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DPReview TV: A look back at APS film

10 Jun

Every photographer knows about APS-C sensors, but what about APS film? This week, Chris and Jordan take a stroll down memory lane and try out the original APS format, short for ‘Advanced Photo System’, a technology that promised to streamline the film workflow, but which ultimately lost out to digital technology. Tune in to see what made APS so interesting, and whether 15-year-old expired film is still up to the task.

Make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

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Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad XCD 21mm sample gallery

09 Jun

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It’s not everyday you have the opportunity to shoot with a lens like the Hasselblad XCD 21mm F4. It’s currently the widest lens in the company’s medium-format lineup (and the widest lens on the roadmap, for that matter). It’s also, as we discovered, incredibly sharp. You’ll see plenty of detail in the 50MP image files in the gallery above, and if there’s a 100MP future for Hasselblad’s XCD system, we think the 21mm will do just fine.

Take a look at a selection of sample images from DPR contributor Damien Demolder, and be on the look out for more to come as we get our hands on one in Seattle.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces Cyber-shot RX100 VI with 24-200mm zoom

08 Jun

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Sony has announced the Cyber-shot RX100 VI, a 1″-type compact camera with a 20.1-megapixel Exmor RS stacked CMOS sensor, 24-200mm equivalent F2.8-4.5 zoom lens, 315 phase detection points covering approximately 65% of the sensor, and the ability to shoot at 24 fps with autofocus.

The RX100 VI becomes the first in the Cyber-shot RX100-series to gain a touchscreen, allowing both touch shutter and touch focus. The screen can tilt up to 180 degree upwards and 90 degree downwards, extending shooting flexibility. The new camera is essentially the same size as its predecessor the RX100 V, but its depth has been increased slightly, by 1.8mm.

The RX100 VI includes the latest Bionz X processor with front-end LSI, as used in the most recent Alpha cameras

Sony says that the RX100 VI contains processing and experience developed in the creation of the a9 sports camera. It includes the latest Bionz X processor with front-end LSI, as used in the most recent Alpha cameras. This helps give what the company says is the world’s fastest AF (measured at 0.03 seconds) and with twice the EyeAF tracking performance of the Mark V.

The RX100 VI’s Hybrid AF system includes 315 phase detection points, covering approximately 65% of the sensor for ‘high-density tracking’.

The RX100 VI’s 24-200mm lens comprises 15 elements in 12 groups, featuring two ED (extra-low dispersion) aspherical glass elements and eight aspherical lens elements including four AA (advanced aspherical) lenses. Sony describes the pocketable camera as having “two lenses worth of interchangeable lens”, incorporating the range of a 24-70mm lens and a 70-200mm in one “do anything” camera. Meanwhile, it offers a claimed 4EV of image stabilization. Unlike its predecessor, there is no ND filter for video shooters.

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The RX100 VI’s XGA OLED pop-up EVF is similar to previous models in the series, but once popped-up, the finder optics no longer need to be manually extended for use.

Sample Gallery:

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On the video front, the RX100 VI is capable of full-width, oversampled 4K video with support for 8-bit HLG (Hybrid Log Gamma) for easy HDR capture. The RX100 VI is also able to record superslow motion video at either 250, 500 or 1000 fps.

The new Sony Cyber-shot RX100 VI will ship next month, priced at $ 1200 (£1,150 in the UK).

At the same press conference, Sony also announced the VCT-SGR1 shooting grip, designed for the RX0 and RX100-series cameras. The VCT-SGR1 includes camera controls, an adjustable head and built-in tripod. It will be available in September for around $ 100.

