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Archive for June, 2018

PNY launches 512GB microSD card

02 Jun

Camera and smartphone users who want to make the most of their device’s microSD card slot have a new option. PNY today announced a new 512 GB microSD card, equaling the capacity of Integral’s latest offering and surpassing the 400GB SanDisk model launched in August 2017.

In terms of speed, PNY quotes a ‘transfer speed’ of 90MB/sec, which makes the PNY 512GB Elite slightly faster (at least on paper) than the Integral which maxes out at 80MB/sec, but if absolute speed is a priority, at 100MB/sec the SanDisk still leads the pack. All three cards carry the UHS-I, U1 label with Class 10 and V10 speed specification.

Priced at $ 349, the new card isn’t cheap but offers heaps of storage capacity. According to PNY, it holds up to 80 hours of Full HD video recording or up to 100,000 18MP photos. This should make it an attractive option for anyone who likes to carry entire media libraries on their phone but could also be useful for drone photographers and other professionals.

More information is available on the PNY website.

Articles: Digital Photography Review (dpreview.com)

 
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More information released on Yongnuo YN 50mm F1.4 II

02 Jun

Yongnuo has unveiled a new version of its 50mm F1.4 lens – the upcoming YN 50mm F1.4 II. The new model follows an update to the company’s 50mm F1.8 offering (predictably called the 50mm F1.8 II), giving photographers a new and inexpensive alternative to Canon’s venerable EF 50mm F1.4.

Yongnuo’s new lens features a USB port for firmware updates, support for live view focusing, electromagnetic aperture, and a new external design. The company emphasizes the 50mm F1.4 II’s bokeh capabilities.

The YN 50mm F1.4 II features 9 elements in 7 groups, electromagnetic aperture with support for M/Av/Tv/P/B modes, gold-plated contacts and a metal mount, glass optics with a multilayer coating for better light transmission with controlled glares/ghosting, as well as both manual and auto focus, a focus distance indictor, and the same DC motor drive system found in the original model.

The Hong Kong company detailed the new lens on its website, but pricing and availability have yet to be announced.

Via: PhotoRumors

Articles: Digital Photography Review (dpreview.com)

 
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Olympus launches blue edition of the Pen E-PL9 for denim lovers

02 Jun

Denim lovers will be delighted to know that there is soon to be a camera that will go with all of their outfits. In honor of this ubiquitous fabric “that suits everyone” Olympus has launched a denim-blue version of its new Pen E-PL9 compact system camera to appeal to fashionable photographers everywhere.

The camera will sit alongside the existing white, black and brown models, but will be a special edition likely to be available from a limited number of retailers in each market. It will feature a blue leatherette on the front and back of the body, along with the silver top plate and accents around the buttons on the rear, and will come with a silver barreled lens.

In the UK the blue E-PL9 will only be sold through John Lewis stores, at the same price as the standard colors – £649.99 with the 14-42mm F3.5-5.6 pancake lens – and will be available early this month.

Press release

Recently launched Olympus PEN E-PL9 now available in blue, white, black and brown

Denim love: Olympus launches special edition of their latest PEN camera model in blue

London, 01.06.2018 – To quote the British Elle Magazine in March, “denim is a fabric that suits everyone”.* To celebrate the ongoing love affair with this perennial material, Olympus is introducing a special blue edition of their recently launched PEN E-PL9 camera.
This special edition of the compact and lightweight PEN E-PL9 not only takes great pictures and movies but is also an easy and stylish addition to any denim outfit.

Already a firm favourite with the blogging community, the Olympus PEN series combines performance, superb build quality, and discrete take-anywhere size with a visual style that makes it as much part of an outfit as any key accessory. The new special edition blue version joins the existing white, black and brown models launched in March.

We sent lifestyle blogger and photographer Debs Stubbington of @bangonstyle to Miami with fashion photographer Jay McLaughlin to bring the blue colour to life:

“Miami’s sunny skies and blue waters were the perfect backdrop for the blue Olympus PEN. With all the incredible features and image quality of the
E-PL9 but a new bold colour, the blue model has fast become my new favourite”

Pricing & availability
> Olympus PEN E-PL9 blue with M.Zuiko Digital 14-42mm 1:3.5-5.6 EZ Pancake lens at £649.99 RRP** from early June 2018

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Open Wide

02 Jun

It’s time to open wide – your aperture that is – for this week’s photography challenge.

