360Photography

Tag: Camera

  • Anonymous Camera for iOS anonymizes images to help protect the innocent

    London-based startup Playground has launched a new iOS app called Anonymous Camera that, as its name suggests, anonymizes images and videos to protect the subjects featured in them. The app leverages artificial intelligence to detect and remove or blur the subjects, a process that takes place locally on the user’s device if it’s running iOS 13.0 or higher.

    Because facial recognition software makes it easier than ever to identify someone featured in a video or photo, anonymizing these images to protect innocent individuals, whistleblowers and more is vitally important. Anonymous Camera aims to make this process simple for iPhone users by using facial recognition to find subjects and hide them.

    The process can include blurring a face, the most traditional way to anonymous subjects, or entirely removing their bodies in cases where enhanced steps are necessary. In addition to blurring the subjects, Anonymous Camera also supports putting a solid object over the subject’s face, which would prevent blur-reversal technologies from being used, plus there’s the option of using noise to hide the subject.

    Playground claims that it uses ‘state of the art’ facial recognition technology to find and blur faces regardless of angles, including in videos where the subject is moving. There is a limitation, however: the full-body anonymization feature can only be used on the iPhone XS or newer models. Other features include distorting audio to mask the subject’s voice, removing metadata from the content and splitting the screen to anonymize only the subject in an interview.

    Anonymous Camera doesn’t use the cloud, instead storing and processing images locally on the device; this is a key feature that decreases the odds of unmodified images being intercepted or otherwise acquired.

    According to The Verge, Anonymous Camera was designed for anonymizing videos and images of single subjects and small groups of people; when tested at a large Black Lives Matter protest, the app wasn’t able to deal with the large number of subjects, but it was never intended to do so, according to Playground.

    Though the app could be useful for anyone who wants to protect someone’s privacy, it is pitched specifically as a tool that could be used by journalists, activists, whistleblowers and other people who are providing sensitive information, operating in oppressive regions or anyone capturing content in places that require public individuals to be blurred.

    Such privacy tools are becoming increasingly popular and important. Earlier this week, encrypted messaging app Signal introduced its own built-in face-blurring feature that enables users to blur the faces of subjects featured in shared images. The tool also allows users to draw over faces or hide them with stickers.

    It’s important to note that blurring alone may not be enough to protect subjects featured in content. In addition to other potential identifiers like unique tattoos or piercings, there are also forensic software tools that use machine learning to reverse the blur applied to an image, revealing the content that was hidden. Hiding the subject behind solid color or stickers may be the safer option.

    Anonymous Camera is available for free now from the iOS App Store with a ‘Pro’ in-app purchase that costs $ 1.99 and offers video recording without watermarks.

    Articles: Digital Photography Review (dpreview.com)

  • How Fujifilm could make its next X-H series camera the class leader for video

    Introduction

    The X-H1 appeared to be the start of a more video-centric line of cameras from Fujifilm. However, we’ve subsequently seen the release the X-T3 and X-T4, both of which provide similar or better levels of video performance.

    Does the X-H series still have a future? In a recent interview with DPReview, Toshihisa Iida, General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division, confirmed that the company plans to keep the X-H line, stating only that ‘the concept will be very different to the X-T series.’

    Assuming Fujifilm intends to keep the series video-focused, we decided to contemplate what features would be required to make the X-H2 the undisputed class-leading camera for video. The APS-C/Super35 format remains very popular among videographers for a variety of reasons: fast readout rates, less rolling shutter and relatively compact lenses among them.

    Video scopes

    Recent Fujifilm cameras delivered great video quality, but lacked important exposure tools designed for videographers. Histograms are great, but we’d like to see waveforms and vectorscopes.

    Waveforms help visualize exposure across the entire frame. They tell you how many pixels have a given brightness value as well as where those pixels exist in the image, useful for judging exposure in a specific area of the frame, such as on a subject’s face. Vectorscopes can be used to assess hue and saturation, particularly important given that most video isn’t recorded in Raw format.

    To really impress, Fujifilm could even add false-color overlays, which make it easy to quickly judge exposure anywhere in the frame at a glance. Equally important is a workflow that makes video scopes easy to use – accessible at the tap of a button for evaluating exposure.

