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  • Hands on with Sony’s a6300 and G Master lenses

    Hands on with Sony’s a6300 and GM lenses

    At a press event in New York City, Sony unveiled a new mirrorless camera and three new lenses – but not just any mirrorless camera, and not just any lenses. The Sony a6300 is the much-anticipated followup to the very successful a6000. And for its full-frame range, Sony introduced a new lens class: G Master. The company has placed the FE 70-200mm F2.8 GM OSS, FE 85mm F1.4 GM and FE 24-70mm F2.8 GM in a category unto themselves, with an emphasis on resolving power and bokeh. We spent some brief moments with all of the new hardware – take a look.

    Sony a6300

    Front and center of this morning’s announcements is the a6300. Boasting a newly designed 24MP APS-C CMOS sensor, the camera’s most impressive feature is arguably its 425 phase-detect AF points with ‘Advanced 4D Focus.’

    The a6300’s 4K video tech is impressive too. The camera reads the equivalent of 6K’s worth of data from its sensor and downsizes it to 4K/UHD – without pixel binning – which promises a big boost in video quality.

    Sony a6300

    Sony stuck with a familiar design when shaping the a6300, including these top plate mode and command dials, which will look very familiar to a6000 users. 

    Sony a6300

    It may look like its predecessor on the outside, but the a6300 uses a sturdier magnesium-alloy construction, with weather-sealing.

    Sony a6300

    The rear panel looks much the same as the a6000 as well, except for the addition of a switch toggling between AEL and AF/MF. The tilting 3″ 921k-dot LCD is still present, and still not a touchscreen, but the viewfinder has been significantly upgraded to a 2.36 million-dot OLED panel.

    Sony a6300

    A pop-up flash is another welcome carryover from the a6000. With a little pressure, the flash can be tilted backward at a slight angle for a bounce effect.

    Sony a6300

    The Sony a6300 is expected to ship in March, and will sell for $ 1000 body-only or $ 1150 paired with a 16-50mm F3.5-5.6 power zoom kit lens (not the more expensive 16-70mm F4 seen here).

    Sony a6300

    Autofocus speed was a strength of the a6000, and the a6300 brings the next evolution of that system with some lofty claims including focus acquisition in as little as 0.05 sec. The a6300 also boasts a minimal blackout period between shots, and can manage to supply a live view feed at up to 8fps – a major breakthrough for mirrorless cameras. 

    Sony FE 24-70mm F2.8 GM

    The first of Sony’s three ultra premium ‘G Master’ lenses is the FE 24-70mm F2.8 GM. The focus (no pun intended) of the GM lenses is resolution and bokeh, courtesy of high quality glass and a new XA (extreme aspherical) lens element. All three lenses are weather-sealed.

    The 24-70 has 18 elements in 13 groups which include the aforementioned XA element, as well as ED and Super ED elements. A Nano AR coating reduces flare and ghosting. The lens also features nine circular aperture blades.

    Sony FE 24-70mm F2.8 GM

    The minimum focus distance on the 24-70 is 0.38m/15in. with a max magnification of 0.24x. The lens uses 82mm filters. Control-wise the lens has switches for focus mode and zoom lock as well as a stop focus button.

    The 24-70mm F2.8 GM will be available in March for $ 2200.

    Sony FE 85mm F1.4 GM

    Next is the long-awaited fast 85mm prime. This constant F1.4 lens has a whopping 11 circular aperture blades – the most of any Sony lens yet – as well as XD and three ED elements.

    The lens’ Super Sonic wave Motor uses a pair of position sensors to ensure accurate focus.

    Sony FE 85mm F1.4 GM

    As you can see, the 85mm F1.4 GM has a manual aperture dial (with switchable click-stops), AF/MF switch, and focus hold button. 

    You’ll be able to pick up this monster of a lens in March for $ 1800.

    Sony FE 70-200mm F2.8 GM OSS

    The 70-200mm F2.8 steps into Sony’s FE line as the first fast constant aperture tele-zoom, looking the part of a sports shooter’s lens. Sadly, working samples were not available for press to use at the launch event, and its price is still TBD.

    Sony FE 70-200mm F2.8 GM OSS

    What we do know is that it will have 23 elements in 18 groups, which includes one XD, four ED and two Super ED elements. Like the 85mm lens, the 70-200 has 11 circular aperture blades. It uses two focus motors to optimize speed and accuracy. The front elements have a ring-type SSM while the rear parts use a double linear motor. The minimum focus distance is just 0.96m/38in.

    Controls are as you’d expect from a high-end tele-zoom. There are switches for AF/MF, focus distance limit, image stabilization, and IS mode. There are two IS modes: standard (mode 1) and panning (mode 2). The lens also has a zoom lock and buttons for holding focus.

    Articles: Digital Photography Review (dpreview.com)

  • Sony releases a6300 videos showing AF tracking and 8 fps live view burst performance

    Sony has released a video showing the AF tracking and 8 fps live view burst of the newly announced a6300, as well as a video demonstrating AF with subject tracking in 4K video.

    The camera appears to have impressive AF subject tracking accuracy, following not just the dog but the dog’s face in the demo. We’ll reserve judgement until we get our hands on one, but previous Sony cameras had a tendency to wander off to other areas of the subject when using general subject tracking, so these results indeed appear impressive. The expansive 425-point array also mean the camera can track the subject to almost any point in the frame, and all of these points purportedly work with A-mount lenses mounted via a LA-EA3 adapter (we expect Canon mount lenses to work as well, with appropriate adapters).* Have a look below.

    Sony a6300 ‘4D Focus’ demo

    The a6300 also potentially addresses one of the largest shortcomings of mirrorless cameras for action shooting: the often stop-motion playback of last-shot images, as opposed to a live feed, when shooting continuous bursts. We recently reported on Nikon’s calling out of this particular weak point of mirrorless cameras, so Sony’s response in the a6300 today seems timely. Essentially, the a6300 offers a live feed in the EVF or on the LCD during 8 fps continuous shooting, in between what seem to be very short blackouts. This should make it much easier to both pan the camera and still keep your subject in the frame, or keep your selected AF point(s) over your subject. 

    The video above, in addition to one Sony presented at the press event earlier today, demonstrate a promising live feed during 8 fps bursts, but ultimately its utility will be largely dependent on the length of those blackouts between shots. Sony claims that the length of blackouts is competitive when compared to a <$ 1000 DSLR.

    While that might seem like a relatively low bar, the fact that Sony is getting a live feed off the sensor at all in between shots at 8 fps represents significant progress in the realm of mirrorless cameras. In comparison, a DSLR doesn’t have to do anything but return the mirror to get you this ‘live feed’ through the optical viewfinder between shots.

    Autofocus in video

    Sony has also released a video demonstrating impressive AF in 4K video recording with native mount lenses. There appears to be little hunting, with fast refocusing and even subject tracking available during movie recording. Have a look above.

    This should be a boon for videographers, assuming Sony now allows one to easily specify the subject before tracking it. On the note of specifying a subject, it’s a huge shame that a touchscreen isn’t paired with this capable video AF system for focus point selection.

