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Viltrox APS-C lenses for Fujifilm, Sony and Leica detailed ahead of launch

23 Aug

Chinese camera gear brand Viltrox is planning to release three autofocus lenses for Fujifilm X-mount, Sony E-mount, and Leica M-mount, according to FujiRumors, which initially spied the upcoming products back in May.

In a new report published this week, FujiRumors detailed the alleged specs for the three lenses, product images for which it found published on Viltrox’s official profile on Chinese social media website Sina Weibo. Below are images of the lenses and a breakdown of the specifications based on the charts provided by Viltrox:

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Viltrox 23mm F1.4:

Aperture range: 1.4 – 16
Aperture blades: 9
10 Groups, 11 elements
Filter size: 52mm
Weight: 250g (8.8oz)

Viltrox 33mm F1.4:

Aperture range: 1.4 – 16
Aperture blades: 9
9 Groups, 10 elements
Filter size: 52mm
Weight: 270g (9.5oz)

Viltrox 56mm F1.4:

Aperture range: 1.4 – 16
Aperture blades: 9
9 Groups, 10 elements
Filter size: 52mm
Weight: 290g (10.2oz)

It’s unclear when the new lenses will launch. The initial report in May claimed on behalf of a source that the new models may launch in October, but the latest report points toward ‘around November’ as the official release time frame. Prices haven’t been revealed at this time. These three lenses will join Viltrox’s previously launched 85mm F1.8 autofocus APS-C lens.

Articles: Digital Photography Review (dpreview.com)

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7Artisans 60mm F2.8 APS-C macro lens for mirrorless cameras now available

12 Jun

Chinese company 7Artisans has launched the 60mm F2.8 APS-C macro lens that first appeared earlier this year. The new manual focus lens features a minimum 26cm (10in) focusing distance, F2.8 to F16 aperture, 8 elements in 7 groups, a 39mm filter size, de-clicked aperture ring, and 550g (19.4oz) weight.

The new 7Artisans macro lens is made from aluminum alloy and supports extension attachments for shooting 2:1 and 3:1 macro images. 7Artisans says its new lens offers ‘excellent image quality at infinity and 1:1 macro conditions.’ Below is a collection of sample images provided by 7Artisans:

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The new 7Artisans model is available for Canon EOS M, Canon EOS RF, Fujifilm X, MFT, Nikon Z and Sony E mounts.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2019: Sony Interview – ‘First full-frame, then APS-C’

06 Apr

Kenji Tanaka, VP and Senior General Manager of Sony’s Business Unit 1, Digital Imaging Group.

At the CP+ show in Yokohama Japan last month, we sat down with executives from several major manufacturers, including Sony. In our conversation with Sony’s Kenji Tanaka, we discussed various topics, including how the full-frame mirrorless market has evolved, and why he believes Sony will maintain its competitive edge.

Please note that this interview was conducted partly via an interpreter, and has been edited for clarity and flow.

How do you think the full frame market will evolve, now that lower-cost products like the Canon EOS RP are becoming available?

As more competitors jump into this market, I think that’s a very good thing, because customers have more choice. Our aim is to grow the industry. So when competitors jump in, that’s good.

A wide range of options is a very good thing

The EOS RP is a different kind of challenge from Canon, for entry-level customers. When they eventually enrich their entry-level lenses, that would be a very powerful story. But at this point, I cannot judge who the target customer is [for the EOS RP]. Thinking about the camera industry in the long term, a wide range of options is a very good thing. I’m very positive about it.

Canon would probably say that the RP is intended to appeal to entry-level customers and first-time ILC buyers. How do you intend to attract those kinds of photographers?

This is our one-mount strategy, which only Sony has. Initial entry is in APS-C, and the next step is full-frame. I want to make a kind of ‘step up ladder’.

Sony’s a7 III is one of the most competitive cameras in its class, offering advanced stills and video features at an attractive price. But its MSRP is undercut by the new Canon EOS RP.

Sony is no longer alone in the full-frame mirrorless market – are there any particular companies that you regard as more serious competitors than others?

Every one of our competitors is strong, and we respect each of them. For the [sake of] growth in the industry, we’re thinking about computational photography, and how to incorporate these technologies.

I first encountered this kind of technology more than 20 years ago, and it’s created a new future for imaging. So [while] of course we’re very respectful of our current competitors, the next step is we have to learn more things from computational photography.

So perhaps your most important competitors right now don’t make cameras?

That could be.

How will Sony maintain its competitive lead?

Sony is a technology company that provides technology in which customers may find value. I want our technology to be the reason people are attracted to Sony, not the price. Of course the balance is very important. When you get to price points of $ 3000, $ 4000, that’s a different matter, but the most important thing for Sony is technology. That creates customer value.

Technology will lead customers into the future.

Technology will lead customers into the future. That’s the kind of scenario we want to create. Last year we said that speed and AI would be our new technology drivers, and since then other mirrorless companies have tried to develop these technologies. It’s already happening.

Previously, our main target was professional, but this year we announced the a6400, not only for professionals, targeted a little more widely. We need to create a message for a different kind of customers, but basically our products contain advanced technology, and advanced technology make [makes] customers happy to shoot. I want [Sony] to become a company that drives technology – that’s the kind of message I want to send.

Smartphones like the Google Pixel 3 have changed the way that millions of us create images, and have become primary cameras for an entire generation of photographers.

Do you think Sony has an advantage here?

Yes, of course. We have an R&D section within Sony, it’s a real asset. The world of imaging is growing, and the speed is getting faster. I want to invest in the kinds of technologies that drive the world of imaging, and […] create a cycle. Computational photography is one aspect, lenses are another. I’m very positive for the future. At my core, I’m an engineer. I want to create a camera to enrich your life as a photographer.

How long have you been working on technologies like AI?

It’s very difficult to determine a starting point, but ten years ago I was an engineer, and at that time my interest was neural networks. So the seed for the technology goes back more than ten years. More recently, about five years ago we started developing deep learning. Of course at the same time our team was trying new technologies so it’s very difficult to say exactly when we started. We’re developing new technologies all the time, Sony is that kind of company.

Is it more important to Sony that you sell more cameras, or make more profit per camera sold?

