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Canon is now selling CMOS image sensors, including a 120MP APS-H beast

23 May

It looks like Canon is getting into sensor sales. The three specialized CMOS sensors the company has been recently showing off—including a 120MP APS-H model and an ultra-low light sensor—have been listed for sale by special order through Canon, and through Phase 1 Technology Corp in the US. As far as we know, this is the first time Canon has publicly gotten into the semiconductor business.

That in and of itself is big news, despite the fact that these sensors are likely meant for security, machine vision and, say, astrophotography camera makers. There’s the 120MP APS-H sensor, which outputs images measuring 13280×9184 pixels; there’s a 2/3″ 5MP global shutter sensor that boasts “remarkably wide dynamic range”; and, finally, a 2.2MP full-frame unit with 19µm high-sensitivity pixels designed for extreme low-light shooting. All three are available in RGB and monochrome variations.

B2B sensor sales like this usually require you purchase more than one sensor, so at-home camera makers may not be able to get into the action, but we’ve contacted the company for a quote so we can share the price with you all the same. We’ll update this article if and when we hear back. In the meantime, you can find more information about all three sensors on the Phase 1 Technology Corp website.

Specifications

Canon 120 Megapixel CMOS Sensor

Available Variations:

  • 120MXSC: RGB
  • 120MXSM: Monochrome

Ultra-High Resolution CMOS Sensor

The 120MXS is an ultra-high resolution CMOS sensor with 13280 x 9184 effective pixels (approx. 60x the resolution of Full HD). It has a size equivalent to APS-H (29.22mm x 20.20mm), and a square pixel arrangement of 2.2µm x 2.2µm with 122 million effective pixels. Ultra-high-resolution is made possible by parallel signal processing, which reads signals at high speed from multiple pixels. All pixel progressive reading of 9.4 fps is made possible by 28 digital signal output channels. It is available in RGB or with twice the sensitivity, in monochrome.

Technical Information:

  • Sensor size: APS-H (29.22mm x 20.20mm)
  • Filter types:
    • 120MXSC: RGB
    • 120MXSM: Monochrome
  • Number of effective pixels: 13280h x 9184v, approx. 122MP
  • Pixel size: 2.2µm x 2.2µm
  • Progressive Scan
  • Rolling Shutter
  • 188pin ceramic PGA
  • Sensitivity:
    • 120MXSC (Green): 10,000e/lux/sec
    • 120MXSM: 20,000e/lux/sec
  • Saturation: 10,000e @ gain0.5x
  • Output Channels: Data 28 lanes, Clock 14 lanes
  • Dark Random Noise: 2.3e rms @ gain x8, Room Temp.
  • Dark Current: 8.1e/sec @ gain x8, 60°C
  • Number of output channels: Data 28 lanes, Clock 14 lanes
  • Main clock frequency: 45MHz (Recommended)
  • Output format: 720Mbps in LVDS output 9.4fps @ 10 bit
  • Built in column amplifier (Pre-amplifier gain mode: x0.5, x1, x2, x4, x8)
  • Serial communication
  • All pixel progressive scan reading function, Region of Interest (ROI) reading function (Vertically)
  • Vertically intermittent reading function (1/1, 1/2, 1/3, 1/5, 1/7, 1/15)
  • Power consumption: 2.5W (under recommended operating conditions)
  • Power supply voltage: 1.7 V, 3.5 V
  • Package size: 55.0mm x 47.8mm x 4.49mm

Canon 5 Megapixel Global Shutter CMOS Sensor

Available Variations:

  • 3U5MGXSC: RGB on-chip color filter
  • 3U5MGXSM: Monochrome

Global Shutter CMOS Image Sensor

The 3U5MGXS global shutter image sensor employs a new pixel design introducing new drive readout and light guiding technologies significantly expanding the full well capacity, reducing noise, and contributing to remarkably wide dynamic range with a power consumption of 500mW. Equipped with a global shutter and all pixel progressive reading at 120fps, the 2/3″ sensor size, and pixel size of 3.4µm with 5.33 million effective pixels (2592 x 2056) easily allow for applications in machine vision and other industrial environments where smaller size and high performance are required. It is available in RGB and Monochrome.

