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Posts Tagged ‘Camera’

Adobe Camera Raw vs. Canon Digital Photo Professional: Which should you use and why?

10 Sep

If you’re like many photographers, the first thing you do upon taking a brand-new camera out of its package is to set aside the included software download info (or, with older cameras, the CD or DVD), opting instead for a third-party option like Adobe’s Camera Raw or Lightroom. But is that a smart move in our newly-normal, more cost-conscious world, or could you get by just as well with your camera’s bundled software?

Canon Digital Photo Professional version 4.12’s user interface.

That’s a question we’ve wanted to answer for a while now, and one which I’ll discuss in a new series of articles comparing the user interfaces, performance and image quality of the manufacturer’s apps with those of their much-vaunted Adobe rival. In the interests of keeping things to a readable length, I’m limiting myself only to image editing, and won’t address features like image management, tethering or printing.

The ground rules

In this article, I’m comparing Adobe Camera Raw 12.4 alongside Adobe Bridge 10.1.1 versus Canon Digital Photo Professional 4.12.60.0, all of which are their current versions. My computer is a 2018-vintage Dell XPS 15 9570 laptop running Windows 10 version 1909.

To ensure neither Adobe nor Canon had any advantage out of the gate, I’ve aimed to reproduce, as closely as possible, the look of already-processed images from our galleries, without any prior knowledge as to the recipes behind them. I’ve chosen images from the EOS R for use in this comparison, for reasons we’ll come to in a moment.

Adobe Camera Raw version 12.4’s user interface.

To avoid getting too far into the weeds, sharpness and noise reduction were left at their defaults, while lens corrections were enabled for both apps with the exception of distortion correction, so as to make for easier comparison to our reference shots from the gallery.

Images processed in ACR were saved at JPEG quality 11, just as used in our galleries. For DPP, I saved at JPEG quality 8, producing near-identical file sizes.

The main differences

Of course, the most immediately obvious differences between ACR and DPP are their camera support and pricetag. You already paid for DPP when you bought your Canon DSLR, so it’s effectively free. While it only supports Raws shot by the company’s own cameras, you can expect full Raw support for almost every Canon camera to be available more or less immediately upon release.

Click or tap for the full-sized ACR version; here for DPP version

By contrast, ACR comes with a recurring subscription fee. While it supports a vast range of cameras from many manufacturers – even a couple of older Canon models that DPP no longer recognizes – that support can take some time to arrive after the release of new cameras. It’s also sometimes more limited than that in first-party software. For example, Adobe doesn’t yet offer ‘camera matching’ profiles for any Canon camera released since September 2018. (That’s why I selected the EOS R for my comparisons here.)

Camera Raw’s UI is more modern

Overall, DPP’s user interface feels more dated than that of ACR, and occasionally more obtuse and frustrating. Both applications support modern features like 4K displays, touch-screens and pen control, although I did notice a few minor glitches in DPP’s 4K support.

But where Adobe’s controls are grouped together in clearly-named, collapsible sections within a single panel, DPP’s span no less than nine different tabs, each identified only by a small icon. And many of DPP’s sliders for contrast, tone, saturation etc. jump in large steps, unlike ACR’s which move smoothly and precisely when dragged. For finer-grained adjustments, you must either type in values directly or click tiny arrow buttons.

Click or tap for the full-sized ACR version; here for DPP version

And the locations of DPP’s controls aren’t always logical, nor are their names always intuitive. For example, even if you’ve tweaked multiple images at once, the large Save button at the top of the screen won’t process them together. Instead, you have to find a Batch Process command hidden within the File menu.

ACR is also much faster to use

But the biggest difference between ACR and DPP, operationally speaking, is in their performance. Compared to its Adobe rival, Canon’s app feels glacially slow to use.

When you move sliders in ACR, the preview image updates in real time to show your change before you’ve even released the mouse button, even when using a 4K display. But DPP’s previews frequently take anywhere from a couple of seconds to 10 seconds or more to update after releasing the mouse button. Worse still, the preview often updates in multiple passes, initially showing results that, misleadingly, differ significantly from the final pass.

Click or tap for the full-sized ACR version; here for DPP version

Things are no better when it comes to final output performance, either. Processing all six comparison images for this article in ACR took just 16 seconds, start to finish. DPP required longer than that to process a single image, making it 6-7 times slower than its Adobe rival. Processing all six images in DPP took a full 108 seconds – and that’s even with it configured to take advantage of my graphics processor, which it wasn’t by default.

The settings chosen for a given image do impact on performance somewhat, but they don’t come close to explaining DPP’s modest performance. Even with all six images reverted to out-of-camera settings and with all lens corrections disabled, DPP still needed 81 seconds to complete its work.

ACR makes lighter work of shadow / highlight control

Although most of their basic controls are broadly similar, ACR offers a few extra tools that DPP lacks. Both applications give you a one-click auto control to get basic settings in the ballpark, plus slider control over brightness, contrast, shadows, highlights, saturation and tone. But ACR adds sliders for vibrance, texture, clarity, dehazing and blacks/whites.

Click or tap for the full-sized ACR version; here for DPP version

I particularly missed these last two, and while DPP’s dynamic range control helps make up for their absence, I found it less intuitive to use. Even with it, I had to resort to finely tweaking curves to try to hold onto the brightest highlights and deepest shadows, using the keyboard arrows to more finely position the points than I could with a mouse or touchpad.

Both applications are capable of great results with a little effort

ACR’s one-click auto control tended to hold onto highlights and open up shadows much better than did DPP. But in return, Canon’s auto control yielded more realistic colors, although it sometimes felt too muted in foliage. Adobe’s results, meanwhile, tended decidedly towards the contrasty and garish, especially in foliage and skin tones.

Click or tap for the full-sized ACR version; here for DPP version

At default settings, DPP tended to control noise a little better than did ACR, although that advantage came at the expense of the finest image detail. In fact, even with its noise reduction sliders zeroed out completely, DPP showed similarly low levels of noise to ACR with both luminance / color noise reduction sliders set at around level 25-30.

Crop of lower-right corner of above image

But you really have to pixel-peep to notice these subtle differences. The effects of lens correction were much more noticeable, and both applications did a great job of automatically taming lens defects like chromatic aberration and vignetting.

Overall, I felt that neither ACR or DPP had a huge edge over the other in terms of basic editing. However, I found ACR quite a bit easier to work with, and spent several times as long working to get similarly-pleasing results from DPP.

Final thoughts

Although it’s capable of images just as good as those from ACR with a little effort, I personally found DPP’s interface and performance issues quite off-putting. If you’re on a shoestring budget, it could make sense as an alternative to paying the Adobe tax every month, freeing up cash for other gear at the expense of some convenience. But if you can afford it, I recommend spending the extra on Camera Raw for a much faster, more intuitive editing experience.

Canon Digital Photo Professional

Pros Cons
  • Available free with your camera
  • Excellent support for Canon’s cameras from launch day
  • Realistic color with minimal effort
  • Tames noise well
  • Good lens corrections
  • Poor performance
  • Unreliable image preview
  • Only supports Canon cameras
  • Dated, clunky user interface
  • Doesn’t do as well with highlights/shadows
  • Denoising robs some fine detail even if “disabled”

Adobe Camera Raw

Pros Cons
  • Clean, clear and modern interface
  • Supports a vast range of cameras from many brands
  • Great performance
  • Allows fine-grained adjustments with accurate real-time preview
  • Great image quality
  • Extracts more fine detail than DPP with minimal fuss
  • Does a great job with highlights/shadows
  • Recurring subscription fee with no perpetual license option
  • Camera support can take a while to arrive or lack support for more obscure features
  • One-click auto control produces overly contrasty, saturated results
  • Tends to leave more noise in images by default

Editor’s note: We’re aiming to have more of these comparisons between manufacturer software and third-party alternatives in the coming weeks. Either through our feedback form or in the comments below, let us know what you want to see us test to make these articles more valuable for you. Thanks!

Articles: Digital Photography Review (dpreview.com)

 
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Researchers capture 3,200MP image using future telescope camera

10 Sep

Researchers at the Department of Energy’s SLAC National Accelerator Laboratory have captured 3,200MP images, the largest photos ever captured in a single shot. The camera, an array that contains 189 individual image sensors, will become the future camera of the Legacy Survey of Space and Time (LSST) telescope at the Vera C. Rubin Observatory in Chile. The camera will be used to help shed light on some of the most intriguing mysteries of the universe, including dark matter and dark energy.

The 189 image sensors are charge-coupled devices (CCD) and each capture a 16MP image. To build the image sensor array, nine CCDs and supporting electronics were assembled into square units, called science rafts, by the Department of Energy’s Brookhaven National Laboratory and then shipped to SLAC. Then the team at SLAC inserted 21 of these square units into a grid to hold them in place.