Haha, do I only have two choices? the most important thing really is technology. That’s what creates new features. To develop new technologies of course we need money. Sometimes our strategy is [to create] high value products, and sometimes our approach is to increase the volume of customers.

Sony’s new APS-C a6400 (left) offers incredibly advanced autofocus and high-speed shooting features in a very compact body.

Some people have the perception that Sony is more focused on full-frame than APS-C, is this accurate?

Full-frame is the best platform to deliver our technologies. But of course these technologies need to cascade down for APS-C customers. So we will focus on both groups of customers, but [the] timing is a little different. First full-frame, then APS-C. It has been said that Sony has ignored the APS-C market, and our answer is the a6400.

Do you think there’s an opportunity for Sony to create GM lenses for APS-C?

Yes, I do, but I don’t know how they would be branded. Maybe not as ‘GM’, but high quality lenses are definitely an option [for development].

Do you think APS-C is a format that could be used by professionals?

Honestly speaking, for still photography, full-frame is [more appropriate] for professionals. But for video, APS-C is good for both amateur and professional customers, because it’s size is close to Super 35mm, [which is a] video Image sensor format.

Are you interested in creating an a7S-type product, geared towards video, within the APS-C lineup?

That is possible, I think. For example, looking at the US market, at the BlackMagic Pocket Cinema Camera, I think that’s a wonderful product for professionals. Not only for high-end amateurs. The sensor size of that camera is Micro Four Thirds, and [Sony’s] APS-C is bigger.

Mr Tanaka has expressed a keen interest in the BlackMagic Pocket Cinema 4K Camera, could hint at some of Sony’s future plans.

Are you interested in developing cine lenses for APS-C?

It’s possible, but looking at the market size, full frame is maybe a bigger opportunity. If we focused only on cine, the market would probably be too small, but the so-called ‘creators’ market is a little bigger.

What kind of products do you think would suit this market?

I have many things in my mind but I can’t tell you the details today! As you know well, stills and movies are completely different. Some people think that 30 or 60fps stills shooting is the same as shooting a movie, but the mentality of stills photographers and videographers is completely different. That kind of fusion, I don’t think [it’s realistic]. We want to create new cameras for both kinds of creators.

So you don’t think it’s possible to create a perfect ‘fusion’ camera for stills and video customers?

No.

Have you always believed that? Sony has really been a key developer of hybrid video-enabled cameras, like the a7S line.

Many people have enjoyed the a7S II as a video camera, but originally we designed it for stills photography users. So if we’re going to create products [specifically] for video shooters, we’ll have to modify them in the future.

It’s easy to add 4K/60, but beyond these specs, a lot of customers have other demands

How do video shooters want the camera to be changed?

We’ve had a lot of feedback from the market, including from DPReview! The basic expectation is for things like 4K/60, 10-bit 4:2:2, and a lot of manufacturers are doing that right now, but I want to think in a different way and create something that goes beyond the expectations of our customers. It’s easy to add 4K/60, but beyond these specs, a lot of customers have other kinds of demands, and that’s what we’re researching.

Judging by Mr Tanaka’s comments, the aging a7S II might be replaced by a much more revolutionary product that ‘goes beyond the expectations’ of his customers.

Your new cameras can shoot HLG video for the new generation of displays, how will this technology influence stills cameras?

JPEG is an old format, limited to 8-bit. Movies are going to 10-bit, and stills should become 10-bit as well. So of course we’re researching how to compress stills to 10-bit. The new standard will be 10-bit. There are many such formats already in the market, but we need to study which one is best for the customer.

Smartphones have high dynamic range displays, so the [impetus] will probably come from smartphones. Television development is a bit slower, but everything will be 10-bit [eventually]

The Tokyo 2020 Olympics is just a year away – do you think that by then we’ll see a lot of sports photographers using Sony?

We’re just beginners in that field, compared to Canon and Nikon. We’re currently going step by step, taking feedback from journalists and sports photographers, and we’re running a positive cycle, right now. What I can say today is that you can expect activity [from Sony] for big sports events.

Editors’ note: Barnaby Britton

Technology, technology, technology! That’s the message from Mr Tanaka this year, above all others. Although Sony is (finally) facing some serious competition in the full-frame mirrorless market, it appears that Mr Tanaka welcomes the company. He certainly doesn’t appear to fear the competition. As he says, while Sony respects all of its competitors, its most important rivals might not be the ones currently making cameras.

As a technology company first and foremost, former engineer Mr Tanaka confirms that Sony has been researching AI and deep learning for at least a decade. Lest we forget, Sony also makes smartphones, and in fact the camera and smartphone divisions were recently merged. When Mr Tanaka talks about wanting to invest in ‘the kinds of technologies that drive the world of imaging’ I’d be surprised if he’s thinking exclusively of the traditional consumer digital imaging market.

Inside that marketplace though, it’s clear that Mr Tanaka views full-frame as the preeminent format for delivery of Sony’s technologies to photographers, as well as being a superior platform for professional users. Given the company’s focus on attracting enthusiast and professional users – and that whole ‘technology, technology, technology!’ thing, it shouldn’t be a surprise therefore that Sony’s APS-C lineup has been pretty much put on ice the past couple of years. Mr Tanaka did hint at greater emphasis on APS-C in the near future though, including – crucially – the possibility of some high-end lenses to come.

It seems possible that Sony is interested in developing a dedicated, compact, affordable large-sensor dedicated video camera

There’s no such thing as a ‘perfect’ stills / video camera according to Mr Tanaka, and perhaps the most surprising thing to come out of this interview, for me, was his obvious interest in the Blackmagic Pocket Cinema Camera 4K. It’s unusual for a senior executive to so openly – and so specifically – praise a competitor product in an interview with press, and I doubt it was a throwaway comment. From this, coupled with Mr Tanaka’s reminder that APS-C is a bigger format than Four Thirds, and his earlier comment that APS-C is close to Super 35, ‘a video image sensor format’ we can draw some tentative conclusions.