    Video-centric exposure settings

    Exposure settings used for photography work fine for video, but they don’t always represent the best workflow for videographers.

    We’d like to see an option to set shutter angle as an alternative to shutter speed. Of course, you can always set your shutter speed to replicate a 180° shutter, but each time you switch frame rates you’ll have to update the shutter speed as well. In contrast, a constant shutter angle means you’ll always get the appropriate shutter speed for the frame rate at which you’re shooting. (The ability to lock shutter angle to prevent accidental changes would also be welcome.)

    A bonus would be explicit dual gain states, similar to what’s found on the Panasonic GH5S and S1H. This would allow users to expressly determine whether they want to prioritize the widest dynamic range or use the higher-gain step to reduce shadow noise at the expense of some dynamic range. It might also clear up confusion around ISO values that may appear to change when using different modes (e.g. Standard vs Log gamma) even when the underlying amplification remains the same.

    A full suite of ports

    Video work often requires cameras to be rigged with external accessories, so connection points are crucial.

    We don’t expect the X-H2 to embrace the SDI connectors commonly found on pro video cameras, but do hope for a full size HDMI port. Standard HDMI cables are easy to find, and a full size port is going to hold up better over time than the small micro HDMI ports found on other Fujifilm bodies.

    We’d also like to see dedicated 3.5mm microphone and headphone jacks. Recent Fujifilm models have relied on a 3.5mm-to-USB-C adapter for headphones, but on a video-centric camera we’d prefer a standard headphone port. Not only does it eliminate a potential point of failure, but we have some other high hopes for that USB-C port.

    XLR microphone adapter

    In many cases, a simple hot shoe mic with a 3.5mm connector to the camera is just what you need, but what if you want to record high quality audio, possibly from a couple different sources such as lavalier mics, straight into camera? For that, we may want XLR connections.

    Panasonic provides a solution to this in the form of its XLR1 adapter (pictured above), which sits in the camera’s hot shoe and provides two XLR inputs with independent controls. Similarly, Sony has its XLR-KTM adapter for mirrorless cameras. It would be a strong statement to videographers if Fujifilm were to introduce a similar product alongside a future X-H2.

    Improved video codec

    When introduced, the X-H1 set a new bar for video on a Fujifilm camera, but its maximum resolution of 4K/30p, along with 4:2:0 8-bit color and reliance on the H.264 codec, is dated by today’s standards. In contrast, the newer X-T4 shoots internally up to 4K/30p All-I at 400 Mbps, with 4:2:0 10-bit color, using the H.265 codec. (And even goes to 4K/60p, albeit at a lower 200 Mbps.)

    At a minimum, we’re hoping to see the X-H2 capture both 4K/60p and 6K/30p internally, with 4:2:2 10-bit color, a high bit rate, and using the H.265 codec.

    There have even been suggestions that Fujiflm might use a rumored 8K-capable, 43MP Sony sensor in the X-H2 that’s capable of capturing video at high bit rates. Is it a stretch? It might be, but if true it would be a major differentiator between the X-H2 and Fujifilm’s other models, not to mention the rest of the APS-C mirrorless camera market.

    Raw video options

    Thanks to recent firmware updates, some mirrorless cameras support ProRes Raw recording when paired with a Atomos recorder. We would expect to see that on the X-H2 as well, but for truly class leading performance we’d like to see Fujifilm go further.

    The often overlooked implication of Raw video is that output resolution should match sensor resolution, otherwise it’s necessary to line or column skip to capture a Bayer-like array of data (as occurs on the Nikon Z6). Raw video with an approximate resolution of 6K would closely match the 24MP or 26MP sensors used on recent Fujifilm bodies. If the rumors of a higher resolution, 43MP sensor turn out to be true, such an approach might be required.

    Also, remember the USB-C port we didn’t want to use for headphones? How about using it to write Raw video directly to an attached SSD, similar to the Blackmagic Pocket Cinema Camera or Sigma fp? Design the body with a means to attach it securely and it would fit on a gimbal without fussy rigging.

    If Fujifilm wanted to go all-in on video, it could even offer internal Raw recording with selectable compression, similar to the Blackmagic camera. It also raises an interesting question: whether it would make sense to use Apple ProRes Raw or BlackmagicRaw. A popular camera with internal Raw recording could tip the industry in one direction or another.

