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Archive for September, 2020

Atomos, Olympus working to bring ProRes RAW to E-M1X, E-M1 Mark III by end of year

15 Sep

Atomos and Olympus have teamed up to announce the duo is co-developing firmware updates that will enable ProRes RAW footage to be captured on the OM-D E-M1X and OM-D E-M1 Mark III mirrorless cameras when paired with the Atomos Ninja V over HDMI.

This partnership is the latest in many that have seen numerous cameras gain ProRes RAW output over HDMI when recording to an Atomos Ninja V recorder, including the Sigma fp, Fujifilm GFX100 and many others. The announcement doesn’t lay out the video specifications that will be able to be captured, nor a date we can expect the firmware updates to go live, but the press release says we can expect them before the end of 2020.

We’ll be sure to share an update article when the firmware updates go live later this year.

Press release:

Atomos announces ProRes RAW support for Olympus OM-D E-M1X and OM-D E-M1 Mark III mirrorless cameras

September 15, Melbourne, Australia: Atomos is excited to announce co-development with Olympus of RAW recording over HDMI with the OM-D E-M1X and Olympus OM-D E-M1 Mark III mirrorless cameras. Together these powerful Olympus cameras and the Atomos Ninja V will record Apple ProRes RAW directly from the camera’s sensor.

Olympus users who love the OM-D family for its portability and in-body 5-axis image stabilization will get all the benefits of a ProRes RAW workflow – creative control to adjust the color and look of the video in post-production while extending brightness and shadow detail.

The Ninja V allows users to accurately monitor the RAW signal on its daylight-viewable 5” 1000nit brightness HDR screen. Setup is simple with perfectly tuned color settings applied automatically. Users can then view the image in HDR quality with a choice of HLG and PQ (HDR10) formats. The Ninja V offers touchscreen access to tools like waveforms, 1-1 magnification and focus peaking, allowing users to perfect their shot setup. The Ninja V then records the ProRes RAW data onto a removable AtomX SSDmini or other SSD drive. When shooting is complete the drive is removed and connected to a computer via USB for immediate offload and editing.

Jeromy Young, Atomos CEO, said: “We’re thrilled to work with Olympus and their stunning mirrorless cameras to bring the power of Apple’s ProRes RAW to OM-D users. We can’t wait to see the creativity that results from this partnership”.

ProRes RAW the new standard:

ProRes RAW is now firmly established as the new standard for RAW video capture, with Olympus being the eighth brand to support the format with the OM-D E-M1X and OM-D E-M1 Mark III mirrorless cameras. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW, and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro X and Adobe Premiere Pro along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight and Grass Valley Edius.

The firmware update to enable these features is scheduled for winter 2020.

Articles: Digital Photography Review (dpreview.com)

 
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How, Why, and When to Use Polarizing Filters

15 Sep

The post How, Why, and When to Use Polarizing Filters appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Polarizing filters are one of the most useful accessories a photographer can own. They are small, inexpensive, and make a significant impact on your photos.

Post-processing allows you to make many alterations to the photos you take. But no post-processing software can mimic the effect of polarizing filters. Using a polarizer cuts down on reflections, haze, and scattered light. They also boost color saturation and contrast.

Many imaging programs have tools to control color saturation and contrast easily and effectively. Some have dehazing tools. But none (so far) have the ability to remove glare and reflections the same as polarizing filters can.

polarizing filters over a blue sky
© Kevin Landwer-Johan Nikon D800 | 55mm | 1/400 sec | f/16 | ISO 400 | Manual Mode | Pattern Metering

What is a polarizing filter?

The most common polarizing filters are circular and consist of two glass pieces sandwiched together. They go on the front of your lens, so you need the correct size to fit your lens diameter (or an adaptor).

Once the filter is on the lens, you can rotate the outer layer of the filter. As you turn the filter, the effect it has on light entering your lens changes. At different angles of rotation, the amount of light that’s filtered out will vary. This depends on where the sun is and which direction you’re pointing your camera.

The most noticeable effect of a polarizing filter is when it’s rotated at a ninety-degree angle to the sun.

Here, you can see the effect the polarizing filter has on the reflection of the wood surface it is resting on. The glare coming off the wood is almost totally removed by the filter.

circular polarizing filter
© Kevin Landwer-Johan Nikon D800 | 55mm | 1/125 sec | f/3.5 | ISO 800 | Manual Mode | Pattern Metering

Why polarizing filters are useful

At times, reflections can enhance a photograph or even be the main subject. But they can also be unwanted and distracting.

