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  • Winter is Coming: Here are some tips on what and where to shoot when it gets cold

    Winter is Coming

    Winter is only a month or two away and many photographers will find it challenging to press on through the dreary winter months; especially those of us that live in Seattle or other areas where wind, rain, sleet and snow pound the region for months on end.

    In this article I’ve outlined some tips to keep your landscape photography fresh when the weather starts to head south.

    Photograph Transitions

    The transition between fall and winter offers up a unique opportunity to photograph fall color under a fresh dusting of snow. If the forecast is calling for snow toward the end of fall, head out and see what you can find!

    The warmer colors of the fall leaves and foliage will be presented in stark contrast against the cold tones of the snow and can make for very interesting and dynamic images. The above image was taken in the central Cascade mountains of Washington state at the end of Fall.

    Head to the Desert

    This may sound like a weird tip, but if you have any sort of opportunity to visit the desert or the canyon lands of any kind during the winter, do it! Places like Bryce Canyon in Utah (pictured above) and the Grand Canyon in Arizona offer very unique conditions and compositions that the average tourist won’t get to see during the summer months.

    Snow can add a nice color contrast to the desert landscape and can also add soft textures to the arid environment. As an added bonus you won’t have to deal with the crazy crowds and 100 degree temperatures.

    Icy Waterfalls

    Shooting waterfalls during the winter months can often times make even popular and well shot locations look refreshing and new. Multnomah falls is one of the most recognizable waterfalls in Oregon and even it can take on a different appearance during the winter.

    The frozen spray from the falls can add some really nice textures and visual elements to your images. The snow can also contrast well with the icy blue water flowing over the falls.

    • If you plan to shoot waterfalls or any sort of moving water during the winter definitely invest in a good set of micro-spikes (for traction) to give you an extra edge for hiking and climbing.
    • Trekking poles (your tripod can work in a pinch) are also a great idea to help with stability and balance while transversing icy terrain. 
    • If your tripod comes with metal spikes or feet it’s always good idea to bring them along as they may work better (or worse) depending upon conditions.
    • Hip-waders and Gortex can definitely help keep you dry and comfortable.

    Let’s face it, slipping and falling into a river or on a rocky slope isn’t something you really want to do in cold weather.

    The Mountains are Calling

    Snow and the winter weather that comes with it can really add depth and layers to your images. Heading to the mountains with a longer focal length lens can really help to emphasize winter weather conditions such as fresh snow, low clouds and fog. 

    When the weather looks to be heading south I love to head up to the mountains to check out how the conditions are shaping up for sunset and sunrise.

    • Bring waterproof and breathable layers, snow shoes and any other supplies that you may need when you find yourself hiking in cold conditions.
    • Packing a Jet Boil (or another source of heat) and some instant meals can be a lifesaver if you’re in a pinch.
    • A GPS can be your best friend if your tracks get covered by fresh snow.
    • Check the weather forecasts often and do some research to ensure that you don’t find yourself in the wrong place at the wrong time.

    Chase the Storms

    The sunsets that often follow winter storms can offer some of the most intense and gorgeous light that you can capture. To really take advantage of this try heading to the coast just as a low pressure system has begun to move on shore. It takes a bit of planning but the sunset/sunrise conditions on the back edge of the storm can be absolutely spectacular! The above image was taken in late winter at Cape Kiwanda on the Oregon Coast.

    • Check the weather forecasts hourly when planning a trip like this.
    • The National Weather Service here in the US is a great place to track weather and believe it or not the Weather Channel website offers some of the most accurate forecasts you can find on the internet. 
    • The NOAA Hi-Def radar smartphone App can give you a great deal of insight into minute by minute precipitation and cloud cover forecasts.

    As an added bonus you won’t have to deal with that pesky marine layer that often plagues the west coast of the US during the summer months. 

    Stay Close to Home

    If the conditions are just too dangerous or you just don’t have time to plan a trip, look to areas near you for unique vantage points and compositions that can offer up very different photographic results during the winter months. This was taken near my home in Snoqualmie, WA. 

    Get creative in your surroundings! This shot was taken with my Canon 70-300mm F4-5.6L IS lens. Using longer focal lengths in your area can really open up new and exciting compositional opportunities. 

    Articles: Digital Photography Review (dpreview.com)

  • Winning images from Red Bull Illume 2016

    Winning images from Red Bull Illume 2016

    © Lorenz Holder / Red Bull Illume

    Lorenz Holder of Germany has taken the top prize for a second year in a row in the Red Bull Illume sports and action photography awards. His photo of pro BMX rider Senad Grosic took Overall Winner as well as the Athletes’ Choice award. Read on to learn more about the winning image and see more category winners. An exhibition of the top images is underway in Chicago and will go on tour after October 9th – visit Red Bull Illume’s website for a schedule.

    Winning images from Red Bull Illume 2016

    © Lorenz Holder / Red Bull Illume. Overall Winner

    ‘Senad and I were on the way to a different location early in the morning, when we passed this scenic spot. We saw a sign from the street and I had some pictures in mind that I’d seen from this bridge on the internet. When we got there the sun was just above the trees and it was lighting up the full color-spectrum of the autumn leaves in a very soft way.

    One thing that was a little annoying was that the lake was covered with leaves which had fallen from trees, so the reflection of the bridge in the lake was just not there. But sometimes you just need a bit of luck – I had been on a fishing trip some days before and still had my fishing-boots and a net in the car. So got the stuff and tried to clean the lake by hand. It took a while until it was almost perfectly clean – at least where it was relevant for the picture. Luckily the sun was still very soft, so we had good light for the shot.

    I’d chosen a very low camera position to get an almost perfect mirrored scene on the water surface. The bridge looked like a perfect circle and the light was still very good. When Senad was on the bridge, it took us two or three tries to get the shot. There was also no more time for another try because the wind came up and the perfect reflection on the water was gone.

    We jumped back to the car and drove towards our originally planned spot. It was an awesome feeling to have shot this picture with more or less pure luck. Without the sign next to the road, we would have passed one of the nicest photo scenes.’

    Camera: Canon EOS 5D Mark III
    Lens: EF 24-70mm F2.8L USM
    ISO: 500
    F-Stop: 8.0
    Shutter Speed: 1/640

    Winning images from Red Bull Illume 2016

    © Daniel Vojt?ch / Red Bull Illume. Sequence by Sony Winner

    ‘Red Bull asked me to do some portraits and action photos of the Flying Bulls. We had an air to air photoshoot and I knew it would be great for a sequence. An airplane is the only place from where you can see something like this. I did one fast attempt. After I stitched the sequence it was great, but I could still be a little bit closer.

    We had another photoshoot on another day so we tried it again but I was much closer to the planes in front. It was cloudy so the final image looks very dramatic. The pilot also turned on the smoke so you can see the trail behind.

    The camera I used for this photo was Nikon D5 and Nikkor 16/2.8 fisheye because there was almost no space and I wanted to show inside the part of the airplane I was sitting to show the pilot’s POV.’

    Camera: Nikon D5
    Lens: 16mm F2.8 AF Fisheye
    ISO: 640
    F-Stop: 5.6
    Shutter Speed: 1/250

    Winning images from Red Bull Illume 2016

    © Jody MacDonald / Red Bull Illume. Lifestyle Winner

    ‘When I was young I used to look through National Geographic magazines and dream of adventures like this; train hopping through the Sahara on one of the world’s longest trains. I had dreamt of the oceans of sand, the loud noises of the train, the cold, the wind, the scorching sun, the unknown smells and sounds of the desert and the discomfort that goes with it. So when I was asked to dream up and photograph a trip in harsh conditions, a 700 kilometer journey through the Sahara desert in Mauritania came to mind.

    After weeks of planning, our journey began in the capital of Nouakchott, from there my brother and I moved north through the interior to board the Mauritania Railway. Our risky rail journey started from the iron-mining center of Zouérat in the Sahara, and snaked through the barren desert toward the port of Nouadhibou on the Atlantic. We wanted to get to the coast to try to find some unexplored surf breaks and capture the spirit of adventure and exploration through this incredible landscape. Having only a few minutes to hop on the train in the middle of the night, we spent 15 long hours slithering through the desert on the three kilometer train that transports approximately 84 tons of iron ore across a country crippled by terrorism, slavery, and poverty.