    Improved autofocus

    Though videographers often prefer to use manual focus, autofocus is becoming increasingly important. Recent Fujifilm models have demonstrated impressive autofocus capabilities, though important gaps still exist.

    In particular, as improved as Fujifilm’s subject tracking is, there’s still no subject tracking in video. To achieve class-leading status, that’s a pretty important feature we’d want to see added. Additionally, the AF interface could use a revamp; the addition of a tap-to-track feature, similar to the the one found on many Canon cameras, would make the system even more useful.

    Displays

    It’s probably a no-brainer that we’d like to see a fully articulating screen on a video-focused camera. Fortunately, Fujifilm is already doing this on models like the X-T4 and X-A7, so it shouldn’t be a heavy lift to do it on the X-H2. What we’d really like to see is an even more innovative design, maybe along the lines of the one found on the Panasonic S1H, which puts the screen’s articulating hinge on a tilting platform. This allows it to tilt out and avoid interfering with the ports on the side of the camera.

    Another upgrade we’d vote for is a move from the 3.69M dot panel found on the X-T4’s EVF to the newer 5.76M dot panel used by several other cameras. The extra resolution would be especially helpful when using tools like video scopes with the camera to your eye.

    Improved 5-axis IBIS

    Fujifilm introduced in-body image stabilization on the X-H1. While effective for stills, it had some quirks when shooting video. The system had a tendency to overcorrect for intentional movement, and when it hit the limit of its travel would reset in a clumsy way. Fortunately, Fujifilm was able to improve it through firmware.

    The 5-axis system in the X-T4 can stabilize video effectively, particularly using its ‘Boost IS’ mode, which provides the maximum correction possible to compensate against any camera movements when taking a static a shot; it works well and can be tripod-like. However, the system still has difficulty distinguishing between intentional and unintentional camera movement, such as pans, resulting in hesitation or jerky video. It’s also noticeably less effective than the sub-full frame video leader, the Panasonic GH5.

    We’d like to see a more refined image stabilization algorithm in a future X-H2 for best-in-class handheld video shooting.

    Separate menus and settings for stills and video

    Separate menus and settings for stills and video is another one of those problems that’s mostly been solved on the X-T4. It even has separate ‘My Menu’ tabs for stills and video. Fujifilm, just port this to the X-H2 and videographers will thank you.

    Oh, and throw in a hardware switch between video and stills modes, like the X-T4, while you’re at it. Because it just makes sense.

    Unlimited recording time

    Wouldn’t it be great if the X-H2 had unlimited recording time?

    It would be even greater if you could record continuously while powering the camera via the USB-C port.

    Eterna in-camera LUT display

    When shooting Log video, Fujifilm’s F-Log View Assist function lets users apply an in-camera F-Log to Rec.709 LUT, which displays an approximation of graded footage while recording in Log.

    It would be great to see Fujifilm extend this functionality to include its Eterna film profile. Eterna has proved to be popular among videographers, and Fujifilm has a lovely F-Log to Eterna LUT. Making it available in the View Assist function would be a great addition to the camera.

    Anamorphic lens support

    Admittedly, we’re getting into niche stuff here. Most people probably won’t be shooting anamorphic lenses, so this is probably a nice-to-have rather than an essential feature. However, if Fujifilm wants to establish itself as a class leader in video, it’s an opportunity.

    What does anamorphic support entail? Primarily, the ability to display a desqueezed image in the viewfinder while continuing to record a squeezed anamorphic image in-camera. Anamorphic support would ideally include full-sensor desqueeze, allowing one to use the entire surface area of the sensor when shooting video.

    If the camera’s image stabilization could take anamorphic squeeze into account, it would join the Panasonic GH5 and S1H as the only stabilized platforms for anamorphic shooting. As most anamorphics are built for Super35 coverage, this would be a standout feature.

    Conclusion

    We don’t expect to see all these features on a new X-H2: it’s a pretty big list, and even we’ll admit that some of the items are a bit of a stretch. However, if Fujifilm is serious about putting a stake in the ground with video enthusiasts, this would be a heck of a way to do it.