It seems at least possible that Sony is interested in developing a dedicated, compact, affordable large-sensor dedicated video camera. That’s the kind of product that could prove disruptive. Even if such a camera doesn’t come to fruition, Mr Tanaka’s slightly dismissive remark that tinkering around the edges of the a7S II’s feature set, adding things like 4K/60 is ‘easy’ should give filmmakers hope. Sony, historically, doesn’t do ‘easy’. Whatever they end up looking like, it seems likely that the next generation of video-centric cameras from Sony will be anything but iterative.

Articles: Digital Photography Review (dpreview.com)

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Ricoh GR III, with updated lens, 24MP APS-C sensor and in-body IS to ship in March

22 Feb

Five months after its development announcement, the Ricoh GR III will be shipping this March for $ 899. Unlike the GR II, which was a very minor upgrade to the original, the major components on the GR III are all-new.

The controls have received a major shake-up as the GR III becomes the first in the series to use a touchscreen. The screen is a 3.0″, 1.04M-dot LCD, with all of the usual features like AF point selection, menu navigation and image review onboard.

It also gains image stabilization, with a 3-axis sensor-shift system offering shake reduction rated at up to four stops. This ‘SR’ system can also be used to simulate an AA filter for when moiré reduction is desired. And there’s now an ultrasonic dust reduction system for the sensor, which is perhaps a nod to the dust problems that some encountered on the GR I and II.

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The GR III’s autofocus system has been overhauled, with the addition of on-sensor phase detection. This, along with a redesigned lens, gives us hope that the GR II’s autofocus will be quicker than its predecessors. Ricoh is yet to provide any technical details but says it will be ‘faster and more responsive.’

The GR III’s 28mm equiv. F2.8 lens has six elements in four groups, with two elements being aspherical. The lens can now focus as close as 6cm (2.4″), compared to 10cm (3.9″) on the previous models. The GR III continues to offer a built-in 2-stop ND filter.

The resolution of the GR III’s APS-C sensor has been bumped from 16MP to 24MP, with a fully expanded ISO range of 100 – 102,400. The GR III can now record 1080/60p video, but no 4K. Ricoh has added a Type-C USB 3.0 port on the camera (which can be used to charge the battery,) and connectivity options now include Bluetooth in addition to Wi-Fi.

Two things that the GR III lost are its built-in flash and a fair amount of its battery life. The latter has plunged from 320 shots to 200 shots per charge – a 38% drop – despite using a higher capacity battery. More than likely, the addition of in-body IS puts the biggest hit on battery life.

As mentioned above, the GR III will be yours to purchase in March for $ 899. A new 0.75x wide-angle adapter (GW-4) will also be available for $ 249.

Press Release

Ricoh launches RICOH GR III high-end, compact digital camera

Newest model in the popular RICOH GR series delivers exceptional image quality in a smaller, lightweight body, making it ideal for street photography

WEST CALDWELL, NJ, February 21, 2019 – Ricoh Imaging Americas Corporation today announced the launch of the highly anticipated RICOH GR III camera. The new camera is the latest model in the RICOH GR series, a lineup of high-end digital cameras providing exceptional image quality in a compact, lightweight body ideal for street photography, travel and capturing candid images.

The RICOH GR III features a newly designed lens, image sensor and imaging engine that further upgrade image quality, enhance functionality and improve usability. The 18.3mm F2.8 lens delivers exceptional imaging performance with a slim design, consisting of six optical elements in four groups, while retaining the 28mm angle of view. It produces the clearest, sharpest images in GR-series history while reducing distortion and chromatic aberration. It also comes equipped with a macro shooting capability with a minimum focusing distance of six centimeters.

In keeping with the GR-series concept of packaging high image quality in a compact design, the RICOH GR III camera body is smaller than its predecessor, and is equipped with a large APS-C-size CMOS image sensor with approximately 24.24 effective megapixels to produce high-resolution images. Its short start-up time of approximately 0.8 seconds allows for quick, responsive shooting. The camera’s high-definition LCD monitor features touchscreen operation, offering intuitive control of various camera functions right on the screen.

The camera also features a high-speed hybrid autofocus system, built-in shake reduction, in- camera image finishing options, USB Type-CTM, Bluetooth and wireless LAN connectivity options. An accessory wide-angle conversion lens designed exclusively for use with the RICOH GR III is also available. The GW-4 Wide Conversion Lens expands the angle of view to 21mm ultra-wide angle.

“The Ricoh GR III is the ultimate street camera,” said William Hereford, a Brooklyn-based pro photographer, who has been shooting with GR series cameras for years. “The image quality and ease of use are equally amazing. I literally don’t leave my house without this camera. The GR III fits perfectly both in my hand and my pocket, so it is always available to capture a moment.”

Hereford says that the image quality is so great, that photos taken with his GR cameras have the potential to be used in national ad campaigns and magazine articles.

Designed to be the ultimate street photography camera, the RICOH GR III is a totally new breed of GR camera that will give the user new and different creative possibilities.

| Pricing and Availability |

The RICOH GR III will be shipping in March 2019 and will be available at www.us.ricoh- imaging.com and retail outlets nationwide. Price is $ 899.95 for the camera, $ 249.95 for the GW-4 Wide Conversion Lens.

Ricoh GR III specifications

Price
MSRP	$ 899 / £799
Body type
Body type	Large sensor compact
Body material	Magnesium alloy
Sensor
Max resolution	6000 x 4000
Image ratio w:h	1:1, 3:2
Effective pixels	24 megapixels
Sensor photo detectors	25 megapixels
Sensor size	APS-C (23.5 x 15.6 mm)
Sensor type	CMOS
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
White balance presets	8
Custom white balance	Yes
Image stabilization	Sensor-shift
CIPA image stabilization rating	4 stop(s)
Uncompressed format	RAW
File format	JPEG (Exif v2.3) Raw (14-bit DNG)
Optics & Focus
Focal length (equiv.)	28 mm
Maximum aperture	F2.8–16
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Normal focus range	10 cm (3.94″)
Macro focus range	6 cm (2.36″)
Screen / viewfinder
Articulated LCD	Fixed
Screen size	3″
Screen dots	1,037,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Optical (optional)
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Built-in flash	No
External flash	Yes (via hot shoe)
Flash modes	Auto, Flash On, Flash On+Red-eye, Slow-speed Sync, Slow Sync+Red-eye
Flash X sync speed	1/4000 sec
Drive modes	Single Frame Continuous Shooting Bracketing Multi-exposure Interval Shooting Interval Composite
Continuous drive	4.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Highlight-weighted Spot
Exposure compensation	±5 (at 1/3 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	1920 x 1080 @ 60p, MOV, H.264, Linear PCM 1920 x 1080 @ 30p, MOV, H.264, Linear PCM 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	Internal, SD/SDHC/SDXC (UHS-I supported)
Storage included	2GB
Connectivity
USB	USB 3.0 (5 GBit/sec)
USB charging	Yes
HDMI	No
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n + Bluetooth
Remote control	Yes (via smartphone)
Physical
Battery	Battery Pack
Battery description	DB-110 lithium-ion battery & USB charger
Battery Life (CIPA)	200
Weight (inc. batteries)	257 g (0.57 lb / 9.07 oz)
Dimensions	109 x 62 x 33 mm (4.29 x 2.44 x 1.3″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Sigma has done more for enthusiast APS-C than Nikon, Canon and Sony combined

