360Photography

Category: Uncategorized

  • Google Pixel XL camera review

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1207849172″,”galleryId”:”1207849172″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    For its latest smartphone generation, Google has dropped the Nexus moniker of previous models and used Pixel branding borrowed from the company’s top-end Chromebooks and tablets. The Pixel XL is the larger of two models and comes with a 5.5″ QHD-screen that uses AMOLED technology. 

    In terms of technical camera specifications, not much has changed compared to last year’s Nexus devices. A 1/2.3″ 12MP sensor is paired with an F2.0 aperture but offers no optical image stabilization. However, Google has flexed its muscles on the software side of things and added a new gyroscope-based video stabilization system that reads gyro data 200 times per second for smoother panning and shake-free handheld video recording.

    Additionally, thanks to more powerful processing and zero shutter lag the excellent HDR+ mode is now on by default, using an image stacking approach to reduce noise, capture better detail and increase dynamic range. While the Pixel XL’s camera hardware looks promising, it is these innovative algorithms that make the Google device one of the most interesting smartphones for photography released this year. 

    Key Photographic / Video Specifications

    • 1/2.3” 12MP CMOS sensor with 1.55µm pixels
    • F2.0 aperture
    • AF with on-sensor phase detection and laser-assistance
    • Dual-tone LED flash
    • 4K video at 30 fps
    • 1080p slow-motion at 120fps, 720p at 240fps
    • Manual controls and Raw-support with third-party camera apps
    • Gyroscope-based video stabilization
    • 8MP front camera, 1/3.2″ sensor, 1.4 µm pixels, F2.4, 1080p video
    • Unlimited cloud storage for full-resolution images and videos

    Other Specifications

    • 5.5-inch Quad-HD AMOLED screen
    • Qualcomm Snapdragon 821 chipset
    • 4GB RAM
    • 32/128GB storage
    • 3,450mAh battery
    • Splash and dust resistant
    • Fingerprint reader

    DPReview smartphone reviews are written with the needs of photographers in mind. We focus on camera features, performance, and image quality.

    Articles: Digital Photography Review (dpreview.com)

  • Modern Mirrorless: Canon EOS M5 Review

    Introduction

    The Canon EOS M5 is the most enthusiast-friendly EOS M yet. It’s a 24MP mirrorless camera built around a Dual Pixel APS-C sensor, giving it depth-aware focus across most of the frame. On top of this it adds a built-in electronic viewfinder, a good number of external controls (including twin control dials) and a well implemented touchscreen.

    This level of direct control puts it comfortably ahead of Sony’s a6000 and a6300, and more on par with Panasonic’s GX85 (GX80 in some markets) and GX8 enthusiast models. All of these cameras aim to offer stills and video capabilities in relatively small bodies but with a reasonable level of direct external control.

    Key Specifications

    • 24MP Dual Pixel APS-C CMOS Sensor
    • 2.36M-dot OLED electronic viewfinder
    • 1.62M-dot tilting rear touchscreen
    • Electronic video stabilization combines with in-lens IS to give 5-axis IS
    • 7 fps continuous shooting (9 fps with focus and exposure locked)
    • Wi-Fi with always-connected Bluetooth

    The Canon EOS M5 is a very approachable camera, despite all those buttons and dials. In fact, it’s the implementation of this touchscreen that, in general, we’re most impressed with. Much like the system developed by Panasonic, the M5 not only lets you use the rear touchscreen to position focus, it also allows its use as a touchpad to move the focus point when you’re shooting through the viewfinder. This, combined with decisive autofocus, has proven to be significant for both stills and video shooting. 

    The camera has four dials in total: two main dials on the top of the camera, a dedicated exposure compensation dial and a fourth dial encircling the four-way controller on the back of the camera. This is a much higher level of direct control than offered on the simpler EOS M-series models offered previously, suggesting Canon expects the user to take more hands-on control of the shooting experience.

    Three of the four control dials on the M5 are on the top plate, giving users easy access to exposure parameters.

    While the lack of 4K video capability is a disappointment, the ability to use the touchscreen to re-position the focus point with a high level of confidence that the camera will smoothly glide the focus to the right point is highly desirable.

    The touchscreen-plus-Dual-Pixel-AF combination is also useful for stills shooting – you can not only use the touchscreen to drag the focus point around the screen but also use it to select between available faces if shooting or recording in face detection mode.

    The other significant benefit of the M5 finally receiving Canon’s Dual Pixel AF system is that it is now able to focus adapted EF and EF-S lenses very effectively – overall performance isn’t quite the same as an 80D in Live View mode, but it’s leaps and bounds ahead of any previous M camera. You’re also no longer limited to the small central focus area offered when using comparable Rebel / EOS x-hundredD DSLR models, and focusing is almost DSLR-quick and decisive.