    Of course, it’s entirely possible that Fujifilm has a completely different vision for the X-H series in mind. As we mentioned, there are rumors that a future X-H2 might use a higher resolution (43MP?) sensor. This would allow Fujifilm to significantly differentiate the X-H2 from the rest of its product line for still photography as well, similar to the Nikon Z6/Z7 or Panasonic S1/S1R models. That it might also allow for 8K video would be a significant upside for video enthusiasts.

    Anything’s possible, but since the X-H1 had a video bent our gut tells us that, whatever form the camera takes, video will be a significant focus. We’re holding our breath as we wait to find out.

    Articles: Digital Photography Review (dpreview.com)

  • The Sony a7R IV is the most capable mirrorless camera over $2000

    We’ve updated our ‘best cameras over $ 2000’ buying guide, and the Sony a7R IV is now our favorite mirrorless camera in the $ 2000-4000 price range. It sits alongside the Nikon D850, which is our choice for those who prefer DSLRs.

    Articles: Digital Photography Review (dpreview.com)

  • Lumix Tether for Streaming allows some Lumix users to use their camera as a webcam

    Following in the footsteps of Canon, Panasonic has released an additional version of its USB tethering software that allows compatible Lumix cameras to be used for streaming to social media and video conferencing applications. Lumix Tether for Streaming (Beta) works in the same way as the standard version of Lumix Tether, but it includes a button that clears the AF box graphics and the control panel from the Live View pane so can be used for broadcasting.

    A third-party broadcasting application, such as OBS, is needed to capture the Live View window as the camera’s feed isn’t detected by the computer. An external microphone built-in or plugged-in to the computer is also needed as the camera’s audio isn’t captured via this beta version of Lumix Tether for Streaming.

    With Live View quality set to Fine, the feed to the window has a resolution of 1280 pixels on the longest edge, and the Lumix Tether control panels allow users to access many of the camera’s features to control the way the image looks.

    The idea of the software, as we have seen recently from other manufacturers, is to offer a free way of streaming for Lumix users, and to allow them to improve the quality of their streaming video beyond that which is usually offered by built-in webcams. The idea will have been sparked by the rise in the number of people using video streaming for work and keeping on contact with family during the coronavirus pandemic.

    Like the original version of Lumix Tether, this new beta streaming application is compatible with Lumix G9, GH5, GH5s and Lumix S cameras, but this time Windows 10 is required – there’s no Mac version. Lumix Tether for Streaming can be downloaded from the Panasonic support pages.

    Press release:

    Panasonic releases ‘LUMIX Tether for Streaming (Beta)’ software program for PC integrating new LIVE VIEW mode for live streaming purpose

    Panasonic has today released a ‘LUMIX Tether for Streaming’ beta software program for Windows, following the conventional ‘LUMIX Tether’ (Version.1.7). The new beta program includes a new display option designed for live-streaming, and makes it easy for the user to self-stream.

    Originally, the ‘LUMIX Tether’ software program was designed for tethered shooting and therefore its GUIs, such as the focus area mark or control panels, are displayed with live view images on the PC monitor during USB tethering. However, in response to feedback from customers that these graphic items become a hindrance when the software is used to capture camera view for live streaming, LIVE VIEW mode has been added on ‘LUMIX Tether for Streaming (Beta)’. This update enables the display of camera-view only, making it easy for the separate streaming software read. Users can now choose to show or hide these graphic items during USB tethering according to the usage purpose.

    ‘LUMIX Tether for Streaming (Beta)’ is provided as a pre-release version that is currently still under development. Please note that this software is not eligible for operation warranty and customer support.

    Compatible models: DC-GH5, DC-G9, DC-GH5S, DC-S1, DC-S1R, DC-S1H

    LUMIX Tether for Streaming (Beta) Operating Environment

    • OS: Windows 10 (32bit/64bit)
    • CPU: Intel CPU of 1 GHz or higher
    • Display: 1024 x 768 pixels or more
    • RAM: 1GB or more (32bit),2GB or more (64bit)
    • HDD: Free space of 200 MB or more for installation
    • Interface: USB 3.0/3.1

    LUMIX Tether for Streaming (Beta) is now available to download from:
    https://www.panasonic.com/global/consumer/lumix/lumixtether.html

    Articles: Digital Photography Review (dpreview.com)

  • Is the Sony ZV-1 the best vlogging camera, and what’s it like for photography?