Press release:

Sony’s New RX100 VI Combines Versatile 24-200mm Large Aperture, High Magnification Zoom Lens with World’s Fastest AF Speed

  • Maintains compact body size of acclaimed RX100 series while adding a ZEISS® Vario-Sonnar T* 24-200mm F2.8 – F4.5 Large Aperture High Magnification Zoom Lens
  • World’s Fastest 0.03 seconds AF speed combined with 315 focal-plane phase-detection AF points covering approximately 65% of frame
  • 1.0-type stacked 20.1 MP Exmor RS™ CMOS image sensor with DRAM chip and upgraded BIONZ X™ image processor and Front-end LSI
  • High-speed continuous shooting at up to 24 fps with full AF/AE tracking
  • Optical image stabilization equivalent to a 4.0-stop faster shutter speed
  • High Resolution 4K Movie Shooting with full pixel readout and no pixel binning plus 4K HDR for instant HDR workflow

NEW YORK, Jun.5, 2018 – Sony – a worldwide leader in digital imaging and the world’s largest image sensor manufacturer – has today announced another exciting model for their popular Cyber-shot RX100 series of compact cameras, the RX100 VI (model DSC-RX100M6).

The innovative new RX100 VI camera is the first of all the RX100 models to include a high magnification zoom lens, as it packs in an impressive ZEISS® Vario-Sonnar T* 24-200mm F2.8 – F4.5 lens yet doesn’t sacrifice the pocket-size portability, fast responsiveness and high image quality that has become the hallmark of Sony’s RX100 lineup. It’s extensive zoom, impressive image quality and versatility for both still images and video make it an ideal choice for capturing daily life, cityscapes, portraiture, sports, wildlife and everything in between.

The new model is equipped with a 20.1 MP 1.0-type stacked Exmor RS™ CMOS image sensor with DRAM chip and an upgraded BIONZ X™ image processing system with a front-end LSI that maximizes processing speed and optimizes image quality in all shooting environments. Additionally, the RX100 VI features an incredibly efficient Fast Hybrid AF system with 315-point phase-detection AF points on the sensor that can acquire focus in as little as 0.03 seconds, the world’s fastest AF acquisition time for 1.0-type sensor cameras. It can also shoot at up to 24 fps at full resolution with continuous AF/AE tracking and produces beautiful 4K video with full pixel readout and no pixel binning.

“We’re continuing to innovate our RX camera lineup, providing our customers new and different ways to capture what they’ve never been able to capture before,” said Neal Manowitz, Vice President of Digital Imaging for Sony Electronics. “The new RX100 VI is the latest example, delivering extensive reach, extremely advanced autofocus, high-speed shooting and more, while still being able to slip easily into your pocket. It’s the ultimate pocket travel camera.”

New High-Magnification 24-200mm Zoom Lens plus Outstanding Image Quality

A first for Sony’s RX100 series of cameras, the new ZEISS® Vario-Sonnar T* 24-200mm F2.8 – F4.5 lens packs the power of both 24-70mm and 70-200mm focal lengths into a singular compact design. This is achieved thanks to its unique design featuring two ED (extra-low dispersion) aspherical glass elements and eight aspherical lens elements including four AA (advanced aspherical) lenses. All pieces work together seamlessly to deliver outstanding sharpness from corner-to-corner at all focal lengths, maintaining the acclaimed image quality of the RX100 series.

The impressive new lens on the RX100 VI maintains a large aperture throughout the entire zoom range, ensuring portraits can be created with beautiful background defocus, fast moving subjects can be captured with crisp focus and no blurring, and much more. Additionally, the lens has built-in Optical SteadyShotTM image stabilization that is equivalent to a 4.0-stopvifaster shutter speed, helping to prevent camera shake or blurry imageseven in a low-light condition or at telephoto zoom range.

Lightning-Fast AF Performance and Shooting Speeds

The new RX100 VI model features a Fast Hybrid AF system that ultimately allows the camera to lock focus in as little as 0.03 seconds. This innovative AF system combines the respective advantages of 315-point focal-plane phase-detection AF points that cover approximately 65% of the sensor and contrast-detection AF. This high speed focusing complements the versatile 24-200mm range of the lens, ensuring all subjects can be captured with precise detail and clarity.

Additionally, a first for the RX100 series of cameras, the RX100 VI includes Sony’s advanced High-density Tracking AF technology, which concentrates AF points around a subject to improve tracking and focus accuracy. The popular Eye AF technology is also available with approximately 2x the tracking performance of the current RX100 series model[ix]. Further, the camera has LCD touch focusing and touchpad focus point control for users that would like to drag their fingers to ideal focus points of their choice.