The completion of the image sensor array and focal plane earlier this year took six months and proved to be a difficult task. In order to maximize the imaging area of the array, the gaps between individual image sensors are less than five human hairs wide. If the sensors touch each other during the process, they could easily break. Damaging a sensor or raft would be costly, as the rafts cost up to $ 3M USD a piece. SLAC mechanical engineer Hannah Pollek said of the assembly process, ‘The combination of high stakes and tight tolerances made this project very challenging. But with a versatile team we pretty much nailed it.’

The focal plane features impressive specifications beyond even the 3.2 billion total pixels. The pixels themselves are about 10 microns wide and the focal plane itself has been constructed to exacting standards. The focal plane is nearly perfectly flat, varying by ‘no more than a tenth of the width of a human hair’ across its more than two feet of width. The optics through which light will reach the image sensor array is designed to allow the sensors to identify objects 100 million times dimmer than what the human eye can see. This is equivalent to being able to see a lit candle from thousands of miles away.

The images produced by the 3,200MP camera are so large that you would need nearly 400 4K UHD televisions to display a single image at its full size. The resolving power of the camera would allow you to spot a golf ball from about 15 miles away.

As mentioned, the camera will be installed at the Vera C. Rubin Observatory in Chile. Once it has been installed, it will capture panoramic images of the southern sky every few nights for 10 years.

‘The complete focal plane of the future LSST Camera is more than 2 feet wide and contains 189 individual sensors that will produce 3,200-megapixel images. Crews at SLAC have now taken the first images with it. Explore them in full resolution using the links at the bottom of the press release. (Jacqueline Orrell/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

Steven Ritz, project scientists for the LSST Camera at the University of California, Santa Cruz, said, ‘These specifications are just astounding. These unique features will enable the Rubin Observatory’s ambitious science program.’ Over the course of a decade, the camera will capture images of about 20 billion galaxies. Ritz continues, ‘These data will improve our knowledge of how galaxies have evolved over time and will let us test our models of dark matter and dark energy more deeply and precisely than ever.’

Before the focal plane can be used within the Rubin Observatory’s program, it needs to be rigorously tested. This includes capture images of a variety of objects, including a head of Romanesco broccoli. In order to operate normally, the sensors must be cooled to negative 150° Fahrenheit. Without a fully assembled camera, the team at SLAC used a 150-micron pinhole to project images onto the focal plane.

‘Taking the first 3,200-megapixel images was an important first test for the focal plane. To do so without a fully assembled camera, the SLAC team used a 150-micron pinhole to project images onto the focal plane. Left: Schematic of a pinhole projector that projects images of a Romanesco’s detailed texture onto the focal plane. Right: SLAC’s Yousuke Utsumi and Aaron Roodman remove the pinhole projector from the cryostat assembly after projecting the first images onto the focal plane. (Greg Stewart/Jacqueline Orrell/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

SLAC’s Aaron Roodman is the scientist responsible for building and testing the LSST Camera. Of the successful test images, he says, ‘Taking these images is a major accomplishment. With the tight specifications, we really pushed the limits of what’s possible to take advantage of every square millimeter of the focal plane and maximize the science we can do with it.’

Despite the successful tests, there is much more work to do. Over the next few months, the team will insert the cryostat used to reduce the temperature of the image sensors along with the focal plane into the camera body and add lenses, including the world’s largest optical lens. The team will then affix a shutter and a filter exchange system so that the camera can be used to capture the night sky in different colors. The team anticipates the SUV-sized camera to be ready for final testing in mid-2021 before it begins its final journey to Chile.

‘Over the next few months, the LSST Camera team will integrate the remaining camera components, including the lenses, a shutter and a filter exchange system. By mid-2021, the SUV-sized camera will be ready for final testing. (Chris Smith/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

JoAnne Hewett, chief research officer at SLAC and associate lab director for fundamental physics, says, ‘Nearing completion of the camera is very exciting…It’s a milestone that brings us a big step closer to exploring fundamental questions about the universe in ways we haven’t been able to before.’

As one would expect, we are unable to display 3,200MP images here on the site. However, SLAC has five full-size images taken with the focal plane of the LSST camera which you can view at the links below:

• Head of Romanesco broccoli

• Photo of the Flammarion engraving

• Photo of Vera Rubin, courtesy of the Carnegie Institution for Science, where Vera Rubin spent her career as a scientist

• Collage of LSST Camera team photos

• Collage of logos of institutions involved in the LSST Camera project

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS R Mirrorless Camera: A Hands-On Review

07 Sep

The post Canon EOS R Mirrorless Camera: A Hands-On Review appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon EOS R review

The Canon EOS R isn’t the newest Canon camera on the block, but it’s one of Canon’s four full-frame mirrorless offerings.

Which means that, if you’re an advanced Canon photographer looking to move to mirrorless, you don’t have many options.

But what does the Canon EOS R offer advanced and professional photographers? And how does is hold up in the field?

That’s what this review is all about.

I’ve now had the Canon EOS R for nine months, which has given me plenty of time to test it. I’ve worked with the EOS R in rain, in snow, through blowing sand, at night, in the studio, and much more. So I know what this camera can do; I also know its limitations.

Canon EOS R review
Canon EOS R | Canon EF 70-200mm f/4L | 1/160s | f/4 | ISO 400

And I’ve used the EOS R with an EF to EOS R adapter, so I can confidently say whether Canon EF/EF-S lenses work well with the EOS R, or whether you need to purchase a whole new set of (expensive) Canon RF glass.

Are you ready to discover everything you need to know about the Canon EOS R?

Let’s get started.

Canon EOS R: Overview

Canon EOS R review sample image
Canon EOS R | Canon EF 24-70 f/4L | 5s | f/7.1 | ISO 200

The Canon EOS R debuted back in 2018 as Canon’s first full-frame mirrorless camera, featuring:

  • A 30.3 MP sensor
  • A native ISO range of 100-40000
  • Dual Pixel Autofocus with 5655 AF points
  • 5 fps shooting with continuous autofocus; 8 fps shooting with One-Shot AF
  • A fully-articulating rear LCD with touch functionality
  • A 3.69M-dot electronic viewfinder
  • One SD card slot
  • 4K/30p video (with a 1.7x crop)
  • A 370-shot battery life
  • A brand new (RF) lens mount
  • Weather sealing
  • 1.46 lb (660 g)
  • 5.35 x 3.86 x 3.31 in (136 x 98 x 84 mm)
  • Current price: $ 1799 USD

While there are plenty of worthy capabilities on that spec list, at the time the EOS R was seen as something of a letdown.

Why?

For two key reasons.

First, the EOS R only offered a single SD card slot. This meant professional photographers who require redundancy in their work (e.g., wedding photographers, sports photographers) didn’t feel comfortable working with an EOS R.

Second, the EOS R didn’t include any innovative features, and certainly not any features on the same level as Sony’s groundbreaking autofocus, huge megapixel counts, blazing-fast continuous shooting speeds, and in-body image stabilization (admittedly, Sony doesn’t offer all these in the same camera, but still!).

That said, the EOS R did, and does, offer some compelling attributes.

And after testing the EOS R for nearly a year, I can say, without a doubt, that it is a great camera…

…for the right person.

Absolutely, the EOS R has some drawbacks, and it fails to really break out in most areas. But it’s also reasonably priced and gives you access to additional mirrorless capabilities that you just can’t get on a DSLR, without needing a brand new bag of lenses (not to mention its relatively fast autofocus and strong image quality that we’ve come to expect from Canon’s higher-end cameras).

Plus, no two photographers are alike, and one photographer’s trash is another photographer’s treasure.

Bottom line:

While the EOS R just doesn’t work for some photographers, there are others for whom it’ll be an absolute dream to use.

So let’s take a closer look at the Canon EOS R!

Canon EOS R review sample image
Canon EOS R | Canon EF 24-70mm f/4L | 1/80s | f/6.3 | ISO 400

Canon EOS R: Build

The Canon EOS R is medium-level compact, with a relatively lightweight (but solid) build. It’s easily smaller than the full-frame Canon 5D Mark IV, which is longer, taller, and around 1.5x heavier; the same is true of the Canon 6D Mark II.

Canon EOS R review

That said, the EOS R hardly feels slim, and it doesn’t really scream travel-ready to me. Personally, I don’t mind the weight of the EOS R, but if you’re coming from a smaller APS-C mirrorless body then the difference may take a little getting used to.

The EOS R packs a top LCD, as well as a shooting mode dial, a video button, a standard top command dial, and more.