    At least on paper, we think that these advances mark some significant progress for mirrorless (it’s too bad we can’t say the same for the a6300’s ergonomics), and we’ll be curious to see how the systems perform when we get our hands on a production a6300.

    * It remains to be seen if subject tracking is available in any mode save for ‘Wide’ with 3rd party lenses though: subject tracking has been severely limited with 3rd party glass on the a7 II and a7R II due to the inability of the photographer to specify the subject, since it’s only available in Wide area mode.

    Articles: Digital Photography Review (dpreview.com)

  • Sony releases three premium ‘G Master’ lenses for FE-mount

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    Sony has created a new lineup of lenses for its full-frame cameras known as G Master (GM). These are the company’s high-end lenses that sit above its ‘G-series’ lenses and, as you might imagine, command a premium price. The first three GM lenses include FE 24-70mm F2.8, FE 85mm F1.4 and FE 70-200mm F2.8 OSS.

    In addition to the lenses, Sony also released a pair of teleconverters (1.4x and 2.0x) for use with the new 70-200mm F2.8 lens.

    At the press conference announcing the new lenses the company placed enormous emphasis on the importance of high resolution and high quality bokeh. Says Senior Technology Manager Mark Weir: “Being a leader in image sensor technologies, we have a unique insight into where sensor and camera technology is going, and we put this insight into our lens design.”

    Sony mentioned they’re now designing G Master lenses to a 50 lines per mm standard, a step up from the 10 and 30 lines/mm MTF traces we’re used to seeing. Regarding bokeh, Sony explained that the lifelike nature of an image in either still or video is determined by the nature of the transition from in-focus to out-of-focus areas, and that an abrupt shift between the sharp region and the background can look artificial. Their research shows that this often comes down to a lack of precision in the preparation of the lens elements, and less than optimal positioning the optical cavity. Sony indicated that G Master lenses can be shaped to within 1/100th of a micron of their design spec to address this problem. 11 aperture blades on the new 85mm and 70-200mm lenses also indicate a serious commitment to smooth out-of-focus areas.

    Additionally, each G Master lens employs a different drive mechanism for optimal AF performance. The 24-70mm uses a Direct Drive Supersonic motor (SSM), which we’ve previously noted to confer incredibly fast, accurate, and silent AF to the FE 35mm F1.4 lens. Sony boasts this focus motor to offer 0.01mm precision of focus group placement. The 85mm F1.4 uses a ring drive. The 70-200 sports a dual implementation: two focus groups at either end of the lens are drive by different actuators. A ring drive SSM drives the front AF group while dual linear motors drive a floating rear group. The result is fast continuous autofocus and silent AF for video, as well as in impressive minimum focus distance of <1m.

    Sony also emphasized their development of advanced simulation techniques that make it possible to control things like bokeh right from the design stage. Previously, it was difficult to judge the effects of optical design without first building the lens – simulation technologies now help Sony see the effects of iterations on the optical design.

    The first G Master lenses will be available in March, with the 24-70mm listing for $ 2200 and the 85mm listing for $ 1800 in the U.S. The 70-200mm will follow in May, with pricing yet to be determined.

    Press release:

    Sony Launches New G Master Brand of Interchangeable Lenses

    Three new models including 24-70mm F2.8 Zoom, 85mm F1.4 Prime and 70-200mm F2.8 Zoom deliver unrivaled imaging experiences 

    NEW YORK, Feb. 3, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced their flagship G Master™ brand of interchangeable lenses.           

    Sony’s new brand includes three new E-mount full frame lenses including a 24-70mm constant F2.8 standard zoom, an 85mm F1.4 prime and a 70-200mm constant F2.8 telephoto zoom.   Representing the ultimate blend of high resolution and beautiful bokeh, the new lenses feature Sony’s innovative optical element technology, design and calibration.  This allows them to produce still image and video content with a level of detail and expression that has never before been possible. 

    “The new G Master brand represents the finest and most impressive group of lenses that Sony has ever brought to market,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics.  “With our knowledge of what the future will bring for digital imaging, we have designed these lenses and can ensure that the G Master brand will inspire and ‘wow’ photographers and videographers for years to come.”

    New FE24-70mm F2.8 GM Standard Zoom Lens

    Featuring some of the most advanced lens technologies in market today, the new FE 24-70mm F2.8 GM (model SEL2470GM) is the ultimate choice for those seeking the highest possible optical performance for portrait, travel and event photography or even simple everyday shooting1. 

    The new lens is built with three aspherical elements including a newly developed, extremely precise XA (extreme aspherical) element that reduces aberration and delivers the ultimate resolution throughout the entire zoom range and aperture range, as well as from corner to corner of all image files. Additionally, an ED (Extra-low-Dispersion) glass element and Super ED glass element keep chromatic aberration to a minimum while maximizing resolution and bokeh without any unnatural coloration. 

    The lens features a 9-bladed aperture that maintains a near circular shape at all settings and is coated with Sony’s original Nano AR coating to suppress reflections and ensure spectacular contrast and clarity.    

    The new FE24-70mm F2.8 GM lens has a direct drive SSM (Super Sonic Wave Motor) focusing system that works with incredible efficiency thanks to a new set of algorithms that positions the lens elements quickly and accurately. The motor is smooth and quiet, making it an ideal choice for shooting both still images as well as movies.

    To maximize usability, the lens is dust and moisture resistant and features a compact, streamlined design that includes AF/MF switch as well as focus hold, zoom lock and hood release buttons.

    Two new matching filters for the FE24-70mm F2.8 GM lens have also been introduced, including the VF-82MP MC protector and VF-82CPAM Circular PL filter..

    New FE 85mm F1.4 GM Telephoto Prime Lens

    Designed as the ultimate portrait lens, the long-awaited new FE 85mm F1.4 GM telephoto prime lens (model SEL85F14GM) strikes a perfect balance between resolution and bokeh in a compact package.

    The lens features a new XA (extreme aspherical) element as well as three ED glass elements that work together to ensure that the in-focus areas are captured in extremely high resolution while the surrounding out-of-focus areas dissolve smoothly into a beautiful soft backdrop. It has a circular aperture with 11 blades – the most ever used in an ? lens – that ensures bokeh is smooth and visually appealing.  Externally, the new model has Sony’s original Nano AR Coating, which is of particular importance in a portrait lens as it reduces flare and ghosting, even with backlit subjects or similarly challenging lighting conditions.

    For accurate autofocusing, the FE 85mm F1.4 GM lens includes a ring drive SSM motor system that provides ample power and speed to drive the lens’ large, heavy focus group. It’s also equipped with two position sensors to support flawless focus control of the large, heavy lens elements.   