    Compared with its peers

    The enthusiast photographer has a good number of choices when looking for a reasonably sized mirrorless camera with a good degree of direct controls. Sony offers the a6000 and a6300 (the higher-specced a6500 comes in at a significant premium over the EOS M5), depending on how much you need 4K video and how demanding your AF needs are. Meanwhile, Panasonic offers both the GX85 and GX8, with the more expensive model offering higher resolution and a better viewfinder. Olympus’s E-M5 Mark II offers a broadly similar feature set and form factor. All of these models are extremely capable, with ease-of-use being the Canon’s most obvious response to their broadly higher video specifications.

      Canon EOS M5 Sony a6300 Panasonic GX8
    MSRP $ 1099 with 15-45mm lens $ 1149 with 16-50mm lens $ 1199 body only
    Pixel count 24MP 24MP 20MP
    Focus method ‘Dual Pixel’ on-sensor PDAF On-sensor PDAF Contrast detection*
    EVF 2.36M dots 2.36M dots 2.36M dots
     Dials Two on top plate
    Exposure Comp
    Four-way/dial    		 Top plate
    Four-way/dial    		 Two on top plate
    Exposure Comp
    Continuous shooting 9 fps
    (7 with live view and C-AF)    		 11 fps
    (8 with live view)    		 8 fps
    (5.5 with live view)
    Video specifications 1080/60p 4K/30p
    1080/120p    		 4K/30p
    1080/60p
    Peaking/Zebra Yes/No Yes/Yes  Yes/Yes
    Touch focus in video Yes No  Yes
    Battery life
    Screen/EVF    		 295/295 shots 400/350 shots 330/310 shots

    * When using Panasonic-branded lenses the GX8 adds distance prediction based on the out-of-focus characteristics of the lens (A system the company calls ‘Depth From Defocus’).

    So, is the EOS M5 the mirrorless tour de force we’ve been expecting from Canon? It’s no secret that we found it to be an incredibly promising camera, even if it is a bit late to the party. To find out just how compelling an option the M5 is, let’s press on.

    Articles: Digital Photography Review (dpreview.com)

  • This image is why the world needs professional photographers

    A gunman assassinated Russia’s ambassador to Turkey yesterday at the opening of a photography exhibit in Ankara. Associated Press photographer, Burhan Ozbilici was covering the event and witnessed the assassination first hand, which occurred while the ambassador was addressing the room of attendees.

    In the face of an active gunman meters away, Ozbilici kept on making pictures. And because of his bravery, the world can witness and better contextualize this horrific event. But before you go on calling Ozbilici a hero for being brave, consider for a moment that he did exactly what he is trained to do. He did what any good photojournalist should have done. 

    In an interview with the Los Angeles Times today, Ozbilici had this to say about the incident:

    “I was, of course, fearful and knew of the danger if the gunman turned toward me. But I advanced a little and photographed the man as he hectored his desperate, captive audience,” Ozbilici tells the LA newspaper. “I was thinking: ‘I’m here. Even if I get hit and injured, or killed, I’m a journalist. I have to do my work. I could run away without making any photos… But I wouldn’t have a proper answer if people later ask me: ‘Why didn’t you take pictures?’”

    It’s a stark reminder that the world needs well-trained photojournalist now more than ever. Unfortunately the trend in the newsroom, both in the United States and World-wide has been a constant cycle of slashing staff photography positions. 

    There are a lot of reasons why photojournalism jobs are disappearing, the decline of print/classified ads is surely one, but the increase in smartphone image quality is another. Smartphones have come a long way and for many media companies, a multi-talented journalist who can shoot some photos and video with their iPhone is often considered good enough.

    So what if instead of a proper photojournalist, the Associated Press has sent just a reporter with a smartphone to cover the event? After all, it’s just a gallery opening right? A quick snap of the ambassador behind the podium and a few shots of the gallery walls to accompany the text should do the trick. 

    The point is, there really is no substitute for a professional photojournalist with years of training and field time. In an era when news is increasingly catered toward one’s specific taste, the facts can be elusive. But a good photojournalist can get us closer to the truth. It’s their job.

    Articles: Digital Photography Review (dpreview.com)

  • GoPro HERO cameras undergo torture test: a dip in liquid nitrogen

    Industrious YouTube user Grant Thompson recently subjected the GoPro HERO5 Session and HERO5 Black cameras to a chilly torture test: dunks in liquid nitrogen. He first tested the experiment with an older Session camera, hoping to avoid the destruction of two perfectly good new cameras if death proved swift. However, the older Session held up surprisingly well, and so he put the two new cameras to the test, literally freezing them solid. See the results in the video above.