Technical Information:

  • Sensor size: Approx. 2/3 inch (8.8mm x 7.0mm)
  • Number of effective pixels: 2592h x 2056v, approx. 5.3M
  • Filter types:
    • 3U5MGXSC: RGB on-chip color filter
    • 3U5MGXSM: Monochrome
  • Pixel size: 3.4µm x 3.4µm
  • Maximum Frame Rate: 120fps
  • Global electronic shutter function
  • Progressive scan
  • Main clock frequency: 36MHz (Recommended)
  • Sensitivity:
    • 3U5MGXSC (Green): 30,000 e/lx/sec @Analog gain x1(TBD)
    • 3U5MGXSM: TBD
  • Saturation: 14,000e gain x1 (10 bit 60 fps) (TBD)
  • Output Channels Data: 12 lanes, Clock 2 Lanes
  • Output from LVDS: Maximum output of 864Mbps
  • Analog gain: 0 to 36dB
  • Digital Gain: 0 to 24dB
  • Dark Random Noise: 2.6e rms @ Analog gain x4(TBD)
  • Dark Current: 1.3 e/sec @Analog gain x4, Room Temp
  • Maximum Dynamic Range: 74dB (TBD)
  • Function: ROI function (8 region) Inverted output function (horizontal and vertical)
  • 180pin ceramic LGA
  • Power consumption (Typ): 500mW (full pixel scan at 60 fps)
  • Power supply voltage: 3.3V, 1.2V
  • Package size: 19.0mm x 18.1mm x 2.5mm
  • Exposure control by external trigger

Canon 19µm Full HD CMOS Sensor

Available Variations:

  • 35MMFHDXSC: RGB
  • 35MMFHDXSM: Monochrome

Full HD, High-Sensitivity, Low-Noise Imaging

The 35MMFHDXS CMOS sensor delivers highsensitivity, low-noise imaging performance, even in exceptionally low-light environments. The sensor’s pixels and readout circuitry employ new technologies that reduce noise, which tends to increase as pixel size increases. High sensitivity and increased well depth have been achieved through a larger pixel size of 19µm x 19µm (square) with proprietary device design technologies. The 35MMFHDXS CMOS sensor is available in RGB or Monochrome.

Technical Information:

  • Sensor size: 35mm film size (36.48mm x 20.52mm)
  • Number of effective pixels: 2000h x 1128v, Approx. 2.2MP
  • Filter types:
    • 35MMFHDXSC: RGB
    • 35MMFHDXSM: Monochrome
  • Pixel size: 19µm x 19µm
  • Progressive scan
  • Rolling shutter
  • Serial communication
  • 180pin ceramic PGA
  • Sensitivity:
    • 35MMFHDXSC (Green): 1,100,000e/lx/sec @gain x1
    • 35MMFHDXSM: 2,100,000e/lx/sec @gain x1
  • Saturation: 61,000e @gain x1
  • Dark RN: 2.2e rms @gain x16, around 35°C
  • Dark Current: 250e/sec @gain x16, 60°C
  • Simultaneous reading of vertical 4 lines
  • Drive frequency: 16ch x 18MHz (Recommended)
  • Output format: Source follower output (Analog)
  • Built in column amplifiers: (Basic pre-amplifier gain: x1, x4, x16)
  • Power consumption: 2.2W (At 60 fps under recommended operating conditions)
  • Power supply voltage: 5V, 3.3V, others
  • Package size: 60.9mm x 44.6mm x 3.57mm

Articles: Digital Photography Review (dpreview.com)

 
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Kodak Daylight Single Use disposable camera launched in Europe

22 May

Kodak Alaris has launched a new single-use disposable camera in Europe. Called the Kodak Daylight Single Use Camera, this 800 ISO film camera can be used in low and high outdoor lighting conditions, according to the company, which bills it as an item ideal for parties, weddings, and similar events.

The Kodak Daylight Single Use Camera has a one meter to infinity focal length and 39 total exposures; however, it’s worth noting that this camera does not have a flash. The company announced the camera for the European market, and it appears to be available now from Amazon UK for £7.79. It’s unclear whether the company will launch the Daylight Single Use model in other markets.

