 20, 2018 – It’s a common saying that good things come in small packages and today, Canon U.S.A., Inc., a leader in digital imaging solutions, demonstrates this with the introduction of the new PowerShot SX70 HS compact digital camera. Featuring a 65x Optical Zoom Lens (equivalent to 211-1365mm1), 20.3 Megapixel2 CMOS imaging sensor and 4K video capabilities, the PowerShot SX70 HS camera is an ideal fit for anyone who wants powerful optical performance in a compact package. With a minimum focusing distance of 0cm3 and a zoom up to 2730mm1 (with ZoomPlus), the PowerShot SX70 HS allows users to create beautiful close-ups and stunning wide shots without changing lenses.

    “In this day and age, cameras are becoming smaller while the desired list of features continues to grow,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon continues to be committed to incorporating the latest features in our compact cameras and the new PowerShot SX70 HS is our very latest version, providing the dynamic combination of a compact body, powerful zoom and robust features that photo and video enthusiasts alike will love.”

    The PowerShot SX70 HS features a 0.39-inch, approximately 2.36-million dot, high-definition OLED Electronic Viewfinder (EVF) for clear, crisp representation of what the lens is seeing. This camera also features 4K video shooting and frame grabbing,4 and is the first Canon point-and-shoot camera compatible with the latest RAW format (.CR3). With the addition of a new eye sensor, the camera automatically switches to the EVF display simply by bringing the camera up to the eye. Additionally, the inclusion of built-in Wi-Fi®5 and Bluetooth®6 technology offers quick and easy sharing, making the switch from smartphone photography to the PowerShot SX70 HS camera simple and fun.

    The DIGIC 8 processor enables the PowerShot SX70 HS camera to achieve five stops of IS with dual-sensing image stabilization (IS). Even during handheld shooting, IS allows users to take pictures with minimal worry about camera shake. The camera also features high-speed continuous shooting at up to 10 fps. A Zoom Framing Assist button on the side of the lens barrel enables quick adjustments of the view angle, which is especially useful during telephoto shooting. With a large grip for comfortable, stable shooting and an EOS-like user interface, the PowerShot SX70 HS will make it easy for artistic vision to come to life in the hands of photographers at any level.

    Availability and Pricing

    The PowerShot SX70 HS will be available for purchase in November 2018 for an estimated retail price of $ 549.997.

    1 In 35mm format.

    2 Image processing may cause a decrease in the number of pixels.

    3 From the end of the lens, wide-angle only.

    4 Frame grabbed images on the camera cannot be trimmed. Other than 4K movies, frame grabbing of Full HD or HD movies is not possible.

    5 Compatible with iOS® versions 8.4/9.3/10.2, Android™ smartphone and tablet versions 4.1/4.2/4.3/4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

    6 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.0 or later and the Camera Connect App Ver. 2.0.30. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.

    7Availability, prices and specifications subject to change without notice. Actual prices are set be individual dealers and may vary.