    Via: PetaPixel

    Articles: Digital Photography Review (dpreview.com)

  • Rangefinder magazine announces 30 rising stars of wedding photography for 2016

    30 Rising Stars of Wedding Photography

    Rangefinder magazine has announced selections for its fifth annual 30 Rising Stars of Wedding Photography for 2016, based on submissions by photographers from over 200 countries. Rangefinder is the official publication of the annual Wedding and Portrait Photographers International (WPPI) conference, and honorees will be featured in the December issue of Rangefinder, as well as on display at the WPPI Conference+Expo from Feb. 5-9 in Las Vegas, Nevada. 

    We’ve highlighted a few of our favorite photos from this year’s selections, and you can find a complete online gallery here.

    Above: Lato Photography/Laura&Tommy (Italy) “One of our favorite weddings of the last season. We were dealing with very difficult and shiny light, and we had to get the best from that situation so we captured this moment using a 45mm tilt-shift lens to create a softer background. The strength of this image comes from their hand positions creating a harmonious line, the delicate colors of their clothing matching with the background and, of course, the bride’s look.”

    Lukas Piatek (Germany)

    “During a wedding day, I often try to take photos of small children. They are not disturbed by the camera at all and just do whatever they would do if I was not around. This little boy was basically running around the dance floor the entire evening, and at one point, I literally waited for him to do something special. I did not expect, however, that he would jump so perfectly, raising his arms in the air, looking into the light and being perfectly centered and framed on the dance floor. The shot was made two years ago and it was my favorite photo from that year.”

    Jacob Loafman (USA)

    “So, this couple’s ceremony and reception were held at their church. However, their church had recently built a brand new building, but they informed me they still had access to the old church. They wanted to know if I would like to do the main wedding party and bride/groom portraits there. I excitedly agreed and we headed that way. As soon as we walked in, I almost fell over from how amazing the building was inside. It was vacant. Completely vacant. This vacant space still featured the remnants of where the previously used cross hung on the wall. It was just beautiful.”

    “I noticed there was still access to the balcony and wanted to do a full wedding party portrait from up there. My idea was to just have them arrange themselves randomly. I provided very little direction, as that’s what I wanted. My desire was to create a group portrait that felt more like an album cover, where the entire group was the focal point, but the vacancy and tattered old floors added an element of interest to the shot. After I released the shutter button a few times, I knew I had accomplished what I was going for.”

    People Truelove Tellers (Spain)

    “This was a very lucky one. We didn’t actually want to shoot it because we were running out of time and were on our way to another spot for portrait pictures. We were driving in a tiny, narrow and lonely road in the middle of nowhere outside of Madrid, and suddenly a full flock of sheep crossed the road. That was perfect because they ran away to the hill in the perfect direction of the sunset. I asked for the couple to follow them and the photo came!”

    Tim and Laura Sullivan (USA)

    “Chip and Karyn had a lot they wanted to do for their wedding (ranging from Prince impersonators to multiple live bands), but in the end, they chose an in-town elopement with just their two kiddos and us. Tim officiated, Laura took the ceremony photos, and we spent the day gallivanting around some of the most gorgeous spots in Seattle (we even organized a private chef in an industrial loft for them, because going above and beyond for our clients is our favorite thing). This shot is from the deck of their unfinished condo during their ceremony. Our florist came in and covered the construction dust with the most gorgeous arrangements, almost like their own little Wonderland. Their daughters were crying, we were crying—oh man, was it all memorable.”

    Marko Marinkovic (Croatia)

    “My editing process aims to resemble the colors of the visual artists from the 16th and 17th century as they, among others, struck a foundation for all of us. Each of the paintings I visit for inspiration gives me insight on the thought process a painter must go through in order to recreate 3D light on a two-dimensional surface. From framing the scene on the square canvas to choosing the color palette, it stays pretty much the same in photography today. Spoiled by the digital era we often overshoot and undermine the thought process behind the images we create.”

    The Hendrys (Scotland)

    “This was one of the most heartfelt weddings we’ve captured to date. The sun was out—when it was forecasted to rain heavily—emotions were running high and the couple and their guests exuded happiness throughout the whole day. At that moment, we thought to ourselves, is this really our job?! And from then on, we knew it was what we wanted to continue doing for as long as we possibly could.”