An ideal complement to the AF system, the RX100 VI offers continuous high-speed shooting at up to 24 fps with full AF/AE tracking, with an impressive buffer limit of up to 233 images. The display lag of the EVF has been substantially reduced compared to prior models, allowing shooters to capture the decisive moment with ultimate confidence. Also, for convenience during image playback, continuously shot images can be displayed in groups instead of individual shots.

The RX100 VI also has a high speed Anti-Distortion Shutter (maximum shutter speed of up to 1/32000 second) that reduces the “rolling shutter” effect commonly experienced with fast moving subjects, and can shoot completely silently in all modes, including continuous high speed shooting, when electronic shutter is engaged. A mechanical shutter mode is also available as well if required by the user.

Advanced Movie Capabilities Including 4K HDR

The pocket-friendly RX100 VI is packed with a variety of video capabilities that will satisfy even the most demanding video enthusiasts.

With Fast Hybrid AF, the focal-plane phase-detection AF points ensures accurate focusing and tracking performance, even for the severe focusing requirements of 4K movie shooting. AF drive speed and AF tracking sensitivity can also be adjusted via the menu system, giving shooters plenty of flexibility based on their focusing preferences.

In 4K mode, the new RX100 VI utilizes full pixel readout without pixel binning to ensure that all the finer details of 4K video are captured with minimal moire and ‘jaggies’.

For the first time in a Cyber-shot camera, the RX100 VI features 4K HDR compatibility thanks to its new HLG (Hybrid Log-Gamma) picture profile that offers an instant HDR workflow solution. Additional professional caliber video features include S-Log3/S-Gamut3, 120p Full HD mode, Picture Profile, proxy recording and more. The RX100 VI is also able to record super slow motion video at either 240fps, 480 fps or 960 fps.

Premium Design, Control and Convenience

The new RX100 VI is equipped with a high-contrast 2.35 million dot XGA OLED Tru-Finder™ with ZEISS®T* Coating, ensuring true-to-life image preview and playback functionality. The EVFitselfretracts in and out of the camera body based on user preference, and can be activated instantly by asingle One-push Access button.

A first for Sony’s RX series, RX100 VI has a touch shutter that can be activated by tapping the back LCD screen, a zoom lever with customizable zoom speeds and an LCD that can be rotated 180 degrees upward or 90 degrees downward for a variety of shooting angles for the creator. There is also aMonitor Auto OFF function that boosts max number of still images by up to 30%, and the camera is also Wi-Fi®, NFC™ and Bluetooth® compatible.

Pricing and Availability

The new Sony Cyber-shot RX100 VI compact camera will ship next month for about $ 1,200 US and $ 1,600 CA.