When you are photographing:

  • glass
  • chrome
  • water
  • or other reflective surfaces

it can be challenging to create a clear representation in your photos. Reflections from these types of surfaces can invade your composition. They are not always possible to avoid without using a polarizing filter. Even with a polarizing filter, you may not be able to completely eliminate reflections from a surface.

Skies and clouds photographed with a polarizing filter can take on a whole different look. Compare the two images below. For the first one I used a polarizer, and for the second one I did not.

Neither image was post-processed. You can see the difference in the detail of the clouds and in the saturation of the blue sky.

Blue sky with clouds using polarizing filter
With a polarizing filter. © Kevin Landwer-Joahn Nikon D800 | 55mm | 1/200 sec | f/11 | ISO 200 | Manual Mode | Pattern Metering
blue sky with clouds
Without a polarizing filter.© Kevin Landwer-Johan. Nikon D800 | 55mm | 1/640 sec | f/11 | ISO 200 | Manual Mode | Pattern Metering

When photographing at the beach or beside a lake, a polarizing filter is especially useful. Being able to control the strength of reflection in the water makes a significant difference in your photos. The added saturation boost also makes water and skies look more appealing.

How to use circular polarizing filters

Polarizing filters work by stopping some light waves from entering your lens. Light waves reflect off uneven surfaces in different directions. A polarizing filter only allows light to enter the lens that’s coming from certain directions.

As light waves vibrate and bounce off different surfaces, the direction and rate of the vibration is altered. This is why colors are also affected by polarizing filters.

When light reflects off a flat surface, using a polarizer will have a more uniform effect on it. This is because the waves are primarily moving in a similar direction. So the reflection of a window will be influenced differently by a polarizer than that of a surface that’s not flat.

sky and mountains reflected in a window
© Kevin Landwer-Johan. Nikon D800 | 35mm | 1/125 sec | f/5.6 | ISO 200 | Manual Mode | Pattern Metering

When the reflected light reaches the filter, some of the waves will be blocked from entering the lens by the coating on the filter. This dichroic coating has chains of molecules lined up in one direction. Waves of light parallel to these chains are blocked by the filter.

As you rotate the outer ring of a polarizer, you can see how the effect of the filter changes. This is because you are altering the direction of the lines of the filter coating in relation to the light waves.

Putting it into practice

Using a polarizing filter is best done by turning the filter and observing what’s happening. Either by looking through your viewfinder or at your rear LCD screen, you will see the image changing as you turn the filter.

There are techniques you can read about that rely on scientific breakdowns of how these filters work. They will tell you in which direction you’ll see the most effect. But, in reality, every scene you photograph is different. It is impossible to predict correctly how the light gets blocked by the filter.

If you use a polarizer often, you’ll get more used to how it works and how you can use it to manage reflections in your photos. At times, you’ll be able to virtually eliminate reflections; in other situations, the filter will make little difference.

papaya leaf
Without a polarizing filter. © Kevin Landwer-Johan. Nikon D800 | 35mm | 1/200 sec | f/10 | ISO 200 | Manual Mode | Pattern Metering
Papaya leaf
With a polarizing filter. © Kevin Landwer-Johan. Nikon D800 | 35mm | 1/200 sec | f/5.6 | ISO 200 | Manual Mode | Pattern Metering

Conclusion

Experimenting with polarizing filters is the best way to make use of them. I usually carry a few in my bag of varying sizes. These fit my 55mm, 35mm, and 105mm lenses, which are the lenses I use the most.

Using a polarizer with a wide-angle lens can create some weird results because of the broad field of view.

If you’re making a series of photos to stitch together as a panorama, take your polarizer off. The edges of your photos may not join seamlessly if you’re using a polarizer.

Remember to attach polarizing filters to your lenses when you want to boost the color of a blue sky or reduce the reflection off a shiny surface. As you’re getting used to using this filter, take some photos of each scene with and without the filter.

That way, you’ll quickly begin to get a feel for the differences it makes.

The post How, Why, and When to Use Polarizing Filters appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Sony announces compact, travel-friendly a7C 24MP full-frame mirrorless camera

15 Sep

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Sony has announced the a7C, a compact 24MP full-frame mirrorless camera. The company heralds it as the world’s smallest full-frame camera with image stabilization.

The a7C camera crams in most of the a7 III’s specifications, including 5-axis image stabilization, 10 fps shooting with autofocus, and oversampled 4K video into a body that’s smaller in every dimension than the existing camera. A one-piece magnesium alloy structure helps keep the weight down (22% less than the a7 III, at 509g / ~18oz).