    Lucy Spartalis (Australia)

    “Working with Paul and his groomsmen was like spending a day on the set of Monty Python. LOOK at those mustaches; socks; sexual poses. My partner Alastair and I were wiping tears away between every shot. At one point, someone did a handstand and someone else started posing provocatively on the floor. I could’ve just shot them as they already were, but with a little zhuzhing (I checked that spelling, by the way—what a word)—positioning Paul between the spread legs of the groomsman behind him, asking another gent to kneel on one knee to create a mid-level point of interest, etc—we created a more balanced and dynamic composition. I don’t like to pose people too heavily in most cases, but when you’re onto a good thing, a little directorial tweaking can really take things to the next level.”

    Heather Liddell (New Zealand)

    “Spring weddings are something special. Julia was greeted by an ecstatic Graham and a sun shower when she reached the top of the aisle. The beads of water caught the light and created the most amazing effect. I crouched low so I could create an angle to get in a little sun flare and to make sure that the rain drops would be highlighted against the dark hedge.”

    Pablo Beglez (Spain)

    “A few minutes after Paula got out of her room to go directly to the altar, she had a problem with the dress. The designer was there with us and had to take a needle and thread and sew the dress right there. Those were some minutes of stress, but it finally was great.”

    Jacob Murphy (USA)

    “It was toward the end of the night and the dance party was reaching a crescendo, but I couldn’t help but notice this perfect vignette of everyone’s shoes. I love when details can tell a strong story too. I used an indirect tunnel flash technique to make this photo more interesting.”

    Articles: Digital Photography Review (dpreview.com)

  • Have Your Say: Best Gear of 2016

    Have Your Say: Best Gear of 2016

    For the past few weeks we’ve been running a series of polls to find out what you – our readers – think of the major product releases of 2016. For the first round of voting we made initial five polls covering lenses, compact cameras and interchangeable lens cameras (ILCs). Now that those polls have closed, we’re pleased to announce the winners.

    In this slideshow we’re announcing the winners and runners-up in each category, and kicking off a final poll, to determine which of the ten individual poll winners from the first round should be crowned as your choice for overall best gear of 2016.

    Best Prime lens – Runner-up: Sigma 85mm F1.4 Art

    We’ve been waiting and hoping for Sigma to create an 85mm lens in its highly-regarded ‘Art’ lineup for some time, and 2016 saw that dream come true. Like all of the Art primes, the 85mm F1.4 is a stunning performer. We’ve heard Sigma representatives say that the Art series is the company’s ‘no compromise’ line, and the company certainly didn’t compromise with the new 85mm – it’s as big as a flower pot.

    It might be a bit of a lump, but it’s beautifully constructed, and optical quality really is gorgeous. We love this 85mm for its sharpness, and the quality of its bokeh. Clearly it has impressed you, too. You voted this lens runner-up in our poll for best prime lens of 2016.

    Best prime lens – winner: Nikon AF-S NIKKOR 105mm F1.4E

    Winner of our readers’ poll for best prime lens of 2016 is another fast portrait lens, the Nikon AF-S Nikkor 105mm F1.4E. Like Sigma’s 85mm F1.4 Art, the Nikon 105mm F1.4 is a big, heavy lens, and it comes with a big, heavy pricetag. Optically though, we think it’s worth every penny. While armchair engineers, xenophobes, and those ignorant of modern lens design might balk at the polycarbonate exterior and ‘made in china’ label, as our friend Roger Cicala has proved, the 105mm F1.4 is a tough, well-built lens.

    As far as its optics are concerned, the 105mm F1.4 represents the state of the art for fast short telephoto lens design. There’s no doubt that this lens is a relatively niche product, but with such stunning central sharpness between F2-4 and such beautiful bokeh, it’s among the best portrait lenses on the market. You voted the Nikon AF-S Nikkor 105mm F1.4E best prime lens of 2016.

    Best zoom lens – runner-up: Sigma 50-100mm F1.8 Art

    Sigma’s 50-100mm F1.8 DC HSM Art provides a 75-150mm focal length range on the APS-C format DSLRs for which it’s designed, and – crucially – replicates the classic F2.8 (equivalent) continuous aperture that has been a traditional feature of high-end full-frame zooms.

    Offering a fast maximum aperture and standard ‘Art’-series construction quality the 50-100mm is solid, heavy and luxuriously engineered. An ideal companion to high-end DSLRs like Canon’s EOS 7D Mark II and Nikon D500, you voted the Sigma 50-100mm F1.8 Art runner-up in our poll for best zoom lens of 2016.

    Best zoom lens – winner: Olympus M.Zuiko 12?100mm F4 PRO

    Olympus is ending 2016 with a bang, thanks to two major new releases. The OM-D E-M1 Mark II is an extraordinarily powerful, pro-grade mirrorless camera, and a new kit lens, the 12-100mm F4 has also impressed us – and you – greatly.