16 Feb

There’s no reason APS-C can’t be a good enthusiast format, with the right lenses.

Full-frame is being touted as the future of enthusiast as well as professional photography. But I’d argue that APS-C is still a highly capable format and one that makes sense for a lot of people. That could be true for an even broader group if it was properly supported as an enthusiast format. And, I’d contest, one company has consistently done more to support the big brand’s users than the camera makers themselves.

The past few years have seen a wave of full-frame launches and, from the original EOS 5D through to the Sony a7 series and EOS RP, the falling prices of full-frame cameras have made them accessible to an ever-wider number of people. This focus on relatively profitable models (and lenses) is only likely to continue as the camera market contracts back to catering for a core of dedicated photographers, rather than trying to sell to everyone. But what does this mean for APS-C?

While all the buzz is around full-frame, the industry still sells more APS-C cameras and there are many, many times more of the smaller-chipped cameras in circulation than there are full-framers. Should these countless millions of cameras be seen as a temporary aberration, now being corrected, or can APS-C still be a good fit for enthusiasts?

The aberrant puny stepchild camera

Sony’s new a6400 camera has an APS-C sensor and some of the best autofocus performance around. It’s also got a decent lens on it in this photo, but it’s a lens that costs just as much as the camera itself.

There’s an argument that APS-C is simply a quirk of history: that camera makers only embraced it because it was the largest format they could manufacture affordably enough to actually sell, and that they were always going to revert to ‘full-frame’ as soon as it became cost-effective. But, while much of this is true, it that doesn’t mean that APS-C is too small or can only be a stop-gap. After all, there’s nothing intrinsically optimal about full-frame*.

After all, there’s nothing intrinsically optimal about full frame

You could equally make the opposite argument: that full-frame is an arbitrary reference point for comparisons that remained in the imagination because of the popularity of the film format it’s based on, not any inherent ‘rightness’ of it. But, I’d argue, it’s also because the SLR makers didn’t want to give up on all the money they’d invested in designing extensive lineups of lenses for film, so never really committed to APS-C as a serious format.

Serious support?

Way back, photographers could get a Nikon 17-55mm F2.8 ‘pro’ lens for APS-C cameras like the D80. Today, users can get the same lens or newer and more ambitious offerings from Sigma. (And the 35mm F1.8 DX seen here is one of only four DX primes Nikon has ever released.)

To make the most of any format, you need bright lenses. And that will mean different things to different photographers. I’m going to argue that what you really need is a choice of bright primes and F2.8 (or faster) zooms if you’re going to make a format useful to a range of enthusiasts.

Look across the ranges of Nikon and Canon and you’ll see a smattering of APS-C-specific lenses: a pro-grade 17-55 F2.8, a wide-angle zoom with a moderate maximum aperture and perhaps a macro or two. That’s often the extent of the support for enthusiasts. Sure there’ll be countless kit-zooms, maybe a mid-market 18-one-hundred-and-something and an 18-200mm for the all-in-one crowd. But look for a decent prime and chances are your options are limited to full-frame lenses.

To make the most of APS-C you really need
a choice of bright primes and
F2.8 (or faster) zooms

Want an 85-90mm equiv portrait lens? Shush! Buy a 50mm and learn not to frame so tight, or accept that you’ll have to use something longer, buy an 85mm and SPEAK UP A BIT so your subject can here you. Looking for a 24mm equiv prime (hardly the most exotic request)? Well, sorry about that.

And it’s this lack of lens support, rather than any shortcoming of the format that I’d argue has always undermined it. Which is odd, as Nikon has, with the D300/D500 and D7000 series cameras, made some very nice enthusiast models. Likewise Canon with its EOS X0D models. But the net effect is the implication that full-frame is the ideal end-point and that APS-C isn’t suitable for enthusiasts: it’s purely a stepping-stone.

S for sufficient?

What’s that? An 85mm F1.8 equivalent prime? Fujifilm’s lens lineup lets you get ‘full-frame image quality’ when you need it, without having to lug full frame lenses round all the time.

But APS-C can be a highly capable format. Like Micro Four Thirds, it can be small and affordable when you want it to be, but you can extend its capability considerably if you add a bright lens where you need it. Image sensors have improved to an amazing extent over the lifespan of APS-C, with technology improving to push both low light performance and dynamic range to new limits. And, while full-frame chips have gotten better by a similar amount, there’s no reason to think that people’s needs and expectations have become more demanding at the same rate.

APS-C can be a highly capable format. Like Micro Four Thirds, it can be small and affordable when you want it to be, but you can extend its capability considerably if you add a bright lens where you need it

If APS-C has exceeded ‘good enough’ for a lot of applications, then what does it matter that full-frame has gotten even better? (I’ll concede that reviews can contribute to this: we can show which camera is better, but can’t tell you whether you, personally, need that improvement). Finally, it’s worth nothing that in the era of mirrorless, there’s no direct connection between sensor size and viewfinder size/brightness, so there are fewer downsides than ever to APS-C.