    I photographed this image with Leica’s new X-U all weather camera with a fixed 23mm lens. I used a shutter speed of 1/500 to stop the motion of the train and an f-stop of 7.1 at ISO 100.’

    Camera: Leica X-U (Typ 113)
    Lens: 23.0mm F1.7
    ISO: 100
    F-Stop: 7.1
    Shutter Speed: 1/500

    Winning images from Red Bull Illume 2016

    © Dean Treml / Red Bull Illume. Spirit Winner

    ‘In this image Josh Neilson of New Zealand is supported by fellow paddlers (L-R) Barnaby Prees, Sam Sutton, Tim Pickering, Ben Brown, Jamie Sutton and Jared Seiler as he waits for a helicopter evacuation after a bad landing off Matze’s Drop, Storulfossen, Norway on July 7th 2014. It left him with a broken L1 vertebrae.

    I traveled to kayaking mecca Norway for a few days to shoot and hang with my Kiwi mate Ben Brown, one of the world’s most prodigious adventure kayakers. As fate would have it he dislocated his shoulder the day I arrived, but luckily he was traveling with some brilliant paddlers so I still had subjects to shoot.

    On the last day we found ourselves at this spectacular waterfall, where five others made the run, then Josh went off. After a good entry the nose of his kayak was thrust up and he flat landed at the bottom, the impact breaking his back. His colleagues were immediately on hand to assist and stabilize Josh, and Ben, who had previously suffered a similar injury, was able to reassure Josh while a helicopter was summoned. Josh was flown to Lillehammer hospital and then on to Elverum for successful surgery. With determined rehabilitation in New Zealand, Neilson was back in a kayak one year later and subsequently traveled back to Norway to paddle their rivers again.’

    Camera: Canon EOS 5D Mark III
    Lens: EF 24mm F1.4L II USM
    ISO: 400
    F-Stop: 2.0
    Shutter Speed: 1/2500

    Winning images from Red Bull Illume 2016

    © Vegard Aasen / Red Bull Illume. Mobile Winner

    ‘This winter some friends and I went to Hakuba in Japan to ski some deep powder and big mountains. The day this shot was taken was a really windy one but the snow was still really good, so we went out into the backcountry. One of my friends brought his DSLR camera, so I decided to not bring my camera because I wanted to ski instead of taking photos.

    We hiked for a while, and discovered a group hiking across the ridge above us. The wind and the clouds looked amazing, so my friend took out his camera and started shooting. I hated myself for not bringing my camera. Luckily I had my mobile phone in my pocket. I could not see anything on the screen, but obviously managed to aim pretty well.

    A week later, I scrolled through my phone, while waiting for sushi at a restaurant. I had completely forgotten about the shot, so I was pretty stoked when I found it. I edited it to black and white in Photoshop Express on my phone, and was really happy with the result.’

    Camera: HUAWEI P8
    ISO: 64
    F-Stop: 2.0
    Shutter Speed: 1/3200

    Winning images from Red Bull Illume 2016

    © Dean Treml / Red Bull Illume. Enhance Winner

    ‘Jonathan Paredes of Mexico dives from the 28 meter platform on the roof of the Copenhagen Opera House during the first practice session of the second stop of the Red Bull Cliff Diving World Series, Copenhagen, Denmark on June 20th 2013.

    I remember while I was originally scoping out the location for this event thinking how surreal images could look without the diving platform jutting out, and just the small form of the diver, and the huge cantilevered roof dominating the frame, and even discussed it at the time with my wife (the photographer Romina Amato) who was also there.

    As I am editorially focused the integrity of the image is paramount so the platform stayed, but while reading the categories of Red Bull Illume this image jumped into my mind and I figured a quick ‘fix’ to one of my shots couldn’t hurt, so this version of the image really came about thanks to the ‘Enhance’ category. ‘

    Camera: Canon EOS 5D Mark III
    Lens: EF 70-300mm F4-5.6L IS USM
    ISO: 400
    F-Stop: 5.6
    Shutter Speed: 1/4000

    Winning images from Red Bull Illume 2016

    © Micky Wiswedel / Red Bull Illume. Wings Winner

    ‘My buddy Jimbo had been opening new hard routes in the area and we wanted to try and capture some of the climbs. With climbing photography it’s not often you can just walk somewhere to get a good angle – most good shots require some form of rigging. The angle of this image happened by chance. We were setting up for another shot but when I looked back I knew we had to change plans and grab the shot with the sea and horizon in the background, framed by this huge rock roof.

    Lighting is also difficult, as climbers prefer to climb in the shade as cooler temperatures provide more friction between skin and rock. This often means overexposed backgrounds and underexposed foregrounds. The best I could do in this situation was to shoot somewhere in the middle.

    The route is one of the hardest on Table Mountain. The last ‘crux’ section is near the top – you have a few pieces of protection below but there’s a final jump, or ‘dyno’ for the last hold. The image captures what happens if you don’t manage to stick that hold!

    There was always a chance that Jimbo would fall, so I was ready for it. For the couple of seconds leading up to the big move I was holding my breath and ready to fire. I could definitely feel the adrenaline pumping! It’s a pretty big and impressive fall, but luckily far from the ground – that doesn’t make it any less terrifying.

    We had planned to grab some cool climbing shots, but in the end this image of Jimbo mid-air was the shot we felt captured the intensity of the climb. Jimbo did send the route that day – after a few more falls.’

    Camera: Canon EOS 5D Mark III
    Lens: EF 16-35mm F2.8L USM
    ISO: 400
    F-Stop: 3.5
    Shutter Speed: 1/1600

    Winning images from Red Bull Illume 2016

    © Ale Di Lullo / Red Bull Illume. New Creativity Winner

    ‘I’d been working on shots through transparent surfaces for a few years but it was during a long drive across Europe that I had this idea. I was forcing myself to think of new angles and nothing really came to mind. But when I said to myself that the best ideas are the simplest ones, that usually you have the answer in front of you, I realized the shot was actually in front of me. It was right there, where most people spend a lot of time everyday – cars!

    Nobody had done an extreme sport shot from inside the car having the rider riding on the windshield. I understood that a shot like this had to be made in an iconic spot and the spot had to be in a city so it was clear that New York City with all its bridges was the place. And what could have been better than a NYC cab to shoot from?

    Choosing Aaron Chase as the rider was natural. He has been a friend for a long time and happened to be a pioneer of street riding in our sport and is almost a local in New York. It took us one year of preparation, one full day of work, involved a few people and a bit of money. But I kept shooting, all the while fearing I would break the windscreen, and 12 attempts later I nailed this shot.’

    Camera: Canon EOS-1D X
    Lens: EF 8-15mm F4L Fisheye USM
    ISO: 640
    F-Stop: 5.6
    Shutter Speed: 1/1600

    Winning images from Red Bull Illume 2016

    © Lorenz Holder / Red Bull Illume. Playground Winner

    ‘I shot this unique location a couple months before this action shoot as a landscape picture because I just liked the whole structure and the way it was integrated into the landscape. It’s a viewing platform made of steel that has rusted over the years. You can walk up the stairs to enjoy the view over the lakes that surround the area.

    I knew somehow, that there was the potential for it to be a location for an action photo. My first idea was to shoot snowboarding in it, but that was just impossible because of the limited space. I almost gave up on the idea, but then I bumped into Senad Grosic in Berlin one day and we talked a bit about spots and stuff. I showed him the landscape picture and he told me that we need to go back there to see what’s possible.

    So Senad and I took a road trip and drove all the way to Senftenberg. We discussed and fine-tuned a plan that would look rad on photo. Senad had the idea to be dressed all white to give it more contrast, because I didn’t want to use flashes to keep the structure as evenly lit as possible. The angle is almost the same angle I chose for the landscape picture. It’s actually an architectural picture with the spice of action sports in it.’