    The M.Zuiko Digital ED 12-100mm F4 IS Pro is a powerful carry-everywhere zoom lens. Combined with Olympus’ 5-axis IBIS in the new OM-D E-M1 II, it can offer up to 6.5 stops of image stabilization, which greatly expands the camera’s usefulness in marginal light, for both stills and video. As we’d expect for a lens in Olympus’s ‘PRO’ lineup, the 12-100mm is also splash-proof, dust-proof, and freeze-proof. We’ve been impressed by its versatility since we got our hands on a sample after Photokina, and clearly you agree.

    Best high-end compact camera – Runner-up: Sony Cyber-shot RX10 III

    The Sony Cyber-shot RX10 III is an expensive camera, no doubt about it, and one of the largest ‘compact’ cameras on the market. But it’s also one of the best performers. Despite boasting a fast 24-600mm (equivalent) zoom lens and a 1 inch sensor, the RX10 III produces images that beat or rival its competitors even at the very furthest ends of its zoom reach. Within a few days of shooting with it, DPReview’s staff were already talking about the RX10 III’s lens as ‘magic’, and however they managed it, Sony’s engineers should be congratulated on a significant optical achievement.

    Of course it’s not all about the lens. The RX10 III also offers class-leading image quality in terms of resolution and high ISO image quality, and an impressive 4K video specification, plus the option to capture HD-quality high frame-rate footage. The RX10 might rival some DSLRs for size, but it beats them when it comes to a lot of other things.

    Best high-end compact camera – Winner: Sony Cyber-shot RX100 V

    As we’ve come to expect, Sony released a lot of cameras this year, and the Cyber-shot RX100 V clearly caught your attention. Although it’s not a major upgrade to the RX100 Mark IV, the new Mark V improves on its predecessor with a revamped autofocus system, which features 315 phase-detection AF points covering 65% of the frame. The other major addition is a significantly increased buffer, allowing for full-resolution 20MP capture at 24fps, with full AE and AF. This is effectively equal to shooting 5K 24p video footage, made up of up to 150 JPEGs, or ~60 Raw + JPEGs in a burst. Impressive stuff.

    This kind of performance, plus an impressive 4K video specification make the RX100 V a real powerhouse. It’s one of our favorite compact cameras of 2016, and clearly a hit among our readers, too. You voted it your high-end compact camera of the year. 

    Best midrange ILC – Runner-up: Panasonic Lumix DMC-G85

    The Panasonic G85 (G80 outside the US) has proven to be something of a sleeper hit, this year. Although not as flashy as Olympus’s 2016 M43 offerings, the G85 is one of the most powerful and capable cameras of its type on the market. The G85 uses the same sensor as its predecessor the G7, but without an AA filter. The 2.36M dot OLED electronic viewfinder is all new, and boasts increased magnification compared to the G7.

    The camera also gains in-body 5-axis image stabilization and Dual I.S. 2 as well as weather and dust-sealing. It now uses an electromagnetic shutter and features a new in-camera focus-stacking mode. Like its predecessor it is 4K-capable, has built-in Wi-Fi and utilizes Panasonic’s Depth from Defocus AF.

    The G85 has become one of our go-to cameras for tradeshows and press events thanks to its small size, reliably focus and high-quality 4K video mode. Clearly it has impressed you, too, taking the runner up spot in our readers’ poll for best midrange ILC.

    Best midrange ILC – Winner: Sony a6300

    The G85 had tough competition this year in the shape of the Sony a6300. With an APS-C sensor and compact form factor, the a6300 is one of the most powerful cameras of its type on the market. As far as image quality is concerned the a6300 (literally) punches above its weight, offering class-leading resolution and high ISO noise performance and superb 4K video footage. Fast continuous shooting performance and an advanced hybrid AF system round out an impressive feature set.

    Since it was released, we’ve reached for the a6300 more and more, for ‘run and gun’ video, especially. And the a6300 impressed you enough to beat stiff competition and win our poll for best midrange ILC. 

    Best high-end / professional ILC – Runner-up: Fujifilm X-T2

    The Fujifilm X-T2 is one of the most likable ILCs on the market. While the X-T1 was a lot of fun to use, it was in some respects (resolution, video and autofocus being the most obvious) a little behind its competition. The X-T2 fixes all that, without messing with the formula that made its predecessor such a great camera. 