It’s that simple. Grab a lens with a big aperture like a 50mm f/1.8 or a zoom that has f/2.8, and choose the widest setting you’ve got available. Choose your subject and focus carefully to put emphasis and attention precisely where you want it.

If you need some tips for composing your narrow depth of field image, here are some ideas:

  • Benefits of Using a Large Aperture and Tips for Shooting Wide Open
  • Fast Glass: Tips for Working With Wide Aperture Lenses
  • How to Make Fake Shallow Depth of Field Using Photoshop
  • How to Use a Neutral Density Filter to Control Depth of Field
  • Seeing in Depth of Field: A Simple Understanding of Aperture
  • Why a 50mm Lens is your new Best Friend
  • 3 Elements of Getting Shallow Depth of Field Images

Bokeh from a 50mm f/1.8 lens.

Shallow depth of field brings focus to the glasses here. Make your subject stand out.

Weekly Photography Challenge – Open Wide

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

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Lemuro launches line of high-end iPhone accessory lenses

02 Jun

With a few exceptions, like Moment or Zeiss products, accessory lenses for smartphones tend to be rather cheap and more often than not, produce low quality images. For those photographers who don’t mind spending a bit more on high-quality accessory lenses, there is now a new alternative: German brand Lemuro has launched a Kickstarter campaign to fund mass production of its line of iPhone accessory lenses.

Currently four Lemuro lenses are on offer: a 60mm equivalent tele “portrait” lens, a 25mm 10X macro lens, a 18mm equivalent wide angle lens and an 8mm equivalent fisheye.

The lens bodies are crafted from aluminum and attach to a leather-clad protective case via a metal lens mount. Currently cases are available for the iPhones X, 7, 7 plus, 8 and 8 plus but Lemuro says Android cases are in the making and should be expected later in 2018.

Lemuro’s campaign is already fully funded, so, barring any unforeseen complications, production will go ahead. You can still pre-order on Kickstarter until June 22 and a pledge of of 75 Euros (approximately $ 88) will get you the starter kit with one case and lens. The pro kit with case and all four lenses will set you back 225 Euros (approximately $ 262). Delivery of the Kickstarter orders is scheduled for November 2018.

You can find more information and sample images on the Lemuro Kickstarter page.

Articles: Digital Photography Review (dpreview.com)

 
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Letter from the reviews editor: Pentax K-1 Mark II studio scene re-shoot

01 Jun

Introduction

Back on May 7, we published our review of the Pentax K-1 Mark II. For our studio scene analysis we used the SMC Pentax-D FA 50mm F2.8 Macro lens, rather than the SMC Pentax-FA 77mm F1.8 Limited that we’d used for the original K-1 review. This isn’t ideal (we try to shoot our studio scene as close to 85mm as we can, on full-frame bodies) but we did this because after some comparison tests, we found that the 50mm F2.8 was slightly sharper than our copy of the 77mm in the central portion of the frame, and that’s where we’re looking when we draw our conclusions.

While the center looked better, as many of you noticed, the top right corner of the scene shot with the 50mm F2.8 was soft; softer than the same area in images shot with the K-1. However, given the sharper central area (and the lack of a better sample of the 77mm at the time), we opted to publish the review regardless, since we don’t draw any sharpness or resolution conclusions from the edges of our studio scene.

Unfortunately, after the review was published we discovered a processing error with one of the K-1 II’s studio files, taken at ISO 12,800. This was swapped out, with an editors’ note added as soon as we became aware of it. More seriously, we also discovered that the K-1 Mark II’s JPEG profile had been incorrectly set to ‘Auto’. This resulted in differences in color and saturation compared to the K-1, which had been set correctly to the default: ‘Bright’.

See the updated K-1 Mark II
image quality page

Upon considering the cumulative effect of these differences, we spoke to Ricoh, who were kind enough to send us a second K-1 II, a K-1 and a hand-picked 77mm F1.8 Limited, so that we could re-shoot. Now that we’ve had a chance to compare the results of both cameras with the new 77mm F1.8 (which is noticeably sharper than the lens with which we originally tested the K-1), I wanted to share our findings with you.