    Camera: Canon EOS 5D Mark III
    Lens: EF 24-70mm F2.8L USM
    ISO: 500
    F-Stop: 6.3
    Shutter Speed: 1/400

    Articles: Digital Photography Review (dpreview.com)

  • We’re hiring! Developers and Marketing experts needed

    We’re looking for two software development engineers, freelance writers and a marketing expert to join our team in Seattle, WA and help build the next generation of dpreview’s content and community tools (and of course, get to play with all the latest photo gear). Check out the details on our jobs page.

    Articles: Digital Photography Review (dpreview.com)

  • Video: Sony a6500 First Look

    From a pure design standpoint, Sony’s a6500 look all that flashy at first glance, but don’t let the looks fool you. It may look like an a6300, but with 5-axis in-body image stabilization, a touchscreen for focus point placement (even with your eye to the finder), and an improved processor that brings an extensive buffer and instant image playback/review to the Alpha line, it’s a compact force to be reckoned with. Get the low-down in our overview video. 

    Articles: Digital Photography Review (dpreview.com)

  • PhotoPlus Expo 2016 to offer 22 photo walks covering roster of topics

    PhotoPlus Expo 2016 will offer attendees a total of 22 photo walks over a three-day span, giving them the opportunity to learn different skills and gain experience from top educators and photographers, including Me Ra Koh, Jen Rozenbaum, Michael Grecco, Brooke Shaden and Matt Kloskowski. The Photo Walk tours are scheduled to take place before and after Expo hours on October 19 through October 21 in New York City.

    The full photo walk lineup:

    OCTOBER 19 – 4:00PM – 6:00PM

    “Make Every Woman Look Amazing” (PW01) Sold Out
    Jen Rozenbaum
    Learn how Jen Rozenbaum uses her eight points of posing to make any — and every — woman look amazing. Then, put what you learned into action to create your own “shamelessly feminine” portraits.

    “Portraits Unplugged: Under and On the High Line” (PW02) Sold Out
    Bobbi Lane / Lee Varis
    Join photographers Bobbi Lane and Lee Varis for this photo walk around New York’s famed High Line. The key to successful natural light portraits is learning to “see” and find the light, then successfully place your subject in the light for the mood of the image. Lane and Varis will show participants how to scout for light and will demonstrate porch lighting and backlighting, the use of reflectors and diffusers, and how to make any location work once you have found the appropriate light. Models will be used throughout the session.

    OCTOBER 20 – 8:00AM – 10:00AM

    “On-Location Portraiture” (PW03)
    Miguel Quiles (Sponsored by Sony)
    Sony Artisan Miguel Quiles will demonstrate the process of shooting dynamic portraits on location, how to find the best locations, pose the subject and offer guidelines using both available light and off-camera flash. The shoot will include live models and offer a great opportunity to walk away with some amazing photos and invaluable tips.

    “Capture the Action with Small Flash” (PW04)
    Tony Gale (Sponsored by Sony)
    Join Sony Artisan Tony Gale in a unique hands-on experience on the streets of New York City as he shows participants how to enhance their action photography with a small flash. Participants will learn how and why to use flash outdoors, how to use multiple small flash units to capture action, how and when to use high-speed sync, and much more.

    “My Way, Your Way: Two Unique Perspectives on Off-Camera Flash” (PW05)
    Moshe Zusman/Vanessa Joy (Sponsored by Adorama, Profoto, Miller’s Lab)
    Moshe Zusman and Vanessa Joy will demonstrate their unique perspectives on off-camera flash. Start with timeless OCF lighting and posing scenarios with Joy and learning how to switch them up for more edge and drama with Zusman. Learn how to give your clients the best of both worlds quickly and easily while boosting studio sales and client satisfaction.

    “The Art of Noticing” (PW06)
    David Carol
    The streets of major metropolitan cities are fast paced and chaotic. Our job as photographers is to organize the chaos—to be aware and to compose our images within the ebb and flow of humanity. The skills to photograph the subtleties of life can always be learned and improved. David Carol’s class will teach participants how to find your style and present your photographic point of view to the world.

    “Fairytales on the Streets of NYC” (PW07) Sold Out
    Brooke Shaden (sponsored by WHCC and X-Rite)
    Art can be created anywhere, even in the alleyways of NYC. Join Shaden as she discusses ways of masking the hectic and visually distracting streets to create timeless pieces of art that will utilize set design, compositing and storytelling. By using painterly techniques as well as the square format, traditional photographic properties are replaced by other worldly elements.

    OCTOBER 20 – 4:30PM – 6:30PM

    “Urban Landscapes—Light, Shadows and Utilizing Architectural Shadows” (PW08)
    Michael Grecco (sponsored by Panasonic)
    Michael will show participants how to hunt for light, manage shadow and use the great architectural background of the city to shoot your own urban landscapes. Michael will walk through some of his favorite New York spots known for their dynamic design, and illustrate how to strategically shoot from the magic hour and into darkness.

    “Lite Lighting with Speedlites: The Power of Creative Lighting on Location” (PW09)
    Rocco Ancora
    Rocco will share his techniques in the art of lighting with Speedlights and remote flash set-ups. This Photo Walk is ideal for the photographer wanting to finesse their off-camera flash techniques and further develop their lighting skills. Models will be provided throughout the Photo Walk.

    “Making Great Portraits on Location” (PW10) Sold Out
    Scott Kelby (Sponsored by Lexar)
    Join Scott Kelby, Lexar Elite Photographer and author of the book Light It, Shoot It, Retouch It, on the streets of New York City for a hands-on Photo Walk that will teach participants how to make amazing portraits on location. Participants will learn the secrets to making natural light work for you—how to harness it, tame it, and balance it with flash—to add more depth and dimension to your location portraits. Working with two New York City-based models, participants will have an opportunity to put what they learned into immediate practice.

    “Become a Family of Photo Detectives” (Parents & Kids Photo Walk) (PW11)
    Me Ra Koh (Sponsored by Sony)
    Bring your child and experience a special, new photo adventure with Disney Jr. host, Me Ra Koh, The Photo Mom. She will teach parents and children alike how to find great light, capture action, hunt for defining details to tell a story, and use ordinary shapes and lines to create extraordinary photos. Sign up for this fun, creative, hands-on session that you and your child will never forget (children must be at least 4 years old).

    “NYC from Above: “A Unique Way to Capture the Most Photographed City” (PW12) Sold Out
    Vivienne Gucwa (Sponsored by Sony)
    Join travel photographer, best-selling author and Sony Artisan Vivienne Gucwa for a different type of Photo Walk that will take you to the rooftops of NYC. In this Photo Walk, attendees will learn how to use ‘view from above’ angles to capture unique perspectives of an urban landscape and how to use changing light to enhance your work.

    OCTOBER 21 – 8:00AM – 10:00AM

    “Love the Process” (PW13)
    David Carol
    For David Carol, the most important aspect of street photography is noticing the world around him and showing the viewer something he or she may not have noticed themselves. During this informative and inspiring photo walk, Carol will show you his process and teach you to love it as much as he does. You’ll learn how to harness the environment at-hand to focus on and expand your unique vision for making thought-provoking imagery. Come learn how to be process-oriented rather than results-oriented.

    “Landscapes in the City” (PW14)
    Matt Kloskowski (Sponsored by Sony)
    Join Sony Artisan Matt Kloskowski for a hands-on photo walk that combines creative landscape photography with the urban city setting. Participants will learn about a variety of useful and creative techniques including long exposure photos, using apps to enhance shooting, ND Filters and Polarizers, shooting into the sun, when to use HDR techniques, and much more.

    “Learning Headshots: In Front and Behind the Camera” (PW15)
    Lori Patrick
    Anyone can use a good headshot these days. In a preliminary discussion, Lori Patrick will share insights on finding clients, conduct a posing demo and discuss client intention. Learn about posing, expression, crop, usage, delivery and more. Attendees will practice in pairs, producing headshots of each other, with Lori available as coach.