    For vlogging, and beyond?

    The Sony DC-ZV-1 is an interesting camera. It re-arranges some familiar components into a camera explicitly designed with vloggers in mind.

    However, while it’s not part of the RX100 series (or even part of the Cyber-shot lineup), enough of its technology comes from those cameras that we think some people will at least consider it as a stills camera.

    We’re going to look at how the ZV-1 stacks up against the Canon PowerShot G7 X Mark III and the Sony Cyber-shot DSC-RX100 V (specifically the ‘M5A’ variant), first as tools for vlogging and then as compact stills cameras.

    For vlogging vs. Canon G7 X III

    We’ve already detailed the vlogging-specific features that the ZV-1 offers, and many of these give it a clear advantage over the Canon G7 X III, when it comes to shooting facing-the-camera video.

    Underpinning most of the ZV-1’s benefits over the G7 X III is its autofocus system. Part of this is the inclusion of phase detection elements, meaning the camera can assess depth before refocusing the lens (which is critical for keeping video in focus, without too much hunting), but also Sony’s AF algorithms, which have got very, very good at both subject tracking and face / body recognition. There are other features that distinguish between the two cameras but dependable autofocus is perhaps the most compelling.

    Beyond that, the ZV-1’s other key benefit is its vlogging-friendly microphone setup. The three-capsule mic is designed specifically to pick up the sounds of someone addressing the camera. The results are much better than the G7 X III.

    For vlogging vs. Canon G7 X III

    The ZV-1’s fully articulated screen is also likely to be preferable to the G7 X III’s flip-up screen for most vloggers. The ZV-1’s screen doesn’t extend totally to be totally in-line with the camera body (it’s angled 4 degrees back, even when fully pulled forward), but that’s not a difference likely to have any real-world impact.

    Both cameras shoot 4K in both 30p or 24p (or 25p in PAL regions), should you decide your vlog would benefit from a more cinematic look.

    In terms of endurance, Canon says it expects the G7 X III to record 4K footage for up to 10 minutes per clip, whereas the ZV-1 by default stops after 5. However, disengaging the overheat warnings on the Sony removes this restriction.

    For vlogging vs. Canon G7 X III

    The G7 X III can broadcast straight to YouTube if it’s connected to a wireless network (including your phone, if it can operate as a hotspot). However, the utility of this feature is a little questionable. For a start, how often will you be trying to vlog from a situation where you have Wi-Fi but can’t connect your camera to a computer and use either camera? But, more pressingly for most of us, YouTube only allows live streaming from mobile devices (including the G7 X III) if you have 1000+ people following you on your account.

    This isn’t a big hurdle if you’re already established to any degree, but it reduces the value of the feature if you’re trying to choose a camera to start vlogging with. If you’re looking for a device to start an empire from, both can livestream if you connect them to a computer (though the ZV-1 is only promising Microsoft Windows support at the moment).

    Both can directly Wi-Fi their video footage to a smartphone, for anything you’ve pre-recorded, in FullHD or 4K.

    For vlogging vs. the iPhone

    Another rival device for vlogging is a good smartphone, not least because there’s a chance that most of us already have one.

    In their recent video, DPRTV’s Chris and Jordan used an older iPhone XR to shoot some footage alongside the Sony. Its lens offers a similarly wide angle-of-view to the Sony, while the iPhone 11 goes wider. The selfie camera on the iPhone 11 has focus fixed in a way that covers vlogging distances, but has no way to imitate Sony’s ‘Product Showcase’ AF mode if you want to focus on something nearer to the camera.

    As Chris discovered when testing the two side-by-side, the iPhone appears to be rather better at stabilizing its footage than the ZV-1. And, for all Sony’s talk about improved skintones, the iPhone version looks pretty good, to our eyes.

    Ultimately, while Sony appears to have more money than most camera companies to develop technologies such as machine-learning-derived AF systems, it seems to be some way behind Apple, which has been working hard to apply processing power and extreme cleverness to the output of its phones for several generations. The iPhone’s exposure and processing, while perhaps edging towards over-tone-mapped ‘bad HDR’ territory, generally looks really good. You’d have to shoot Log or HLG and color grade the ZV-1’s footage to get a comparable result.