The re-shoot and the results

First and most notably, it’s still clear that the accelerator unit in the K-1 Mark II is applying noise reduction to Raw files that the user cannot disable or remove. At high ISO values this still results in a loss of detail and contrast and the introduction of artifacts, but we have to acknowledge that a portion of our assessments were based on the incorrectly processed ISO 12,800 file. Our impression of JPEG color has also improved markedly as a result of using the correct ‘Bright’ profile.

As a result, we have adjusted both our scoring and some of the wording throughout the review to reflect this. It’s important to note that scoring and our overall assessment of the camera are not significantly changed, though; here’s why.

Most notably, it’s still clear the K-1 Mark II is applying noise reduction to Raw files

Despite the two-year gap between them, the K-1 Mark II still represents a minor upgrade over the K-1. Yes, you can now choose ISO 819,200, but the quality and therefore the utility of this setting is questionable. Autofocus tracking is improved, but still uncompetitive. Noise reduction in Raw does reduce visible grain at high ISO values, but its value to demanding users of such a high-end, high-res camera who are likely to want complete control over their images strikes us as suspect. The K-1 II’s lagging video capabilities look increasingly amiss in today’s market, and lastly, the Dynamic (hand held) Pixel Shift does not actually align images moved by a single pixel, instead approximating a super resolution technique that’s been around for years.

Read the full Pentax K-1 II review

All of this is certainly not to say the K-1 Mark II is a bad camera. Both the K-1 II and its predecessor are built like tanks, come with a bevy of unique features and are capable of absolutely outstanding image quality. We aim to give credit where credit is due, but as always, our first obligation is to help photographers spend their hard-earned money wisely. The fact remains that, despite our reassessment of the K-1 II’s image quality and JPEG color in particular, there are many ways in which the K-1 Mark II is simply outclassed by the competition.

Because of this, it’s still difficult for us to recommend the K-1 Mark II over competing models, and still difficult to recommend existing K-1 users pay $ 500 for the upgrade.

The final word

In the end, we are beholden to our readers and endeavor to hold all information that we publish on DPReview to the highest standards of accuracy. We fell short of that goal in this instance, and I apologize wholeheartedly for that. I hope that in fixing our mistakes with the K-1 Mark II, we’ve provided some additional and useful value to our review. We will take what we’ve learned from this experience to improve our future reviews in the hopes that we can continue to provide the most detailed and useful photography content on the internet.

As always, thanks for reading.

Carey

Articles: Digital Photography Review (dpreview.com)

 
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3 Elements of Getting Shallow Depth of Field Images

01 Jun

Depth of field is one of the things that beginners often struggle with understanding. So I found a couple of videos on YouTube to help you out.

Depth of Field Basics

In this first video from B&H Photo, Kelly Mena explains the three elements that affect depth of field and how they work. The three elements are:

  1. The aperture
  2. Focal length of your lens
  3. The subject to camera distance

Okay, that explains things really well. Let’s look at another video example showing the same three elements.

Depth of Field the Easy Way

Next up, is this video by photographer Ray Scott. He gives some great image examples showing both ends of the spectrum from shallow to wide depth of field and how to combine the three elements to best control your background and foreground focus.

If you have had trouble understanding how to get a shallow depth of field, I hope this has helped you get a better handle on it.

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Review: Peak Design Capture Clip V3

01 Jun

Capture Clip V3
$ 70 | Peak Design.com

The original Capture Clip was a darling of Kickstarter, raising nearly $ 15 million back in 2011. V2 debuted in 2013 and was replaced by V3 at the beginning of 2018.

First released on Kickstarter in 2011, the Peak Design Capture Clip aimed to give photographers an easier way to carry their camera. Seven years later, we now have the Capture version V3, a much sleeker and more streamlined iteration of the original product.

Key Features

  • Arca-compatible plate
  • Aluminum construction
  • Anti-slip pad on mounting surface
  • Quick release button with security lock
  • Clip fits straps up to 6.4 cm wide and 1.6 cm thick
  • System can hold up to 90 kg (200 lb)
  • Available in silver and black

Design

$ 69.95 gets you the Capture Clip, an Arca-compatible plate, x2 hand-drive screws, x2 4mm hex screws (not shown), a hex wrench and a microfiber pouch for storage.