Sigma to the rescue

Lenses like the Sigma 56mm F1.4 give you great low light performance and subject separation on crop-sensor cameras like Sony’s a6500.
ISO 1000 | 1/100 sec | F1.4

But in the end, you just need lens support. And I’d argue that Sigma has done more to support APS-C as an enthusiast format than the big camera makers have. Fujifilm should get some recognition: having picked APS-C as its enthusiast format, it’s built the most comprehensive lineup there’s ever been (and perhaps Canon’s 32mm F1.4 for EF-M is the beginning of something interesting for that system) but Sigma deserves credit not just for its commitment but also for its innovation.

Fujifilm has built the most comprehensive APS-C lineup there’s ever been

As a third-party lens maker, Sigma offered some affordable alternatives to the camera makers’ own, such as its 17-50mm F2.8, but it also branched-out to offer lenses that neither of the big two made. Its 50-150mm F2.8 remains one of my favorite lenses of the period: it offered the coverage of a 70-200mm had on film, but was smaller, lighter and cheaper, giving it a real advantage over an actual 70-200. (Pentax also deserves credit for its 50-135mm F2.8, part of the most complete own-brand APS-C lens lineups for DSLR).

But in recent years, Sigma’s commitment to APS-C has been redoubled: creating lenses that extend what you can expect the format to do. The 18-35mm F1.8 is a lens that lets APS-C cameras match the depth-of-field and low-light performance of a full-frame camera with a 27-52mm F2.8 zoom, obviating the need to upgrade, perhaps. On top of this, it’s made a 50-100mm F1.8, letting APS-C match a full-framer with a 75-150mm F2.8. Again, this lets an enthusiast who likes to dabble in sports gain ‘full-frame image quality’ for their sports shooting, without having to bear the weight and cost of full-frame when they’re shooting other subjects.

And onward

Sigma’s 16mm F1.4 is a fantastic lens for Sony E-Mount (and, of course, Micro Four Thirds)

Sigma’s continued this trend into the mirrorless space. Sony started its E-mount system with a 16mm F2.8 prime: exactly the sort of lens I was saying was always missing from the DSLR lineups (even if that particular lens is a case of ‘be careful what you wish for’). It’s produced a couple of interesting primes since then but now seems to have totally shifted its attention to full-frame. This again risking the door being closed on APS-C as an enthusiast format. But, again, Sigma has stepped in.

Not only has Sigma made a F1.4 16mm for Sony’s APS-C E-mount, it’s also created a 30mm and a 56mm F1.4. It hasn’t made any fast zooms for mirrorless, but this trio of primes again allows APS-C shooters to squeeze the most out IQ of their cameras, if they don’t need full-frame performance all the time. Something worth considering if you’re thinking about switching systems.

Another thing to consider might be that the standout lenses for the fledgling full-frame mirrorless cameras are often the 24-105mm and 24-70mm F4s: lenses that could be matched in capability by a 16-70mm F2.8 on APS-C. If anyone feels like making one. Hint, hint.

*Anyone saying it allows an ideal compromise between image quality and lens/camera size clearly hasn’t been keeping track of the increasing bulk of the lenses for the latest mirrorless full-frame cameras.

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Sony announces a6400 midrange APS-C mirrorless camera

16 Jan

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Sony has announced the a6400, an updated 24.2MP mirrorless camera with a flip-up rear touchscreen and the processor and autofocus system ‘borrowed from the a9’.

In many respects the camera resembles an a6300 with a more powerful processor, enhanced autofocus and a more extensively articulated touchscreen, but launched at a slightly lower cost. It also adds the timelapse function that was lost when Sony moved away from offering in-camera apps.

Like previous models it can shoot at up to 11 fps or 8 fps in silent shutter mode, both with full autofocus and exposure capability, but not live view.

Enhanced AF

Most of the enhancements come in the form of autofocus improvements that have been developed for the a9. These include increased speed along with the enhanced ‘real-time tracking’ and animal Eye AF promised in a firmware update for its a9 pro-level sports camera.

Like recent APS-C Sony models it has 425 phase detection points spread out across its sensor. These, combined with the more powerful processor let Sony claim World’s fastest AF (with all the footnotes such claims usually entail). The most obvious differences are that Sony now says its subject recognition and tracking algorithms now include eye and pattern detection, in addition to the distance, color and face detection information they previously worked with. This should lead to more stable, persistent tracking, the company says.

Movie AF tracking is also improved, Sony says. Like the a6300, oversampled 4K video is taken from the full width of the sensor.

The camera also offers an 8-bit version of the Hybrid Log Gamma standard for simple capture of HDR video, allowing the capture and display of a wider range of tones in a natural manner, on the latest TVs. The company only promises compatibility with its own TVs.

The body-only price will be $ 900 in the US, CAN$ 1250 in Canada and €1050 in Europe. This is noticeably less expensive (by $ 100 and €200) than the a6300, which suggests it will sit a little lower in the lineup. Only time will tell whether this will also see it replace the low-cost a6000 model.

Official sample images:

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Sony Announces its Next-generation ?6400 Mirrorless Camera with Real-time Eye Autofocus, Real-time Tracking and World’s Fastest Autofocus

New APS-C Mirrorless Camera Features Excellent Image Quality, Compact Design and Many Advanced Technologies From Sony’s Full-frame Lineup

World’s Fastest 0.02 seconds AF acquisition speed plus 425 phase-detection and contrast-detection AF points covering approximately 84% of image area
Advanced Real-time Eye AF
New Real-time Tracking for object tracking
2MP APS-C Exmor™ CMOS image sensor and latest-generation BIONZ X™ image processor
180-degree fully tiltable LCD touch screen for self-recording
High-speed continuous shooting at up to 11 fps mechanical shutter / 8 fps silent shooting with continuous AF/AE tracking
High-resolution 4K movie recording with full pixel readout and no pixel binning, plus advanced AF speed and stability
Interval recording for time-lapse videos

SAN DIEGO — Jan. 15, 2019 — Sony Electronics Inc. today introduced an exciting new addition to its E-mount mirrorless camera lineup – the ?6400 (model ILCE-6400).

The ?6400 brings many of Sony’s most advanced technologies from their acclaimed full-frame lineup to a compact, lightweight APS-C camera. The speedy new camera boasts the world’s fastest1 autofocus (AF) acquisition of 0.02 seconds2, while also introducing the new advanced “Real-time Eye AF” and ”Real-time Tracking” capabilities. Also included are high-speed shooting at up to 11 fps4 with AF/AE tracking, a new-generation BIONZ X image processing engine that produces excellent image quality, 4K6 video recording, a fully 180-degree tiltable LCD touch screen and much more, making it the ultimate tool for all types of creators ranging from professionals to vloggers.