Sony Cyber-shot RX100 VI specifications

Price
MSRP $ 1200/£1150
Body type
Body type Compact
Body material Aluminum
Sensor
Max resolution 5472 x 3648
Other resolutions 3:2 (3888 x 2592, 2736 x 1824), 4:3 (4864 x 3648, 3648 x 2736, 2592 x 1944), 16:9 (5472 x 3080, 3648 x 2056, 2720 x 1528), 1:1 (3648 x 3648, 2544 x 2544, 1920 x 1920)
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 21 megapixels
Sensor size 1″ (13.2 x 8.8 mm)
Sensor type BSI-CMOS
Processor Bionz X
Color space sRGB, AdobeRGB
Color filter array Primary color filter
Image
ISO Auto, 125-12800
Boosted ISO (minimum) 80
Boosted ISO (maximum) 25600
White balance presets 9
Custom white balance Yes
Image stabilization Optical
CIPA image stabilization rating 4 stop(s)
Uncompressed format RAW
JPEG quality levels Extra fine, fine, standard
File format
  • JPEG (Exif v2.3, DCF v2.0)
  • Raw (Sony ARW v2.3)
Optics & Focus
Focal length (equiv.) 24–200 mm
Optical zoom 8.3×
Maximum aperture F2.8–4.5
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (3.8x)
Manual focus Yes
Normal focus range 8 cm (3.15)
Macro focus range 8 cm (3.15)
Number of focus points 315
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 1,228,800
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.59×
Viewfinder resolution 2,359,296
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/2000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes
  • Auto
  • Program Auto
  • Aperture Priority
  • Shutter Priority
  • Manual Exposure
Scene modes
  • Portrait
  • Sports Action
  • Macro
  • Landscape
  • Sunset
  • Night Scene
  • Handheld Twilight
  • Night Portrait
  • Anti Motion Blur
  • Pet Mode
  • Gourmet
  • Fireworks
  • High Sensitivity
Built-in flash Yes
Flash range 5.90 m (at Auto ISO)
External flash No
Drive modes
  • Single
  • Continuous
  • Self-timer (single, continuous)
  • Single/continuous bracketing
  • WB bracketing
  • DRO bracketing
Continuous drive 24.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±3 (at 1/3 EV steps)
AE Bracketing ±3 (3 frames )
WB Bracketing Yes
Videography features
Format MPEG-4, AVCHD, XAVC S
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 100p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 100p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 50p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 16 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 25p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 16 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 24p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 24p / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1280 x 720 @ 30p / 6 Mbps, MP4, H.264, AAC
  • 1280 x 720 @ 25p / 6 Mbps, MP4, H.264, AAC
Microphone Stereo
Speaker Mono
Storage
Storage types SD/ SDHC/SDXC, Memory Stick Pro Duo/ Pro-HG Duo
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI with uncompressed 4K/30p output)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n with NFC
Remote control Yes (wired or smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description NP-BX1 lithium-ion battery & USB charger
Battery Life (CIPA) 240
Weight (inc. batteries) 301 g (0.66 lb / 10.62 oz)
Dimensions 102 x 58 x 43 mm (4.02 x 2.28 x 1.69)
Other features
Orientation sensor Yes
Timelapse recording No
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Apple is quietly introducing new features, improved support for RAW photos in iOS 12

08 Jun

It wasn’t one of the standout details featured on stage at Apple’s Worldwide Developers Conference (WWDC) earlier this week, but improved RAW photo support is coming to the next version of Apple’s mobile operating system, iOS 12.

Apple doesn’t seem to have many details on what new features or functionality will be included in the final version of iOS 12, set to be released later this year. But with a little digging through the iOS 12 developers beta on a 12.9” iPad Pro, we’ve been able to discover a handful of improvements.

As of iOS 12 Beta 1, most of the changes appear to be related to the import workflow.

Now, when you plug in Apple’s SD card to Lightning adapter (or camera connection kit), the Photos app will show up as an overlay on whatever app you’re using. This comes as a much less invasive method than previously used in iOS 11, wherein whatever app you were in would be switched over to the full-screen Photos app for importing. It also means you can multitask more efficiently, importing photos while getting other stuff done.

As for the import module, at surface level it doesn’t appear as though much has changed. But thanks to a few UI changes, importing photos and videos has become a lot easier and has taken out a lot of the guesswork previously required.

Now, when photos are detected on a card, iOS 12 will automatically sort through the content and determine if any of the photos have already been imported. If they have, they will be put in a separate area so you don’t accidentally import duplicates. Another new feature is a counter on the top of the screen that lasts you know how many photos are being displayed and how much space they take up on the memory card. This should help alleviate the guesswork involved when trying to determine whether or not you have enough storage on your iOS device.

The importing progress bar can be seen in the upper-right-hand corner of the screen.

There’s also a new progress circle that appears when importing. If you tap it as photos are being imported, you’ll get a counter that shows how many photos have been importing out of the number you’ve selected.

One of the most welcomed new features we’ve come across is the ability to preview your photos full-screen. Before iOS 12, you could only see small thumbnails of photos when importing, which made it all but impossible to select a particular image in a sequence if there wasn’t much visual difference. Now, you can pinch out on a thumbnail and see a full-size preview.

The full-screen preview makes it easier to choose between similar images.