V3 boasts a ‘smaller, lighter and lower profile’ than V2 – more specifically it’s 57 g / 2 oz lighter (clip plus plate), 2.1 cm narrower, 1.2 cm shorter and 0.8 cm thinner. From a design perspective this means an accessory that looks less like a chunky piece of gear and more like an integrated piece of design affixed to your bag or strap. It is still made of all aluminum (minus some rubber bits for gripping your bag strap) and still has a smooth anodized finish like its predecessor. It is also now available in two colors; Silver and Black.

With V3, Peak Design has simplified the Capture lineup to just one product – V2 offered both the Capture Standard and CapturePro at different price points. The former had a glass-reinforced nylon back and was cheaper than the all-aluminum Pro.

Like the V2, you can still integrate a variety of add-ons to your Capture system such as the Manfrotto RC2 compatible Dual Plate or the Peak Design Lens Kit. This means you can use the Capture Clip for its base purpose but still have the option to expand its functionality well beyond just carrying a camera on your bag.

What’s also nice is V3 ships with two different sets of clamping bolts, hand-driven ones and a set that are driven in using a hex key (included).

In Use

The Capture Clip, in action.

The Capture system is extremely well designed and works exactly how you would expect it to: With the plate attached to your camera, simply slide it into the clip from above. When you want to retrieve your camera, press and hold the small button on the right side while sliding your camera back upward.

The first time I attached the system to my bag, I honestly didn’t expect to love it but quickly found myself enjoying the convenience it provides. In fact, all of the following gripes I have are admittedly nit-picky stuff because frankly the Capture Clip works well.

Even with a heavy camera attached, the Capture feels very secure

Attaching the clip portion to your bag for the first time can be a bit of a hassle but the key is just to loosen it more than you think you need to. Most folks will attach it to a backpack but it can easily be attached to a messenger bag, belt or something else entirely. Once attached to something it’s not hard to remove and replace. I tried it on both my Peak Design Everyday Backpack and my nearly decade old Camelbak backpack and it fit securely on both.

Even with a heavy camera attached, the Capture feels very secure. The only time I worried while using it was when pulling my backpack off my shoulders. I sometimes instinctively like to toss my bag around – not a good idea when your precious gear is connected to the front.

While writing this review, I used the Capture with 4 different cameras: a Nikon D750 w/ 50mm 1.8 (1 kg / 2.19 lb), Nikkormat FTN w/ 50mm 1.4 (1.1 kg / 2.43 lb), Bronica RF645 w/ 65mm f/4 (1.1 kg / 2.44 lb) and Hasselblad 501C w/ 80mm f/2.8 (1.47 kg / 3.25 lb). All of these felt confidently secure.

Peak Design says the Capture is rated for up to 90 kg / 200 lb so safety-wise almost anything you would put on there is a non-issue. For me personally, the Hasselblad was a bit too heavy to be comfortable. But it wasn’t just the weight; I also didn’t feel comfortable with the way large cameras or those with long lenses tend to pull down, potentially jabbing into your body.

Bottom line

The Capture system not only makes it simple to carry your camera, but it means you always have a plate attached for tripod mounting.

My biggest hangup with the Capture is just getting used to having your camera on your chest (that’s where I wore it at least), but it only took me about an hour of walking around in a park to get used to it. And by later that same day – while on a different shoot – I found I was using it instinctively.

My biggest hangup with the Capture is just getting used to having your camera on your chest

Overall for the price point of $ 69.95 the Capture Clip V3 isn’t cheap, but it’s worth the money if you’re looking for a new approach to the way you carry your camera. And if you’re looking to add another clip to your arsenal or upgrade from a previous version, you have the option of buying just the Clip alone for the lower price of $ 49.95.

Peak Design continues to bring a photographers-first approach to their design with a very strong sense for what works and what doesn’t. In this writer’s opinion, the new Capture Clip falls squarely in the “works” column.