    This new professional portrait lens is dust and moisture resistant and also has an aperture ring with on/off switchable click stops that can be adjusted based on whether a user is shooting still images or movies.  It also has an AF / MF switch and a focus hold button.2

    New FE 70-200mm F2.8 GM OSS Telephoto Zoom

    Covering the frequently used 70-200mm focal range, the new FE 70-200mm F2.8 GM OSS telephoto zoom lens (model SEL70200GM) offers extremely high rendering, AF performance and image stabilization, making it a versatile choice for shooting wildlife, sports, weddings and a variety of other events and locations1.

    The new flagship telephoto zoom model delivers extraordinary sharpness and clarity throughout the entirety of its zoom range thanks to its three advanced lens elements including XA, Super ED and ED glass components, as well as its Nano AR coating. 

    The new FE 70-200mm F2.8 GM OSS lens features a floating focusing system – implemented in an ? zoom lens for the first time – that contributes to an impressive minimum focusing distance of merely 0.96m and ensures AF performance is optimized during both still and video shooting. The lens includes a SSM (Super Sonic Motor) plus dual linear motors that work together to move large lens elements quickly – a task that requires a high level of drive control and ensures focus accuracy. The new model also has built in Optical SteadyShot™ image stabilization for capturing sharp, blur-free subjects at all focal lengths and a rotating tripod mount that allows the camera to be quickly removed from a connected tripod as needed. 

    The new 70-200mm telephoto zoom lens is dust and moisture resistant with an additional fluorine coating added to the front lens.  It also has a focus hold button as well as a focal range limiter. 

    Sony has also announced new compact 1.4x and 2x Teleconverters  – models SEL14TC and SEL20TC respectively – that offer even greater reach while maintaining the overall streamlined design and feel of the 70-200mm lens.3   

    Pricing and Availability

    The new FE 24-70mm F2.8 GM Standard Zoom and 85mm F1.4 GM Telephoto prime lenses will be available in March for about $ 2,200 and $ 1,800, respectively.  In Canada, they will be sold for $ 2,900 CA and $ 2,400 CA, respectively. 

    The new 70-200mm F2.8 GM Telephoto Zoom Lens and its compatible 1.4x and 2x Teleconverters will be available in May.  Pricing is not yet available for these models. 

    The new G Master Series of interchangeable lenses will be sold at a variety of Sony authorized dealers throughout North America.  

    1.      A software update may be required to provide compatibility of lenses with some cameras. See the Sony support site www.esupport.sony.com for additional details.

    2.      Limitations apply to AF operation when shooting movies with certain camera bodies. A software update may be required to provide AF compatibility of FE 85mm F1.4 GM with some cameras during movie shooting. See the Sony support site for lens/body compatibility details.

    3.      SEL70200GM is only compatible lens at the time of announcement

    Sony 24-70mm F2.8 GM & 70-200 F2.8 GM OSS specifications

      Sony FE 24-70mm F2.8 GM Sony FE 70-200mm F2.8 GM OSS
    Principal specifications
    Lens type Zoom lens
    Max Format size 35mm FF
    Focal length 24–70 mm 70–200 mm
    Image stabilisation No Yes
    Lens mount Sony FE
    Aperture
    Maximum aperture F2.8
    Minimum aperture F22.0
    Aperture ring No
    Number of diaphragm blades 9 11
    Optics
    Elements 18 32
    Groups 13 18
    Special elements / coatings One extreme aspherical, one super ED, one ED element + Nano AR coating One double-side aspherical and one extreme aspherical element + Nano AR coating
    Focus
    Minimum focus 0.38 m (14.96″) 0.96 m (37.8″)
    Maximum magnification 0.24× 0.25×
    Autofocus Yes
    Motor type Piezoelectric Ring-type ultrasonic
    Full time manual Yes
    Focus method Internal
    Distance scale No
    DoF scale No
    Focus distance limiter Yes
    Physical
    Weight 886 g (1.95 lb) 1480 g (3.26 lb)
    Diameter 88 mm (3.45″) 88 mm (3.46″)
    Length 136 mm (5.35″) 200 mm (7.87″)
    Sealing Yes
    Colour Black Gray
    Zoom method Rotary (extending)
    Power zoom No
    Zoom lock Yes
    Filter thread 82.0 mm 77.0 mm
    Hood supplied Yes
    Hood product code ALC-SH141 ALC-SH145
    Tripod collar No Yes

    Sony 85mm F1.8 GM specifications

    Principal specifications
    Lens type Prime lens
    Max Format size 35mm FF
    Focal length 85 mm
    Image stabilisation No
    Lens mount Sony FE
    Aperture
    Aperture ring Yes
    Number of diaphragm blades 11
    Optics
    Elements 11
    Groups 8
    Special elements / coatings Extreme Aspherical, Super ED, ED elements + Nano AR coating
    Focus
    Minimum focus 0.80 m (31.5″)
    Maximum magnification 0.12×
    Autofocus Yes
    Motor type Ring-type ultrasonic
    Full time manual Yes
    Focus method Internal
    Distance scale No
    DoF scale No
    Focus distance limiter No
    Physical
    Weight 820 g (1.81 lb)
    Diameter 90 mm (3.52″)
    Length 108 mm (4.23″)
    Sealing Yes
    Colour Black
    Filter thread 77.0 mm
    Hood supplied Yes
    Hood product code ALC-SH142

    Articles: Digital Photography Review (dpreview.com)

  • Nikon apologizes for awarding prize to digitally altered photo

    Last week, Nikon Singapore chose an image submitted by photographer Chay Yu Wei as the winner of a ‘casual photo contest.’ Critics quickly pointed out that the airplane featured in the image had been digitally inserted, given away by the highly visible white square around the plane’s silhouette. Nikon and Yu Wei have both issued apologies over the submission, with Nikon saying it will bolster its image reviewing process ‘to avoid similar situations in the future.’

    Nikon, which has since deleted the original Facebook post awarding the photograph, posted a status update on Saturday that reads:

    We have heard your comments and feedback on this, and you are right – we should not compromise standards even for a casual photo contest. We have dialogued internally, with the community and with our loyal fans, and Yu Wei has also posted his own views on this issue. We have made an honest mistake and the rousing response from the community today is a reminder to us that the true spirit of photography is very much alive. Moving forward, we will tighten our image review process to avoid similar situations in the future. Thank you once again for all your responses today – for your humour and most of all, your candour and honesty. We hope not to disappoint you in the future and to continue to have your support.

    Most sincerely, your Nikon team

    Yu Wei posted his own lengthy apology on his Instagram account, saying in part:

    Like one user commented, I was on a photo walk in Chinatown and I chanced upon that set of ladders. I snapped a picture of it, and subsequently felt that a plane at that spot would make for an interesting point of view. Hence, I inserted the plane with PicsArt and uploaded it to Instagram. That’s how I use Instagram, sometime it’s to showcase the work I’m proud of, sometimes just to have fun. This case, that small plane was just for fun and it was not meant to bluff anyone. I would have done it with photoshop if I really meant to lie about it, but no, it was a playful edit using the PicsArt app and uploaded to Instagram. When my friends commented with some questions, I also answered it jokingly, saying it’s the last flight of the day and saying it was my lucky day that I did not wait too long. At that time, of course everyone who read it took it as a joke, before this issue arrived and it is taken seriously.