“The ?6400 represents another important step in the growth of Sony’s overall interchangeable lens camera lineup,” said Neal Manowitz, vice president of Imaging Solutions at Sony Electronics. “By bringing so many of our latest and most advanced technologies from full-frame cameras to a brand new APS-C model, we are giving today’s creators more options than ever to realize their vision.”

Speedy Performance that Captures Decisive Moments

The impressive autofocus system on the new ?6400 inherits many technologies from Sony’s newest line-up of full-frame cameras including the ?9, ?7R III and ?7 III models. The new a6400 features 425 phase-detection AF points and 425 contrast-detection AF points that are placed densely over the entire image area, covering approximately 84% of the image area. This high-speed, high-performance tracking AF system is paired with a new-generation BIONZ X image processing engine that together allow the camera to acquire focus in as little as 0.02 seconds2 and maintain subject lock extremely effectively, ensuring even the fastest moving subjects can be tracked and captured with ease.

The ?6400 introduces advanced “Real-time Eye AF,” the latest version of Sony’s acclaimed Eye AF technology. This exciting new capability employs artificial intelligence based object recognition to detect and process eye data in real time, resulting in improved accuracy, speed and tracking performance of Eye AF. In all autofocus modes, the camera now automatically detects the eyes of the subject and activates Eye AF with a half press of the shutter button, and when in AF-C or AF-A mode, the preferred eye (left or right) of your subject can be selected as the focus point. Choices include Auto / Right Eye / Left Eye, and a Switch Right / Left Eye function is able to be assigned to a custom function as well. This exciting new technology completely frees the photographer to focus solely on composition with full trust that focus will be tack sharp on the subject’s eye. Eye AF support for animals will be added in summer 2019 via a system software update, ideal for wildlife photographers.

Also debuting on the ?6400 is Sony’s newly developed “Real-time Tracking.” This mode utilizes Sony’s latest algorithm including artificial intelligence (AI) based object recognition and processes color, subject distance (depth), pattern (brightness) as spatial information to ensure that all subjects can be captured with excellent accuracy. Additionally, when photographing or videographing humans or animals, face and eye position information is recognized by AI and the subject’s eye7 is monitored in real time with extremely high tracking precision. This can be activated by a simple half press of the shutter button, or can be assigned to a custom function as well.

In terms of overall shooting speeds, the new camera can shoot at up to 11 fps4 with full AF/AE tracking while utilizing the mechanical shutter, and up to 8 fps5 with full AF/AE tracking while silent shooting. It can shoot at each of these speeds for up to 116 frames JPEG Standard / 46 frames RAW compressed, greatly increasing the chances of capturing the perfect moment.

All-around Advancements in Image Quality

Sony’s new ?6400 is equipped with a 24.2 MP3 APS-C sized image sensor with that is paired with an upgraded BIONZ X processor to deliver incredible advancements in image quality and color reproduction in all types of shooting conditions. Standard ISO ranges up to ISO 32000 for both still and movie, and is expandable up to ISO 102400 for still images, with excellent noise reduction at medium and high sensitivities.

The camera also inherits many of the image processing algorithms from Sony’s newest full-frame cameras, greatly suppressing noise while preserving resolution and improving texture depiction.

Advanced High-Resolution 4K6 Movie Recording with Fast Hybrid Autofocus

The versatile ?6400 is an exceptional video camera, offering internal 4K (QFHD: 3840 x 2160) movie recording with full pixel readout and no pixel binning to collect about 2.4x the amount of data required for 4K movies, and then oversamples it to produce high quality 4K footage with exceptional detail and depth. Focusing during movie shooting is fast and stable thanks to upgraded Fast Hybrid AF technology, which keeps the subject in constant smooth focus no matter the scene, and even if an object crosses in front of the camera. This advanced AF plus touch focus functionality make it an ideal camera choice for many vloggers and video creators that are regularly creating and uploading content online.

For time-lapse movie creation, the new camera features built-in interval recording that can be set anywhere between 1 and 60 seconds, with a total number of shots from 1 to 9999. AE tracking sensitivity can be adjusted to “High”, “Mid” or “Low” during interval shooting, allowing for reduced changes in exposure over the shooting interval.

Additionally, for the first time in Sony APS-C mirrorless camera, the new model includes an HLG (Hybrid Log-Gamma) picture profile, which supports an Instant HDR workflow, allowing HDR (HLG) compatible TV’s to playback beautiful, true-to-life 4K HDR imagery. Further, both S-Log2 and S-Log3 are available for increased color grading flexibility, as well as Zebra functionality, Gamma Display assist and proxy recording. The camera can also record Full HD at 120 fps at up to 100 Mbps, allowing footage to be reviewed and eventually edited into 4x or 5x slow-motion video files in Full HD resolution with AF tracking.

Upgraded Build to Maximize Versatility

The new camera is designed to offer a high level of functionality and customization to maximize shooting freedom. New on the ?6400 is a fully 180-degree tiltable, 3.0-type LCD flip screen with 921k-dots of resolution that allows for simple and effective framing of selfie-style shooting for both still and video capture. Utilizing this capability, vloggers will be able to check and monitor composition throughout their entire creative process. The LCD screen is also equipped with touch functionality, with options for Touch Pad, Touch Focus, Touch Shutter and new Touch Tracking which quickly activates “Real-time Tracking” through the touch screen.

The camera features a high quality XGA OLED Tru-finder™ viewfinder, extensive customization with 89 functions that are assignable to 8 custom keys, the new My Dial and My Menu functionality, enhanced overall menu usability, a help screen for menus, star rating for images, and many other features that allow for a seamless shooting experience. It is also built with a tough magnesium alloy design and has an extremely durable shutter that is rated for approximately 200,000 cycles. It also is capable of seamlessly transferring files to a smartphone or tablet when connected to the brand new Imaging Edge Mobile application.