Despite the size reduction, Sony has made room for a large NP-FZ100 battery, which powers the a7C to a rating of 740 shots per charge using the rear screen or 680 using the viewfinder.

The a7C camera crams in most of the a7 III’s specifications, including 5-axis image stabilization

The viewfinder is perhaps the most obvious area in which compromises to the specification have been made: the a7C uses a smaller-than-usual 1cm (0.39″-type) viewfinder panel. So although on paper, the 2.36M dot resolution is a match for the a7 III, the magnification ends up being a rather low 0.59x.

Alongside the a7C, Sony has announced a collapsible 28-60mm F4-5.6 kit zoom. It’s a manually extending zoom lens, that when retracted ensures a small camera/lens combination.

The a7C will be available in late October with a list price of $ 1799 body-only or $ 2099 with the new FE 28-60mm 4-5.6mm zoom lens.

Find out what we think so far in our
Sony a7C initial review

Sony a7C sample images

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Sony Electronics Introduces Alpha 7C Camera and Zoom Lens, the World’s Smallest and Lightest[i] Full-frame Camera System

New HVL-F28RM Compact Flash is also Announced

SAN DIEGO, CA – September 14, 2020 – Today, Sony Electronics Inc. announced several additions to an already impressive imaging lineup — the Alpha 7C full-frame camera (model ILCE-7C), the FE 28-60mm F4-5.6 (model SEL2860) zoom lens and HVL-F28RM flash.

The Alpha 7C is the world’s smallest and lightest[ii] full-frame body with uncompromising performance, featuring advanced AF (autofocus), high-resolution 4K video[iii] capabilities and more. When paired with the world’s smallest and lightest[iv] FE 28-60mm F4-5.6 standard zoom lens, this versatile combination delivers an experience unlike any other, maximizing portability and versatility without sacrificing any of the power of full-frame imaging. The HVL-F28RM flash allows users to broaden their photo expressions with outstanding compactness, and an intelligent light intensity control linked to camera face detection[v].

“We are committed to creating the best tools possible, based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “The new Alpha 7C camera and FE 28-60mm F4-5.6 zoom lens pack many of our most advanced imaging technologies in a brand new design that is the smallest and lightest full-frame camera and lens system in the world. This opens up a new world of possibilities for creators, giving them the uncompromised power of a full-frame system in the palm of their hand.”

New Alpha 7C: Uncompromised Full-frame Performance in a Compact Design
The new Alpha 7C combines Sony’s full-frame image quality, advanced AF capabilities and versatile video shooting functions in a stunningly light and compact design. The new camera features a 24.2MP (approx. effective) 35mm full-frame back-illuminated Exmor R™ CMOS sensor and BIONZ X™ image processing engine, offering high sensitivity, outstanding resolution, 15-stop[vi] wide dynamic range and high-speed image data processing.

Measuring only 4.9 inches x 2.8 inches x 2.2 inches (124.0mm x 71.1mm x 59.7mm) and weighing just 18oz (509g)[vii], the Alpha 7C is similar in size and weight to an APS-C camera[viii], with only 1 percent more weight than the Alpha 6600. The Alpha 7C achieves the world’s smallest and lightest compact body[ii] through upgraded 5-axis in-body stabilization and shutter units, and the utilization of magnesium alloy monocoque construction, often used in the bodies of cars and aircraft. Even in this compact body, the Alpha 7C features a 5-step[ix] stabilization effect that allows for shooting snaps without a tripod. Moreover, despite the compact body, the high-capacity NP-FZ100 battery provides enough power for long shooting durations and to capture up to an industry-leading[x] 740 images[xi] when using the LCD monitor, or 680 images[xi] when using the viewfinder.

Outstanding Full-frame Image Quality

Sony’s new Alpha 7C combines high resolution with low noise for excellent image quality at all sensitivities, offering the user stunning image quality for shooting everyday photography and movies such as nature, portraits, sports, street photography and more. Standard ISO extends up to 51,200 and is expandable from ISO 50-204,800[xii] for low-light environment captures with low noise. The Alpha 7C also supports 16-bit processing and 14-bit RAW output[xiii] for natural gradations.