    Fujifilm’s current 24MP APS-C sensor is capable of excellent still image quality, and while not class-leading, a revamped AF system makes the X-T2 more versatile than its predecessor. The X-T2 is Fujifilm’s first camera to offer 4K video capture, and footage compares very well to other 4K-enabled competitors, not to mention older X-series models, which were notoriously weak when it came to video. We weren’t surprised to see that you think highly of the X-T2, voting it runner-up in our readers’ poll for best high-end / professional ILC. 

    Best high-end / professional ILC – Winner: Nikon D500

    It was a tight race in the high-end / professional ILC poll this year, but the Nikon D500 just pipped the X-T2 to the top position, by a whisker. The long-awaited successor to the D300S, the D500 is a stunning camera, and easily the most advanced APS-C DSLR that we’ve ever reviewed. Essentially the best bits of the flagship Nikon D5 but in a smaller, APS-C format body, the D500 is a powerhouse.

    Capable of 10fps capture with an almost infinite buffer (when using an XQD card) the D500 is a superbly capable tool for wildlife and action photography, but is equally useful for travel, landscape work and portraiture. The D500’s 153-point autofocus system is almost uncanny in its ability to accurately track moving subjects, and the camera’s tough and weather-sealed body is designed to stand up to hard professional use. 

    Aside from its somewhat half-baked 4K video mode, the D500 is practically peerless in the APS market, and also compares very favorably against the best of its full-frame competitors. It topped your list of 2016’s high-end / professional ILCs, and a very worthy winner it is, too. 

    Have Your Say

    You’ve seen the results from our five polls, so now’s the time to pick an overall winner. You can vote for up to three of the products in this poll, and voting closes at midnight (PT) on December 31st. We’ll announce the overall winner, and runner-up early in the new year.

    Thanks for voting, and for contributing to DPReview over the past year. We couldn’t do any of this without you.

    .

    Have your say

    $ (document).ready(function() { Poll({“pollId”:”5121852146″,”openForVoting”:true,”mainElementId”:”poll0″,”slot”:null,”isSingleChoicePoll”:false,”minNumberOfChoices”:1,”maxNumberOfChoices”:3}); })

    Have Your Say: Best Product of 2016
    Your answers
    1. Required
    2. Optional
    3. Optional
    You need to login to vote

    Fujifilm X-T2

    Nikon D500

    Nikon AF-S 105mm F1.4E

    Olympus M.Zuiko 12-100mm F4

    Panasonic Lumix DMC-G85

    Sigma 85mm F1.4 Art

    Sigma 50-100mm F1.8 Art

    Sony a6300

    Sony Cyber-shot RX10 III

    Sony Cyber-shot RX100 V

    Voting is easy – you pick your favorite products by dragging and dropping. You can pick up to three, and rank them in order of priority.

    Articles: Digital Photography Review (dpreview.com)

  • Updating a classic: Canon EF 16-35mm F2.8L III USM lens review

    The Canon 16-35mm F2.8L II has been one of the most coveted lenses amongst landscape photographers for a fairly long time. The legendary sunstar was one of the major selling points of the lens and it was one of the major characteristics that really separated the Canon lens from the rest of the field.

    When we first heard that Canon was going to release an updated version of the lens we were pretty darn excited. The Mark II was a fantastic piece of glass, but struggled in terms of corner sharpness and control of chromatic aberration along the edges and in the corners of the frame. The upgraded version of the Canon lens promised to correct a number of those issues while still holding onto some of the characteristics of the previous version that made it so appealing to landscape shooters around the world.

    With that said, the real question is; how does the updated Canon lens compare to its predecessor? The previous iteration of this lens had a number of issues that we will discuss in this review while we compare and contrast the two versions. The fundamental questions that we will be addressing in this review is; if the upgrade warrants the price increase and if the performance from the new design is convincing enough to justify the upgrade.

    APS-C

    With an equivalent focal length of 25.6-56mm and an equivalent aperture of F4.5 there are better wide-angle APS-C options on the market such as the Tokina 11-16mm F2.8 AT-X116 Pro DX II Lens or the Sigma 18-35mm F1.8 Art DC HSM that can really take advantage of a fast aperture for a fraction of the price. For this reason we’re not going to consider this lens for use on the APS-C platform in this review.