    However, I made a mistake by not keeping it to Instagram as a casual social media platform. I crossed the line by submitting the photo for a competition. I meant it as a joke and I’m really sorry to Nikon for disrespecting the competition. It is a mistake and I shouldn’t have done that. I also shouldn’t have jokingly answered Nikon that I caught the plane in mid-air and should have just clarified that the plane was edited in using PicsArt. This is my fault and I sincerely apologise to Nikon, to all Nikon Photographers, and to the photography community as general.

    While Nikon’s apology seems genuine, we can’t help wondering how such an obviously altered image slipped through. We’re also not quite convinced by Wei’s apology, and DigitalRev points out that the concept for the image may not even be his either. What’s your take on the controversy? Let us know in the comments.

    Articles: Digital Photography Review (dpreview.com)

  • Readers’ Choice Awards 2015: The winners

    Readers’ Choice Awards 2015: The Winners

    At the end of last year we asked you to vote for the best cameras and lenses of 2015. Across two rounds of voting DPReview readers did just that, selecting the top overall photography products of 2015. It was no easy feat, as 2015 brought huge advancements in stills and video technology, but with thousands of votes tallied it’s time to declare a winner. See how the votes stacked up.

    Runner-up: Nikon D7200

    In the runner-up position, coming third in our final poll is the Nikon D7200. The D7200 just edged out the Sony Cyber-shot RX100 IV to take the third highest number of votes at 9.9% of the overall vote. Both formidable cameras in their own categories, the D7200 nabs the runner-up title with its DX-format 24.2MP sensor, sophisticated AF system and enjoyable handling and ergonomics.

    Learn more about the Nikon D7200

    Runner-up: Olympus OM-D E-M5 II

    ‘How do you follow up a classic?’ is the question we found ourselves asking of the OM-D E-M5 II. Taking the second-place position in our final poll with 12.9% of the overall vote, the E-M5 II does a fine job of following up its well-regarded predecessor, and its class-leading 5-axis image stabilization system helps it stand out among last year’s notable products.

    Learn more about the Olympus OM-D E-M5 II

    Winner: Sony a7R II

    It was our Product of the Year and now that the votes are in, we know it was yours too. The Sony a7R II left a major impression on the industry in 2015 with its sheer capability: a 42MP sensor, built-in image stabilization and 4K video, for starters. Winning by a landslide, the a7R II took 36% of the overall vote.

    Thanks to everyone that voted, and we hope that you’re all looking forward to more great gear in 2016!

    Read more about the Sony a7R II

    Articles: Digital Photography Review (dpreview.com)

  • Nikon KeyMission 360 price and specs appear on retailer’s website

    The Nikon KeyMission 360 action camera was unveiled at an event in early January, and while Nikon offered some details about the model, it did not reveal the price. Now, nearly a month later, the camera has surfaced on German retailer Cyberport’s website with a list price of €499 and a features list.

    The KeyMission 360 records 4K UHD video, is waterproof to depths of 30m/100ft, shockproof from heights up to 2m/6.6ft, and has electronic image stabilization, according to Nikon. The product listing includes some additional specs, including support for microSDHC/SDXC media cards, WiFi, NFC, Bluetooth, an integrated microphone, non-removable Li-Ion battery and USB 2.0.

    Nikon said during its January event that it is aiming for a Spring 2016 release; it has not confirmed pricing.

    Via: NikonRumors

    Articles: Digital Photography Review (dpreview.com)

  • Extreme made easy: GoPro HERO4 Session review

    GoPro HERO4 Session review

    Waterproof, ruggedized, incredibly-small and lightweight, the Session is a no-brainer to toss in your bag or coat pocket before heading out on an adventure. 

    The GoPro HERO4 Session is the company’s latest action camera release. Unlike GoPros before it, the Session is completely waterproof without the need for any housing. It is also the smallest, lightest GoPro to date, 50% smaller than the HERO4 (Black or Silver) and 40% lighter.

    The GoPro HERO4 Session is capable of video capture at the following resolutions and frame rates:

     Video Resolution Frame rate 
    1920 x 1440  30 fps, 25 fps
    1920 x 1080  60 fps, 50 fps, 48 fps (in Ultra Wide mode only), 30 fps, 25 fps
    1280 x 960  60 fps, 50 fps, 30 fps, 25 fps
    1280 x 720  100 fps, 60 fps, 50 fps, 30 fps, 25 fps
    848 x 480  120 fps, 100 fps

    The Session has dual microphones – one on the front and another on the back – for improved audio quality. The camera will automatically choose to prioritize one mic over the over, depending on the scenario. Stills can be captured at a frame rate as fast as 10 fps (limited to 1 sec bursts). Images are captured at 8MP resulting in a 3264 x 2448 still.

    The Session can also capture time-lapses. Available intervals include 0.5, 1, 2, 5, 10, 30 and 60 secs.

    Auto Low Light, a feature that determines video frame-rate based on lighting conditions, gives the promise of better low light video quality, something that action cams are not particularly good at. It’s worth noting that video files will playback at the selected frame-rate and resolution when using Auto Low Light.

    ProTune, an option that allows users to dial in more advanced settings, is available on the HERO4 Session. Selecting ProTune allows users to set their ISO limit (either ISO 400 or ISO 1600), and toggle sharpness on and off. The Session also features a spot meter mode, that, as you may have guessed, determines exposure based on a small point in the center of the frame.

    What’s included

    In addition to the unit itself, the GoPro HERO4 Session ships with just enough to get you started, including: a standard frame, a low-profile frame, one curved adhesive mount, one flat adhesive mount, a ball joint buckle and mounting buckles. A Micro-USB cable is also included for charging and transferring files directly from the GoPro to a computer.

    Compared to Siblings

    The price of the GoPro HERO4 Session recently dropped to $ 200. Here’s how it sizes up against GoPro’s other current offerings:

      HERO4 Session  HERO4 Black  HERO4 Silver  HERO+
    Max Video Resolution

    1440/30p

    4K (UHD) 2160/30p

    4K (UHD) 2160/15p

    		 1080/60p
    Photo Resolution 3264 x 2448 4000 x 3000 4000 x 3000  3264 x 2448
     Waterproof (without a housing) Yes  No  No No
     Max Still Burst 10 fps 30 fps 10 fps 5 fps
     Weight 74 g 152 g 147 g 123 g
     Street price $ 200 $ 500 $ 400 $ 200

    Design

    The HERO4 unit itself is a tiny 1.5″ cube. The body has only two buttons: the large record button on top, located directly in front of the LCD, and a small Info/Wi-Fi button on the lower portion of the back (see lower image). Press the record button once to turn the camera on and start capture – by default the video will be 1080/30p. Press and hold the record button for two seconds to start a time-lapse. By default it will shoot a photo every half-second. In both cases, hitting the record button again stops capture and powers the device down.