The last improvement we noticed was in importing speed. In testing, we noticed a rather drastic improvement in how fast photos transferred from an SD card to the iPad Pro. Based off 25MB RAW files, imported using Apple’s latest SD card to Lightning adapter, the transfer rate jumped from 1.2 seconds per photo on iOS 11 to approximately 0.8 seconds per photo on iOS 12 Beta 1. We’re not sure what particular magic is going on here, but that’s a 33% improvement.

As future iOS 12 betas are launched, it’s inevitable more features will be brought to light. If we come across anything else in the meantime, we’ll update this article accordingly. If you notice something we missed, be sure to let us know in the comments below.

Articles: Digital Photography Review (dpreview.com)

 
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Sony Cyber-shot RX100 VI sample gallery updated

08 Jun

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The Sony RX100 VI is only a few days old, but we’ve already been out shooting with it quite a bit. Sony’s RX100 series represents some of the most advanced technology we’ve ever seen in a compact camera, and the latest iteration makes an interesting shift to a longer lens range. Take a look at the latest images we’ve added to our existing sample gallery.

Articles: Digital Photography Review (dpreview.com)

 
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Manfrotto adds Befree Advanced Carbon, GT and Live Carbon models to travel tripod line

08 Jun

Manfrotto has updated its travel tripod range with three new tripod models: the Befree Advanced Carbon Fiber ($ 319.99 USD), Befree GT ($ 239.99 USD), and Befree Live Carbon Fiber ($ 349.99 USD). The first two models feature Manfrotto’s M-lock twist lock, which the company says improves both speed of use and compactness. The Befree Live Carbon Fiber, meanwhile, is designed for recording video using a DSLR or similarly sized cameras.

The Befree Advanced Carbon Fiber tripod, as the name suggests, is a version of the model that features carbon fiber, rather than aluminum, legs. This model feature the 494 Center Ball Head and weighs 1.2kg / 2.75lb.

The Befree GT model brings the Advanced’s ergonomic design and pairs it with the ability to fold down to 43cm / 17in while supporting up to 9.9kg / 22lb of equipment. The latter model is offered in both carbon fiber and aluminum and features the 496 Center Ball Head.

Finally, the Befree Live Carbon Fiber tripod is described as a video travel tripod with an ergonomic, lightweight design. This model weighs 1.3kg / 3lb and features the same carbon fiber legs used with the Befree Advanced Carbon. However, the Befree Live adds a leveling column and includes the Befree Live Fluid Head with a fluid drag system and knobs to independently lock/unlock pan and tilt.

Manfrotto is offering all three new travel tripod models through its website and authorized dealers. The Befree Live Carbon Fiber model will be available starting later this month.

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Parrot launches Anafi, a foldable 4K drone that shoots HDR video

07 Jun

Parrot, a French drone company known for its Bebop drones, has unveiled its latest consumer drone, the Anafi. Both on paper and in photos, this consumer-centric drone appears to be a direct competitor to DJI’s Mavic Air.

Its fold-out design is almost identical to the Mavic Air. It weighs just 0.7 pounds (320 grams) and folds up nice for slim packing in your bag. At the core of the drone is a 21-megapixel camera on a 180-degree tilt gimbal that shoots 4K HDR video at 30 fps or 1080p HDR video at 60 fps. For image stabilization, the Anafi features two-axis optical stabilization, while software compensates for the third axis.

The battery life of the Anafi is rated for 25 minutes, which seems par for course in the compact drone market. For comparison, the Mavic Air is also rated for a 25-minute fly time. Additional batteries, which are charged via USB-C, can be purchased for $ 99. The compact drone features a 2.5 mile range and has a top speed of 32 mph.

The Anafi comes with a physical controller alongside an all-new smartphone application to control the drone—FreeFlight 6. The updated app includes a slew of new shooting modes, including AI-based tracking, selfie capture, slow-mo capture, hyperlapse video and automated video modes for capturing landscapes. One downfall is your smartphone will need to be tethered via USB-A cable to the controller—apparently it’s needed to stream the full-quality video to your device.