What we like:

  • Very comfortable, lightweight and slim
  • Rated for up to 90 kg / 200 lbs, very secure and safe
  • Very quick learning curve and extremely easy to get used to
  • Feels great ergonomically
  • Lots of options for placement and expanding uses with other add-ons
  • Stylish, really

What we don’t:

  • Pricey
  • Gear hangs forward on chest
  • Hex screw requires you to keep the hex wrench with you

Articles: Digital Photography Review (dpreview.com)

 
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Working with Different Shutter Speeds for Landscape Photography

01 Jun

There are three fundamental settings in landscape photography: the ISO, Aperture and Shutter Speed (known as the Exposure Triangle). While all of these are equally important to understand in order to create technically correct images, there’s one that’s extra important when it comes to an image’s visual impact. Adjusting the shutter speed makes a big difference and is often what can make your image stand out from the crowd.

Choosing the ideal shutter speed is not an easy process though. There rarely is a single correct shutter speed but there certainly are scenarios that benefit from a specific one. In this article, we’ll look at a few different scenes and how the shutter speed affects each of them.

Working with Fast Shutter Speeds

The easiest shutter speed to work with is a fast one. Working with fast shutter speeds doesn’t require a tripod and you can easily photograph subjects that quickly pass by. This is also the most common choice for most beginning photographers as it doesn’t require much effort (and most auto functions choose a relatively fast shutter speed).

Below you have a typical example of when you need to use a fast shutter speed. In order to freeze the motion of the deer, I had to increase the shutter speed to 1/320th of a second. Had the deer been moving at a higher tempo I would have to increase the shutter speed even more to avoid any motion blur.

deer in a field - Working with Different Shutter Speeds for Landscape Photography

Photographing animals is not the only time where you should use a fast shutter speed though. In the image below, I used a shutter speed of 1/1600th.

Why did I use such a quick shutter speed for that scene? By the looks of it, the water is quite still, there are no moving subjects and there’s still enough light to use a slightly slower shutter speed, right? Yes, however, this shot was taken from a boat and even though the waters were relatively still, I needed a very quick shutter speed in order to freeze the scene without any blur from camera movement.

iceberg and water - Working with Different Shutter Speeds for Landscape Photography

Use the ideal settings not perfect ones

Had I been standing on land, I could have easily used a slower shutter speed and achieved a similar look. In fact, the overall quality could have been even better as I could have used a lower ISO and an ideal aperture. However, the purpose of photography isn’t to always have the perfect settings; it’s having the ideal settings that allows you to get the shot within the given conditions. The most important is to actually capture the image.

For too long I was too focused on always having the perfect settings. The truth is that this often leads to missing the shot as you focus too much on the technical aspect rather than working with the conditions you’re given.

For example, using a slower shutter speed when standing on a boat (such as in the image above) would have led to the icebergs being blurry due to the motion. What would you prefer? A blurry picture which is “technically” perfect, or a sharp picture that doesn’t have the technically perfect settings?

Before we move on to slower shutter speeds, let’s look at a few more scenarios where a fast shutter speed is recommended:

  • When photographing handheld.
  • Photographing quickly moving subjects.
  • When aiming to freeze motion.
  • When photographing from a vehicle.

Working with Slow Shutter Speeds

In landscape photography, the difference between slow shutter speeds is much bigger than between fast shutter speeds. While you won’t see a huge difference between 1/320th of a second and 1/640th of a second (in most cases) you may see a big difference between 10 seconds and 60 seconds. Because of this, I’ll split this section in two parts: less than 30 seconds, and more than 30 seconds (Bulb Mode).

dark image with moving water - Working with Different Shutter Speeds for Landscape Photography

The definition of a long exposure is somewhat vague but in my Ultimate Guide to Long Exposure Photography eBook, I describe is at the shutter speed where you no longer can capture a sharp handheld image. Typically, this is in the range of 1/50th of a second, depending on your camera and focal length (a longer focal length requires a quicker shutter speed to capture a sharp handheld image than a wide-angle).

Shutter speeds up to 30 seconds

While the difference between a 1 second and 30-second shutter speed is big, it’s more natural to put these together in one section to keep this easier to follow. Still, I’ll try to break it up a little to give you an idea of which shutter speeds you should experiment with in different situations. Again, there’s no correct choice and it often comes down to your preference and the tools you’ve got to work with.