    “Make Every Woman Look Amazing” (PW16)
    Jen Rozenbaum
    Encore performance from Wednesday, October 19.

    “Authentic Street Photography with your iPhone (PW17)
    Robert Herman
    Join Robert Herman, author of The Phone Book (Schiffer Books), a new monograph shot entirely with the iPhone and the Hipstamatic app, during a photo walk in a neighborhood near Penn Station. If you are interested in making more authentic pictures on the street, the iPhone is the camera for you. And now, with the release of the iPhone 6 and 6S with a 12MP file, the image quality is superb. Learn the techniques Herman used to make the great pictures that led to the publication of The Phone Book.

    OCTOBER 21 – 4:30PM – 6:30PM

    Lucky Shots: The Zen of Street Photography (PW18)
    Doug Menuez
    As the old saying goes, “luck favors the prepared.” On this Photo Walk, Doug Menuez will share how he combines his documentary techniques with a deliberate Zen mindfulness that allows him to enter a zone of hyper-awareness and concentration. He’ll also share his philosophy about respecting his subjects, discussing the fine line between telling their stories and exploiting them. Then, he’ll discuss choosing the right equipment and technical issues. Street photography brings a special kind of joy that involves embracing the mystery of life, especially in New York City.

    “Beautiful Portrait in Unattractive Environments: No Flash, No Reflectors. Just Natural Light!” (PW19)
    Peter Coulson
    Peter Coulson will teach you how he finds the perfect lighting in any outdoor location. Participants will spend this hands-on photo walk learning how to see and use natural light, without any reflectors or flash.

    “Adding Light to Your Environmental Portrait” (PW20)
    Ira Block (Sponsored by Sony)
    Environmental portraits are a powerful way to tell a story. Join Sony Artisan of Imagery and National Geographic photographer Ira Block as he teaches participants how to interact with their subjects to make them feel comfortable, relaxed and expressive. He will also discuss how to find locations that compliment and define your subjects controlling the light by adding reflectors, strobes, LEDs, candles or even flashlights.

    “NYC Skyline and Hoboken Photo Walk” (PW21)
    Katrin Eismann (Sponsored by Sony)
    Join Sony Artisan, Katrin Eismann on a ferry ride to Hoboken, New Jersey, to photograph the NYC skyline and wander the parks and neighborhoods of the mile-square city. Participants will explore the tree-lined Stevens Institute of Technology campus, discover quaint streets lined with Brownstones, and wonder at the historical Hoboken Railroad Terminal. Participants will learn how to create unique images in the everyday environment by shifting perspectives, how to shoot during changing light, and tips for low-light shooting.

    “The Sensational Portrait on Location” (PW22)
    Joel Grimes (Sponsored by Canon)
    Learn how to create dramatic portraits on location, using portable battery powered strobes. As an advertising photographer, Joel Grimes has been “strobing” subjects on location for over 30 years. Follow him out in the field as he demonstrates how to mix both strobe and ambient light, overpowering the sun; achieving shallow depth-of-field focus using ND filters while still using strobes and so much more.

    Articles: Digital Photography Review (dpreview.com)

  • Sony RX100 Mark V real-world samples

    The RX100 Mark V is pretty crazy – at its full burst speed of twenty four frames per second, shooting full JPEG and Raw, I actually tended to dial it back to its ‘medium’ 10 fps burst-shooting speed. Think about that: you can literally make movies out of these 24 fps (importantly: long) bursts. With 315 on-sensor phase-detection autofocus points, I almost felt bad for doing so – but our 128GB cards were filling up fast. And though the buffer is huge, allowing you to keep shooting even as it’s clearing, it does have to clear completely (a slow process) before you can switch from photo to video mode. And given the variety of activities at Sony’s shooting experience, we wanted to shoot both.

    Rishi and I have enjoyed a hands-on shooting experience with the RX100 V, and have a variety of straight-out-of-camera samples for you to peruse (no Raw support yet). We’re looking forward to uploading some more samples in the near future. This camera may well be the only serious photographic tool one would ever need. To get an idea of if the Mark V is right for you, take a look through our preliminary gallery.

    Note: This is a preliminary gallery that we will be adding to. Keep in mind this was an indoor action shooting scenario, meaning all images in this gallery are taken at very high ISO, with default parameters, including default sharpening and noise reduction, and auto white balance. Given the high ISOs, detail retention is impressive, with apparently increased default noise reduction well balanced by smart sharpening. All images are straight-out-of-camera JPEGs with accompanying Raw files. 

    Click to see our RX100 Mark V real-world samples gallery

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2016: Fujifilm Interview

    Toshihisa Iida, Fujifilm’s General Manager of the Sales and Marketing Group, pictured at Photokina 2016.

    Fujifilm chose last month’s Photokina tradeshow as the venue to launch its new flagship mirrorless camera, the medium-format GFX 50S. At the show, we sat down with Toshihisa Iida, Fujifilm’s General Manager of the Sales and Marketing Group and Toru Takahashi, Director, Senior Vice President and General Manager of Fujifilm’s Optical Device & Electronic Imaging Products Divisonto talk about the 50S, and why Fujifilm chose to skip full-frame.

    Please note that the following interview has been edited slightly for clarity and flow. Our questions are in bold. 

    Why did Fujifilm decide to move straight from APS-C to medium-format?

    Soon after we introduced the X-Pro 1 many people started asking when we would be introducing full-frame mirrorless. We said at the time we were 100% committed to the APS-C format. We thought this was the best format from the point of view of image quality, and size and portability. We started with [only] three lenses, so we needed to focus on one format, to accelerate the lens lineup. As the years went by we started thinking maybe we could start looking at a bigger format, because we had a good lens lineup, and the technologies [in our APS-C line] were maturing.

    Our next move was to decide what format we should move to. And soon after Mr Takahashi came into our division we made a decision. The difference between APS-C and full-frame is too marginal, so there was no point. So we decided to go for a bigger sensor format, to show a clear differentiation from APS-C.

    APS-C is more speed, more portability – that’s our X-series. And our medium-format is for ultimate image quality. But still, you know – they have the same DNA. Design, operability, color management and so on. APS-C and medium-format can co-exist and complement each other.

    The new Fujifilm GFX 50S offers a 50MP medium-format sensor in an impressively small, lightweight body. 

    What did your X-series users tell you that they wanted from a larger-format camera?

    Firstly, they said that with the X-series they could cover around 70% of their requirements. But they needed a bigger format, for example for outdoor billboards. And sometimes they needed to crop. So they required higher resolution. The other thing is we asked about usability. Our X-series is quite unique in terms of its user interface. Because our new camera is more geared to commercial applications, we asked whether the same dials were necessary. We had a lot of conversations about this with professional photographers. The conclusion was they all asked us to keep the dial operation.

    The sensor at the heart of the GFX 50S looks very familiar. Is it the same sensor that we’ve seen in other medium-format digital cameras?

    First, this is a brand-new mount. Based on our experience with the X-series, we wanted to make the flange-back distance smaller, to allow the lenses to be made more compact. The challenge is how to get the light hit the sensor evenly – in the center and also at the corners. In order to achieve that we customized the microlenses. The microlenses on this sensor are optimized for the short flange-back distance of the new mount, to ensure good corner illumination. Also we optimized the silicon process. We spent a lot of time and resources on this kind of customization.

    What was the logic behind not including an X-Trans filter array in this system?

    The sensor format is large enough that even without X-Trans, the image quality is very good. X-Trans is good, but it’s a complex filter array. Sometimes Bayer is more straightforward, and it makes Raw processing easier.

     

    Did you include video in the 50S just because you could, or because your customers wanted it?

    It’s not 4K, of course, it’s HD. But we know that more and more photographers are shooting video and we like to offer a unique proposition. Shallow depth of field, because of the bigger format – it will be interesting to see what kind of videos [photographers capture].

    What are the challenges of introducing 4K video?