Canon EOS R review

Moving on to the back, you have a 3.2-inch fully-articulating touchscreen, which tilts in pretty much any direction and flips out to the side. You also get several buttons that are almost completely programmable, along with an (also programmable) multi-selector wheel.

Canon EOS R review

Then there’s the electronic viewfinder and, to its right, a programmable touch bar (which I’ll discuss more thoroughly in a moment).

Now, the Canon EOS R is listed as weather-sealed, and it can clearly withstand some difficult conditions. I’ve used it (carefully) in snow and rain, and I’ve had no problems whatsoever. At the same time, the weather sealing just isn’t on the same level as some of the true professional bodies on the camera market, which is why I don’t think the EOS R is the right choice for shooters that regularly subject their gear to intense beatings.

Canon EOS R: Handling

I think I’m in the minority here, but I absolutely love the feel of the EOS R and its in-built capabilities. I’d even go so far to say that it’s the best camera I’ve ever handled, thanks to a few key features.

First, I’m a huge fan of the fully-articulating screen, which is fantastic for getting into odd angles when shooting macro photos, architectural photos, landscape photos, or even street photos when shooting unobtrusively from the hip. Plus, you get touchscreen-based autofocus, so you can easily tap your desired AF point and lock focus in milliseconds.

Second, the electronic viewfinder is clear, bright, and crisp. Thanks to its 3.69M-dot resolution, I rarely miss my optical viewfinder (which was a huge concern for me when I first added mirrorless technology to my camera lineup).

Canon EOS R review

What’s also great about the EVF is how you can use it to “see” in black and white. You can literally look at a black and white world, which is ultra-helpful when it comes to composing compelling black and white images using the viewfinder.

Third, the camera fits perfectly into my hand and I can easily use it without checking where I’m pressing, due to a deep front grip and well-positioned buttons.

Fourth, the EOS R offers the programmable touch bar. This has been a point of contention among EOS R users, because some find it finicky to the point of being unusable, but I’m firmly in the opposite camp. I love the touchbar, which I immediately programmed to adjust my ISO and I haven’t changed since. It’s saved me from missing countless images, because instead of fiddling with buttons and dials, I can boost the ISO with a roll of my thumb.

Canon EOS R review

Have I had occasional issues with the touchbar?

Yes. It’s very sensitive, which means that I’ve accidentally boosted the ISO without meaning to. But while this was frustrating, it was absolutely worth the trade-off discussed above.

And fifth:

I love the silent shooting mode. Unlike silent modes offered on other cameras, the EOS R’s silent shooting is truly silent or, at least, so quiet that you can’t hear the shot unless you listen very, very closely. This is one of those features that just can’t be done on DSLRs, and when it is present in mirrorless cameras, it can be inhibited in some annoying way (e.g., as a separate mode that doesn’t allow you to adjust all your other camera settings).

But on the EOS R, silent shooting is unrestricted, which is one of the reasons I love using the R for street photography. It’s a discrete option in the menu that can be toggled on and off at will. And it allows you to fire off shot after shot without being heard (which is also useful for photographing quiet events, such as weddings and concerts).

That said, there are two key usability issues with the EOS R.

First, the single SD card slot, which I mentioned above, but bears repeating. For me, it’s not a big deal, because I’m not a professional wedding photographer, sports photographer, or portrait shooter. But I can absolutely understand why certain photographers require the second card slot, and in those situations I’d simply refuse to use the EOS R; having a backup is just too important.

Second, battery life is mediocre for a mirrorless camera, which is to say very poor compared to DSLRs. Canon rates the EOS R at 370 shots, and I’ve been able to get far more than that out of it (maybe 600 shots or so), but you’re definitely going to need at least two batteries in the best of situations, and if you’re doing long photoshoots then three is probably better.

It’s also worth mentioning the lack of in-body image stabilization in the EOS R. This is disappointing, and if you’ve ever used cameras like the Olympus OM-D E-M1 Mark II, you’ll know how powerful good IBIS can be for low-light shooting. But Canon does offer a lot of image-stabilized lenses, so it’s certainly not a dealbreaker.

Canon EOS R: Autofocus and speed

The EOS R uses Canon’s much-loved Dual Pixel AF technology, which was confined to Live View modes on Canon DSLRs. In practice, the autofocus feels fast, but doesn’t really give Sony a run for its money. I spent a few hours shooting ducklings in a river, and my hit rate wasn’t as high as I’d like, especially when the ducks were backlit.

Canon EOS R review sample image
Canon EOS R | Canon EF 400mm f/5.6L | 1/2000s| f/7.1 | ISO 500

AF coverage is very good, though, and spans pretty much the entire sensor (thanks to the mindblowing 5600+ AF points).

Another bonus here is that autofocusing works all the way down to -6 EV. I’ve used the EOS R in almost complete darkness, and I’ve found that autofocus does indeed work, though it hunts as you approach that -6 EV territory.

Canon EOS R review sample image
Canon EOS R | Irix 11mm f/4 | 2s | f/13 | ISO 200

That said, the EOS R does offer Eye AF, which allows you to nail focus on your subject’s eyes when capturing portraits. Note that this is generally used instead of Face Detection AF, though the two are designed to work together to get you the best focus depending on whether the eyes or only the face are in view.

You have two options on the EOS R regarding autofocus selection:

You can select AF points using the touchscreen, or you can select AF points using the multi-selector wheel on the rear of the camera. I use the touchscreen almost exclusively, and there’s a nice implementation that allows you to make only a corner of the screen touch-sensitive for AF use, so you don’t have to worry about repeatedly selecting AF points with your nose.

In terms of shooting speeds, I do wish the EOS R were faster.

You can work at 8 fps if you’re using One-Shot AF, but this drops to 5 fps when autofocusing continuously. I consider that 7-8 fps a minimum for action photography, and 5 fps just can’t compete in sports or wildlife or other action scenarios.

The upshot of this is that the buffer is relatively deep; you can capture 65 RAW images without pause, or 126 high-quality JPEGs, which is always nice for situations where you need to keep on shooting during once-in-a-lifetime moments.

So while the EOS R clearly isn’t well-equipped for dedicated action photography, it won’t completely fail you in fast-paced situations.

Canon EOS R: Image quality

The EOS R offers reliable image quality without being particularly groundbreaking.

First, in terms of resolution, you get 30.3 MP, which offers a middle ground between the 45+ megapixel sensors offered by Sony’s A7R series and the Nikon Z7 (as well as the Canon 5DS/5DS R), and the standard 24 MP sensor. Personally, I think this is a nice place to be, because you get good detail and significant cropping capabilities without producing huge file sizes or a lot of high-ISO noise.

Canon EOS R review sample image
Canon EOS R | Canon 24-70mm f/4L | 1/1600s | f/8 | ISO 200

Canon cameras aren’t usually known for their high ISO performance, and here the EOS R is a good performer without being great.

The Canon EOS R offers an ISO range of 100-40,000, with the ability to expand to ISO 50 on the low end and ISO 102,400 on the high end. I feel comfortable pushing the ISO to 800 or 1600 when aiming for a clean image, and I’ll often go to ISO 6400 when shooting street images at night, but this is a step down from the truly impressive low-light capabilities of the Nikon Z6 or the Sony a7 III.

The same is true of dynamic range, where images are good without being breathtaking. You don’t get the 15 stops of a Sony a7R IV, but the results are perfectly usable for, say, serious landscape photographers.

Canon EOS R review sample image
Canon EOS R | Canon EF 24-70 f/4L | 1/200s | f/10 | ISO 200

All in all, I’m pleased by the Canon EOS R’s image quality without being floored. If you’re coming from an APS-C camera or an older full-frame DSLR, you’ll notice a big difference, but the EOS R doesn’t offer much of an image quality boost compared to a camera such as the Canon 6D Mark II and is pretty on par with the 5D Mark IV.

Canon EOS R review sample image
Canon EOS R | Canon EF 100mm f/2.8L Macro | 1/3200s | f/2.8 | ISO 250

Canon EOS R: Using the adapter

There are three Canon EF to RF adapters on the market:

The basic EF-EOS R adapter, which simply allows you to connect your EF/EF-S lenses to an EOS R body.

The midrange EF-EOS R adapter, which gives you a dedicated aperture ring when using EF/EF-S lenses.

And the high-end EF-EOS R adapter, which allows you to drop in filters (such as a circular polarizer or an ND filter).

I have only used the first of these, which you can grab for $ 99 USD. I’ve tested it on the EOS R with a handful of lenses in quite a few situations, and it works flawlessly. I’ve noticed zero autofocus lag, which means that you can comfortably use your EF and EF-S lenses without worry.

However, the adapter comes with two minor drawbacks:

First, it does take up space, either in your bag or on your camera. If you’re aiming for the smallest, lightest kit possible, then it’s probably not your best option.