Advanced Autofocus

Using AI-driven functions, the Alpha 7C’s Real-time Tracking[xiv] maintains accurate focus automatically while the shutter button is half-pressed. In addition, “Tracking On + AF-On” is now assignable to a custom key and can be activated at once while the AF-ON button is pressed. Moreover, the intended subject can be specified just by touching it on the monitor when “Touch Tracking” has been turned ON via the menu and is available for both stills and movies. The Alpha 7C’s AF functions also feature Real-time Eye AF for both humans and animals to achieve fast and accurate focus[xvi]. When using Real-time Tracking while “Face/Eye Priority in AF” is ON with a human subject, the subject’s eye and face is detected and locked on in real-time with extremely high tracking precision.
The Alpha 7C provides wide, fast, reliable AF that locks onto the intended subject instantly without losing focus, thanks to its 693-point focal-plane phase-detection AF system covering approximately 93 percent of the image area, with an additional 425 contrast-detection points to ensure reliable focus, even in busy environments.

The Alpha 7C also features continuous shooting at up to 10 fps[xvii] with AF/AE (autoexposure) by using a newly developed shutter unit and refined image processing system. It is also possible to shoot continuously at up to 8 fps[xvii] in live view mode, with minimal viewfinder/monitor display lag for easy, stable framing, even with intense subject motion. The Alpha 7C allows up to approximately 223 JPEG (Fine L) images, 115 compressed RAW images, or 45 uncompressed RAW images to be captured in one continuous burst[xviii], and achieves highly accurate and reliable AF precision in light down to EV-4[xix]. These features make it easier to capture fast moving subjects in challenging environments.

Expanded Video Capabilities

Full-frame full-pixel readout without the need for pixel binning makes it possible to capture more than twice[xx] the amount of data required for 4K video (QFHD: 3840 x 2160)[iii], which is then oversampled to produce high quality 4K footage with exceptional detail and depth. In addition, the Alpha 7C supports HDR (HLG[xxi]) and S-Log/S-Gamut profiles, Slow & Quick motion, high-speed full HD recording at 120 fps[iii] and other advanced video features for additional creative freedom.

Furthermore, the Alpha 7C features Real-time Eye AF (human) for video shooting. The eye is automatically tracked with high precision and reliability so that the operator can concentrate on the content rather than focus operation. Users can also customize AF Transition Speed in seven settings, and AF Subject Shift Sensitivity in five settings, in their preferences. Touch Tracking functionality is also available for movie shooting.

The Alpha 7C features a side-opening vari-angle LCD monitor, making it easy to record selfies, overhead shots, low ground-level shots or whatever the user requires. The MOVIE button has been positioned on the top of the camera making it easier to operate while recording in selfie mode. The new Alpha 7C not only records high-quality video, but also high-quality audio. A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe, allowing the ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit can be connected to input digital audio signals directly to the MI shoe for cleaner, clearer audio recordings. Like other MI shoe accessories, no cables or batteries are required, providing unrestrained freedom for Alpha system moviemaking. Headphone and microphone jacks are also provided to accurately monitor recorded sound, and metadata attached to movie footage shot vertically on the camera allows the footage after transfer to the smartphone or similar device, to also be replayed and edited in the vertical position.

Designed for Reliable Operation

The Alpha 7C is designed with the user in mind. The touch panel LCD monitor is a large touch-sensitive 3.0 type with approximately 921 thousand dots, providing optimal visibility even in bright outdoor conditions, and supporting touch focus, tracking and shutter operations. The Alpha 7C also features a high-quality view mode for finer, more natural detail in addition to a 2.35 megadot (approx.) XGA OLED Tru-Finder™ EVF. The Alpha 7C offers functions that simplify operation during and after shooting, such as Fn button customizations and more. It is also dust and moisture resistant[xxii] to support shooting needs in challenging environments.

To simplify workflow needs, Wi-Fi compatible wireless-communication functions allows images and movies to be directly transferred[xxiii] to a smartphone or tablet for convenient sharing, viewing or saving. In addition to the conventional 2.4GHz band, support for the 11ac standard allows transfer via 5GHz band (IEEE 802.11a/b/g/n/ac)[xxiv] so that users can select that stable and high-speed transfer with low interference. A USB Type-C® connector that supports SuperSpeed USB 5Gbps (USB 3.2) is also provided, allowing fast transfer of images during PC remote shooting and power supply from external mobile batteries.

New FE 28-60mm F4-5.6: The World’s Smallest and Lightest[iv] Full-frame Zoom Lens with High Image Quality

The new FE 28-60mm F4-5.6 offers the world’s smallest and lightest[iv] form factor in a standard zoom lens, delivering high optical performance that achieves the high-resolution depiction of full-frame everywhere in the image. Optimal arrangement of the three aspherical lens elements effectively suppresses aberrations throughout the zoom range and realizes high resolution from corner to corner. A minimum focus distance of 0.99 foot (0.3m) (wide-angle) to 1.48 feet (0.45m) (telephoto) delivers close-up capability, making it perfect for everyday use or vlogging with a gimbal or grip.