    Many cameras can record 4K video, but the question is what kind of 4K video. The challenges for every manufacturer are power and heat. And there are two ways minimize their impact. One way is to make the camera bigger. The second way is to make the video file smaller, by recording video from a cropped area of the frame.

    We think that it’s important to pursue the ultimate in quality, so on the X-T2 for example we tried to minimize the crop factor. Some manufacturers are offering crops of 1.5 X or 1.7X. This doesn’t help photographers at all. This is a new challenge for digital cameras that integrate stills and video features.

    Do you have any figures for dynamic range of this sensor, compared to APS-C?

    We do, but we’re still fine-tuning.

    Some of the F2 and F2.8 lenses you’ve announced will give similar depth of field to F1.4 lenses on full-frame. At that point, what advantage is there to medium-format imaging?

    By the numbers, depth of field might be similar, but we think that the actual images look different. And it’s not just about depth of field. There’s wider dynamic range, and greater resolution and so on. Overall there’s a lot of benefit from using a medium-format sensor.

    The GFX lens lineup will feature three lenses when the 50S hits the market in spring, with six optics in the initial roadmap. 

    And presumably a larger sensor doesn’t stress the resolution of the lenses as much as a similar resolution would on APS-C?

    Correct. We designed these new lenses to be future-proof. The potential resolution of these new lenses is much higher than 50MP. Our benchmark is 4700 line pairs. So the lenses can resolve at least 100MP.

    How do you see the mirrorless and DSLR markets evolving within the next 2-3 years?

    Probably, in 2 years time, the size of the mirrorless market will exceed the market for DSLRs, globally. Already in some asian countries the mirrorless market is bigger than DSLR.

    With the launch of the EOS M5, do you think it’s a good thing that Canon is finally taking mirrorless seriously?

    We always welcome competition. Because the more competition, the faster the market will realize that mirrorless is the future.

    Have you seen a change in the the kinds of people who are buying mirrorless cameras?

    It depends on which category. When we introduced the X-Pro1, we were attracting photographers who were more likely to be street photographers. With the X-T1, and lenses like the 10-24mm zoom we started to capture landscape photographers. And the 56mm F1.2 was attractive to portrait photographers. If you look at our XA series, its a lot of young female photographers, who buy the camera as a companion to their smartphones. So different categories attract different kinds of photographers with different requirements.

    One thing we’ve noticed is that at the end of the day, all photographers are looking for the best image quality and color reproduction.

    The selfie-friendly Fujifilm XA lineup is apparently very popular with female customers, particularly in Asia.

    Do you expect that the majority of people who will buy a GFX 50S will be existing X-series users?

    That’s a difficult question. In our experience, in our showroom in Tokyo, the ratio of new customers to existing Fujifilm users who came in to look at the X-T2 for example was around 2:1. The ratio of new customers was much higher. And I expect that the same will be true of the GFX 50S.

    How important is smart device integration in your product development?

    It’s very, very important. The smartphone is not the enemy, it’s a complement to a camera. And how to enable connectivity between a smart device and our cameras is very important. We will focus on making it faster, smoother. Especially in Asian countries, girls are buying our cameras to take selfies, and straight afterwards they’re sending it to their friends from their phones.

    Do you have a medium-format market share target in mind for the GFX 50S?

    It’s difficult to say, because we’re really targeting high-resolution 35mm DSLRs with this product. The current medium-format space is full of cameras that are too expensive, too heavy and too bulky. The current medium-format market is small. People are buying 35mm full-frame cameras [instead]. So maybe our solution will revitalize the category.

    Speaking of which, one of the most active new market segments is VR imaging. Are you looking that market?

    I think that VR is mainly for industrial purposes. It can be applied to the consumer market but it’s very niche. So if we’re talking about consumer imaging, I don’t think that 360 cameras have a big audience.

    Editor’s note:

    Fujifilm has been heavily hinting that a medium-format mirrorless camera was in the works for some time, and it’s a relief to finally be able to see – and touch – an actual product. In my opinion, Fujifilm’s decision to side-step (or rather leap-frog) the full-frame camera market makes a lot of sense. It’s much easier for the company to differentiate (and capture a larger portion of the latent interest) when it’s not competing against the likes of Canon, Nikon and Sony in an increasingly crowded field. The GFX 50S will unquestionably offer superior image quality to any of the current crop of full-frame cameras, and critically speaking, it will of course be streets ahead of the company’s X-series, which is optimized for speed and versatility.

    Fujifilm’s decision to ditch X-Trans in the 50S is interesting, but not surprising. It is undoubtedly true that the benefits of X-Trans are proportionally greater on the smaller APS-C format than they would be on a medium-format sensor, and I suspect that the additional cost and complexity of using this proprietary array in the GFX 50S might also have been a factor. In addition, Fujifilm is well aware of the criticism leveled against it from some professionals that the X-Trans array makes file handling more difficult, thanks to limited support from third-party Raw converters. And Fujifilm will need the file handling process to be as smooth as possible if it wants to appeal to studio photographers with an established workflow. 

    The fact that Fujifilm apparently has no particular medium-format market share in mind for the 50S is very revealing. For now at least, it seems the company won’t measure the success of this camera by how many sales it steals away from Pentax, Hasselblad, Phase One and their ilk. What Fujifilm wants is for someone considering buying a Canon EOS 5DSR or a Sony a7R II or a Nikon D810 to buy a GFX 50S instead. Especially if that person is a commercial or landscape photographer who just wants the pixels. As such, at ‘well under $ 10,000’ with a 63mm prime lens, the 50S is priced to compete against these top-flight 35mm-style cameras.

    Meanwhile, well-heeled X-series photographers (and of course the many professionals who have adopted the X-series over the past few years alongside full-frame gear from other brands) now have a true flagship camera to aspire to. A camera which is capable of higher resolution and better image quality, from a brand that they trust. And unlike traditional medium-format cameras, it doesn’t weigh a ton and it doesn’t cost the earth. I can’t wait to see what it can do. 

    Articles: Digital Photography Review (dpreview.com)

  • iPhone 7 real-world sample gallery

    The iPhone 7 lacks the dual camera modules of its iPhone 7 Plus sibling, but it still offers plenty of imaging features. It includes a 12MP sensor with optical image stabilization, 4K video recording and thanks to iOS 10, Raw image capture. We’ve already posted a preliminary iPhone 7 Plus gallery, but not wanting to neglect the iPhone 7, we went spent some time getting to know its sibling too.

    See our iPhone 7 real-world sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Sony announces Cyber-shot RX100 Mark V with 315 phase-detection AF points

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    Sony has announced the latest version of its RX100 series: the Mark V. It maintains a 20MP sensor and 24-70mm equiv. F1.8-2.8 lens, but adds phase-detection AF to achieve focus speeds as fast as 0.05 sec, and a front-end LSI to improve speed of operation and buffering.

    The Sony Cyber-shot RX100 V offers what Sony calls ‘professional level AF performance’ in the form of a new sensor with 315 phase-detection AF points over 65% of the frame, claiming the world’s fastest AF speed at 0.05 seconds. The front-end LSI gives a turbo boost to performance, allowing the sensor to be read faster and more data to be buffered. That means the Mark V now offers 24 fps shooting at full 20.1MP resolution with autofocus and auto exposure for up to 150 frames for JPEG + Raw. That’s stills shooting at movie frame rates, folks. Eye AF is also available in AF-C mode. 

    The Mark V’s video is also improved. It creates UHD 4K from a 5028 x 2828 pixel region. This means it oversamples by 1.3x in each dimension (1.7x overall), to give highly detailed 4K footage. The faster sensor readout thanks to the LSI also means less rolling shutter in 4K video and electronic stills, inching these cameras ever closer to the global shutter ideal. The camera maintains the ability to use its phase detection AF during video shooting, but no touchscreen severely reduces usability. 960 fps and all other slow motion modes are now available with twice the recording duration of the RX100 IV – up to 8 seconds of 40x slow motion at 960 fps. S-Log2/S-Gamut and Picture Profiles are also available to videographers, as is 1080/120p. 