And second:

It’s inconvenient to work with a group of lenses, some of which are EF-mount and some of which are RF-mount, because you have to keep moving the adapter on and off the camera.

To me, these drawbacks aren’t a big deal, and I plan to keep my EF lenses for a long time. But it’s certainly worth thinking about.

Canon EOS R review sample image
Canon EOS R | Canon EF 24-70mm f/4L | 1/100s | f/9 | ISO 100

Who should purchase the Canon EOS R?

If you’re looking for an advanced or pro-level camera that’s easy to use, relatively inexpensive, and can do a lot of things well without really specializing in one area, then the EOS R is a great option. It’s especially compelling if you’re already a Canon shooter and have a slew of Canon lenses that can be attached via the EF-EOS R adapter.

Canon EOS R review sample image
Canon EOS R | Canon EF 24-70mm f/4L | 1/320s| f/9 | ISO 200

You can use the EOS R for great results if you’re a:

  • Portrait photographer
  • Street photographer
  • Landscape photographer
  • Travel photographer
  • Macro photographer
  • Architectural photographer

But it’s not an action camera, which means that you shouldn’t grab the EOS R if you’re looking to shoot sports or wildlife exclusively. Instead, I’d recommend the newly released EOS R5 or the EOS R6, which both offer a whopping 20 fps shooting via the electronic shutter. The same is true when it comes to wedding photography: Both the EOS R5 and the EOS R6 offer dual card slots, which make them much better choices for the redundancy-conscious photographer.

In fact, given the release of the EOS R5 and EOS R6, which are pretty much all-around powerhouses, it’s worth asking:

Is the Canon EOS R obsolete?

In most ways, the EOS R5 and the EOS R6 are objectively better than the EOS R.

But in the end, it comes down to price; the EOS R5 costs over twice that of the EOS R, and the “cheaper” EOS R6 is also relatively expensive ($ 2500 USD) while only offering a 20 MP sensor.

So if you’re looking for a high-quality camera but you can’t afford the EOS R5 or R6, then the EOS R is a great choice.


























Rating: 3.5 out of 5.

Canon EOS R review

The post Canon EOS R Mirrorless Camera: A Hands-On Review appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Panasonic introduces Lumix DC-S5 stills/video hybrid camera

05 Sep

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Panasonic has announced the Lumix DC-S5, a compact full-frame mirrorless camera for creators who want good still and video capabilities, without having to haul around the S1 or S1H.

The S5 features a 24MP BSI CMOS sensor, also found in the S1, which has a standard ISO range of 100-51,200. Its 5-axis image stabilizer can reduce shake by up to 6.5 stops when paired with a compatible lens, and the sensor-shift system allows for the creation of 96MP high-res JPEGs or Raws. The autofocus system has been revamped, with less ‘wobble’ when focusing and faster and a new ‘head detection’ function.

A firmware update later this year will add Cinema 4K, Raw video output, vector scope display and more.

The S5 is loaded with video features, with more to come later this year. It can capture 10-bit 4:2:0 4K/60p video with an APS-C crop, or 10-bit 4:2:2 using the full width of the sensor at 30p or 24p. There’s a 30 minute time limit when shooting 10-bit and no limit with 8-bit. The S5 offers V-Log / V-Gamut and HLG, and also has anamorphic and Slow&Quick modes. Headphone and mic sockets are onboard, and the camera supports the company’s XLR adapter. A firmware update later this year will add DCI ‘Cinema’ 4K, Raw video output, vector scope display and more.

GH5, S5, S1H

Design-wise, the S5 is considerably more compact than the other S-series models, and a bit smaller and lighter than the GH5. It has a magnesium alloy chassis and is sealed against dust and moisture. Its fully articulating touchscreen has 1.84M dots, while its electronic viewfinder has 2.36M dots. The camera has dual SD card slots, though only one supports UHS-II speeds. Dual-band Wi-Fi and Bluetooth are available for transferring images to your smartphone. The S5 uses the new DMW-BLK22 battery, which can crank out 440 shots per charge using the LCD and 470 with the EVF, according to CIPA ratings. A battery grip is optional.

The Lumix DC-S5 will be available in mid-September at a price of $ 1999 for the body and $ 2299 when kitted with the 20-60mm F3.5-5.6 lens. If you’re in the U.S. and preorder by the end of September, Panasonic will send you a Sigma 45mm F2.8 DG DN lens at no charge.

Read our Panasonic S5 initial review

Press Release

New Hybrid Full-Frame Mirrorless Camera, the LUMIX S5

Featuring Exceptional Image Quality in High Sensitivity Photo/Video And Stunning Mobility

Newark, NJ – (September 2, 2020) Panasonic is delighted to announce the new LUMIX S5, a new hybrid full-frame mirrorless camera that achieves both excellent performance in photo/video and stunning mobility for serious photographers and videographers.

At the heart of the camera, the LUMIX S5 contains a 24.2-megapixel 35mm full-frame CMOS sensor that boasts a wide dynamic range and high sensitivity performance. The LUMIX S5 further realizes recording maximum ISO 51,200 crystal-clear high sensitivity video with the adoption of the Dual Native ISO technology.

As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup of cameras that record 4K 10-bit video[*1]. As the latest member of the family, the LUMIX S5 is capable of 4K 60p/50p4:2:0 10-bit, and 4K 30p/25p 4:2:2 10-bit internal recording. It is also capable of 4K 60p/50p 4:2:2 10-bit HDMI output. For 4K 30p 4:2:0 8-bit internal recording, there is no time limit. Panasonic’s exceptional heat dispersion technology delivers stable, long-time video recording. The LUMIX S5 provides 14+ stops of dynamic range, which is as wide as those of cinema cameras, and V-Log / V-Gamut compatibility with popular colorimetry called “VariCam Look.” A variety of recording formats and modes including 4:3 Anamorphic mode, Slow & Quick Motion, 4K/60p interval shooting and 4K HDR are also provided.

The LUMIX S5 boasts high-speed, high-precision AF (Auto Focus) in both photo shooting and video recording that are made possible with advanced deep-learning technology featuring real-time detection of the subject’s type and features such as human eye, face, head and body.

Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S.2 prevents blurred images with the use of a 6.5-stop[*2] slower shutter speed. The splash/dust-resistant rugged design provides professional photographers with high reliability.

To enhance the photographic experience, the 96-megapixel High Resolution Mode (JPEG/RAW), Live View Composite function and HLG Photo mode are available.

Thanks to the high energy efficiency and a new 2,200mAh high-capacity battery, it can capture approximately 470 pictures (using the LVF) / 1,500 pictures (in Power Save LVF mode). Power and charging are possible via the USB-C port. Double SD Card slot (UHS-IIx1 and UHS-I x1), 5GHz/2.4GHz Wi-Fi and Bluetooth 4.2 connectivity are also supported. The LUMIX S Series full-frame mirrorless camera system adopts the L-Mount system to provide users with a diverse and future-proof range of products from Panasonic, Leica Camera and Sigma. Panasonic now offers four innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, the S1H, and the new S5. The LUMIX S1R is ideal for taking high-resolution images, the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed and developed specifically for film production. The LUMIX S5 packs the essence of these conventional S Series cameras in a compact, lightweight body. With this lineup, Panasonic is committed to meeting the demands of all creators by challenging the constant evolution of the photo/video culture in today’s new digital era.

*1 *Of mirrorless interchangeable lens cameras, as of September 2, 2020.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used. Firmware must be updated to the latest version.

  1. High image quality even in high sensitivity photo/video and Dual I.S. to suppress virtually any type of blurring

The LUMIX S5 contains a 24.2-megapixel 35mm full-frame CMOS sensor (35.6 mm x 23.8mm). The LUMIX S5 boasts a wide dynamic range and reproduces sharp images with exceptional clarity. Noise is minimized even when shot at maximum ISO 51,200 high sensitivity. It is an ideal camera to use especially in low-light situations.

The LUMIX S5 features Dual Native ISO sensitivity, the technology that was first introduced in the Panasonic professional cinema camera VariCam line-up. Normally, noise increases as sensitivity rises with a single native ISO image sensor. However, the image sensor with Dual Native ISO in the S5 minimizes noise generation by choosing an optimal circuit to use according to the sensitivity before gain processing. As a result, it allows a maximum ISO 51,200 high sensitivity recording. Dual Native ISO gives film creators a greater variety of artistic choices as well as the ability to use less light on the set, saving time. The LUMIX S5’s Dual Native ISOs are 640 and 4000[*1].