The Anafi will retail for $ 699 and will be available starting on July 1st, although you can pre-order one now to secure your spot.. $ 700 is still a lot for a consumer drone, but compared to the $ 800 Mavic Air, it’s a slightly better value, if you don’t mind a few inconveniences.

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Sony Cyber-shot RX100 VI first impressions

07 Jun

The longer lens of RX100 VI was immediately apparent when it came to shooting portraits. Even for this fairly wide shot I used a longer focal length (84mm equiv) than the RX100 III, IV and V offered.

ISO 125 | 1/125 sec | F4 | 83mm equiv.

Unsurprisingly, perhaps, the first thing that really hit me when shooting with the RX100 VI was the lens range. Which is pretty impressive. While I’ve personally always been happy to forego a bit of lens length if it means keeping the lens fast, I’ll be the first to admit there are times when you feel the limits of that approach. The lens used on the RX100 III, IV and V was lovely and bright but its 70mm equiv. zoom isn’t very satisfying for head-and-shoulders portraits, for instance. The Mark VI has no such problems and made it easy for me to shoot a variety of ‘people’ pictures as I walked along New York’s Highline.

I found myself appreciating the extra reach almost immediately, but I suspect it’ll take longer to get a sense for how much has been lost

You don’t get something for nothing, of course. The RX100 VI’s maximum aperture ranges from F2.8 to 4.5. Impressively this means it’s brighter at the long end than the original RX100, despite offering twice the focal length in a similarly-sized body. However, you lose a stop and a third of brightness, compared with previous RX100s, at the wide end. I found myself appreciating the extra reach almost immediately, but I suspect it’ll take longer to get a sense for how much has been lost, especially in terms of low-light capability, when shooting wide.

This wouldn’t be the first time I’ve been left with mixed feelings about a camera in the RX100 series. Equally, though, it’s not the first time I’ve looked back at my images and found myself thinking ‘that’s really quite impressive for such a small camera.’

Touchscreen and controls

Despite the very different lens, another thing that very quickly made itself apparent was that this is still, for better or worse, an RX100. As such it takes great pictures but, broadly speaking, prefers to be used as a ($ 1200) point-and-shoot, rather than a camera that invites direct control.

The touchscreen relieves some of the pressure on the camera in that there’s now a quick and easy way to specify an autofocus point. There’s a slight lag after you touch the screen but it works pretty well. I also found that configuring the left-hand side of the screen to act as a touchpad, when shooting through the viewfinder worked pretty well for me. But, at least for people pics, I found myself not really wanting to specify an AF point at all. Instead, holding down the central button on the back of the camera engaged EyeAF, meaning I could leave the camera to focus on my subject’s eye while I worried about composition and blathering away about why I wanted to take their photo.

130mm equiv at F4.5 gives the same depth-of-field as shooting at F12 on full frame, but with the background far enough away, you can still draw attention to your subject.

ISO 125 | 1/320 sec | F4.5 | 130mm equiv.

As with other recent Sonys, the touchscreen is only really used for setting the focus point. The Fn and main menus still require you to navigate using the four-way controller. This of course means the RX100 series still hasn’t caught up with the near-immediate tap the screen, click the lens ring level of control offered by the likes of the Olympus XZ-2, even after nearly six years and as many iterations.

Responsiveness

The RX100 VI is responsive and fast-to-focus enough for spur-of-the-moment candid shots.

ISO 125 | 1/320 sec | F4.5 | 55mm equiv.

Aside from the touchscreen, the camera is very responsive, as you might expect from a a model that can shoot at 24 frames per second, while maintaining full autofocus. However, shoot a burst and you start to notice just how much data that entails. The RX100 VI has a UHS-I style card slot, so can’t take advantage of the faster write speeds of the latest cards, which can sometimes mean having to wait for the buffer countdown to end before being able to make the settings change you want.

Like recent Sony models, there’s still plenty you can do while the camera is writing to the card. Most crucially, you can keep shooting, so it’s not going to cause you to miss a shot. But I did find myself sometimes wanting to drop out of continuous drive mode, but being unable to because the camera was still saving the images from the previous burst.