    An ‘anti-distortion’ fully electronic shutter is available up to 1/32000 sec, and in fact the electronic shutter automatically kicks in for shutter speeds greater than 1/2000s, or frame rates greater than 10 fps. Turns out it’s hard to operate a leaf shutter at 24 fps…

    The camera’s 3″ 1229k-dot, non-touchscreen LCD tilts a full 180 degrees upward and 45 degrees downward. It retains a pop-up viewfinder, with a 2.4M-dot OLED panel. Wi-Fi is available as expected, with the added benefit of being able to read QR codes to help make a wireless connection when NFC isn’t an option. A new underwater case is available, compatible with the entire RX100 series and making it possible to use the camera up to 40m underwater.

    It will be available in October for $ 1000/€1200.

    Press release

    Sony Announces New Addition to Acclaimed Line of Cyber-shot® RX Cameras

    New Compact RX100 V Model Boasts World’s Fastest AF Speed1, World’s Most AF Points and World’s Fastest Continuous Shooting1 for a Compact Camera1

    NEW YORK, Oct. 6, 2016 – Sony – a worldwide leader in digital imaging and the world’s largest image sensor manufacturer – has today announced a new flagship model for their popular Cyber-shot RX100 series of compact cameras, the RX100 V (model DSC-RX100M5).

    The exciting new camera brings a new level of AF performance and speed to today’s compact camera market. It is equipped with a Fast Hybrid AF system with the world’s fastest AF acquisition1 at 0.05 seconds2 and world’s highest number of AF points on sensor1 with 315 points covering approximately 65% of the frame. The camera can also shoot continuously at speeds of up to 24 fps3 – the world’s fastest for a compact camera1 – at full 20.1 MP (approx. effective) resolution with AF/AE tracking for up to 150 continuous shots4.

    The RX100 V is equipped with a newly developed 1.0-type stacked Exmor RS™ CMOS sensor with a DRAM chip, a ZEISS® Vario-Sonnar T* 24-70 mm5 F1.8 – 2.8 large aperture lens and an enhanced image processing system with a new front-end LSI chip that maximizes processing speed, expands the memory buffer and optimizes image quality, in particular at high ISO settings. The camera also features 4K video recording with full pixel readout and no pixel binning6, super slow motion recording at up to 960 fps7 with extended recording time and more.

    “Featuring a level of power and performance that has never before been achieved in a compact, the new RX100 V redefines what it means to be a ‘pocket camera’,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics. “This camera is yet another example of Sony innovating to a level far beyond what exists in the conventional marketplace.”

    Fast Focusing, Fast Shooting

    A first for Sony’s RX100 series of cameras, the new RX100 V model features a Fast Hybrid AF system that combines the respective advantages of focal-plane phase detection AF and contrast detection AF and ultimately enables the camera to lock focus in as little as 0.05 seconds2. This high speed focusing is a perfect complement to the 315 dedicated AF points that cover 65% of the sensor, and ensures that shooters will be able to capture their intended subject with high speed and accuracy, even if it’s moving rapidly in unpredictable directions.

    Additionally, processing speed has been greatly enhanced through the addition of a front-end LSI that perfectly supports the camera’s BIONZ X® image processing engine. These two components combined with the powerful AF system allow the camera to shoot continuously at speeds of up to 24 fps 3 at full 20.1 MP (approx. effective) resolution for up to 150 shots4 with AF/AE tracking. Viewfinder blackout between shots has also been minimized in this high-speed shooting mode, which greatly improves photographers’ ability to follow fast action and capture the decisive moment. Silent shooting is also available in these high-speed modes as well8.

    Other advancements to AF performance on the new RX100 V include the addition of AF-A mode, which allows the camera to automatically switch between continuous and single-shot AF modes. Users can also manually select if they’d like the continuous AF and phase detection AF areas to be displayed live on screen while they are framing a shot.

    The RX100 V also has a high speed Anti-Distortion Shutter (maximum speed of 1/32000 second) that minimizes the “rolling shutter” effect commonly experienced with fast moving subjects. This fast shutter speed also allows the camera to capture sharp, crystal clear images with a wide open aperture at brightness levels up to EV199. Shooting at wide aperture with the fast shutter speed allows photographers and videographers to capture beautiful content with sharply focused subjects and defocused backgrounds under some of the most difficult, bright lighting conditions.

    New on the RX100 V, users can freely select the initial magnification ratio when shooting in a mode with Focus Magnifier, and can select between “focus point” and “center of display” for the location of Focus Magnifier.

    Professional Movie Functionality

    The pocket-friendly RX100 V 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 sensor 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 6, the new RX100 V utilizes full pixel readout without pixel binning to ensure that all the finer details of 4K video are captured with minimal moire and ‘jaggies’. These high-quality results are achieved through use of the XAVC S codec, which records video at a high data rate of up to 100 Mbps during 4K recording and 50 Mbps during full HD shooting10.

    Additional professional caliber video features include Picture Profile, S-Log2/S-Gamut, 120p HD Full HD mode and more. Users also have the ability to manually select a frame from a recorded movie and save it as a still image file of approximately 8 MP during 4K shooting or 2 MP during HD shooting.

    The RX100 V is able to record super-slow motion video7 at up to 40x slower than the standard rate, and can do this for about twice as long as the RX100 IV model. This extended time allowing users to capture a series of high-speed, fleeting moments of action with incredible detail, resolution and clarity.

    Prior to shooting, users will have the ability to choose among 960fps, 480fps and 240 fps frame rates and among 60p, 30p and 24p playback formats to optimize the recording to fit the speed of the moving subject, with the option to use the movie record button as a ‘start trigger’ to begin recording once button is pressed or ‘end trigger’ to record footage up until the button is pressed.

    Pocket-Friendly Design, Premium Performance

    The new RX100 V maintains the convenient pocket-sized design of the remainder of the RX100 family and is equipped with a high-contrast 2.35 million dot XGA OLED Tru-Finder™, ensuring true-to-life image preview and playback functionality. The EVF conveniently retracts in and out of the camera body based on user preference, and features optics with ZEISS® T* Coating.

    The new camera is also Wi-Fi® and NFC™ compatible and can access Sony’s growing range of PlayMemories Camera Applications. Learn more at www.sony.net/pmca.

    Another convenient addition is the ability for users to freely set the leading three characters of saved file names for easier sorting and organization.

    There will also be a new underwater housing (model MPK-URX100A) that will be available as a separate accessory for the RX100 V and all other RX100 series cameras. Designed exclusively to fit the RX100 cameras, the housing features a depth level of 40m/130ft.

    Pricing and Availability

    The new Sony Cyber-shot RX100 V (model DSC-RX100M5) compact camera will ship this month for about $ 1,000 US and $ 1,250 CA.

    The new underwater housing (model MPK-URX100A) will ship in November for about $ 350 US and $ 450 CA.

    Both products will be sold at a variety of Sony authorized dealers throughout North America.

    A variety of exclusive stories and exciting new content shot with the new RX100 V camera and other Sony products can be found at www.alphauniverse.com , Sony’s community site built to educate, inspire and showcase all fans and customers of the Sony ? brand.

    Sony Cyber-shot DSC-RX100 V specifications

    Price
    MSRP $ 1000/€1200
    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
    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.) 24–70 mm
    Optical zoom 2.9×
    Maximum aperture F1.8–2.8
    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 5 cm (1.97″)
    Macro focus range 5 cm (1.97″)
    Number of focus points 315
    Screen / viewfinder
    Articulated LCD Tilting
    Screen size 3″
    Screen dots 1,228,800
    Touch screen No
    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 10.20 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) 220
    Weight (inc. batteries) 299 g (0.66 lb / 10.55 oz)
    Dimensions 102 x 58 x 41 mm (4.02 x 2.28 x 1.61″)
    Other features
    Orientation sensor Yes
    Timelapse recording No
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • Sony a6500 adds 5-axis stabilization, touchscreen and processing power

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    Sony has taken the wraps off of its 24MP a6500 mirrorless camera. The flagship APS-C camera gains five-axis image stabilization and touchscreen operation. A larger buffer and more processing power also help set it apart from the existing a6300. It will cost around $ 1400.