Taking full advantage of its high-resolution sensor, the LUMIX S5 provides a High Resolution mode that faithfully reproduces precise details to be saved as beautiful, highly realistic images not only RAW but also in JPEG. Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabilizer) mechanism and synthesized into a 96-megapixel equivalent (12,000 x 8,000-pixel) image by the Venus Engine, which boasts high-speed signal processing. This high-resolution photo is ideal for landscape photography of stationary subjects or artwork with delicate details using a tripod. However, it can also be used in situations where moving subjects are included in the scene, by switching the sub mode.

The LUMIX S5 integrates the Body I.S. (Image Stabilizer) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shaky movements sensed by the gyro sensor, image sensor and accelerometer sensor. This enables more accurate shake detection and compensation, making it possible to use a 5-stop slower shutter speed[*2]. Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S. 2 the correction power is maximized to allow 6.5-stop slower shutter speed[*3]. It is highly beneficial in telephoto shots and in adverse situations, such as in low-light or with one-handed shooting. The 5-axis Dual I.S. 2 works for both photo and video recording, including 4K. The Body I.S. compensates for camera movement even when other L-Mount lenses without O.I.S. are used.

With the new Live View Composite function, the camera releases the shutter at designated intervals of exposure time and synthesizes the parts with high luminosity to produce a single picture. While the total brightness of each consecutive image is accumulated in bulb shooting, only the target subject, the bright parts of an image, are detected and the user can synthesize them carefully while seeing it in live view. This is useful for capturing shots of fireworks or stars in the night sky where the background needs no gain-increase.

*1 When recording mode is set to V-Log. The sensitivity varies depending on the recording mode.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm when S-R2060 is used.

*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used

  1. Exceptional video recording performance for cinema-quality film creation

As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup[*1] of cameras that record 4K 10-bit video. As the latest member of the family, the LUMIX S5 is capable of 4K 60p 4:2:0 10-bit, and 4K 30p 4:2:2 10-bit internal recording up to 30 minutes. It is also capable of 4K 60p4:2:2 10-bit HDMI output. For 4K 30p 4:2:0 8-bit internal recording, there is no time limit. It will comply with RAW video output to ATOMOS NINJA V over HDMI as well as C4K video recording with the future firmware update (which will be detailed in Chapter 6).

Dynamic range measures the luminance range that a digital camera can capture. The LUMIX S5 delivers 14+ stops of Dynamic Range, which are virtually the same as those of the Panasonic cinema cameras, to precisely reproduce everything from dark to bright areas. The ability to capture accurate colors and rich skin tones is a must for any filmmaker. The LUMIX S5 imports the renowned colorimetry of the VariCam lineup of cinema cameras. The LUMIX S5 contains V-Log/V-Gamut capture to deliver a high dynamic range and broad colors. V-Log renders a very flat image while maintaining all of the color information within the image. This means that there is a greater level of play when the images are put through post-production processes. The CMOS sensor of the LUMIX S5 achieves a wide color gamut known as V-Gamut, which is the S5’s optimum color space and achieves a color space that is wider than BT.2020. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a color space even larger than film. 35 conversion LUTs for VariCam cinema cameras can be downloaded free of charge for use in the LUMIX S5. It is easy to match the color tone with the footage recorded in V-Log of S1H/S1 and V-Log L of GH5/GH5S. Practical tools like a Waveform Monitor and V-Log View Assist are also available.

With Slow & Quick mode, impressive video slow and quick motion video in 4K(1-60fps, 30x quick to 2.5x slow) or in FHD (1-180fps, 60x quick to 7.5x slow) is available. It is possible to use AF[*2] to capture the subject in sharp focus in this mode, too. It can also be accessed directly using the mode dial.

The HDR (High Dynamic Range) video recording in 4K is also available, which reproduces both the bright parts and dark parts of an image, making it appear as if seen in person. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and the user can now choose Hybrid Log Gamma (HLG) in Photo Style. The HLG[*3] Photo mode provides a wider dynamic range to reproduce light and shadow with more natural contrast. The HLG Photos can also be produced as an HSP file[*4] with compressed high-brightness signals in its full resolution (5,888 x 3,312, in 16:9) in addition to JPEG/RAW files. The user can playback these vibrant images on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or other HLG-compliant devices.

For more continuous burst shooting, 6K PHOTO[*5] makes it possible to capture unmissable moments at 30 fps by extracting the frame with the best timing out of a 6K burst file (in 4:3 or 3:2 aspect ratio) to save as an approximate 18-megapixel equivalent high-resolution photo.

*1 Of mirrorless interchangeable lens cameras, as of September 2, 2020

*2 The AF mode switches to MF when the frame rate is set to of 150 fps or more. The angle of view is reduced when the frame rate is set to 180 fps. Recording stops when the continuous recording time exceeds 30 minutes.

*3 “HLG (Hybrid Log Gamma)” is an international standard (ITU-R BT.2100) HDR format.

*4 “HSP” is an HDR picture format using HLG format video technology.

*5 6K PHOTO’ is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx.18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.

  1. High-speed, high-precision AF achieved supported by real-time detection technology

The LUMIX S5 boasts high-speed, high-precision AF in both photo shooting and video recording. Combining the Contrast AF with DFD (Depth From Defocus) technology, it focuses on the target in approximately 0.08 sec[*1]. As a camera that excels in low-light shooting, the LUMIX S5 boasts -6EV[*2] luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Allowing maximum 480 fps communication speed between the sensor and the lens, users can take full advantage of this high-speed, high-precision AF when LUMIX S Series lens is used.

The LUMIX S5 also incorporates an advanced deep learning technology that detects specific subjects like humans and fast-moving animals. Notably for humans, the head is separately recognized from the eye, face and body by real-time detection technology to provide even more precise focusing. The camera continually tracks an individual even if they move quickly, turn their back to the camera, tilt their head or move far away from the camera. On the other hand, improvements to the DFD technology has enhanced AFC, which also enables users to keep tracking small or fast-moving subjects to capture them in crisp focus.

*1 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.

*2 At ISO100, F1.4, AFS

  1. Reliable basic performance and expandability for creative freedom

The LUMIX S5 boasts outstanding mobility yet excels in basic performance and expandability. To withstand heavy field use, the LUMIX S5 is composed of a magnesium alloy full die-cast body and is splash/dust-resistant[*1]. With an optimum layout of heat dispersion components, heat is effectively transferred outside which results in stable, continuous video recording for a long time.

The LUMIX S5 has a large LVF (Live View Finder) with a high magnification ratio of approx. 0.74x. High-precision, high-speed OLED (Organic Light-Emitting Diode) display features 2,360K-dot high resolution. Adoption of OLED for the LVF achieves high speed response with minimum time lag of less than 0.005 sec. With an eyepoint of approximately 20 mm, it offers high visibility with comfort for users wearing glasses.

A 3.0-inch free-angle LCD in 3:2 aspect with 1,840K-dot high resolution provides touch control. Composition during recording in various popular aspect ratios such as 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16 can be checked with the Frame Marker function. The REC Frame Indicator identifies whether the camera is recording or not.

The LUMIX S5 has a double SD Memory Card slot. One slot complies with UHS-I and the other with the high-speed, high-capacity UHS-II (Video Class 90). The camera’s battery can be recharged either via AC or USB according to the user’s convenience.

Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. The settings of a LUMIX S5 camera can also be copied and transmitted wirelessly to other S5 cameras when using multiple S5 cameras. Wi-Fi 5-GHz (IEEE802.11ac) [*2] also is effective in addition to 2.4-GHz (IEEE802.11b/g/n.) This provides secure and stable connection on location for smooth remote control and high-speed data transfer.

*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

*2 5GHz Wi-Fi is not available in some countries.

  1. Optional accessories and application software

A variety of accessories can be used for the LUMIX S5 to enhance its usability and convenience. Microphone Adaptor (DMW-XLR1) is a plug-in type adaptor for an XLR microphone to record high-quality stereo sound. It is ideal for lip-sync recording. Dedicated switches allow direct, quick control. MIC, LINE and CONDENSER MICROPHONES are switchable. Battery Grip (DMW-BGS5) allows approximately 940 pictures (using the LVF) / 3000 pictures (in Power Save LVF mode) with an extra battery inside the grip. More accessories such as Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), Tripod Grip (DMW-SHGR1) are available.

Application software LUMIX Tether enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB. It lets them view the image on a large PC screen while shooting. For live streaming, LUMIX Tether for Streaming (Beta) with LIVE VIEW mode can be used.

The LUMIX Sync application for iOS/Android devices enables photo transmission to a smartphone or a tablet via easy wireless connection. It also allows remote control of the camera using these devices.