At 5.9oz (167g) and 2.6 inches dia. x 1.8 inches length (66.6 mm dia. x 45 mm length), along with its mechanical and optimal optical design that features a retracting structure, the FE 28-60mm F4-5.6 achieves unrivaled compactness and lightness, allowing users to easily carry it all the time. From everyday shooting to scenery, portraits and travel, it’s the ideal lens for any type of on-the-go shooting in a wide variety of environments. When combined with the Alpha 7C, the combination achieves uncompromising full-frame performance with the world’s smallest and lightest full-frame camera and lens system[i]. Even with its compact size and light weight, the FE 28-60mm F4-5.6 is dust and moisture resistant[xxii] and accepts a variety of 40.5mm filters.

The FE 28-60mm F4-5.6 delivers high-speed, high-accuracy AF allowing for Real-time Tracking and Real-time Eye AF, using a linear motor. In addition to Sony’s advanced AF capabilities, the FE 28-60mm F4-5.6 features an internal focus design which leaves the lens length unchanged with focus motion and close-up shots, enabling users to easily capture a wide variety of content from regular movie shooting to comfortable vlogging.

New HVL-F28RM: Compact Flash with Light Intensity Control Linked to Camera Face Detection[v]

The HVL-F28RM is a compact flash designed to match Sony’s mirrorless cameras for a compact, manageable system, and offers the type of reliable, stable performance that only a genuine Sony product can provide. When compared to the HVL-F32M, the HVL-F28RM features a 12 percent reduction in volume and 7 percent reduction in weight. This compact, easy-to-use flash unit delivers the capabilities and dependability to meet the needs of both professional and advanced amateur content creators.

The HVL-F28RM offers consistent GN28[xxv] light output, optimized light distribution and continuous flash performance that won’t interrupt the user’s workflow, as well as stable radio wireless communication and multi flash radio control. The new flash also features Sony’s newly introduced flash control linked to camera face detection[v] advanced technology. When used with a compatible camera, the balance between the light falling on the subject’s face and ambient light is evaluated to automatically adjust accurate white balance so that the subject’s face is rendered with natural, lifelike color. In addition, flash compensation, light ratio, and other detailed flash parameters can be controlled directly from a compatible camera[xxvi]. A camera custom key can be assigned to call up the flash parameter display so that adjustments can be made while looking through the viewfinder and gripping the camera. Flash parameters are shown in the selected camera display language.

A newly developed “Metal Shoe Foot with Rugged Side Frame”[xxvii] that also houses the unit’s electrical contacts offers improved resistance to physical shock and impact from all directions. The Multi Interface foot is fabricated from metal for higher strength. The HVL-F28RM also features a dust and moisture resistant[xxii] design. When the HVL-F28RM is mounted and locked onto the Alpha 7C, Alpha 7S III, Alpha 7R IV and Alpha 9 II, durability to dust and moisture is improved, even when used in challenging outdoor environments.

The HVL-F28RM also features simple, intuitive operation with minimal controls including +/- light level buttons, pairing button, test button and lock lever. Plenty of light is available for bounce applications. The flash angle can also be set as required via 0, 20, 40, 60, 80, and 120 degree click stops for easy positioning. The new flash also features a built-in wireless radio trigger for reliable flash triggering when mounted on a compatible camera[xxvi] and paired with an off-camera unit. When used as a transmitter, the HVL-F28RM can control up to 15 flash and/or receiver units in 5 groups[xxviii] at distances of up to 114 feet (35 meters)[xxix] for extraordinary lighting control and versatility. The HVL-F28RM is powered by two AA (LR6) alkaline or NiMH batteries. A fresh pair of alkaline batteries can provide power for up to 110 continuous flashes (1/1 manual flash with alkaline batteries)[xxix].

Pricing and Availability

The new Alpha 7C compact full-frame camera will be available in late October and will be sold for approximately $ 1,799.99 USD and $ 2,399.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE 28-60mm F4-5.6 zoom lens will be available in early 2021 and will be sold for approximately $ 499.99 USD and $ 649.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

A new kit featuring the Alpha 7C compact full-frame camera and FE 28-60mm F4-5.6 zoom lens will also be available in late October and will be sold for approximately $ 2,099.99 USD and $ 2,699.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The HVL-F28RM flash will be available this winter and will be sold for approximately $ 249.99 USD and $ 329.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories and exciting new content shot with the new camera, lens and Sony’s other imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony ? – Alpha.