    The a6500 is now the company’s top-end APS-C camera, sitting above the a6300. It makes use of the same copper-wired 24MP sensor with 425 on-sensor PDAF points but gains a faster (LSI) processor to allow high speed operation. Sony also promises improved processing at high ISO settings, thanks to this new LSI.

    The camera gains 5-axis image stabilization which continues to work in both stills and video. The system is rated as offering 5 stops of stabilization, by CIPA standard testing.

    When used in conjunction with stabilized ‘OSS’ lenses, the in-lens stabilization takes over correction of the axes that is can stabilize, though Sony makes no claims for this adding to the degree of stabilization offered.

    It also gains a touchscreen for faster operation, particularly in terms of AF point positioning. The rear screen works as a touchpad if you’re holding the camera to your eye.

    The buffer has been significantly increased, allowing the camera to shoot at 11 frames per second for around 300 JPEGs or 100 Raw+JPEG frames. Sony says this (presumably in combination with the additional processing power) also helps it offer a faster image review when you’ve been shooting large bursts.

    It can shoot 4K video much like the a6300 but with the touchscreen allowing touch-to-pull-focus. The AF drive speed during video shooting can be controlled for smooth focus transitions. This autofocus ability is maintained across all the camera’s video modes, including 1080/120p capture.

    Beyond that, the camera’s video capabilities are very similar to those of the a6300: UHD 4K  at up to 100Mbps from 6K readout, meaning roughly 1.54x oversampling in each dimension (2.4x overall). The camera can also capture Full HD (1080) at up to 120p which is now offered as part of a feature that allows the camera to offer anything from 1fps to 120fps capture, for playing back as anything from 60x high speed to 1/5th speed slow motion.

    Sadly, Sony is making no promises of improved rolling shutter, compared with the a6300 (suggesting it’s a sensor read-out limitation, rather than one of processing).

    Like the a6300, the a6500 has a mic input but no headphone socket.

    The camera’s menu has also been updated, which the company says will make it easier to search and navigate. At present, it does not appear that the camera can shoot uncompressed Raw.

    Battery life is rated at 350 shots per charge when using the rear screen and 310 shots per charge when using the EVF.

    The a6500 will be available for $ 1400/€1700 in the end of November and December for the US and EU, respectively.

     Press release:

    Sony Introduces New ?6500 Camera with Exceptional All-Around Performance

    New Flagship APS-C Sensor Camera Combines World’s Fastest AF speed1and Highest Number of AF points2 with In-camera 5-axis optical image stabilization, Touchscreen AF Operation, 24.2 MP Exmor® CMOS sensor and more

    NEW YORK, Oct. 6, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced their new flagship APS-C sensor camera, the ?6500 (model ILCE-6500).

    As the latest addition to Sony’s lineup of award winning mirrorless cameras, the new ?6500 shares the same unrivaled 4D FOCUS™ system as the ?6300 camera, which can lock focus on a subject in as little as 0.05 seconds, the world’s fastest1 AF acquisition time. Also shared with the ?6300, the new ?6500 features 425 phase detection AF points that are densely positioned over nearly the entire image area – the world’s highest2 number of AF points on any interchangeable lens camera. The new model can shoot images at up to 11 frames per second with continuous autofocus and exposure tracking and up to 8 frames per second in a live-view shooting mode that makes it easy to track fast moving subjects, as it combines all of the benefits of an electronic viewfinder with the immediacy of an optical viewfinder.

    The camera can shoot at these high speeds for up to 307 frames3 thanks to its expanded buffer, which, along with the fast response speeds described above, are all achieved with the support of a new front-end LSI chip that has been added to the camera. This new front-end LSI also serves to enhance both still and video image quality.

    Additionally, the new ?6500 features Sony’s acclaimed in-camera 5-axis optical image stabilization, making it the first Sony APS-C sensor camera to offer all of the benefits of advanced in-body stabilization, which include a shutter speed advantage of approximately 5 steps4. It also offers touchscreen AF capabilities for focus point selection and adjustment.

    “We are continuing to push the boundaries of modern innovation in digital imaging, in particular within the mirrorless space,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics. “By equipping the ?6500 with 5-axis image stabilization and touchscreen AF, we’re offering photographers and videographers more control than ever before and a seemingly endless amount of creative possibilities. As our flagship APS-C camera, it far exceeds the performance threshold of any camera in its class, and many above its class as well.”

    Unmatched AF Capability

    Sony’s new ?6500 camera utilizes the same 4D FOCUS system as the ?6300 – a Fast Hybrid AF system that combines high-speed phase detection AF with extremely accurate contrast AF and allows it to capture and lock on to moving subjects in as little as 0.05 seconds1. It also features 425 phase detection AF points and High-density Tracking AF Technology, which significantly improves subject detection and tracking performance.

    New for the ?6500, thanks to faster internal processing capabilities enabled by the front-end LSI, the maximum buffer for high-speed continuous shooting is an impressive 307 frames3, greatly increasing the chances to catch that decisive moment.

    The camera’s 425 phase detection AF points, focusing tracking and accuracy are also available when using non-native A-mount lenses5 with Sony’s LA-EA3 mount adaptor. Additionally, it includes silent shooting, Eye AF in AF-C mode, AF in focus magnifier modes, Expand Flexible Spot AF and more.

    5-axis Image Stabilization Provides 5 Steps Shutter Speed Advantage

    One of the most exciting developments in the new ?6500 is the implementation of 5-axis image stabilization for the first time in a Sony APS-C sensor camera. Additionally, through a total revision of the internal design of the camera, this newly developed stabilization system fits entirely within a body that is nearly the same size as the ?6300 model6. This innovative 5- axis system provides a shutter speed advantage of 5 steps4, ensuring the full resolving power of the sensor can be realized, even in challenging lighting.

    The shake compensation provided by the system works with a variety of lenses, including E-mount lenses without OSS (Optical SteadyShot) stabilization and A-mount lenses7 when used with a compatible mount adapter. When an E-mount lens with OSS is mounted, pitch and yaw are compensated in the lens and horizontal, vertical and roll axes are compensated in the camera body, resulting in optimal 5-axis stabilization7.

    Also, with a simple half press of the shutter button, the effect of the image stabilization can be monitored in the viewfinder or on the LCD screen, allowing framing and focus to be accurately checked and continually monitored. This is available even when a lens is attached that does not have built-in shake compensation.

    New Touch Screen Focusing

    The new ?6500 comes equipped with touch screen functionality, allowing users to lock focus on a subject simply by touching it on the screen. This is a powerful compliment to its advanced AF system and video shooting capabilities.

    Additionally, in a first for Sony cameras, the ?6500 features touchpad functionality. When utilizing the viewfinder for framing and shooting, the LCD screen can be used as a touch pad. Simply drag a finger across the screen to shift the focus point from one area to another.

    Powerful 24.2 MP8 Exmor CMOS Sensor, BIONZ X® Processor and New Front-End LSI

    The new ?6500 features an APS-C sized 24.2 MP8 Exmor CMOS sensor that works together with a BIONZ X image processor and the newly developed front-end LSI to maximize processing power and achieve an impressive sensitivity range of ISO 100-512009.

    The image sensor employs a thin wiring layer and large photodiode substrate that maximizes light collection efficiency, plus copper wiring in its structure for outstanding read-out speed. The BIONZ X image processor and newly developed front-end LSI ensure superior image and video quality with low noise even when using higher ISO settings, in particular those at high sensitivity values where other cameras typically struggle. The LSI is also responsible for the expanded buffer depth for continuous shooting.

    Professional Video Capabilities

    The new ?6500 becomes the latest Sony interchangeable lens camera to offer internal 4K movie recording, as it can shoot 4K (3840x2160p) video in the popular Super 35mm format on the full width of the image sensor. When shooting in this format, the camera uses full pixel readout without pixel binning to collect 6K of information – approximately 2.4x10 (20 MP equivalent) as many pixels as 4K UHD and then oversamples the information to produce high quality 4K footage with exceptional detail and depth.