The lack of built-in ND filter severely limits what would otherwise be impressive video specifications

I was slightly surprised by how much difference the new ‘one-touch’ viewfinder mechanism made. I’d never thought of the two stage: pop-up and pull action as being that onerous but eliminating the need to pull out the eye frame and, perhaps more importantly, the need to push it back in before pressing the finder back into the body, makes the whole process quicker. I found myself using the viewfinder more often as a result. Though I’m going to have to disengage the function that shuts the camera off when you close the viewfinder…

Clouds in a bright sky

Although I didn’t encounter it (as I’ve mainly been shooting stills so far), there’s another small change that is likely to make a significant difference to me, and anyone else who enjoys shooting video. The lack of built-in neutral density (ND) filter severely limits what would otherwise be impressive video specifications.

Without an ND filter, or any way to easily attach one, it’s difficult to maintain anywhere near the 1/50th or 1/60th of a second shutter speeds that filmmakers will typically aim for. It’s a problem I encountered recently when shooting with the Panasonic ZS200, meaning I simply couldn’t shoot video in bright light. The lens on the RX100 VI stops down a little further than that of the Panasonic, but at small apertures, diffraction negates the benefit of the RX100 VI’s detailed, oversampled 4K footage. It’s worth noting of course that if this is a limiting factor for you, the RX100 V (with its faster lens and built-in ND) is still a very capable video camera, and it remains available.

First impressions

There are times you don’t necessarily want to have to carry a full-sized camera around with you, though you do give something up in terms of direct control (don’t get me started on using a free-rotating control ring to set aperture).

ISO 125 | 1/320 sec | F4 | 54mm equiv.

Personally, I find 200mm equivalent is enough to cover most of the shooting I do. Except for very specific needs, I don’t find extending beyond that gives me much additional benefit. And my initial shooting rather confirms that for me. It was liberating to be able to shoot at 200mm equiv with a relatively large sensor camera with a reasonably bright aperture, yet then be able to stuff it into my jacket pocket.

But the thing that most struck me about the using RX100 VI was how often, when I showed my images to the strangers I’d just photographed, was how often I got a smile and a response along the lines of “that’s a really good camera.”

Sample gallery

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Sony Cyber-shot RX100 VI sample gallery

07 Jun

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The Sony Cyber-shot RX100 VI represents a slight departure from the models that preceded it, breaking the mold with a 24-200mm equiv. zoom. We’ve been shooting with the new camera in New York, and we’ve prepared an initial JPEG sample gallery to give you an idea of how well it performs.

Click the link above to check out our images, and and keep an eye on our homepage for updates as we continue shooting with the latest member of the RX100 family.

Learn more about the Sony Cyber-shot RX100 VI

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Canon unveils Canon EF 70-200mm F2.8L IS III USM for professional photographers

07 Jun

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Canon has taken the wraps off a new flagship telezoom, the Canon EF 70-200mm F2.8L IS III USM. A modest refresh of version II, the new lens features the same 23 elements in 19 group optical design and 3.5 stop image Stabilization system as its predecessor but adds Air Sphere Coating and fluorine coating on front and rear elements. Other coatings are reportedly ‘improved’.

The Canon EF 70-200mm F2.8L IS III USM will be available in August for $ 2,099.

Press Release

CANON UPDATES LINEUP OF EF L-SERIES TELEPHOTO ZOOM LENSES WITH THE INTRODUCTION OF EF 70-200MM F/4L IS II USM AND EF 70-200MM F/2.8L IS III USM

Next Generation of EF 70-200mm Lenses Features a Variety of Updates Including Enhanced Optical Image Stabilization in the f/4 and the Inclusion of Air Sphere Coating in the f/2.8

MELVILLE, N.Y., June 7, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced two new telephoto zoom lenses, the Canon EF 70-200mm f/4L IS II USM and Canon EF 70-200mm f/2.8L IS III USM. The new lenses serve advanced amateur and professional photographers in a variety of applications and solutions including wildlife, landscapes, portrait and sports photography. Canon EF 70-200mm focal-length lenses are a popular option for photographers in need of a long zoom range that maintains a relatively compact design. In addition, these updated lenses inherit the same overall build-quality and ruggedness photographers have come to expect from the Canon EF L-series line of lenses.