Articles: Digital Photography Review (dpreview.com)

 
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Why Nikon and Canon should build mirrorless as a second system – but probably won’t

22 May

All rumors suggest that Canon and/or Nikon is going to get into the high-end mirrorless interchangeable lens camera market, in some way.

I don’t have any insider knowledge of this, or I wouldn’t be able to write this, but it looks pretty likely at this point. It also seems pretty likely to me that both brands will do everything to maintain compatibility with their existing lens mounts. Avoiding the need to design a whole new lens range, maximizing the value of the investment in the existing lineup and side-stepping the kind of anger that Canon generated when it abandoned its previous ‘FD’ mount (all the way back in 1987) are all major motivators.

Let’s imagine what would happen if they decided to make a system that sat alongside their existing DSLRs, rather than heralding their obsolescence

Planning for a future, F-mount compatible mirrorless camera might explain why all of Nikon’s recent lenses have finally abandoned mechanical aperture control from the lens mount, since it means they could be fully controlled by an adapter with electronic mounts.

So what’s the alternative? Let’s imagine they didn’t tie themselves to their existing lens mounts. In fact, let’s imagine what would happen if they decided to make a system that sat alongside their existing DSLRs, rather than heralding their eventual obsolescence.

What if they decided to make a system designed to be companion camera? A system that offers something your DSLR doesn’t do, rather than trying to mimic what it already does?

A small camera, designed for enthusiasts and pros to be used alongside a DSLR or in circumstances where you don’t want to lug a DSLR around. A street shooter’s camera, a carry-everywhere photographer’s camera. Let’s think about the potential benefits.

Canon’s EOS M range has drifted towards the kind of camera I’m talking about, but doesn’t have the lens range to match.

It’s not necessarily true that mirrorless promised to be smaller but, not least because it started with Four Thirds and APS-C sensors, that was one of the differentiators when MILCs first appeared. Yet the expectation that a mirrorless camera must replace a DSLR has resulted in an unfortunate convergence.

Demands (including from us) for more battery life, along with the need to handle and act as a like-for-like DSLR replacement has led to mirrorless cameras getting progressively larger. This has helped create a generation of cameras that are nearly as big as their DSLR rivals. And, with the exception of better video implementation and the mixed blessings of electronic viewfinders, little else to set them apart.

So what do you propose?

Essentially, I’m asking for a full frame, interchangeable lens Fujifilm X100. Ok, that might not sound much like an X100, but the common thread is of something relatively small, that by design, doesn’t try to do everything. A camera that will sit happily alongside your existing camera (mirrored or not).

You can cover a lot of styles of photography with a couple of short-ish prime lenses. After all, it works for Leica

As with everything photographic, it quickly comes down to a question of lenses. This is the key element to it not being a DSLR rival: don’t try to build a full lineup of lenses. I’d propose a camera with a limited number of lenses, starting with a 24mm, a 35mm a 50mm and a 90. And nothing longer than that.

This is because the size benefits that come from removing the mirror from between the sensor and the mount can only be realized with short focal lengths. Stick mainly to the shorter focal lengths and you can keep the camera and lenses smaller.

The lineup should be designed with the expectation that most people will only buy the one or two lenses that suit them. You can cover a lot of styles of photography with a couple of short-ish prime lenses. After all, it works for Leica.

Taking the long view

For me, telephoto lenses ruin mirrorless cameras. There, I’ve said it.

Telephoto lenses for mirrorless are just as long as their DSLR counterparts, so there’s no size benefit to throwing away your mirror. Worse still, these long, heavy lenses demand that mirrorless cameras develop the bulky, bulbous grips that SLRs have evolved since the 1990s.

Creating a limited, dedicated set of lenses relieves a lot of pressure. It means you don’t need to build an extensive, open-ended lens range from scratch. No tele zooms, no mid-price 24-70s. Hell, no zooms at all if you don’t want to. This is something every mirrorless maker has struggled to do, both in terms of the time it takes to flesh-out a new lineup but also because mistakes get made in any learning process. Every mirrorless system has at least one lens that either isn’t as optically good as you’d expect or that focuses much more slowly than you’d want.