When photographing beaches and seascapes where waves are crashing onto the shore or forming around rocks, I often work with a shutter speed of 0.5-1 second. I find that this creates a nice blur in the water while still keeping enough texture. A slower shutter speed such as 8 seconds blurs the water but not enough to give it the “silky” effect you often see with long exposure photography (we’ll come back to that in a bit).

waves crashing on a rocky shore - Working with Different Shutter Speeds for Landscape Photography

This also applies when photographing waterfalls and rivers. I tend to use a semi-slow shutter speed rather than an ultra-slow shutter speed when working with these scenes, as I prefer to keep some textures in the water.

As you lengthen the shutter speed you’ll see that moving elements become more and more blurry. In the image below, I used a shutter speed of 20 seconds to blur the water and give some motion to the sky. If you look at the clouds, you can see that they have been moving and it’s starting to have the “dragged sky” effect.

seascape scene - Working with Different Shutter Speeds for Landscape Photography

Keep in mind that the speed of the clouds determine how slow the shutter speed needs to be in order to pick up this motion. When clouds are moving quickly you can pick up their motion even with a shutter speed of 5-10 seconds, but to really get the “dragged sky” effect you often need to use a shutter speed (or exposure time) longer than 30 seconds.

Shutter speeds longer than 30 seconds (Bulb Mode)

In order to achieve a shutter speed longer than 30 seconds you most likely need to activate Bulb Mode.

When I first got into long exposure photography and purchased my first 10-Stop ND filters, I immediately got hooked on these ultra-slow shutter speeds. I’ll admit that I don’t do as much of it anymore (as it rarely fits with the vision I have for most locations) but it’s certainly a lot of fun to play with.

The main reason to use a shutter speed longer than 30 seconds for landscape photography is to achieve the “dragged sky” effect and to completely blur out moving elements such as water. It can also be a good way to remove people from your images (if they walk around during your 2-3 minute exposure they most likely “disappear”).

sunset on a coastal scene - Working with Different Shutter Speeds for Landscape Photography

For the image above I used a shutter speed of 180 seconds. As you can see, this has completely blurred the water and the sky is dragged across the frame.

Conclusion

Working with longer exposures can be a lot of fun but it’s not something that’s always beneficial. For example, when photographing a scene that doesn’t have any moving elements (and no clouds), there’s no need to use an ultra slow shutter speed, as it will most likely look exactly the same with a slower one.

So knowing how to select the best or most appropriate shutter speed takes practice, and comes down to what you want to achieve in your image.


For more information about this and other aspects of this type of photography, check out my Ultimate Guide to Long Exposure Photography eBook,

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Canon drops flagship EOS-1v film body and projects end date for repairs

01 Jun

It’s a bad week for film lovers as Canon follows Leica with the news of the discontinuation of an important 35mm camera from its line-up. Earlier Leica reported the end of the M7, and now Canon has announced it has ceased production of its flagship film body, the EOS-1v. The fact that most of us didn’t even know it was still in production anyway hardly softens the blow, as the launch of this model in 2000 was truly one of Canon’s greatest moments.

The hard-as-nails professional body can shoot at 10 fps with the PB-E2 power pack attached, and can even manage 9 fps in AF servo. It has a 45-point AF array, a shortest flash sync of 1/250 sec, a top shutter speed of 1/8000sec and is claimed to be good for over 150,000 actuations. It can store the shooting data from 100 rolls of 36 exposure film to be read-out using Canon’s EOS Link ES-E1 software and matched to the roll using an ID number imprinted on the film leader by the standard camera back. Best of all, its 0.72x 100% viewfinder presents a huge, clear and bright view of the world even by today’s best standards.

When it was launched in 2000 the camera was priced at 270,000 yen ($ 2480 at current rates), and used models still fetch around $ 600 through online auction sites.

Canon says repairs will be carried out until October 31 2025, though after its statutory repair period in 2020 expires the company can’t guarantee it will have the necessary parts.
If this sad news is too much for you, reading the Google Translate version of Canon Japan’s statement might cheer you up. You can also read more about this fantastic camera in Canon’s fabulous Camera Museum.

Articles: Digital Photography Review (dpreview.com)

 
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