  1. Future Firmware Update

To further enhance its performance, a firmware update is scheduled for the LUMIX S5 by the end of 2020. In addition to C4K video recording, it will support RAW video data output to ATOMOS NINJA V over HDMI at a resolution of 5.9K (5888×3312) 29.97p/25p, 4K(4128×2176) 59.94p/50p and Anamorphic 3.5K (3536×2656)/50p. A variety of video recording assist functions such as the Vector Scope Display, Master Pedestal Adjustment and SS/Gain Operation(SEC/ISO, ANGLE/ISO, SEC/dB) will also be available. L.MonochromeS and L.ClassicNeo are the new options to be added for Photo Style.

The Lumix S5 will be available at valued channel partners in mid-September for $ 1999.99 for the body only and $ 2299.99 with a 20-60 kit lens.

Panasonic Lumix DC-S5 specifications

Price
MSRP $ 1999 (body only), $ 2299 (w/20-60mm lens)
Body type
Body type SLR-style mirrorless
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 CMOS
Processor Venus Engine
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 5
Custom white balance Yes (4 slots)
Image stabilization Sensor-shift
Image stabilization notes 5-axis Dual IS 2
CIPA image stabilization rating 6.5 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, standard
File format
  • JPEG (Exif v2.31)
  • Raw (Panasonic RW2, 12-bit)
  • HLG (CTA-2072)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • 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 225
Lens mount Leica L
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,840,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.74×
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync, Slow Syn./Red-eye Reduction, Forced Off
Flash X sync speed 1/250 sec
Continuous drive 7.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)
Videography features
Format MPEG-4, H.264, H.265
Modes
  • 3840 x 2160 @ 60p / 200 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 50p / 200 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 30p / 150 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 25p / 150 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.265, Linear PCM
  • 3328 x 2496 @ 30p / 150 Mbps, MOV, H.264, Linear PCM
  • 3328 x 2496 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types Dual SD/SDHC/SDXC slots (UHS-II supported in slot 1)
Connectivity
USB USB 3.2 Gen 1 (5 GBit/sec)
USB charging Yes (Power Delivery supported)
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac (dual-band) + Bluetooth
Remote control Yes (wired or via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description DMW-BLK22 lithium-ion battery and charger
Battery Life (CIPA) 440
Weight (inc. batteries) 714 g (1.57 lb / 25.19 oz)
Dimensions 133 x 97 x 82 mm (5.24 x 3.82 x 3.23″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Game Boy Camera gets new life as a low-resolution, highly impractical webcam

05 Sep

Hardware modder, retro gaming enthusiast and Everyday Carry co-founder Bernard Capulong has come to the rescue of an anonymous Redditor who recently expressed their desire for pettiness on the social media platform. The result? A video demonstrating the use of an old Game Boy camera as a modern, live webcam.

On Tuesday, September 1, a Redditor known only by the handle ‘/u/eye_for_an_homunculi’ posted a question on the Game Boy subreddit: is it possible to use an old Game Boy camera as a webcam? The reason, Homunculi explained, was to use the camera as a type of petty ‘gotcha’ in protest of ‘a long list of insane rules’ he or she had to follow when taking an online exam.

It didn’t take long before Capulong dropped a comment demonstrating that it is possible; he shared an image of his setup, as well as video captured using the Game Boy camera as a webcam. The process is expensive if you don’t have the right hardware and fairly convoluted, Capulong explained, making it quite impractical but nonetheless fun.

According to the video demonstrating the project, the Game Boy camera is run off a Super Game Boy 2, the adapter cartridge used to play Game Boy games on the Super Nintendo (SNES) for a bigger-screen experience. Things get a bit more complicated from there, however.

According to Capulong, the adapter cartridge is used with the Analog Super NT, an FPGA-based SNES that includes an HDMI for use with modern displays. Using this HDMI-out functionality, Capulong ran the video signal to an Avermedia Live Gamer ULTRA external capture card, which was then connected to a Windows laptop over USB-C.

Naturally, some interested users wanted to know whether it is possible to do this setup with the OEM SNES console, which quite obviously does not have an HDMI port. In response, Capulong said that while it is technically possible, it would require more effort, including an upscaler cable that would be able to deliver an HDMI signal to the capture card, ultimately increasing the cost and effort involved.

The end result is a novelty that isn’t very useful — many modern webcam applications include filters that could simulate the low-resolution appearance without the convoluted setup and extra costs. With that said, going with the more practical option is considerably less fun.

Articles: Digital Photography Review (dpreview.com)

 
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Tips For Making Someone Comfortable in Front of the Camera

04 Sep

The post Tips For Making Someone Comfortable in Front of the Camera appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

For many photographers, making someone comfortable in front of the camera is a huge challenge. It’s often so difficult that they shy away from photographing people altogether. Or they only photograph people candidly with a long lens.

Much has been written about camera control, composition, and other aspects of photography. These things require no relationship skills.

But when you photograph people, making your subject comfortable is often essential.

Woman holding chilli pepper as a prop for making someone comfortable
© Kevin Landwer-Johan Nikon D700 | 105mm | 1/320s | f/3.2 | ISO 400

When a person does not like having their photo taken, it shows in their expression. Your camera captures this. That’s why you need to help your subject overcome their anxiety about being photographed (which is particularly difficult for shy photographers).

Here are fifteen tips for making someone comfortable in front of your camera.

Tip #1: Provide instructions before the photo session

Prepare your subject before the photo shoot. Talk about what they will wear. Suggest the best time of day.

Take into account the timing. Will they be needing to rush away to another appointment? Having plenty of time is helpful.

Woman with Northern Thai Sausage
© Kevin Landwer-Johan Nikon D700 | 105mm | 1/10s| f/4.5 | ISO 100

Tip #2: Prepare ideas for what you want to do

Turning up to a portrait session with no ideas is not a good way of making someone comfortable. Talk with your subject prior to the photo session and share some of your ideas.

Talk with them about what they want. Tell them your ideas for the portrait session, and ask if they have anything specific in mind.

Be positive, even if you don’t like what they are suggesting. If you follow through with their suggestions, it will help them feel included. They’ll then be more likely to relax and enjoy themselves.

Woman cutting a man's moustache making someone comfortable
© Kevin Landwer-Johan Nikon D800 | 105mm | 1/200s | f/14 | ISO 640

Tip #3: Choose a good location where your subject will be comfortable

You may use a certain location because you love it. But your subject may not like it at all. Check with them first.

There’s no point picking a place to photograph that will make your subject uncomfortable.

Often, it’s best to find somewhere away from where other people will be. If your subject is uncomfortable being photographed, they will not want to do the session in a location where others can see the process.

Ballet Dancing young woman - making someone comfortable
© Kevin Landwer-Johan Nikon D700 | 105mm | 1/160s | f/2.5 | ISO 500

Tip #4: Be early to your photo session

Arrive at the location of your photo session plenty of time before your subject does. Scope out the location. How is the lighting? What will be in the background? Figure out the best combination of these things and some places to position the person you’re photographing.

This may not seem relevant to making someone comfortable, but it is. The more you can sort out these issues in advance, the more you’ll be able to give your attention to your subject when they arrive.

Close up of woman with an elephant - making someone comfortable
© Kevin Landwer-Johan Nikon D800 | 35mm |1/2500s | f/2 | ISO 640

Tip #5: Have your gear set up and ready

Make sure your camera equipment is set and ready to use. Are your camera batteries charged? Do you have enough space on your cards? Will you need to use your flash or a reflector?

Know what exposure mode you’ll use. Set up your camera as much as possible before the person you’re photographing even arrives.

Having your gear set and ready to use allows you to concentrate more on your subject and on other aspects of photography. Making someone comfortable requires you to pay more attention to the subject than to your camera.

Hmong Amputee sitting outside his home
© Kevin Landwer-Johan Nikon D700 | 35mm | 1/125 | f/4.5 | ISO 800

Tip #6: Take time to connect with your subject

Be there for your subject and let them know it. Don’t rush in and start taking photos immediately. Spending time having a conversation will help them relax and build confidence in you.

Focus the conversation on them and keep it positive. Don’t discuss how difficult it was to find parking, and don’t discuss politics. These topics are not uplifting and will not help make someone comfortable.

Show you are interested in who they are. Asking people questions shows you care about your subject and will help build their confidence.

Woman with a melting ice creammaking someone comfortable
© Kevin Landwer-Johan Nikon D800 | 105mm | 1/200s | f/9 | ISO 100

Tip #7: Coach your subject

Explain to your subject that when they’re stressed, this will show in the photographs. You know they need to relax and why, but they may not know this. You need to take some time to explain it to them.

People often don’t look the same way in a photograph as they do in the mirror. Even if they’re stressed and see their reflection in a mirror, it’s different than the way they will look when being photographed if they are not relaxed. They will not like what they see in the photos. It’s vital that you overcome this, and explaining your reasons will often help matters.