For me, telephoto lenses ruin mirrorless cameras. There, I’ve said it

However, building a lineup of any size is better than building a camera with a full-depth DSLR lens mount in the name of backwards compatibility, since this condemns its users to carrying an empty mirror box around with them for eternity. And that’s a punishment with a level of pointlessness right out of Greek mythology.

Just produce a handful of great, dedicated primes that take full advantage of the new system without any compromises that come from maintaining compatibility with DSLRs. That way you don’t have to split your R&D resources trying to keep two full lineups up-to-date.

This also has the advantage that you can sell your camera to photographers with commitments to other systems, because you’re not forcing them to choose. But it still gives your existing, faithful users the benefits of full compatibility with your flash systems and other accessories, along with familiarity with your menus.

A small, self-contained system solely aimed at a subset of photographers, rather than trying to be all things to all men. A camera that complements, rather than competing with the existing lineup.

As I say, it’ll never happen. But it’d be nice, wouldn’t it?

As well as the desire to mesh with the existing lens lineups, the other reason we won’t see the camera I describe is because Fujifilm has already effectively invented it

Articles: Digital Photography Review (dpreview.com)

 
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New 6-bay NAS from Synology offers 72TB of storage

22 May

Synology has added a new 6-bay NAS to its DiskStation+ series, and it’s aimed squarely at photographers and medium sized businesses. The DS1618+ can handle up to six 12TB drives, giving it a total capacity of 72TB and up to 60TB of storage when using a RAID 5 configuration.

The new NAS uses the Intel Atom C3538 Quad-core 2.1 GHz processor and comes with 4GB of DDR4 system memory—which can be expanded to 32GB via two 16GB ECC SO-DIMMs. As with other NAS models in the DS+ range, the DS1618+ is compatible with the DX517 expansion unit that allows users to add capacity and extra bays just by plugging it in. The new model can connect with two of these 5-bay units to take the total number of drive slots to 16 and the total capacity to 192TB.

Like the DS1517+, the DS1618+ offers users the chance to increase the size of the cache via a M2D17 PCle adapter card that takes Dual M.2 SSD, or to increase read/write speeds by installing a network interface card with up to two 10GbE ports. The DS1618+ also uses Synology’s Btrfs file system that can provide detection and self-healing of corrupt files and errors, as well as multiple snapshot options with customizable backup schedules.

The Synology DS1618+ is available now for $ 800. For more information, visit the Synology website.

Press Release

Synology® Introduces DiskStation DS1618+

High-performance, scalable all-in-one storage solution designed for power users and SMB’s

Synology® Inc. today launched DiskStation DS1618+, a 6-bay NAS featuring the Intel Atom® C3538. For tech enthusiasts and small to medium sized businesses, DS1618+ is the perfect all-in-one solution for file serving, application hosting, data backup, and real-time collaboration — all aided by its exceptional performance.

DS1618+ is powered by a quad-core Intel Atom® processor C3538 and 4GB DDR4 non-ECC SODIMM, expandable up to 32 GB in ECC SODIMMs. The storage capacity can be upgraded to 192TB when connected to two DX517 expansion units, providing fast-growing companies a data storage solution that scales with their business.

“Modern-day companies compete based on the speed at which they generate, process, and use data to drive innovations,” said Derren Lu, CEO at Synology. “By integrating Intel technology, we are putting a compact powerhouse in every SMB. It will allow them to take advantage of that untapped throughput to give their companies that extra edge.”

With Synology’s M2D17 PCIe adapter card, DS1618+ can house dual M.2 SATA SSD, taking advantage of the SSD cache to boost maximum throughput and reduce the I/O latency. By alternatively installing a network interface card via the PCIe slot, DS1618+ supports up to two 10GbE ports to reach a maximum throughput of 1,551 MBps reading and 586 MBps writing.

“Small to medium sized businesses need powerful, secure and scalable storage solutions to efficiently manage their growing levels of digital content,” said Dan Artusi, Vice President and General Manager of Intel’s Connected Home Division. “Through our collaboration with Synology, their new DiskStation NAS products based on the Intel Atom® processor C series have the performance and configurable high-speed I/O to help businesses quickly store and manage their most critical data.”