    Additionally, the ?6500 will focus exceptionally fast during movie shooting thanks to its Fast Hybrid AF system, offers touch focusing for professionally smooth focus shifts, while also offering adjustable AF transition speed and AF tracking sensitivity. The camera supports the XAVC S codec11 during video shooting, which records at a high bit rate of up to 100 Mbps during 4K recording and 50 Mbps during Full HD shooting, ensuring maximum detail and clarity in both video formats.

    Other professional caliber video features include the ability to record Full HD at 120 fps at up to 100 Mbps, which allows footage to be reviewed and eventually edited into 4x or 5x slow motion video files in Full HD (24p) resolution with AF tracking.

    New on the ?6500 is the incorporation of a ‘Slow and Quick’ (S&Q) mode that supports both slow motion and quick motion. In this mode, frame rates from 1 fps to 120 fps can be selected in 8 steps for up to 60x quick motion and 5x slow motion recording12. Footage shot in this mode can be previewed after shooting without the need for PC-based post processing.

    The camera also offers S-Log gamma recording13 for wide dynamic range shooting – approximately 14-stop latitude in S-Log3 gamma setting – and supports S-Gamut for a wider color space. Both options allow for greater creativity for processing video post-production.

    Shooters also now have the ability to select, extract and save still images from movie footage directly on the camera. Approximately 8 MP images and 2 MP images can be pulled from 4K modes and Full HD modes, respectively.

    Enhanced Operability and Reliability

    The new ?6500 has a refined design, maintaining the mobility of the ?6000 series while adapting much of the usability of Sony’s acclaimed ?7 II series. The new model features the same high contrast, high-resolution 2.4 million dot XGA OLED Tru-Finder as the ?6300 that offers exceptional corner-to-corner visibility.

    New hardware features on the ?6500 include a magnesium alloy body and a high-durability shutter with a tested life span of approximately 200,000 release cycles14. It also has several design features that are borrowed from the ?7 II series of full-frame cameras, which include a robust lens mount, a recessed grip to improve handling, a larger release button and ten total custom buttons including ‘C1’, ‘C2’ and ‘C3’. It also has an improved operation feel for its mode and control dials and rear face buttons, as well as a softer eyepiece cup for more comfortable usage.

    On the software front, there is a new overall user interface, which allows for a much smoother process for searching and adjusting menu settings, as well two new metering modes – Highlight, where exposure metering is focused on the brightest area of the frame, and Entire Screen Avg, which maintains an average metering for the entire image.

    The camera is Wi-Fi®, QR and NFC compatible and fully compatible with Sony’s PlayMemories Mobile™ applications15 available for Android™ and iOS platforms, as well as Sony’s growing range of PlayMemories Camera Apps™. The ?6500 also offers location data acquisition via a Bluetooth16 connection to a compatible mobile device and an updated menu structure to deliver a smoother navigational experience.

    Pricing and Availability

    The Sony ?6500 interchangeable lens camera will ship this November for about $ 1,400 US and $ 1,750 CA. It will be sold at a variety of Sony authorized dealers throughout North America.

    There is also a new genuine leather body case (model LCS-EBG) that will ship in November and a new eyepiece cup (model FDA-EP17) that will be launched at a later date.

    Notes:

    1. Among interchangeable-lens digital cameras equipped with an APS-C image sensor as of October 2016, based on Sony research, measured using CIPA-compliant guidelines, and internal measurement method with an E PZ 16-50mm F3.5-5.6 OSS lens mounted, Pre-AF off and viewfinder in use.
    2. Among digital cameras as of October 2016, based on Sony research.
    3. With “Hi” continuous shooting mode and “Fine” image quality.
    4. Based on CIPA standard. Pitch/yaw shake only. With Sonnar T* FE 55mm F1.8 ZA lens mounted. Long exposure NR off.
    5. A-mount lenses with SSM or SAM only. Users can choose phase-detection AF or contrast-detection AF in AF System menu. “Phase-detection AF” is not available during movie shooting. AF-C in AF System menu is available only with “Contrast-detection AF” selected, but no motion tracking is performed during continuous shooting (Hi+, Hi, Mid).
    6. Excluding grip, frontal-view size and main body thickness are the same as for the ?6300
    7. All 5-axis stabilization is performed in-camera when SEL90M28G is mounted
    8. Approximate effective MP
    9. Standard ISO range: 100-25600 for stills and movies. Expandable up to ISO 51200 for stills only.
    10. In 24p recording. Approx. 1.6 times in 30p recording.
    11. SDHC/SDXC memory card of Class 10 or higher is required for movie recording in XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps recording.
    12. Sound cannot be recorded. SDHC/SDXC memory card of Class 10 or higher is required.
    13. S-Log2 and S-Log3 are premised on processing pictures.
    14. With the electronic front curtain shutter, under internal test conditions of Sony.
    15. Use the latest version of PlayMemories Mobile
    16. Can be connected via Bluetooth with smartphones featuring (as of the date of release)

    Sony Alpha a6500 specifications

    Price
    MSRP $ 1400 (body only)
    Body type
    Body type Rangefinder-style mirrorless
    Body material Magnesium alloy
    Sensor
    Max resolution 6000 x 4000
    Image ratio w:h 3:2, 16:9
    Effective pixels 24 megapixels
    Sensor photo detectors 25 megapixels
    Sensor size APS-C (23.5 x 15.6 mm)
    Sensor type CMOS
    Processor Bionz X
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Auto, 100-25600 (expandable to 51200)
    Boosted ISO (maximum) 51200
    White balance presets 8
    Image stabilization Sensor-shift
    Image stabilization notes 5-axis
    Uncompressed format RAW
    JPEG quality levels Extra fine, fine, standard
    File format
    • JPEG (Exif v2.3)
    • Raw (14-bit Sony ARW)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Manual focus Yes
    Number of focus points 425
    Lens mount Sony E
    Focal length multiplier 1.5×
    Screen / viewfinder
    Articulated LCD Tilting
    Screen size 3″
    Screen dots 921,600
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder magnification 0.7×
    Viewfinder resolution 2,359,296
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/4000 sec
    Maximum shutter speed (electronic) 1/32000 sec
    Exposure modes
    • iAuto
    • Program
    • Aperture priority
    • Shutter priority
    • Manual
    Built-in flash Yes
    Flash range 6.00 m (at ISO 100)
    External flash Yes (via hot shoe)
    Flash modes Flash off, Autoflash, Fill-flash, Rear Sync., Slow Sync., Red-eye reduction (On/Off selectable), Hi-speed sync, Wireless
    Flash X sync speed 1/160 sec
    Drive modes
    • Single
    • Continuous (Hi+/Hi/Mid/Lo)
    • Self-timer
    • Bracketing
    Continuous drive 11.0 fps
    Self-timer Yes
    Metering modes
    • Multi
    • Center-weighted
    • Highlight-weighted
    • Spot
    Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
    AE Bracketing ±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
    WB Bracketing Yes (3 frames, H/L selectable)
    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, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
    • 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, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 50i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 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 @ 30p / 6 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 25p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 25p / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 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 @ 25p / 6 Mbps, MP4, H.264, AAC
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types SD/SDHC/SDXC + Memory Stick Pro Duo
    Connectivity
    USB USB 2.0 (480 Mbit/sec)
    HDMI Yes (micro-HDMI)
    Microphone port Yes
    Headphone port No
    Wireless Built-In
    Wireless notes 802.11b/g/n + NFC
    Remote control Yes (via smartphone)
    Physical
    Environmentally sealed Yes
    Battery Battery Pack
    Battery description NP-FW50
    Battery Life (CIPA) 350
    Weight (inc. batteries) 453 g (1.00 lb / 15.98 oz)
    Dimensions 120 x 67 x 53 mm (4.72 x 2.64 x 2.09″)
    Other features
    Orientation sensor Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)