    Users can change video and still capture settings, in addition to turning on Wi-Fi by hitting the Info/Wi-Fi button and poking through the options. However, the two-button ergonomics can make for a pretty confusing user experience. We found it much easier to change settings by using the GoPro app. 

    The LCD on top displays the battery life, recording mode, resolution and clip length (when capturing video), or the number of photos left (if you’re shooting a time-lapse). A small switch on the side of unit, when pressed, reveals the Micro-SD card slot and Micro-USB port (see below).

    The HERO4 Session is impressively tough. The body is coated in a rubber-like material, and the door containing the Micro-USB port and microSD slot appears well-sealed. We’re not entirely sure what kind of glass the front element is made of, but several run-ins with a flying skateboard didn’t even leave a scratch. Seriously, we beat this unit up quite a bit over the course of field testing it, with no damage to speak of. 

    Articles: Digital Photography Review (dpreview.com)

  • Behind the scenes at Fujifilm’s factory in Sendai, Japan

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    After the official launch of the X-Pro2 recently in Tokyo, Fujifilm invited a select group of press to visit its Taiwa assembly plant near Sendai to see the camera being put together. As well as the X-Pro2, we were also able to see the assembly lines for the X-T1, X100T, and several lenses. Fujifilm has been making optics since the 1940s, and although the construction workers of that time would not recognize much of the technology used in lens construction today, a lot of the assembly is still done fairly traditionally, by hand. 

    The first step when visiting any assembly plant, is to sterilize yourself. No, not like that, but by donning head-to-foot protective clothing and scrubbing your hands with alcohol. It’s a time-consuming, uncomfortable but necessary step in order to prevent contamination of the assembly line. I do very much regret keeping a sweater on underneath the overalls though. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Here, a worker in Fujifilm’s Taiwa plant uses a sonic motorized screwdriver to assemble the company’s 56mm F1.2 prime lens. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Journalists take photographs of the various lens groups that make up the new 100-400mm zoom, laid out on a table at Fujifilm’s Taiwa plant, which is about 20 miles outside of the city of Sendai. 

    The elements themselves are not ground and polished in Sendai, but like other components they are shipped in, ready to be turned into complete lenses. Fujifilm has three additional facilities in Japan that mold and polish glass lens elements and machine various other components.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Here, a worker performs the delicate job of attaching the PCB to Fujifilm’s new 100-400mm telezoom. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    The 100-400mm zoom takes roughly 4 hours to assemble, in its progress from a box of bits to a finished lens. These lenses are almost complete, and await the final assembly and testing phases of their construction. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Fujifilm’s new 100-400mm telezoom being assembled. As with other factories we’ve visited in Japan, a lot of the assembly is done by hand, and aside from calibration, there’s little automation in the assembly lines of either lenses, or cameras in Fujifilm’s factory. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Here, a 100-400mm zoom undergoes final testing. This process (which involves racking the zoom and focus ring to various points, repeatedly) is partly automated – presumably to avoid the human operators from getting repetitive strain injury.

    Almost all of the other calibration tests and checks are confidential, which means no photos. None taken by humans, anyway.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    A 100-400mm gets the finishing touches added, prior to being boxed up for shipping. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Several completed 100-400mm zooms are placed in plastic trays before being wrapped and boxed-up for shipping.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Here, a worker examines one of the groups destined to become part of Fujifilm’s much smaller 35mm F2 prime lens. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Again, a majority of the steps in the assembly of this lens are manual, with little automation. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    We were impressed by just how many of the stages in assembly appear to be visual inspection. A single worker might inspect hundreds of these components in a day.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Here, lens groups are arranged in trays ready to be inspected.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Ultraviolet light is used to ‘cure’ the cement that holds elements securely in their groups. Gone are the days of screwing elements together using friction and using shims to adjust their precise alignment.  

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Here, several 35mm F2 primes sit in trays awaiting the final stages of their assembly.  

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    The front bezel of the 35mm F2 is attached with four screws. Once this is done, the screws will be concealed by the nameplate ring. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    And here are the finished lenses with their nameplates attached, ready to be boxed and shipped. Much simpler than the 100-400mm zoom, the 35mm prime takes only about 80 minutes to assemble, in total. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    The day we toured Fujifilm’s factory was the first ‘official’ day of production for the new X-Pro2. Of course workers have been putting final shipping cameras together now for some time, under a veil of secrecy ahead of the product launch in mid-January.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Although outwardly similar to the original X-Pro1, the X-Pro2 is a completely redesigned, considerably more complex camera than the first X-series ILC. It should be – Fujifilm has had four years to gather feedback from users of the original camera. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Like the lenses, the X-Pro2 arrives in Sendai as a collection of partly-finished components ready for final assembly. Here, a worker performs the delicate job of connecting the various wires and ribbon connectors that will bring the camera to life.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    The X-Pro2’s firmware isn’t ‘hardwired’ but has to be manually uploaded to every camera individually, in one of the final stages of assembly before the cameras are boxed up for shipping. Doing it at this late stage decreases the risk that firmware will need to be loaded more than once if an update is required. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Here, a worker is attaching the small plastic window over the X-Pro2’s focusing lamp before applying the leatherette material that covers much of the outside of the camera’s body.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    One of the trickiest (and most manual) stages in the construction of the X-Pro2 is applying the leatherette material to the camera body. This is done slowly, carefully, and entirely by hand.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    The material is carefully pressed into place around the lens throat, and various control points. Bubbles are worked out by scraping the material gently with a plastic ‘spudger’. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    The X-Pro2’s grip is attached using a very strong adhesive, and firm adhesion is ensured by placing the camera in a mechanical press that applies firm and even pressure to the join. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Here, finished X-Pro2 bodies await final checks before being boxed up for shipping. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    The X-Pro2 isn’t the only camera that is put together in Sendai. Fujifilm also assembles the X-T1 in the same facility. Here, a collection of X-T1 top-plates await assembly.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    And this is what happens next. The X-T1’s magnesium-alloy top-plates are introduced to the electronic viewfinder assembly, ready to be mated with the main body of the camera, further down the assembly line.  

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Dials! Thousands of dials! Here, trays and trays of X-T1 ISO dials sit waiting to be introduced to their host cameras. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    A well as the X-Pro2 and X-T1, the Sendai plant is also home to the X100T assembly line. We wanted to take this lonely-looking X100T home with us, but apparently that’s not allowed.

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    That’s OK – we like the black ones more anyway. Here, a number of almost-finished X100T bodies sit in trays waiting for their rear control plate and LCD screens to be added. 

    Sendai was badly hit by the earthquake of 2011, and some of the buildings at Fujifilm’s Taiwa plant had to be abandoned due to structural damage. One of those buildings housed the original assembly line for the X100, and after the earthquake, assembly was moved across the street and into the building that we visited.  

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    And here’s where they all end up – X-Pro2s, X-T1s, X100Ts and lenses. These large boxes contain finished products, ready to be shipped to retailers and distributors worldwide. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Well, almost ready. Even once they’re placed in their retail packaging and stacked in the larger shipping boxes, one in 10 of all the cameras and lenses assembled in the factory are removed, unboxed, and checked by hand to ensure that any given batch is free from manufacturing defects. ‘Made in Japan’ really does mean something, even today. 