DS1618+ runs on DiskStation Manager, the advanced and intuitive operating system for Synology NAS devices, with quality applications offered to enhance data security and work efficiency. Synology has received numerous media accolades, topping the mid-range NAS category in TechTarget’s storage solution survey and winning PC Mag Readers’ Choice seven years in a row.

For more information on DS1618+, please visit https://www.synology.com/products/DS1618+

Articles: Digital Photography Review (dpreview.com)

 
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Video: Astronaut forgets to insert SD card into GoPro before spacewalk

22 May

An unnamed NASA astronaut stationed on the International Space Station recently ran into an issue during a spacewalk: he forgot to check whether his GoPro camera had an SD card installed before embarking on a spacewalk. We’ve all been there, right?

The astronaut, who may have been Andrew Feustel, was featured in a spacewalk livestream on NASA’s Twitch account last Wednesday. During the livestream, viewers were treated to a brief conversation that started with the astronaut asking, “Hey, Houston, I gotta ask a question about the GoPro real quick.” The astronaut explains that he sees a “No SD” warning on the GoPro’s display when pushing a button.

“Do I need that to record?” he asks, referring to the SD card. “And if it’s recording, is there supposed to be a red light on?”

After a long moment of silence, Houston clarifies that the red light should appear while recording if the SD card is inserted, and that the “No SD” message likely meant the camera didn’t have a media card installed. The astronaut ultimately abandoned his plans to use the camera during the spacewalk.

Clarification about the SD card’s whereabouts was not provided, but if we had to guess, it’s probably floating (in this case literally) around in the bottom of Feustel’s camera bag alongside a half-eaten protein bar and a few extra lens cleaning cloths.

Articles: Digital Photography Review (dpreview.com)

 
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RED’s Hydrogen One phone with holographic display is coming to AT&T and Verizon

22 May

Although no exact release date or pricing has been announced yet, it seems the RED Hydrogen One modular smartphone with its holographic display will be available to the masses before long. According to an announcement last week, the phone will be available through two of the United State’s largest mobile carriers, Verizon and AT&T, sometime this summer.

The device was first launched in July 2017, with preorders starting at $ 1,200, but delivery was recently pushed back to August of this year. According to RED founder Jim Jannard, the company needed some extra time to receive carrier certification. Looking at the latest announcement, this process appears to have gone well.

The Hydrogen One’s key selling point is a 5.7-inch lightfield holographic display for mobile gadgets, which uses Nano-Photonic technology and RED’s 4-View video format to create a 3D effect without the need for glasses. The display is made by Leia Inc., in which RED is an investor.

The phone will also come with a pin-based expansion system which will allow for attaching a range of hardware modules, similar to Motorola’s Moto Mods, but probably more high-end video focused given the brand we’re dealing with.

The Verge got to take the phone for a spin during a media event in LA this past weekend, and while they couldn’t show you the screen (because the holographic effect apparently doesn’t show up well on video) they did have some thoughts about the entire Hydrogen One experience:

Given the Verizon/AT&T announcement, it now seems certain the Hydrogen One has made the transition from concept to production device. And while we have no doubt the new tech will be impressive, it’ll be interesting to see if the device can compete with the established brands in the smartphone sector.

Articles: Digital Photography Review (dpreview.com)

 
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Behind the scenes: Shooting a documentary atop a moving train

22 May

From 2015 to 2017, filmmaker Miguel de Olaso (AKA Macgregor) and his crew spend many months traveling back and forth on the famed Mauritanian Railway—one of the longest and heaviest trains in the world, the so-called ‘Backbone of the Sahara—to document the grueling journey endured by merchants who regularly travel atop this train to transport goods to people living in remote Saharan towns.

The result is a beautifully-executed 12-minute documentary titled The Mauritania Railway: Backbone of the Sahara, which follows the journey of Malick: a 27 year-old merchant who relies on the train for his livelihood, even as he risks death each time he climbs aboard.

The short doc was shot entirely on a Sony F35 that was modified to take Nikon lenses (for reasons you’ll understand in a moment), and filming the documentary was a grueling process. We spoke with Macgregor shortly before the documentary was released last week, and he shared some details about the kit he used, the challenges he faced, and why he would never ever do this again.