“At the core of image capturing, Canon believes the lens is just as important as the camera. A seamless relationship between the two allows photographers to produce emotion-evoking and timeless images,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is excited to offer photographers two distinct options in the 70-200mm focal-length, continuing to further expand our optics heritage.”

Canon EF 70-200mm f/4L IS II USM

The new Canon EF 70-200mm f/4L IS II USM features numerous updates over its predecessor, making it an ideal lens for advanced amateur photographers using Canon DSLR cameras such as the EOS 6D Mark II or EOS 80D. Most notably, Optical Image Stabilization is upgraded from three stops to five shutter speed stops of correction over the original f/4 lens. The improved IS allows photographers to more easily capture crisp, in-focus images without the use of a tripod. The new lens also features three IS modes, each uniquely designed and suitable for a variety of shooting situations, such as the capture of still subjects, panning or fast moving objects2. Furthermore, the IS operational noise has been reduced, which proves ideal for photographers shooting in a concert hall or on-stage shooting at the theatre.

Additional noteworthy features of the Canon EF 70-200mm f/4L IS II USM include:

  • One fluorite lens and two UD lenses helps to provide high-image quality
  • Minimum focusing distance shortened from 1.2m to 1m (3.9ft to 3.3ft)
  • Super Spectra Coating technology and optimized lens element placement helps minimize ghosting and flaring
  • Circular nine blade aperture producing a beautiful bokeh quality, ideal for portrait shooting
  • Lens features 20 lens elements in 15 groups
  • Fluorine coating on front and rear elements helps to reduce smears and fingerprints
  • Inner focusing system with Ring Ultrasonic Motor

Canon EF 70-200mm f/2.8L IS III USM

The new Canon EF 70-200mm f/2.8L IS III USM is an ideal lens for professional photographers who shoot with the Canon 1D and 5D series of DSLR cameras. The inclusion of Air Sphere Coating (ASC) technology helps to reduce flaring and ghosting, and suppresses the reflection of light.

Additional noteworthy features of the Canon 70-200mm f/2.8L IS III USM include:

  • Optical Image Stabilizer up to 3.5 shutter speed stops of correction
  • Fluorine coating on front and rear elements helps to reduce smears and fingerprints
  • Inner focusing system with Ring Ultrasonic Motor
  • One fluorite lens and five UD lenses helps to provide high-image quality
  • Minimum focusing distance of 1.2m (3.9ft)
  • Lens features 23 elements in 19 groups
  • Circular eight blade aperture

The Canon EF 70-200mm f/4L IS II is scheduled to begin shipping in late June 2018 with an estimated retail price of $ 1,299.00. The Canon 70-200mm f/2.8L IS III is scheduled to begin shipping in August 2018 for an estimated retail price of $ 2,099.00.

For additional information regarding the lenses improved performance over predecessors please visit, https://www.youtube.com/watch?v=OFTBw7-8gdk&feature=youtu.be.

Canon EF 70-200mm F2.8L IS III specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–200 mm
Image stabilization Yes
CIPA Image stabilization rating 3.5 stop(s)
Lens mount Canon EF
Aperture
Maximum aperture F2.8
Minimum aperture F32
Aperture ring No
Number of diaphragm blades 8
Optics
Elements 23
Groups 19
Special elements / coatings Five fluorite and five UD elements, ASC and fluorine coatings
Focus
Minimum focus 1.20 m (47.24)
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Focus distance limiter Yes
Physical
Weight 1440 g (3.17 lb)
Diameter 89 mm (3.5)
Length 199 mm (7.83)
Materials Magnesium alloy
Sealing Yes
Colour White
Zoom method Rotary (internal)
Power zoom No
Zoom lock Unknown
Filter thread 77 mm
Hood supplied Yes
Tripod collar Yes

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