[i] An Alpha 7C with an FE 28-60mm F4-5.6 lens mounted. Among full-frame interchangeable-lens digital cameras, in combination with an interchangeable zoom lens. As of Sept. 2020. Sony survey.
[ii] Among full-frame interchangeable-lens digital cameras with optical in-body image stabilization mechanism, as of Sept. 2020. Sony survey.
[iii] A Class 10 or higher SDHC/SDXC card is required for XAVC S format movie recording. UHS speed class 3 or higher is required for 100 Mbps recording.
[iv] Among interchangeable zoom lenses for 35mm full-frame format digital camera bodies, as of Sept. 2020. Sony survey.
[v] This function is only compatible with Alpha 7C as of Sept. 2020
[vi] When shooting still images. Sony test conditions.
[vii] With battery and memory card included
[viii] Compared to the size of Alpha 6600, 120.0mm x 66.9mm x 59.0mm and a weight of 503g (With battery and memory card included).
[ix] CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off.
[x] Among full-frame mirrorless interchangeable-lens digital cameras with autofocus function, as of Sept. 2020. Sony survey.[xi] CIPA standards.
[xii] ISO expandable to 50 – 204,800 for stills, 100 – 102,400 for movies.
[xiii] Limited to 12-bit when compressed RAW is used for continuous shooting, BULB shooting, or when long-exposure noise reduction is [ON].
[xiv] “Tracking” in the menu.
[xv] Available on still images only.
[xvi] Accurate focus may not be achieved with certain subjects in certain situations.
[xvii] Up to 10 fps in continuous “Hi+” mode, and up to 8 fps in continuous “Hi” mode. UHS-II compatible SDXC memory card required. Sony test conditions. Maximum fps will depend on camera settings.
[xviii] Continuous “Hi+” mode. UHS-II compatible SDXC memory card required. Sony test conditions.
[xix] ISO 100 equivalent, F2.0 lens.
[xx] 24p recording. Approx. 1.6x at 30p.
[xxi] HDR (HLG) images can be viewed by connecting the camera directly to a Sony TV that supports HDR (HLG) playback.
[xxii] Not guaranteed to be 100% dust and water resistant.
[xxiii] Smartphone or tablet must have Imaging Edge Mobile installed. Please use version 7.2 or later.
[xxiv] Models sold in some countries/regions support IEEE 802.11b/g/n (2.4 GHz) wireless LAN only. 5GHz communication may be restricted in some countries and regions.
[xxv] 50 mm, at ISO 100 in meters
[xxvi] Visit Sony support webpage for functional compatibility information.
[xxvii] Design registration application pending.
[xxviii] In group flash mode. 3 groups (A-C) in TTL or manual flash mode.
[xxix] Sony internal test conditions.

Sony a7C specifications

Price
MSRP $ 1799 (body only), $ 2099 (w/28-60mm lens)
Body type
Body type SLR-like (bridge)
Body material Magnesium alloy
Sensor
Max resolution 6000 x 4000
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size Full frame (35.6 x 23.8 mm)
Sensor type BSI-CMOS
Processor BIONZ X
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-51200 (expands to 50-204800)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 204800
White balance presets 7
Custom white balance Yes
Image stabilization Sensor-shift
Image stabilization notes 5-axis
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW
JPEG quality levels Extra fine, fine, standard
File format
  • JPEG (Exif v2.32)
  • Raw (Sony ARW, 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (2X)
Manual focus Yes
Number of focus points 693
Lens mount Sony E
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3
Screen dots 921,600
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.59×
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash X sync speed 1/160 sec
Drive modes
  • Single
  • Continuous (Hi+/Hi/Mid/Lo)
  • Self-timer (Std/Cont.)
  • Bracket (Single/Cont.)
  • WB bracket
  • DRO bracket
Continuous drive 10.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±5 (3, 5 frames at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, XAVC S, H.264
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-II supported)
Connectivity
USB USB 3.2 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (Micro HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11ac (dual-band) + Bluetooth + NFC
Remote control Yes (via smartphone or Bluetooth)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description NP-FZ100 lithium-ion battery & charger
Battery Life (CIPA) 740
Weight (inc. batteries) 509 g (1.12 lb / 17.95 oz)
Dimensions 124 x 71 x 60 mm (4.88 x 2.8 x 2.36)
Other features
Orientation sensor Yes
Timelapse recording Yes