    Behind the Scenes of Fujifilm’s Factory in Sendai, Japan

    Happy 5th anniversary, Fujifilm X-series!

    Articles: Digital Photography Review (dpreview.com)

  • Canon announces flagship EOS-1D X Mark II full-frame digital SLR

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    Canon has announced its new flagship DSLR, the full-frame EOS-1D X Mark II. It features a new 20.2MP CMOS sensor with Dual Pixel AF, and uses a pair of Dual DIGIC 6+ processors to capture 4K video and shoot continuously at up to 16 fps. The camera has a native ISO of 100-51200, expandable to 409600.

    The new 61-point autofocus system has 41 cross-type sensors and 24% larger frame coverage than its predecessor. Its center point is sensitive to -3EV in OneShot AF. In live view the camera uses the latest iteration of Canon’s Dual Pixel AF technology for high-speed focusing in OneShot mode. The metering system has also been updated to use a 360k-pixel RGB+IR sensor, which the company says improves subject – including face – detection and tracking.

    As with its predecessors, the 1D X is as rugged a camera as you’ll find. It’s magnesium alloy body is fully weather-sealed and has a shutter that will last for approximately 400,000 cycles. In addition to its large optical viewfinder (now with better, adjustable AF point illumination), the Mark II has a 3.2″ Clear View II LCD with 1.62 million dots, up from 1.04 million dots. The screen is touch-enabled, but only for autofocus point selection in Live View. Another new addition is a built-in GPS (with an e-compass), which sits in a ‘hump’ on the top of the viewfinder. Otherwise, the design of the Mark II is very similar to that of its predecessor.

    Performance-wise, the 1D X II can shoot continuously at 14 fps with autofocus, and if you lock the mirror up, you can shoot up to 16 fps with locked focus and exposure. If you’re using the older LP-E4N battery, the top shooting speeds drop to the same frame rates as the 1D X (12/14 fps). If you’re using a CFast card you can take an unlimited number of JPEGs or a whopping 170 Raw images in a single burst, or 12 seconds of shooting at 14 fps. The 1D X II also has a slot for standard CompactFlash cards. When it comes to connecting to a PC you can choose from the camera’s USB 3.0 or Ethernet ports. Wi-Fi requires the use of Canon’s $ 600 WFT-E8 wireless file transmitter.

    One of the most significant additions to the 1D X II is support for 4K (DCI) video capture. It can capture 4K video at 60p using the M-JPEG codec (which allows for easy frame grabs) as well as 1080p at frame rates of up to 120 fps. You’ll need to use a CFast card in order to record more than a few seconds of 4K video though. Dual Pixel AF enables continuous autofocus in video, and touch focus makes the experience a breeze. The camera does not offer focus peaking or zebra patterns natively, but they are visible when using an external recorder. As one would expect given its place in Canon’s lineup, the 1D X Mark II has both headphone and mic jacks.

    The EOS-1D X Mark II will be available in April for $ 5999 (body only), or bundled with a 64GB CFast card and reader for $ 6299.

    Read our EOS-1D X Mark II hands-on preview

    Learn more about the technical features of the EOS-1D X II

    Press release:

    Fast, Formidable, and 4K, All-in-One Camera: CANON U.S.A. Introduces the EOS-1D X Mark II Professional Digital Camera 

    Delivering Precise and Reliable Performance with Versatility for Any Photo or Video Professional

    MELVILLE, N.Y., February 1, 2016 – Rising to meet the rigorous and evolving demands of professional photographers and videographers, Canon U.S.A., Inc., a leader in digital imaging, is proud to announce the new EOS-1D X Mark II DSLR camera. With a new 20.2 megapixel 35mm Full Frame Canon CMOS sensor and Dual DIGIC 6+ Image Processors, the EOS-1D X Mark II professional digital camera delivers stunning image quality and speed. Combining the ability to capture high-resolution still images at speeds up to 14 frames per second as well as stunning high-definition video up-to-4K 60P featuring Canon’s proprietary Dual Pixel CMOS Autofocus (AF) technology, the Canon EOS-1D X Mark II camera becomes the ideal camera for any professional image creator. 

    The new flagship Canon EOS-1D X Mark II features several firsts for EOS cameras including:

    • Newly developed 20.2 megapixel 35mm Full Frame Canon CMOS sensor;
    • Continuous shooting speeds of up-to-14 frames per second (fps) with Auto Exposure (AE) and predictive AF for viewfinder shooting and up to 16 fps1 in Live View mode; 
    • Dual DIGIC 6+ Image Processors that transfer image data at extremely high speed for extended bursts during continuous shooting – up-to-170 consecutive RAW images at 14 fps. When shooting JPEG images you’re only limited by memory card capacity2
    • Capable of shooting 4K 60P and Full HD 120P video with Dual Pixel CMOS AF;
    • Enhanced wireless functionality (with the optional accessory Wireless File Transmitter WFT-E8) that supports the new high-speed IEEE 802.11ac standard and the  ability to easily transfer photos and videos to compatible smartphones using Canon’s Camera Connect app*; 
    • Digital Lens Optimizer to help correct aberrations in-camera (a feature that previously required post-processing on an external computer); 
    • Improved 61-point viewfinder AF with expanded coverage and all AF-points selectable and supported to a maximum aperture of f/8; 
    • Improved AI Servo III+ predictive AF algorithm for better accuracy; 
    • Continuous red illumination of all AF points within the camera’s Intelligent Viewfinder II.
    • Compatibility with both CF and CFast memory cards for optimal performance and versatility.

    The Ultimate EOS Camera: Continuing a Legacy of High Speed and Performance

    Building on the success of the Canon EOS-1D X professional digital camera, the Canon EOS-1D X Mark II camera is designed to deliver high-performance, speed, and image quality, with improved comfort for professional photographers. In addition to the new 20.2 megapixel full-frame CMOS sensor and Dual DIGIC 6+ Image Processors, the new EOS-1D X Mark II DSLR camera includes an improved 61-point High-Density Reticular AF II system with all AF points selectable by the user (and up to 41 cross-type points depending on the lens in use). The improved AF system includes expanded coverage that supports AF at maximum apertures up to f/8 with all 61 points for high precision autofocus even when using EF super-telephoto lenses with an EF extender. The camera also boasts excellent dynamic range and reduced color noise compared to its predecessor throughout its standard ISO speed range of 100 – 51,200. Expansion ISO speeds of 50, 102,400, 204,800 and 409,600 are also available.  A first for the Canon EOS-1D series, this camera also features a 360,000-pixel RGB+IR metering sensor with enhanced precision and performance compared to its predecessor, improving facial recognition and tracking, as well as nature scenes. Additionally, the advanced AE system can detect and compensate for flickering light sources such as sodium vapor lamps that are often used in gymnasiums and swimming pools. When enabled, this anti-flicker system automatically adjusts shutter release timing to help reduce disparities in exposure and color especially during continuous burst shooting.