    Canon 16-35mm F2.8L III USM Headline Features

    • Fully weather-sealed construction
    • F2.8 maximum aperture
    • 16-35mm focal range
    • Sub-wavelength Coatings (SWC) and Air Sphere Coatings (ASC) to eliminate lens flare and ghosting
    • Two large-diameter double-surface GMo lenses plus a ground aspherical lens to help decrease distortion, curvature of field and astigmatism
    • Two UD lenses help to reduce chromatic aberration

    Specifications Compared
      Canon 16-35mm F2.8L II USM Canon 16-35mm F.28L III USM
    MSRP $ 1599.00 $ 2199.00
    Lens Type Wide-Angle Zoom Wide-Angle Zoom
    Focal Length  16-35mm 16-35mm

    Filter Thread 

    		 82.0mm 82.0mm
    Image Stabilization  No No
    Lens Mount Canon EF Canon EF
    Aperture Ring No No
    Maximum Aperture  F2.8 F2.8
    Minimum Aperture F22 F22
    Minimum Focus  0.28m (11.02″) 0.28m (11.02?)
    Diaphragm Blades 7 (rounded)  9 (rounded)
    Elements  16 16
    Groups  12 11
    Special Elements/Coatings 2-Ultra-low dispersion glass lenses, 3 high-precision aspherical lens elements; ground, replica and GMo, Super Spectra lens coatings 2 large-diameter double-surface GMo lenses and a ground aspherical lens, Sub-wavelength Coatings (SWC) and Air Sphere Coatings (ASC)
    Autofocus  Yes Yes
    Motor Type Ring-type Ultrasonic Ring-type Ultrasonic
    Full Time Manual  Yes Yes
    Focus Method Internal Internal
    Distance Scale  Yes Yes 
    DoF Scale No No
    Full Weather Sealing Yes Yes
    Zoom method  Rotary (internal) Rotary (internal)
    Weight  635 g (1.4 lb) 790 g (1.74 lb)
    Dimensions

    111.6mm (4.39″) x 88.5mm (3.48″)

    		 128 mm (5.02?) x 89 mm (3.48?)
    Hood Included (EW-88D) Included (EW-88D)

    Articles: Digital Photography Review (dpreview.com)

  • New 20mm F2 4.5x macro lens released by Mitakon

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8795135265″,”galleryId”:”8795135265″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Chinese optical manufacturer Mitakon has announced a macro lens with a maximum magnification ratio of 4.5:1. The Zhongyi Mitakon 20mm F2 4.5x Super Macro offers the opportunity to fill the frame of a 35mm-sized camera with objects four and a half times smaller than the camera’s sensor and can focus as close as 20cm, according to the company’s specification sheet.

    The lens is manual focus, has apertures from F2 to F16, and uses a 3-bladed iris. The construction is of six elements in four groups with a metal barrel and a total length of only 60mm. The lens can’t be used for normal infinity focusing and the lowest magnification factor is 4x, so it is solely for macro use.

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4872648991″,”galleryId”:”4872648991″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Mitakon says the lens is available in mounts for Canon EF, Nikon F, Sony FE, Sony A, Pentax K, Sony E, Fujifilm X and Micro Four Thirds cameras, and costs $ 199. For more information visit the Mitakon website.

    Press release

    ZY Optics releases the Zhongyi Mitakon 20mm f/2 4.5X Super Macro Lens for high magnification shots

    Zhongyi Optics (ZY Optics) has released a new compact Super Macro Lens for full frame cameras, the Zhongyi Mitakon 20mm f/2 4.5x Super Macro Lens and it features a high reproduction ratio up to 4.5:1.

    Zhongyi Mitakon 20mm f/2 4.5X Super Macro Lens is very compact in its class which allows photographers to capture extremely fine details or patterns with ease. The lens is capable of creating unbelievable macro images ranging from 4x to 4.5x magnification. Users no longer need to DIY or use any extension tubes to reach high magnification shooting. It incorporates a 6pcs of elements in 4 groups structure which delivers impressive resolution from corners to corners. Weighing merely 0.5 lbs (230g) and 6cm long, it is a perfect companion for wildlife and outdoor shooting. The wide angle of view and close focusing distance allows you to compose creative images with more information included into the frame. Greater magnification (up to 13:1) can also be achieved by stacking extension tubes or bellows. The high magnification is also extremely useful for scientific purposes.

    The enclosure of the lens is made of metal to strengthen its durability. Canon EF, Nikon F, Sony FE, Sony Alpha, Pentax K, Sony E, Micro Four Thirds, Fuji X mounts are available.

    Pricing & Availability

    Zhongyi Mitakon 20mm f/2 4.5X Super Macro Lens is now available to ship and purchase at ZY Optics authorized resellers and at our official website (http://www.zyoptics.net/). The Recommended Retail price is USD 199.

    Articles: Digital Photography Review (dpreview.com)

  • Nokia brand rumored to return with camera-centric smartphone

    HMD Global, a Finnish company that has acquired patents and the rights to manufacture Nokia-branded smartphones from Microsoft for the next 10 years, is expected to launch a couple of high-end Android devices at the Mobile World Congress in February and one of them looks like a serious weapon for mobile photographers.