Articles: Digital Photography Review (dpreview.com)

 
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Sony a7C sample gallery

15 Sep

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The a7C crams a lot of advanced features like Sony’s excellent Real-time AF tracking into a compact form-factor never before seen in this full-frame a7-series. Despite the challenges presented by a pandemic and a massive, lingering cloud of forest fire smoke, we found plenty of subjects to help us test out the new camera.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sony a7C hands-on preview

15 Sep

Chris and Jordan chat about Sony’s newest full-frame camera, despite not being able to get their hands on one just yet. Find out what they like and don’t like about the a7C so far in this hands-on, er, hands-off preview.

  • Chris' height
  • Intro
  • Size and design
  • Buttons and dials
  • Menus and touchscreen
  • Autofocus and buffer
  • Video features
  • Versus a7 III
  • Versus APS-C?

Articles: Digital Photography Review (dpreview.com)

 
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8 Amazing Hacks To Be A Pro Photographer Blogger: The Definitive Guide I’m Using To Write How I Shoot

15 Sep

  Writing is not for photographers. This is the most ridiculous statement I have ever heard, and as a photographer, I have heard many.  Do you know what is even more absurd about this declaration? For a long time, I am the one who swore by it. This was following the demise of my first personal photoblog. You can say Continue Reading

The post 8 Amazing Hacks To Be A Pro Photographer Blogger: The Definitive Guide I’m Using To Write How I Shoot appeared first on Photodoto.


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Sony a7C initial review: Compact size, big sensor image quality

15 Sep

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The Sony a7C is the company’s latest and smallest full-frame interchangeable lens camera. It fits a 24MP full-frame sensor and image stabilization into a body more closely resembling the APS-C sensor a6600.

A lot of work has clearly gone into making this one of the smallest full frame cameras available, whereas a lot of the features and capabilities are familiar. A new retractable kit zoom is being launched along with the a7C to help maintain those size savings.

Out of camera JPEG.
ISO 500 | 1/40 sec | F9 | Sony FE 35mm F1.8
Photo by Carey Rose

Key specifications

  • 24MP BSI CMOS full-frame sensor
  • Bionz X processor (same as in the a7 III)
  • ‘Real-time tracking’ AF system with human head, face, eye, and animal recognition
  • Oversampled 4K video at up to 30p, including 8-bit S-Log and HLG
  • Continuous bursts at up to 10 fps
  • Fully articulating 1.44M dot touchscreen
  • 921k dot EVF with 0.59x mag.
  • Mic and headphone sockets
  • Large ‘Z-type’ battery, rated to 740 shots per charge

The Sony a7C will be available from October 2020 at a price of around $ 1799 USD ($ 2399 CAD) or with the new collapsible 28-60mm F4-5.6 kit zoom for around $ 2099 USD ($ 2699 CAD).


Review contents

From the camera’s controls to the image and video quality it’s capable of, find out what exactly what you want to know about the a7C right here.

What’s new and how it compares

The a7C fits almost all the capabilities of the a7 III into a body that has more in common with the a6000 series. This means a smaller viewfinder but few other compromises.

Read more

Body and handling

The a7C has three dials, all controlled using your thumb. It still handles pretty well, though, with a solid body and a small but pretty comfortable grip.

Read more

Initial impressions

The a7C’s main strengths are its size and convenience. This could make it a powerful travel or family camera. But there’s a price to be paid, and this isn’t necessarily a budget option.

Read more

Sample gallery

We’ve been shooting the a7C with both its kit zoom and the sensibly compact FE 35mm F1.8, to see what the camera offers.

See the gallery

Articles: Digital Photography Review (dpreview.com)

 
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Canon is crowdfunding its monocular-style PowerShot Zoom concept camera in Japan

15 Sep

Last year, at CP+ 2019, Canon showed off a number of concept cameras with new and unusual designs. While some of those concepts are still just that, at least one more is well on its way into the consumer market — in Japan, at least.

The Canon PowerShot Zoom is a monocular-style point-and-shoot that’s being crowdfunded on Makuake, not unlike the approach Canon took with its Ivy Rec camera. Inside the almost cartoon-looking design is a 12.1-megapixel 1/3” CMOS sensor that works alongside a DIGIC 8 processor to capture stills and record Full HD video at 1080p.