Pricing and Availability

The ?6400 will ship in February 2019 for a suggested retail price of $ 900 USD and $ 1,250 CAD. It will also be offered as a kit with the 16-50mm F3.5 – 5.6 lens for a suggested retail price of $ 1,000 USD and $ 1,350 CAD, or in a kit with the 18-135mm F3.5 – 5.6 lens for a suggested retail price of $ 1,300 USD and $ 1,750 CAD. The camera and kits will be sold at a variety of Sony authorized dealers throughout North America.

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

The new content will also be posted directly at the Sony Photo Gallery and the Sony Camera Channel on YouTube. Detailed information pages within Sony.com for the new products can be found at:

(US) – LINK

(CA) – LINK

Footnotes

1 Among interchangeable-lens digital cameras equipped with an APS-C image sensor as of January 2019, based on Sony research
2 CIPA-compliant, internal measurement method with an E 18-135mm F3.5-5.6 OSS lens mounted, Pre-AF off and viewfinder in use
3 Approximate effective megapixels
4 In “Hi+” continuous shooting mode. Maximum fps will depend on camera settings
5 Maximum fps will depend on camera settings. Some distortion may occur with fast-moving subjects or if the camera is moved sideways rapidly while shooting
6 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 100Mbps recording
7 Accurate focus may not be achieved with certain subjects in certain situations
8 “Tracking” must be enabled via the menu beforehand
9 The latest version of Imaging Edge “Viewer” and PlayMemories Home desktop applications is required
10 Connect this product to an HDR (HLG) compatible Sony TV via USB cable when displaying HDR (HLG) movies
11 S-Log2 and S-Log3 are premised on processing pictures
12 Pixels to be read are limited to the sensor area that is required for Full HD movies
13 Sony internal tests with electronic front curtain shutter
14 Availability of transfer / playback depends on the performance of the smartphone and tablet

Sony a6400 specifications

Price
MSRP	$ 900 (body only), $ 1000 (w/16-50mm lens), $ 1300 (w/18-135 lens)
Body type
Body type	Rangefinder-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	6000 x 4000
Image ratio w:h	1:1, 3:2, 16:9
Effective pixels	24 megapixels
Sensor photo detectors	25 megapixels
Sensor size	APS-C (23.5 x 15.6 mm)
Sensor type	CMOS
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-32000 (expands to 102800)
Boosted ISO (maximum)	102800
White balance presets	10
Custom white balance	Yes
Image stabilization	No
File format	JPEG (Exif v2.31) Raw (Sony ARW)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	425
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Built-in flash	Yes
Flash range	6.00 m (at ISO 100)
External flash	Yes (via hot shoe)
Flash modes	Off, auto, on, slow sync, rear sync, redeye reduction, wireless, hi-speed sync
Flash X sync speed	1/160 sec
Exposure compensation	±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing	Yes

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Samyang announces 85mm F1.8 lens for APS-C mirrorless cameras

27 Aug

Samyang has announced an upcoming 85mm F1.8 prime lens for a collection of APS-C format mirrorless camera systems.

The lens, which will also be sold under the Rokinon brand name, is available in Sony E-, Fuji X- and Canon M-mounts, as well as Micro Four Third (MFT) systems. Taking into account the crop factors, the 85mm F1.8 lens will be equivalent to roughly 128mm on Sony E- and Fuji X-mounts, 136mm on Canon M-mounts and 170mm on MFT systems.

The lens is constructed of nine optical elements in seven groups, which includes an Ultra Multi Coating (UMC) to reduce ghosting and chromatic aberration. It relies on manual focusing with a minimum focusing distance of 0.65m/2.13 feet and features a nine-blade aperture diaphragm. The front filter mount is 62mm and the lens comes with a reversible lens hood.

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The Samyang/Rokinon 85mm F1.8 lens is set for a September 2018 release date at an expected MSRP of $ 399.

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: Entry-level APS-C shootout

29 Jul

In this week’s episode of DPReview TV we take a look at three entry-level APS-C mirrorless models: the Canon EOS M50, Sony a6000 and Fujifilm X-T100. Which one rises to the top of the class? Chris and Jordan walk us through each camera’s strengths and weaknesses in terms of key factors like autofocus, usability and JPEG image quality.

Be sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Read our Fujifilm X-T100 Review

Read our Sony a6000 Review

Read our Canon EOS M50 Review

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Fujifilm’s XF10 is a small, wide-angle APS-C compact

19 Jul

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Fujifilm has announced the XF10, an APS-C sensor compact camera with a fast prime lens. It retains the same 28mm equivalent F2.8 lens as the X70 but now uses a 24MP Bayer color filter rather than X-Trans.

The XF10 appears to be a simplified X70 with a higher resolution sensor. The XF10 has a mode dial in the place of the X70’s shutter speed control and it also loses the focus mode switch from the front plate and the tilting screen that made the X70 attractive to street shooters.

Like the Fujifilm X-E3, the XF10 has an AF joystick on the back, and uses directional swipes on the rear touchscreen instead of offering a four-way controller. One of the functions that can be accessed this way is ‘Square Mode’, which is a quick way to jump to shooting in the Instagram-tastic 1:1 aspect ratio.

Sadly the XF10 appears to use the previous generation processor meaning that, although it says ‘4K’ in the press release, it can only shoot at 15 fps, which doesn’t really count as video in our opinion. We’re also a little worried about what this might mean for the camera’s responsiveness. It also continues to use the older, smaller NP-95 battery.

The XF10 weighs 280g / 9.8oz with card and battery, making it around 18% lighter than the X70. It will go on sale in August for around $ 500.

FUJIFILM INTRODUCES THE NEW XF10, AN ULTRA-LIGHTWEIGHT, TRAVEL-FRIENDLY PREMIUM COMPACT CAMERA

Featuring an APS-C sensor and enhanced Bluetooth® connectivity for seamless transfer of images to a smartphone after shooting

Valhalla, N.Y., July 19, 2018 – FUJIFILM North America Corporation has announced the latest addition to the X Series lineup, the FUJIFILM XF10, a premium compact digital camera with a high quality FUJINON 18.5mmF2.8 fixed lens. Weighing only 280g, the XF10 combines simple touchscreen operation with superior image quality and versatile settings in a pocket-sized body, making it the perfect companion for photo enthusiasts and smartphone users alike.