The Mauritania Railway

by Macgregor

My crew and I put ourselves in the shoes of one of these merchants (over a two year period) and filmed the journey they go through on a daily basis. The result is a cinematic and immersive glimpse into a way of life that exists nowhere else in the world.

I shot the entire documentary on a Sony F35, Not sure how much you know about this “old” digital cinema cameras. The F35 was the successor of the Panavision Genesis, which was a big, heavy beast. But after the arrival of the solid state recorders a few years ago, the F35 became pretty compact and lightweight given the image quality it provided. Still not a DSLR in terms of size, but comparable to an Alexa for a fraction of the cost and size.

Anyways, even though I owned a set of PL mount lenses, I didn’t want to get them ruined in the desert sands of Mauritania so I decided to modify my Sony F35 with a custom built Nikon mount. That would let me travel lighter and use way cheaper glass than PL, but still capture a super high-quality image. We needed to travel with all our gear for more than a month and be able to move fast. Would a DSLR or Canon C300 had been a better choice? Possibly, but this project had to look amazing and I did not want to compromise on image quality. This had to look like a feature, shot on real locations and with real people.

Of course not all the lenses made it back home, but the camera did and it’s still working to this day.

This was a passion project that we did for the fun of it. But shooting atop of this damn train was horrible, dusty, endless, painful… I wouldn’t recommend it to anyone. It might all look very pretty with nice music, etc. but oh man, after three trips I said I’m not doing this again. Of course, we did end up going back and shooting more footage… #filmmakerlife

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Check out the full short doc at the top to see the final product, and then scroll through the behind the scenes photos above for a glimpse at what it takes to create this kind of documentary. And if you want to see more of Macgregor’s work, be sure to pay his website a visit or give him a follow on Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram now lets you share other people’s photos in your Stories

21 May

Another day, another new Instagram feature. Now the makers of the popular mobile image sharing platform have announced a new way to share posts from people you are following to one of your Instagram Stories—if you see a post in your feed that you consider share-worthy, you can now share it as a sticker in a Story where your friends and followers will be able to see it.

The process is easy. You simply have to tap on the paper airplane button below the post. You’ll then get a button that allows you to create a Story. If you tap this button you will see the post you want to share as a sticker with customized background. As usual, this sticker can be moved around, scaled and rotated. If you tap on it again you can pick different style options.

The viewers of your Story will see the original poster’s username and can click through to the original post and see the creators other posts. Also, you can only share posts from public accounts and, if you want to prevent your own posts from being shared in stories, you can do so by opting out in the settings.

The new and expanded sharing function takes Instagram one step closer to its parent platform Facebook, increasing the potential for Instagram content to go “viral” inside its own platform. The feature is already available in the Instagram Android app and will be migrated to iOS in the coming days.

Articles: Digital Photography Review (dpreview.com)

 
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Updated: Tamron 70-210mm F4 sample gallery

21 May

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Tamron’s 70-210mm F4 Di VC USD is a lightweight, weather-sealed and cost-effective alternative to first-party constant aperture zooms. It’s also likely to be used for everything from portraits to action, and we figured we should test out its autofocus chops by aiming it at some muddy motorcycles tearing around a track.

Check out how Tamron’s DSLR telezoom does with these fast-moving machines in our updated sample gallery.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Waterproof camera shootout 2018

20 May

This week on DPReview TV, Chris and Jordan prepare for the summer holiday season by putting several popular waterproof cameras to the test, including the Olympus TG-5, Nikon W300, and Fujifilm XP130. They also take an early look at the brand new Panasonic TS7 (FT7).

If you’re considering a rugged camera for the beach or pool this summer, or if you just want to see what a Chris and Jordan fishing show might look like, tune in.

For more information about some of these cameras read Carey Rose’s take on the Olympus TG-5, as well as Jose Francisco Salgado’s travelogue of the Olympus TG-5 and Nikon W300 in Puerto Rico.

Carey Rose’s take on the Olympus TG-5

The Olympus TG-5 and Nikon W300 go to Puerto Rico

Finally, make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

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Olympus TG-5 sample gallery

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Nikon W300 in Puerto Rico sample gallery

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Olympus TG-5 in Puerto Rico sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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