In front of the sensor is a zoom lens that can toggle between 100mm and 400mm (full-frame equivalent) focal lengths. You can also double that to an 800mm (full-frame equivalent) focal length when combined with the camera’s digital zoom.1 The device features built-in image stabilization, Canon’s Face AF technology, a USB-C port for charging and a microSDXC card slot.

The camera features three buttons on the top: power, menu and zoom, as well as three on the bottom: a dial, a capture button for stills and a capture button for video. Photos and video can be transferred via the microSD card or wirelessly when paired with Canon’s accompanying smartphone app.

The PowerShot Zoom is currently being crowdfunded in Japan through Majuake. The campaign has already raised over $ 280,000, far surpassing its initial goal. Japanese backers are able to secure the first units for around $ 300.

There’s no mention of whether or not the PowerShot Zoom will become available outside the Japanese market at this time.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

1Canon had previously said it hoped to have intermediary focal lengths during zoom, but it appears that feature isn’t available at this time.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount

15 Sep

The post Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon announcement

Nikon hasn’t managed to capture much airtime over the past few months, what with the Canon EOS R5 and R6 launch as well as the Sony a7S III announcement.

But Nikon continues to produce top-notch kit, and we’ll see the fruits of the company’s labor later this week, with the official announcement for two new lenses:

The Nikkor Z 14-24mm f/2.8 S.

And the Nikkor Z 50mm f/1.2 S.

Both lenses are designed for Nikon’s Z mount cameras, which means that they’ll be compatible with Nikon’s mirrorless bodies: the Nikon Z5, Nikon Z6, Nikon Z7, and Nikon Z50.

Let’s take a closer look at what you can expect from these two lenses.

The Nikkor Z 14-24mm f/2.8 S

This lens will be a Z mount remake of a popular F-mount (DSLR) lens, the Nikkor 14-24mm f/2.8G.

And, if the original lens is anything to go by, the Nikkor Z 14-24mm f/2.8 S will be an absolute powerhouse.

At the very least, the Z mount 14-24mm will give Nikon users an ultra-wide zoom with an f/2.8 maximum aperture, which will be appreciated by many photographers, including astrophotographers and other low-light shooters. At present, Z mount f/2.8 zooms are limited to the 24-70mm f/2.8 and the 70-200mm f/2.8; while both of these are excellent lenses, they just don’t offer the perspective that you can get from a 14-24mm lens.

According to Nikon Rumors, the Nikkor 14-24mm f/2.8 will work with front filters (which is always a concern with ultra-wide lenses), but will also take rear filters. The 14-24mm will be relatively compact, and will feature “smooth and silent autofocus.”

In other words:

The Nikkor Z 14-24mm f/2.8 will likely be a lens that does a lot of things well, from landscapes and astrophotography to those ultra-wide travel and event shots that draw the viewer straight into the scene.

The Nikkor Z 50mm f/1.2 S

Nikon already offers a Z mount 50mm lens: the Nikkor Z 50mm f/1.8 S.

But the new 50mm f/1.2 S will go beyond the 50mm f/1.8 S; that extra maximum aperture may not seem like much, but it’s critical for low-light shooters of all types, as well as anyone who’s after the best possible bokeh.

That’s why, if you’re a portrait photographer or an event photographer, the Nikkor Z 50mm f/1.2 S should be at the top of your wish-list.

While the 50mm f/1.2 S is likely to offer stellar image quality, such a wide maximum aperture comes with a serious price:

The lens is going to be big and hefty. This certainly won’t be your easy-to-carry nifty fifty, so if that’s what you’re after, look elsewhere. But it will be a high-quality, well-built, weather-sealed lens that many professionals are after.

Conclusion

The Nikkor Z 14-24mm f/2.8 S and the Nikkor Z 50mm f/1.2 S lenses are bound to be impressive (even if they have a price tag to match!).

So if either lens seemed appealing, I recommend you keep an eye out for Nikon announcements over the next few days.

You won’t regret it!

Now over to you:

Are you excited for these two new lenses? And if you could pick one of them, which would you take? Share your thoughts in the comments!

The post Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Seeing change, with photographer Chloe Collyer and the Fujifilm X100V

14 Sep

Small, lightweight and offering great image quality from its APS-C format sensor, the Fujifilm X100V is designed for street photography.

In a season of unrest across the globe, Seattle-based photographer Chloe Collyer has been busy using the X100V to document the people – and the expressions of anger and creativity – which have made this summer unforgettable.

Fujifilm X100V sample images by Chloe Collyer

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This is sponsored content, created with the support of Amazon and Fujifilm. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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