    Canon PowerShot SX70 HS specifications

    Price
    MSRP $ 549
    Body type
    Body type SLR-like (bridge)
    Body material Metal, composite
    Sensor
    Max resolution 5184 x 3888
    Image ratio w:h 1:1, 4:3, 3:2, 16:9
    Effective pixels 20 megapixels
    Sensor photo detectors 21 megapixels
    Sensor size 1/2.3" (6.17 x 4.55 mm)
    Sensor type BSI-CMOS
    Processor Digic 8
    Color space sRGB
    Color filter array Primary color filter
    Image
    ISO Auto, 100-3200
    White balance presets 6
    Custom white balance Yes
    Image stabilization Optical
    CIPA image stabilization rating 5 stop(s)
    Uncompressed format RAW
    JPEG quality levels Fine, normal
    File format
    • JPEG (Exif v2.31)
    • Raw (Canon CR3)
    Optics & Focus
    Focal length (equiv.) 21–1365 mm
    Optical zoom 65×
    Maximum aperture F3.4–6.5
    Autofocus
    • Contrast Detect (sensor)
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Digital zoom Yes (4x)
    Manual focus Yes
    Normal focus range 5 cm (1.97″)
    Macro focus range 0 cm (0″)
    Number of focus points 9
    Screen / viewfinder
    Articulated LCD Fully articulated
    Screen size 3″
    Screen dots 922,000
    Touch screen No
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder resolution 2,360,000
    Photography features
    Minimum shutter speed 15 sec
    Maximum shutter speed 1/2000 sec
    Exposure modes
    • Program
    • Shutter priority
    • Aperture priority
    • Manual
    Built-in flash Yes
    Flash range 5.00 m (at Auto ISO)
    External flash No
    Flash modes Auto, on, slow sync, off
    Continuous drive 10.0 fps
    Self-timer Yes (2 or 10 secs, custom)
    Metering modes
    • Multi
    • Center-weighted
    • Spot
    Exposure compensation ±3
    Videography features
    Format MPEG-4, H.264
    Modes
    • 3840 x 2160 @ 30p / 120 Mbps, MOV, H.264, AAC
    • 1920 x 1080 @ 60p / 60 Mbps, MOV, H.264, AAC
    • 1920 x 1080 @ 30p / 30 Mbps, MOV, H.264, AAC
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types SD/SDHC/SDXC (UHS-I supported)
    Connectivity
    USB USB 2.0 (480 Mbit/sec)
    HDMI Yes (micro HDMI)
    Microphone port Yes
    Headphone port No
    Wireless Built-In
    Wireless notes 802.11b/g/n + Bluetooth
    Remote control Yes (via smartphone)
    Physical
    Environmentally sealed No
    Battery Built-in
    Battery description LP-E12 lithium-ion battery & charger
    Battery Life (CIPA) 325
    Weight (inc. batteries) 608 g (1.34 lb / 21.45 oz)
    Dimensions 127 x 91 x 117 mm (5 x 3.58 x 4.61″)
    Other features
    Orientation sensor Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • First lens adapters for Nikon Z already appearing

    British photographic engineer MTF Services is claiming to have created the world’s first third-party lens adapters for the new Nikon Z system, with a collection of four units designed to allow cinema lenses to be mounted on the mirrorless full frame bodies. The adapters are made with stainless steel and HE30 aluminum, and feature a toe support with steel helicoil 1/4″ threads.

    The lenses the adapters are aimed at are PL, Panavision, B4 and Arri bayonet, so they are intended to appeal to filmmakers and broadcasters. The adapters come pre-shimmed, and spare shims will be included.

    The PL to Nikon Z version is available to order on the company’s site for £350 + VAT (approx $ 460), and the other models are expected to follow soon. For more information see the MTF Services Lens Adapter website.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-T3 firmware update fixes distortion, memory card lock issues

    Fujifilm released a firmware upgrade (v1.01) for its X-T3 mirrorless camera that addresses issues with distortion compensation when using the electronic shutter in continuous high shooting mode. A bug where the mechanical lock on SD cards was ignored has also been fixed, along with unspecified ‘slight defects’.

    The update can be downloaded here.

    Read our Fujifilm X-T3 First Impressions Review

    Articles: Digital Photography Review (dpreview.com)

  • Loupedeck is now compatible with Adobe Premiere Pro CC

    In June, Loupedeck launched an update to its editing console, including a physical redesign and added Capture One compatibility. Now, a big new software update aims to make the device attractive to an entirely new user group – the Loupedeck+ is now compatible with Adobe Premiere Pro CC, allowing for its use in video editing.

    Configuration of the controls is customizable to adapt to your workflow, and configuration setups can be exported for sharing or use across multiple consoles. It is possible to create several LUTs (color lookup tables) for fast and efficient alteration of color and the system also supports flexible timeline navigation, content trimming and clip adjustment.

    If Adobe Premier isn’t your video editor of choice, you might still be able to use Loupedeck in the future, as the company says it will be rolling out mode video software integrations later this year.

    Loupedeck chief Mikko Kesti said in a statement:

    “Our mission is to keep on improving the editing workflow, so it’s only fitting our next step is in the video editing space. Just like we developed the Loupedeck+ exclusively from community feedback, we felt it was imperative to listen to what our users had to say and make the device’s functionality even more well-rounded, providing all the same editing functions that photographers have at their fingertips to videographers. Users can now count on Loupedeck+’s intuitive design and user-friendly approach to enhance their video editing quality and increase their output. Our ongoing partnership with Adobe made introducing these new capabilities with its Premiere Pro CC suite an easy decision.”

    Articles: Digital Photography Review (dpreview.com)