If you get the sense that a person is uncomfortable being photographed, talk to them about it before the photo session. Then remind them again before you start taking photos. Give them time to think about what you’ve said and continue your conversation. It’s almost like giving someone a mental massage to help their mind relax.

Looking down at a woman on the sidewalk
© Kevin Landwer-Johan Nikon D700 | 50mm | 1/10s | f/11 | ISO 100

Tip #8: Remind your subject how good they look

Frequently commenting on how good a person looks will help them have confidence and feel more relaxed. Be careful to be genuine. Notice moments when your subject is more open and carefree. These are the times to compliment them as you are taking their photographs.

Tell them how happy you are with the photos you are taking. Talk to them about their smile and how good their hair looks. Mention positive aspects about the clothing they have chosen. Talk about how nice they look in a certain pose.

Don’t overdo the compliments or you’ll start to sound fake. Keep it balanced and be gentle but honest if something doesn’t look right.

Mad Scientist Rubber Gloves
© Kevin Landwer-Johan Nikon D800 | 35mm | 1/125s | f/9 | ISO 100

Tip #9: Fix hair and clothing

You can almost always find some aspect of a person’s hair or clothing that needs a little tweaking. Even when you can’t see anything out of place, tweak anyway!

Paying attention to these details and putting them right does two things. It’ll make your photos better, and it will help make your subject comfortable. They will feel good that you’re paying attention to them and you’re focused on making them look good.

Woman taking a photo with her phone - making someone comfortable
© Kevin Landwer-Johan Nikon D800 | 105mm | 1/125s | f/2.8 | ISO 500

Tip #10: Start with a long(ish) lens

Put a little distance between your camera and your subject. Getting too close may not be comfortable for them. Using a 105mm or 135mm lens will provide a convenient distance.

Don’t use a monster of a lens. This can be intimidating. It’s one reason I am not a fan of 70-200mm f/2.8 zooms; they are so bulky and can be off-putting.

A little further into the photo session, you can consider coming in closer with a 50mm or 35mm lens. The person you’re photographing will need to feel good about you being this close. If they are comfortable at closer distances, your photos will be more intimate than ones taken with a long lens.

Senior Akha Man portrait on a black background - making someone comfortable
© Kevin Landwer-Johan Nikon D700 | 135mm | 1/125s | f/4.5 | ISO 320

Tip #11: Show your subject the photos you’re taking

The monitor on the back of a digital camera is a great tool for making someone comfortable. When you show them how good they’re looking, it’ll build their confidence.

This young woman was surprisingly uncomfortable when I came to photograph her and some of her friends. She was part of a drama group, and I’d observed her confidence on stage in front of a crowd. But the self-assurance was missing when she was in front of my camera for the first time. Once I’d taken a few good photos, I showed them to her. She was impressed, so she immediately relaxed and enjoyed the photo session greatly.

Asian Woman Jumping - making someone comfortable
© Kevin Landwer-Johan Nikon D700 | 35mm | 1/400s | f/5 | ISO 400

Tip #12: Slow down

Take time to do what you do well. Don’t be in a rush. Work carefully. Check your camera settings. Review your photos and make changes when you need to. Don’t work so fast you miss when you are making mistakes (because they will happen).

Plan for the photo session to last more time than you think it will. If you have extra time at the end, buy the person you’re photographing a coffee. This might be another opportunity for a few more nice pictures of them.

Close up portrait of a man
© Kevin Landwer-Johan Nikon D800 | 35mm | 1/100s | f/4 | ISO 100

Tip #13: Provide some form of distraction

Use props or another person to help draw attention away from yourself and your camera. When someone is nervous about being photographed, it can help when they are distracted. They are more likely to look relaxed and natural when they are not paying attention to your camera.

When photographing a bride at a wedding, I’d often get the groom to stand just behind me and have him talk to his bride. There’s no way I’d get the same look from a bride as when she’s looking at her groom.

For this photo, I asked the subject to pretend to talk on her phone, as I thought this might help. It worked very well. Later she told me that she had actually called a friend and was talking to her, so she was totally distracted.

Asian Businesswoman Phone Call
© Kevin Landwer-Johan Nikon D700 | 105mm | 1/640s | f/2.5 | ISO 200

Tip #14: Genuinely have fun!

Have a nice manner and be positive; this will help you inject some fun into the photo session. When people are happy and relaxed, you’ll certainly get better photos of them.

Come up with some things that you can talk about or funny stories you can tell. Try to laugh together when things don’t go exactly as planned. If you have a positive attitude, this will rub off on the person you are photographing.

Two Thai girls in the studio
© Kevin Landwer-Johan Nikon D800 | 50mm | 1/125s | f/9 | ISO 200

Tip #15: Be confident and your subject will be confident in return

Confidence in what you are doing is vital. Don’t be brash and boastful. Don’t bamboozle people with your photography knowledge or with how good your camera is. Just use your camera with certainty. If you are stressed and nervous yourself, the person you are photographing will feel uncomfortable.

Being quietly confident in what you’re doing, even if you’re a shy photographer, will help your subjects relax. Your mood and attitude will be reflected back to you by the people you are photographing.

Woman and Elephants
© Kevin Landwer-Johan Nikon D700 | 105mm | 1/100s | f/11 | ISO 400

Conclusion

Making someone comfortable is as important as getting your camera settings correct. So often I see portraits of people where it’s obvious they were not relaxed. As a photographer, it’s your mission to ensure the person you’re taking pictures of looks good. Much of this depends on how relaxed and confident the subject feels.

And I am not satisfied with the portraits I take unless my subject is, too.

Let me know in the comments below which of these tips you find the most helpful. Please also share other techniques you use for making someone comfortable when you are photographing them.

The post Tips For Making Someone Comfortable in Front of the Camera appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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ZTE reveals the Axon 20 5G, the first smartphone with selfie camera hidden under the display

03 Sep

After multiple promises to release such a device, Chinese company ZTE has officially unveiled the Axon 20 5G, the first smartphone to feature a selfie camera located beneath the display. The mid-range handset, which is otherwise unremarkable, was introduced by the company on Tuesday, but questions on availability remain.

The Axon 20 5G is the first smartphone brought to market that features a front-facing camera under the display, something ZTE says was made possible using a variety of ‘high transparency material that includes new organic and inorganic films’ in addition to image software, The Verge reports.

Quite obviously, this design means the Axon 20 5G does not feature a visible selfie camera, rather presenting users with a clean, uninterrupted display free of notches, hole punches and thick camera-packing bezels. The actual quality of images produced by the hidden camera remains unclear, however, due to the current lack of reviews and sample photos.

The camera located beneath the display packs 32MP; it is joined by a 64MP primary rear camera alongside an 8MP ultra-wide and 2MP depth/macro cameras. The primary camera supports video recording at up to 4K/60fps with real-time HDR and real-time subtitles.

Novelty aside, the Axon 20 5G is a solidly mid-range device packing a 6.92in 20.5:9 FDH+ OLED display with 10-bit 1.07B color and 100% DCI-P3, as well as a 90Hz refresh rate. Circling back to the unique hidden camera, ZTE’s website explains that this unit features high-transparency micron-level material, a ‘special pixel matrix,’ triple selfie algorithm, an integrated circuit and an independent driver chip.

The light sensor, sound system and fingerprint sensor are likewise hidden beneath the display, according to ZTE, which has packed a Qualcomm Snapdragon 765G processor and Adreno 629 GPU under the hood. Other features include an ‘AI performance engine,’ smart power-saving mode, ‘liquid cooling circulation,’ carbon nanofiber thermal pad and nano-level textured design.

Buyers will have two models to choose from, one featuring 128GB of storage and 6GB of RAM, the other featuring 256GB of storage and 8GB of RAM. Both variants will feature a microSD card slot, 4220mAh battery and support for 5G. At this point in time, ZTE is only offering the Axon 20 5G model in China for the equivalent of around $ 320 starting price. It’s unclear whether the model will get an international release.

Articles: Digital Photography Review (dpreview.com)

 
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Phase One announces $13K 90mm F5.6 lens for its XT Camera System

31 Aug

Phase One has announced the release of the Rodenstock 90mm F5.6 lens, the latest in its growing collection of glass for its XT Camera Systems.

One of the stand-out features of the XT-HR Digaron-W 90mm F5.6 is its 120mm image circle, which is large enough to account for the 24mm of shift the XT Camera System offers on both the X- and Y-axes for correcting perspective distortion.

The lens, which Phase One suggests is designed with landscape and architectural photography in mind, features an aperture range of F5.6-F22, uses an electro-magnetical shutter (1/1000th-60 min) rated for over 500,000 actuations, has a 72mm front filter thread and uses a five-blade aperture diaphragm. It measures in at 160mm (6.3”) long, 107mm (4.2”) wide and 90mm (3.5”) in diameter, with a weight of 1,200g (2.65lbs).