    For filmmakers and photographers looking to do more than still photography alone with a DSLR camera and EF lenses, the EOS-1D X Mark II camera offers high resolution DCI 4K video at frame rates up-to-60p, with smooth movie recording to an in-camera CFast 2.0 memory card. An additional card slot supports standard CF memory cards up to UDMA 7. The built-in headphone jack supports real-time audio monitoring. Two additional EOS ‘firsts’ include 4K Frame Grab and 120p Full HD recording. The camera’s 4K Frame Grab function allows users to isolate a frame from recorded 4K video and create an 8.8 megapixel still JPEG image in-camera. When combined with the EOS-1D X Mark II’s high-sensitivity full-frame CMOS sensor, the new camera’s ability to record Full HD video at frame rates up to 120p will allow videographers to produce high quality slow motion video even in extremely low light. To make video shooting even more intuitive, the Canon EOS-1D X Mark II camera’s touch-screen LCD allows videographers to select the camera’s AF point before and during video recording with Dual Pixel CMOS AF, which provides responsive, accurate and quiet camcorder-like video autofocus to DSLRs.

    “The innovations within Canon’s new EOS-1D X Mark II DSLR camera clearly set a new standard for professional cameras,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “In developing the EOS-1D X Mark II camera, we looked to incorporate user-requested performance enhancements to bring professional photographers the ultimate EOS camera, a camera that has matured and been developed to meet their evolving needs.” 

    “Having f/8 capability on all 61 AF points is a tremendous benefit to wildlife photographers,” noted nature photographer and Canon Explorer of Light Charles Glatzer. “In order to capture tight shots of animals without disturbing them, I frequently have to use very long lenses—sometimes with an extender attached, which further diminishes the aperture. The improved AF allows me to frame the shot exactly the way I envision it, without having to compromise.”

    “This camera is a huge step forward,” remarked acclaimed photographer and Canon Explorer of Light Damian Strohmeyer. “Shooting sports in a gym at 8,000 ISO, it looked as good as 800 ISO from a generation or two ago. The images are tack-sharp, and the autofocus just doesn’t miss. I’ve been amazed by what I’ve seen so far.”

    “The autofocus was awesome,” agreed Peter Read Miller, sports photographer and Canon Explorer of Light.  “The higher frame rate coupled with the speed of the CFast card was a definite advantage. It just never buffered out, even shooting RAW.”

    The new EOS-1D X Mark II camera also offers a built-in GPS** receiver with compass for precise geo-tagged information of latitude, longitude, elevation and direction. This is especially valuable to wildlife photographers and photojournalists who need to track their locations, as well as providing sports photographers the ability to sync a multiple-camera setup with extreme accuracy and precision. It is also possible to use the camera’s built-in GPS to automatically sync the camera’s time to the atomic clock, an invaluable feature to professionals.  An improved grip also makes the camera easier for photographers to hold and maneuver while shooting. In response to feedback from professional EOS users, the AF points in the EOS-1D X Mark II camera’s Intelligent Viewfinder II can be illuminated in red for improved visibility, especially when shooting in dark locations. AF sensitivity in low light has been doubled from EV -2 to EV -3 at the center AF point when the camera is set to One-Shot AF, enabling the camera to autofocus in extremely dark shooting conditions such as a moonlit nightscape. Viewfinder AF coverage has also been increased for greater compositional flexibility.

    As with all EOS-1D series cameras, the EOS-1D X Mark II’s rugged construction and magnesium alloy body is weather resistant. The camera also features improved controls and more in-camera image quality enhancements than ever before, including a Digital Lens Optimizer function offering high quality aberration correction which can now be achieved without an external computer. This feature makes it easier for professional photographers to deliver finished files to their clients, especially in situations when access to a personal computer is impractical or inconvenient. 

    The estimated retail price for the Canon EOS-1D X Mark II is $ 5999 (MSRP) for the body or $ 6299 for the Premium Kit which includes a 64 GB CFast memory card and card reader. The new camera is scheduled to begin shipping to authorized Canon USA dealers in April 2016***. For more information and the full list of product specifications, visit: usa.canon.com/EOS1DXMarkII 

    * With the download of the free Canon Camera Connect app. This software enables you to upload images to social network services. Before uploading images, please be aware that image files may contain privacy-related information such as people and places. If necessary, please delete such information. Canon does not obtain, collect or use such images or any information included in such images through this software. 
    ** In certain countries and regions, the use of GPS may be restricted. Therefore be sure to use GPS in accordance with the laws and regulations of your country or region. Be particularly careful when traveling outside your home country. As a signal is received from GPS satellites, take sufficient measures when using in locations where the use of electronics is regulated.
    ***Availability, pricing and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

    1. Continuous shooting speed may vary depending on the shutter speed, the aperture, the lens being used, the battery charge and various camera settings
    2. Burst rate using CFast card

    EOS-1D X Mark II specifications

    Price
    MSRP $ 5999 (body only)
    Body type
    Body type Large SLR
    Body material Magnesium alloy
    Sensor
    Max resolution 5472 x 3648
    Other resolutions 4368 x 2912, 3648 x 2432, 2736 x 1824
    Image ratio w:h 3:2
    Effective pixels 20 megapixels
    Sensor photo detectors 22 megapixels
    Sensor size Full frame (36 x 24 mm)
    Sensor type CMOS
    Processor Dual DIGIC 6+
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Auto, 100-51200 (expands to 50-409600)
    Boosted ISO (minimum) 50
    Boosted ISO (maximum) 409600
    White balance presets 6
    Custom white balance Yes (5 slots)
    Image stabilization No
    Uncompressed format RAW
    File format
    • JPEG (Exif v2.3)
    • Raw (Canon CR2, 14-bit)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Manual focus Yes
    Number of focus points 61
    Lens mount Canon EF
    Focal length multiplier 1×
    Screen / viewfinder
    Articulated LCD Fixed
    Screen size 3.2″
    Screen dots 1,620,000
    Touch screen Yes (for AF point selection only)
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Optical (pentaprism)
    Viewfinder coverage 100%
    Viewfinder magnification 0.76×
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/8000 sec
    Exposure modes
    • Program
    • Aperture priority
    • Shutter priority
    • Manual
    Built-in flash No
    External flash Yes (via hot shoe or flash sync)
    Flash X sync speed 1/250 sec
    Continuous drive 16.0 fps
    Self-timer Yes
    Metering modes
    • Multi
    • Center-weighted
    • Spot
    Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
    AE Bracketing ±3 (3 frames at 1/3 EV, 1/2 EV steps)
    Videography features
    Resolutions 4096 x 2160 (60p, 30p, 25p, 24p, 23.98p), 1920 x 1080 (120p, 60p, 50p, 25p, 24p, 23.98p)
    Format MPEG-4, H.264, Motion JPEG
    Microphone Mono
    Speaker Mono
    Storage
    Storage included CompactFlash + CFast 2.0
    Connectivity
    USB USB 3.0 (5 GBit/sec)
    HDMI Yes
    Microphone port Yes
    Headphone port Yes
    Wireless Optional
    Wireless notes requires WFT-E8
    Remote control Yes
    Physical
    Environmentally sealed Yes
    Battery Battery Pack
    Battery description LP-E19 lithium-ion battery & charger
    Battery Life (CIPA) 1210
    Weight (inc. batteries) 1530 g (3.37 lb / 53.97 oz)
    Dimensions 158 x 168 x 83 mm (6.22 x 6.61 x 3.27″)
    Other features
    Orientation sensor Yes
    GPS BuiltIn
    GPS notes with e-compass