“We are excited to introduce the XF10 as a premium, ultra-lightweight compact camera that delivers high quality images and new features in a body small enough to travel with, and possesses functionality to instantly transfer images to your phone to share,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation.

Available in August 2018, the XF10 has wide dynamic range and produces sharp, high resolution images. Combined with Fujifilm’s proprietary color reproduction technology, its 24.2 megapixel APS-C sized sensor allows the XF10 to produce high quality images in a wide range of settings. In addition, both 4K movie and Full HD high speed video are available on the XF10.

The new FUJIFILM XF10 is the first X Series camera to offer the new “SQUARE MODE,” which allows users to switch to a 1:1 format with a single flick of the touchscreen. Combined with a method for seamless transfer of images to a smartphone, this camera enhances compatibility with social media where the 1:1 format has become a popular image format for posting photos. Available in Black or Champagne Gold, the XF10 is a stylish and portable tool for everyday creatives.

High Quality FUJINON Lens Covers a Wide Range of Subjects from Landscapes to Snapshots

The XF10 features an 18.5mmF2.8 FUJINON lens (equivalent to 28mm on 35mm format) that ensures every image is sharp from center to edges. The optical design of the lens is perfectly matched to the sensor in the XF10, to ensure there is no compromise in quality due to the camera’s compact size. With the Digital Teleconverter function, the camera is capable of taking photos with equivalent focal lengths of 35mm and 50mm on a 35mm format.

Enhanced Creativity with Unique Film Simulation and Advanced Filter Modes

The XF10 offers 11 unique FUJIFILM Film Simulations and 19 Advanced Filters, providing photographers with the ability to enhance their creativity. The camera also introduces two new Advanced Filters – “Rich & Fine” and “Monochrome [NIR]” – to easily add artistic flair or film-like color tones to photos. The new “Rich & Fine” filter provides brighter and more vivid color at the center of the image, and a slight shadow at the corners in order to emphasize the subject, perfect for food and other tabletop photography. The “Monochrome [NIR]” filter simulates a monochrome effect as taken by near-infrared cameras.

FUJIFILM XF10 Key Features:

24MP APS-C CMOS sensor
3.0-inch” (approx. 1,040K-dot) color LCD touchscreen, aspect ratio 3:2
Standard output sensitivity of ISO200 – ISO12800
- Extended output sensitivity of ISO100 – ISO51200

Bluetooth® version 4.1 low energy technology

New “SQUARE MODE” for 1:1 format
4K 3840 x 2160 15P, continuous recording up to approx. 30 min.
- Full HD 1920 x 1080 59.94P / 50P / 24P / 23.98P, continuous recording up to approx. 30 min.
- HD 1280 x 720 59.94P / 50P / 24P / 23.98P, continuous recording up to approx. 30 min.
- High Speed Movie 1280 x 720 1.6x / 2x / 3.3x / 4x
Accessories include:
- Li-ion Battery NP-95
- AC-5VG AC adapter
- USB Cable
- Hand Strap
- Lens Cap
- Owner’s Manual

Availability and Pricing

The new FUJIFILM XF10 will be available in August 2018 in the U.S. and Canada for USD $ 499.95 and CAD $ 649.99

Fujifilm XF10 Specifications

Price
MSRP	$ 499
Body type
Body type	Compact
Sensor
Max resolution	6000 x 4000
Image ratio w:h	1:1, 3:2, 16:9
Effective pixels	24 megapixels
Sensor size	APS-C (23.5 x 15.7 mm)
Sensor type	CMOS
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 200-12800 (expands to 100-51200)
Boosted ISO (minimum)	100
Boosted ISO (maximum)	51200
White balance presets	7
Custom white balance	Yes (3 slots)
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, normal
File format	JPEG (Exif v2.3) Raw (Fujifilm 14-bit RAF)
Optics & Focus
Focal length (equiv.)	28 mm
Maximum aperture	F2.8–16
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 (1.25x, 1.8x)
Manual focus	Yes
Normal focus range	10 cm (3.94″)
Macro focus range	10 cm (3.94″)
Number of focus points	91
Screen / viewfinder
Articulated LCD	Fixed
Screen size	3″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	None
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Advanced SR Auto Program Shutter priority Aperture priority Manual
Built-in flash	Yes
Flash range	5.30 m (at ISO 100)
External flash	No
Flash modes	Auto, Forced Flash, Suppressed Flash, Slow Synchro, Rear-curtain Synchro, Commander
Drive modes	Single Continuous Bracketing Self-timer
Continuous drive	6.0 fps
Self-timer	Yes
Metering modes	Multi Average Spot
Exposure compensation	±5 (at 1/3 EV steps)
AE Bracketing	±3 (2, 3, 5, 7 frames at 1/3 EV steps)
WB Bracketing	Yes
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 15p, MOV, H.264, Linear PCM 1920 x 1080 @ 60p, MOV, H.264, Linear PCM 1920 x 1080 @ 24p, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
USB charging	Yes
HDMI	Yes (micro HDMI)
Microphone port	Yes
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n + Bluetooth 4.1 LE
Remote control	Yes (via smartphone or wired remote)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	NP-95 lithium-ion battery & charger
Battery Life (CIPA)	330
Weight (inc. batteries)	279 g (0.62 lb / 9.84 oz)
Dimensions	113 x 64 x 41 mm (4.45 x 2.52 x 1.61″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes

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Kamlan 28mm F1.4 for APS-C sample gallery

21 Jun

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The Kamlan 28mm F1.4 is an all-manual prime lens for APS-C (and Micro Four Thirds) mirrorless cameras. Following a successful Kickstarter campaign, it’ll go on sale to the public for $ 200, and after a bit of shooting we’d say that’s not a bad deal. It boasts a solid feel, and rings are smooth to turn and feel well-damped. A lack of optical coatings creates some unusual effects when shooting into the sun, and the lens provides no electronic communication with the attached camera body. That said, it’s hard to argue with a $ 200 price tag.

Take a look through our gallery to see what this budget-priced prime can do on Fujifilm and Sony bodies.

See our Kamlan 28mm F1.4 sample gallery

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