    The larger sensor of the ZV-1 should give it an edge when it comes to indoor video and, of course, it can provide a shallower depth-of-field look (which phones don’t yet even attempt to simulate in video mode) but is that enough to counteract the convenience offered by an internet-connected smartphone?

    For stills vs. RX100 VA

    The ZV-1 isn’t supposed to be a stills camera, in the sense that Sony isn’t particularly promoting it that way. But it shares enough with the RX100-series that we’d expect at least some people to see it as a means of getting something like a viewfinderless RX100 V without having to forego multiple generations of improvements by opting for the RX100 II.

    Instead, in many respects the ZV-1 could be seen as an RX100 V without a viewfinder but with all the updates of the RX100 VII (including things like a touchscreen, that weren’t added in the M5A revision to the RX100 V). These updates include what Sony calls ‘Real-time Tracking’ and ‘Real-time AF,’ which refer the the camera’s ability to track a subject, switch to face or eye AF if that subject is a person, and continue to track them even if they face away from the camera.

    The RX100 VA’s AF system is recognizably older: Tracking isn’t as sophisticated, eye AF requires you hold down a custom button to activate it and there’s a separate (and even less good) tracking system in video mode.

    So what else do you gain or lose?

    For stills vs. RX100 VA

    As you’d expect, the ZV-1 omits a number of features that we’d expect from an RX100-series camera. There’s no EVF, no built-in flash and no control ring around the lens. There’s also no exposure mode dial (it’s replaced by a Mode button).

    But in their place you get a more prominent grip to hold the camera with and a flash hotshoe if you want to attach an external flash or other accessories. And, as we say, you get another feature that the RX100 V was missing: a touchscreen.

    The more prominent [REC] button on the top of the ZV-1 allows the removal of the tiny version set into the thumb rest of the RX100 V. Neither camera lets you re-purpose this button if you’re really not interested in video.

    The control ring around the lens, the built-in flash and the EVF all mean the RX100 V is a better stills camera if you’re an experienced photographer, want flexibility and some direct control, but with its touchscreen and superior AF system, the ZV-1 might be the better point-and-shoot.

    For stills vs. Canon G7 X III

    We’ve already seen that the ZV-1’s autofocus and mics give it a clear benefit over the Canon G7 X III as a vlogging camera. But given they’re similarly priced and are both 1″ sensor compacts with short, bright lenses and no viewfinder, it’s probably fair to see how they stack up on the stills side of things.

    The ZV-1’s autofocus benefits continue to shine in this situation, as does its lens, which is significantly sharper, particularly at the wide-angle end. However, the G7 X III’s 24-100mm range is appreciably longer than the 24-70-ish equiv reach of the Sony.

    The Canon also has a dedicated exposure compensation dial, a clicking control ring around the lens and a built-in flash, which help make it a more engaging camera to use, if you wish to take control over your photography. We also found the grip – designed solely for holding the camera facing away from you – more comfortable than the one on the ZV-1.

    Overall

    The ZV-1 promises to be a more capable vlogging camera than any other we’ve seen. Its generally excellent (and, crucially, dependable) autofocus is a huge part of this, and features such as product showcase mode have clearly been carefully developed to make this capability as easy to exploit as possible.

    But building the ZV-1 primarily from existing RX100 components does appear to have limited the camera, somewhat. The 24mm-equiv wide-angle capability (26mm equiv by the time the slight crop of the 4K video mode has been factored-in), isn’t as wide as some users prefer for to-the-camera presenting, especially if you then need to engage the camera’s digital stabilization, which crops-in still further.

    Similarly, while the G7 X III doesn’t offer any audio monitoring, either, it does seem odd that Sony hasn’t gone to the effort of providing a means to do so, either via USB or Bluetooth. Instead it’s limited to capabilities we’ve seen in existing RX100 models.

    But, for all that, the Sony ZV-1 is the most overtly vlogging-focused camera on the market. In addition, although it’s not intended, we think it might also be a better point-and-shoot camera than the RX100 V. The more prominent grip, the touchscreen and the removal of the control ring may also make it a better (and less expensive) family camera.