    The rumored Nokia C1 is expected to feature a dual camera with 16MP and 12MP modules, a triple-LED flash, laser-assisted AF and, like some famous Nokia smartphones from the past, a real xenon flash. With a Snapdragon 835 chipset, 4GB of RAM, a 3,210 mAh battery and 32, 64, and 128GB storage options, the non-camera-related part of the specification sounds pretty good as well.

    A second device is expected to also come with the Snapdragon 835 chipset, 6GB of RAM and a 23MP camera with Zeiss-branded lens, all wrapped up in a metal body. Both devices look appealing but from a photography point of view the C1 is arguably more interesting. 

    With the 808 and Lumia 1020, Nokia was responsible for two of the best camera smartphones ever made. If the rumors are true the new owners of the brand might be on a good path to making Nokia a favorite of the mobile photography community’s favorites again. We’ll keep our eyes open for the new devices at Mobile World Congress in February.

    Articles: Digital Photography Review (dpreview.com)

  • Updating a classic: Canon 16-35mm F2.8 III lens review

    The Canon 16-35mm F2.8L II has been one of the most coveted lenses amongst landscape photographers for a fairly long time. The infamous sunstar was one of the major selling points of the lens and it was one of the major characteristics that really separated the Canon lens from the rest of the field.

    When we first heard that Canon was going to release an updated version of the lens we were pretty darn excited. The Mark II was a fantastic piece of glass, but struggled in terms of corner sharpness and control of chromatic aberration along the edges and in the corners of the frame. The upgraded version of the Canon lens promised to correct a number of those issues while still holding onto some of the characteristics of the previous version that made it so appealing to landscape shooters around the world.

    With that said, the real question is; how does the updated Canon lens compare to its predecessor? The previous iteration of this lens had a number of issues that we will discuss in this review while we compare and contrast the two versions. The fundamental questions that we will be addressing in this review is; if the upgrade warrants the price increase and if the performance from the new design is convincing enough to justify the upgrade.

    APS-C

    With an equivalent focal length of 25.6-56mm and an equivalent aperture of F4.5 there are better wide-angle APS-C options on the market such as the Tokina 11-16mm F2.8 AT-X116 Pro DX II Lens or the Sigma 18-35mm F1.8 Art DC HSM that can really take advantage of a fast aperture for a fraction of the price. For this reason we’re not going to consider this lens for use on the APS-C platform in this review.

    Canon 16-35mm F2.8L III USM Headline Features

    • Fully weather-sealed construction
    • F2.8 maximum aperture
    • 16-35mm focal range
    • Sub-wavelength Coatings (SWC) and Air Sphere Coatings (ASC) to eliminate lens flare and ghosting
    • Two large-diameter double-surface GMo lenses plus a ground aspherical lens to help decrease distortion, curvature of field and astigmatism
    • Two UD lenses help to reduce chromatic aberration

    Specifications Compared
      Canon 16-35mm F2.8L II USM Canon 16-35mm F.28L III USM
    MSRP $ 1599.00 $ 2199.00
    Lens Type Wide-Angle Zoom Wide-Angle Zoom
    Focal Length  16-35mm 16-35mm

    Filter Thread 

    		 82.0mm 82.0mm
    Image Stabilization  No No
    Lens Mount Canon EF Canon EF
    Aperture Ring No No
    Maximum Aperture  F2.8 F2.8
    Minimum Aperture F22 F22
    Minimum Focus  0.28m (11.02″) 0.28m (11.02?)
    Diaphragm Blades 7 (rounded)  9 (rounded)
    Elements  16 16
    Groups  12 11
    Special Elements/Coatings 2-Ultra-low dispersion glass lenses, 3 high-precision aspherical lens elements; ground, replica and GMo, Super Spectra lens coatings 2 large-diameter double-surface GMo lenses and a ground aspherical lens, Sub-wavelength Coatings (SWC) and Air Sphere Coatings (ASC)
    Autofocus  Yes Yes
    Motor Type Ring-type Ultrasonic Ring-type Ultrasonic
    Full Time Manual  Yes Yes
    Focus Method Internal Internal
    Distance Scale  Yes Yes 
    DoF Scale No No
    Full Weather Sealing Yes Yes
    Zoom method  Rotary (internal) Rotary (internal)
    Weight  635 g (1.4 lb) 790 g (1.74 lb)
    Dimensions

    111.6mm (4.39″) x 88.5mm (3.48″)

    		 128 mm (5.02?) x 89 mm (3.48?)
    Hood Included (EW-88D) Included (EW-88D)

    Articles: Digital Photography Review (dpreview.com)