    Articles: Digital Photography Review (dpreview.com)

  • Good sport: a closer look at Canon’s EOS-1D X Mark II

    Introduction

    The Canon EOS-1D X Mark II is the company’s latest pro-level DSLR, now built around a 20.2MP CMOS sensor with Dual Pixel AF technology. It uses a body that’s the most subtle possible evolution of the classic 1D design, which makes sense, given how many of its long-standing professional users will need to find it familiar the moment they use it. Inside, though, almost every aspect of the camera’s feature set has been overhauled – from the autofocus system to the video capability, the ISO range to the card format it uses. Let us talk you through the biggest changes.

    Autofocus improvements

    The EOS-1D X II features a similar AF module to that found on the previous flagship 1D X, as well as on the 5D Mark III and 5DS/R, but comes with some notable improvements. For a start, the coverage is larger, with the central region expanding vertically by 8% and the 20 points on the left and right flanks extending vertically 24% more than before.

    All 61 points can now focus at F8, which will be very useful when shooting telephoto lenses with 1.4x and 2x teleconverters. 41 of those points are cross-type, having both horizontal and vertical line sensitivity. 5 central points are dual cross-type and have wider baselines that offer high precision focusing for F2.8 and faster lenses. The center point works down to -3EV in One-Shot AF. It’s not available in AI Servo because it requires a longer sampling interval, which would slow down AI Servo.

    Also improved is AF point illumination, based particularly on feedback from wedding and event photographers. Points can now remain lit red when focusing, which helps you keep your AF point over your subject in dim situations. Additionally, two brightness levels are available so you can fine tune brightness based on your preference.

    You can read more specifics about the very similar previous 61-point module in our EOS 5DS coverage here.

    Metering Sensor

    The 1D X Mark II gets a new metering module. It’s now a 360,000 pixel sensor that is used both for metering and to provide scene awareness to Canon’s ‘Intelligent Tracking and Recognition’ (iTR) autofocus system.

    The sensor itself is a two-layer CMOS chip, with red, green and blue information captured by the top layer and infrared detected further down into the silicon.

    Touchscreen LCD

    The LCD screen on the back of the camera has received a significant upgrade. It’s now 1.62 million-dot, up from 1.04 million-dot. This represents a move from 720 x 480 to 900 x 600 pixels and the increase in resolution is noticeable. Images look crisp and clear on the back, thanks especially to Canon’s ‘Clear View’ technology that uses optical coatings to reduce reflections.

    The LCD is also touch-enabled, but you can only use touch to select a focus point in Live View, either for stills shooting, or to refocus on subjects during movie shooting. It cannot be used to operate menus, nor (annoyingly) is it enabled in playback.

    Battery

    The Canon EOS-1D X Mark II ships with a new battery, which allows for 1210 shots on one charge. The nice thing is, the battery compartment remains backwards compatible with the older 1D X battery. However, if you use the older battery, frame rates will drop to 1D X levels (12 fps with AF, 14 fps in live view or with the mirror locked up). Heartbreakingly slow, we think you’ll agree. 

    Dual Pixel AF

    Dual Pixel AF makes its debut on a full-frame sensor with the 1D X II. Every pixel on the sensor is split into two separate photodiodes, one left-looking and one right-looking. Comparing the phase difference between strips of left-looking vs. right-looking pixels essentially allows the camera to determine exactly how much to move the focus element to acquire focus, much as the dedicated phase-detect module in DSLRs do. Approximately 80% of the frame is available for focus using Dual Pixel AF, and the technology is particularly useful not just for this extensive coverage, but for the inherently accurate focus it provides – because focus is performed at the imaging plane, there’s little possibility for mis-focus and the inaccuracy issues dedicate phase-detect sensors in DSLRs display.

    Perplexingly, Dual Pixel AF can only be used in One-Shot AF in Live View, meaning it can’t be used to continuously focus (though it can for movies). We weren’t given any reasons as to this limitation, and given that continuous focus is certainly possible – as it works during movie shooting – it seems an odd omission.

    Read our original coverage of Dual Pixel AF, with an in-depth look at how it works, here.

    Canon embraces CFast (and Compact Flash)

    Canon has decided to adopt the CFast standard while also providing a CompactFlash slot for backwards compatibility. The logic of this move is to ‘futureproof’ the camera. For now, Canon has provided the option for super high-speed data rates without alienating its existing audience, who most likely have a large collection of CF cards.

    Should you own a CFast card, you’ll be able to capture 170 Raw files in a burst: just a fraction below the 180 JPEGs that its predecessor could manage (the Mark II will shoot JPEGs continuously until you run out of card space). CFast is also required for 4K video recording.

    Video capabilities

    On paper, the EOS-1D X Mark II has very impressive video specifications – moving far beyond what its predecessor was capable of and incorporating most of what the more niche EOS-1D C offered. The standout spec is the ability to shoot DCI 4K footage (4096 x 2160 pixels) at up to 60 frames per second. This capability is the same as the 1D C, though the X II doesn’t include that camera’s Log Gamma option.

    To give faster access to video shooting there’s a Video/Live View switch around the live view button just to the right of the viewfinder. In addition, the camera gains a headphone socket for audio monitoring during recording.

    Full HD options

    In terms of 1080 video, the camera can record at up to 120 or 100 frames per second (without audio) or at 60, 50, 30, 25, and 24 frames per second, depending on whether you’ve got the camera set to PAL or NTSC mode. Interestingly there’s also the option to capture true 24p footage, as well as the 23.98p approximation offered in NTSC mode.

    The camera can output a ‘clean’ signal across its HDMI port, for use with an external recorder or monitor (which could be used to provide focus peaking and zebra warnings, if needed), but this stream is 1080 only, not 4K.

    Touch-to-focus video

    The other video-friendly hardware change on the 1D X II is the addition of touch sensitivity to the rear LCD. This is only used for a very limited number of features but one of these is to position and re-position with autofocus point during video recording. Combined with the camera’s Dual Pixel AF sensor design, this should make it easy to adjust focus in video without the risk of the lens over-shooting or adding distracting focus wobble to video clips, as can happen with contrast detection autofocus.

    Touch to focus can also be used for One-Shot AF in stills Live View shooting. 

    Articles: Digital Photography Review (dpreview.com)