    For vlogging though, we suspect that the ZV-1’s biggest rival will be high-end smartphones, which offer a lot of capability without the need to buy a separate device.

    Articles: Digital Photography Review (dpreview.com)

  • Let it roll: why camera makers are going to keep adding video

    A lot of the pre-launch hype around Canon’s EOS R5 has focused on its video prowess, but why do features like 8K keep getting added to stills cameras?

    Some of the most dramatic improvements in recent cameras have been in the realm of video, leaving many stills photographers unimpressed. But there are some good reasons why cameras keep getting better video, some equally good reasons we’re unlikely to see many ‘pure photography’ cameras in future, and even if we did, there’s very little reason to think such a camera would be any cheaper.

    Why the focus on video?

    One of the main reasons it seems all the camera makers are focused video is because it’s an area where there’s clear room for improvement. Image sensors are now very, very good: efficiency is very high and read noise is very low, meaning we’re unlikely to see the big steps forward in generational image quality that we saw in the earlier days of digital photography.

    Instead, most of the progress being made is in terms of readout speed and processing power. We’re seeing these manifest as better autofocus performance, multi-shot camera modes and improved video. This is also why we spend more time discussing AF and video in our reviews: because they’re areas of significant progress and difference between models.

    Understandably, we see a lot of stills photographers saying they don’t want to have to pay for features they don’t need. But it’s not that simple:

    You’re already paying for the hardware

    Pitched as ‘The Ultimate Photo Shooting Camera’ at launch, the Panasonic G9 gained a major mid-life video upgrade, to broaden its appeal.

    The faster readout and processing that help provide higher-res and better bitrate video are the same technologies that underpin the faster, more subject-aware autofocus improvements we’ve seen in the past few years. The same is broadly true of the multi-shot high res, focus stacking and re-focus modes that have been added: so you won’t lower the hardware costs by leaving video out.

    You may not be paying for the development

    On top of this, the very reason manufacturers are committing development resources to video is because they hope it will broaden a product’s appeal beyond the (declining) market for traditional stills cameras. YouTube and social media have made video sharable, which makes video capability more desirable. If adding video features means more cameras get sold, then each buyer shoulders a little less of the development cost.

    Also, some realms of professional photography now demand high-end video capabilities, so much of the development work is being conducted for that audience, and is then trickling down.

    A separate, still-only variant would cost more, not less

    Don’t fall into the trap of assuming you could make a cheaper model with these extra features missed off. Designing and developing two versions of a product would cost more, even if they only differed in terms of firmware, since you’d have to conduct the testing and quality assurance on two versions of the firmware, then continue to develop them in parallel in the event of updates.

    A camera with fewer features wouldn’t be cheaper. Even post-purchase firmware would add to costs: would you be willing to pay to have video removed?

    Each additional camera model then incurs marketing expenses, to tell the world that it exists and to communicate the differences. It then adds to production planning and supply chain complexity: you need to balance production capacity between the two models, then make sure that the right number of stills-only and hybrid models end up going to each region and each retailer.

    We’ll still see stills-only models

    Not every new camera will have video, but those that don’t will be in the minority: Leica has some high-end video capability in models where it makes sense.

    Despite all these factors, we’ll still see some stills-only cameras. For instance, Leica is likely to continue to offer stills-only rangefinder cameras (even though some models have featured video), and adding high quality video isn’t likely to be a priority for Phase One’s medium format backs.

    There’s a mixture of factors at play. Adding video might reduce, rather than broaden, appeal for a product where focus – whether it’s photographic tradition or ultimate stills quality – is a selling point. And this goes beyond the question of whether a video-enabled version would be a satisfying (or even satisfactory) video camera.

    Let it roll

    But outside these rarefied niches, video is here to stay. Hence Leica’s SL cameras tout pretty impressive video specs and Panasonic’s more stills-focused G9 received a major boost to its video spec, mid-life, to expand its appeal.

    If well implemented, video features need not get in your way, allowing a more streamlined stills experience than in recent generations of camera.

    At which point, rather than rail against the (almost) inevitable, you may find it more productive to argue for better video implementation, so that the video features don’t get in your way. Or perhaps, you could give video a try. Who knows? You might enjoy it.