The MSRP of the Rodenstock XT-HR Digaron-W 90mm F5.6 is $ 12,990. It’s available now through authorized Phase One Partners.

Phase One is also teasing another Rodenstock lens, which it says will be over 100mm (<40-degree angle of view) and will be announced by the end of the year. Phase One says ‘several [optical designs] are under investigation, exploring the best balance of image circle, lens speed, size, weight, and complexity.’

Press release:

Phase One Adds 90mm Lens to XT 150MP Camera Offering

Brings Large Format Feel to Full Frame Medium Format Field Camera

COPENHAGEN, Aug. 31, 2020 – Phase One today announced a remarkable new lens for its breakthrough XT Camera System: the Rodenstock 90mm. Embodying characteristics and workflow elements familiar to those shooting large format, the focal length of this lens offers outstanding sharpness and unbeatable image quality: with minute depth of field, uniform bokeh, and precise focus.

In concert with the powerful and highly integrated Phase One IQ4 Infinity Platform – a camera platform flexible enough to support evolving technology – this newest of Phase One’s Rodenstock lenses puts the XT camera in a class by itself.

Designed for landscape photography, the XT Camera System’s ability to shift 24mm on both the X- and Y-axes allows photographers to correct all perspective distortion and also to create panoramic/stitched images at tremendous scale/resolution. Since the 90mm’s 120mm image circle far exceeds the XT’s movements, this lens uniquely delivers perfect uniformity throughout all camera movements or flawless uniformity throughout camera perspectives. The combination of f/5.6 and a 67° angle of view uniquely focuses the subject.

All five available Rodenstock lenses are fitted with the Phase One designed and digitally integrated X-Shutter — an intelligently controlled electromagnetic shutter born from Phase One’s experience with industrial applications. It ensures robust handling for the long term.

The XT – Rodenstock HR Digaron-S 23mm f/5.6 is the highest quality wide-angle lens available.

The XT – Rodenstock HR Digaron-W 32mm f/4 is an exceptional quality wide-angle lens with a large image circle and almost no distortion.

The XT – Rodenstock XT – HR Digaron-W 50mm f/4 is an ideal balance of a “normal” focal length perspective and wide-angle aesthetic, a close equivalent to human vision.

The XT – Rodenstock HR Digaron-W 70mm f/5.6 is a normal focal length lens with impeccable image quality and a large image circle.

XT – Rodenstock HR Digaron – W/SW 90mm f/5.6 is the longest focal length lens and largest image circle with exceptional image resolution for getting closer to your subject.

“The 90mm focal length defines the ‘feel’ of large format photography,” said Drew Altdoerffer, Product Manager at Phase One. “When it comes to Large Format aesthetic, this is the focal length artists have in mind and a longer focal length is a welcome addition to the XT.”

To hear more about this newest lens and how it fits into the existing family of lenses, please see: https://www.youtube.com/watch?v=c0mmKVd_LT8&feature=youtu.be

Availability and Pricing

The XT Camera System is available now through Phase One Partners worldwide: www.phaseone.com/partners.

The Manufacturer Suggested Retail Price for the XT – Rodenstock HR Digaron – W/SW 90mm lens is $ 12,990.

The Manufacturer Suggested Retail Price for the XT IQ4 150MP Camera System, including a lens is $ 58,990.

All camera systems are sold with a 5-year limited warranty, including an uptime guarantee of the IQ4 Digital Back and unlimited lens actuations for the warranty period.

For more information, please go to: www.phaseone.com/XT or book a demo on: www.phaseone.com/xt-demo

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi introduces 3rd-gen under-display camera, promising unparalleled performance

29 Aug

As consumers demand increasingly sleeker smaller smartphones, manufacturers have been grappling with how to convincingly hide front-facing cameras. Solutions have included Apple’s now-ubiquitous notch design, a punch hole design and even cameras hidden underneath the phone’s display. Xiaomi hopes its newly announced third-generation under-display camera will be the best version of the lattermost approach yet.

Xiaomi’s first two generations of under-display camera tech never made their way into mass-produced devices. The latest generation, on the other hand, will be widely available in 2021.

Underpinning the new tech is a revised pixel arrangement solution. The screen allows light to pass through the gap between the sub pixels in the display. This allows each individual pixel to retain a complete red, green and blue (RGB) pixel layout. By utilizing the gap between sub pixels, the display doesn’t need to compromise with respect to pixel density.

The design of Xiaomi’s third generation under-display camera (left) shown against a typical display area (top right) and ‘normal’ under-display camera (bottom right). Image credit: Xiaomi

Xiaomi states that ‘Compared with other common solutions on the market, Xiaomi has doubled the number of horizontal and vertical pixels, achieving the same pixel density above the camera as on the rest of the display area.’ Xiaomi continues, promising that the area above the camera will match the rest of the display in terms of brightness, color accuracy and color gamut.

There’s no question that the more seamless a front display, the better. However, it’s a considerable engineering challenge to produce a display with a hidden camera without sacrificing the quality of either the display or the camera it conceals. Thus far, hidden camera technology has not completely convinced discerning viewers, as discussed by Engadget with respect to similar tech from Oppo.

To showcase its latest generation, Xiaomi released an overview video, which you can view below.

As first pointed out by The Verge, if you look closely at the 0’29” mark of the above video, there appears to be a slight square shadow. In earlier portions of the video, you can see a very faint circle where the camera is located. Xiaomi assures that the camera will be invisible, so it’ll be interesting to see the final product when it ships next year.

While we must wait until 2021 to see Xiaomi’s third-gen camera out in the wild, we won’t have to wait long for a new smartphone with an under-display camera. ZTE will launch its ZTE Axon 20 smartphone next month. It’s unclear if this device will be available outside of China. Nonetheless, as is often the case, a race between firms to develop better technology will benefit end-users.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS R6 Review: not the hybrid king, but a great photographers’ camera

27 Aug

Introduction

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All product photography by Dan Bracaglia

Gold Award

90%
Overall score
Jump to conclusion

The Canon EOS R6 is a 20MP full-frame mirrorless camera aimed at enthusiast photographers and videographers. It sits below the R5 much as the EOS 6Ds did beneath the 5D DSLRs, and offers a well-rounded combination of features for both disciplines.

It’s also one of the first enthusiast-level cameras to shoot both stills and video that can exploit the capabilities of the latest high-dynamic range displays. However its tendency to hit its temperature limits take the edge off its video capabilities.

Key specifications:

  • 20MP Dual Pixel CMOS Sensor
  • In-body stabilization rated at up to 8EV of correction
  • Dual Pixel AF II with AI-trained subject tracking and 100% AF coverage
  • 20 fps shooting with e-shutter, 12 fps mechanical
  • UHD 4K shooting at up to 60p, 1080 at up to 120p
  • 10-bit 4:2:2 internal recording in either C-Log or HDR PQ
  • 10-bit HDR photos in HEIF format
  • 3.68M dot EVF
  • 1.62M dot fully-articulated rear touchscreen
  • New battery rated at around 380 shots per charge (EVF)

The R6 is available with a recommended price of $ 2499, body-only. It can also be bought in a kit with the 24-105mm F4L for around $ 3599 or with the 24-105mm F4-7.1 STM IS for approximately $ 2899.

What’s new and how it compares

The EOS R6 can’t boast 8K video but it’s got a solid feature set nonetheless, including the same IS and AF as its big brother.

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Body, controls and handling

The R6 has elements of the original EOS R to its design but it also gains a fair amount from Canon’s DSLR range. We think the combination works nicely.

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Initial impressions

We’ve been shooting with the EOS R6 and think Canon users (and, in particular, Canon DSLR users) will find a lot to like about the camera.

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Image Quality

The 20MP sensor, combined with Canon’s JPEG color does a great job, despite having fewer pixels than its peers.

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Dynamic Range

The EOS R6’s files prove very flexible, but that performance is aided by noise reduction you can’t turn off.

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Autofocus

The EOS R6 offers at least the performance that the EOS-1D X III does in live view mode. It’s powerful, customizable yet often very easy-to-use.

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Video

The EOS R6 can shoot some very attractive 4K footage, but despite a well thought-out interface, its propensity for hitting its thermal cut-off means it’s not as good a stills/video hybrid as the specs make out.

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Conclusion

The EOS R6 has a lot going for it: it offers excellent image quality, shoots at high speeds and includes impressive image stabilization. It’s not the best stills-and-video option but it’s a superb photographer’s camera.

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Sample gallery

We’ve put together a gallery from the EOS R6, to show what its image quality looks like.

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Articles: Digital Photography Review (dpreview.com)

 
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