    Articles: Digital Photography Review (dpreview.com)

  • Ilford 120 film packaging turns into a camera

    From the dieline, a design/packaging blog I read regularly.

    A student designed a package for ilford 120 rollfilm, that can be folded into a pinhole camera for said film.  Supercool, although it wasn’t clear whether this was an actual product or just a design concept.  Check the link for more images and info on the project.

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  • DPReview TV: What’s in Jordan’s camera bag?

    DPReview TV host Jordan Drake schleps around a lot of camera equipment. In this video he shows us what gear he carries in his ThinkTank Urban Disguise 50 V2 camera bag to make the magic happen.

    Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    • Introduction
    • Jordan's bag
    • Camera and lens
    • Headphones
    • Filters
    • Off-camera recorder
    • Microphones
    • Microphone accessories
    • Color Checker card
    • Grip equipment
    • Cleaning products
    • Camera support
    • Jordan's drink of choice

    Articles: Digital Photography Review (dpreview.com)

  • CIPA’s April report shows digital camera production, shipments are down 56.4%, 63.7%, respectively, YoY

    Total shipments of digital cameras (DSCs) worldwide for the month of April 2020 (Orange) compared to 2019 (Black) and 2018 (Blue).

    Japan’s Camera & Imaging Products Association — better known as CIPA — has released its latest numbers, showing what camera shipments looked like for the major manufacturers through the end of April 2020. As is to be expected in these turbulent times, the numbers are down across the board.

    As a whole, shipments of digital cameras in April 2020 were down to 550,000 units, a decrease of 63.7% year-over-year (YoY) compared to April 2019. Interchangeable lens and built-in-lens camera shipments for April 2020 were at 300,000 units and 252,000 units, respectively, a YoY decrease (compared to April 2019) of 63.7% for both unit types. Further split up, CIPA’s numbers reveal DSLR and mirrorless sales were down 60.8% and 67.0, respectively, YoY for the month of April.

    Total shipments of interchangeable lens cameras (both DSLR and mirrorless cameras) worldwide for the month of April 2020 (Orange) compared to 2019 (Black) and 2018 (Blue).

    While these decreases are alarming without context, they shouldn’t be surprising considering the current state of the industry (and world as a whole through this COVID-19 pandemic). In addition to slower sales due to COVID-19, the pandemic also all but froze supply chains and production for many camera manufacturers. CIPA’s numbers reveal production for April 2020 was down 56.4% for all digital camera units compared to April 2019.

    Nearly every camera manufacturer has made it clear in some form or another that things will get worse before they get better and CIPA’s April numbers further confirm those sentiments. It remains to be seen how much the market recovers as more of the world opens up following the COVID-19 pandemic, but with more countries easing stay-at-home orders and quarantine restrictions, there’s a chance we’ll start to see some semblance of a recovery, even if it takes a few months to show in the numbers.

    You can find CIPA’s graph and detailed breakdown on its report page.

    Articles: Digital Photography Review (dpreview.com)

  • 12 Things Not To Do When Buying Your First Film Camera

    12 Things Not To Do When Buying Your First Film Camera

    You’ve got your flannel and your beanie and you’re ready to buy your first film camera. So… now what? I can’t tell you exactly what to do, because then you’d risk turning into me, which means drowning in an ever-deepening lake of 35mm SLRs, but I can tell you a few things to avoid. Here are a dozen things you should try not to do when buying your first film camera.

    Images by Dan Bracaglia except where noted

    1. Don’t worry about buying ‘the best’ camera

    Here’s a tidbit that’s a bit of a mind-bender for some digital photographers: When it comes to film photography, the camera body itself has very little bearing on image quality. In the digital world, an entry-level Nikon D40 simply cannot achieve the same image quality as a high-end Nikon D5, but with film, a low-end Nikon N55 really can make just as good a picture as a pro-level Nikon F6. It’s the lens and film choice that really impact the technical quality of your pictures.

    Find a good working camera that you like, because with film, good is good enough

    All a film camera does is hold the film in place and facilitate its exposure. More advanced cameras give you more options for doing this, but they don’t necessarily do the job any better, to the point that few people can tell the difference between a photograph made with a $ 5,000 Leica and one made with a $ 50 Minolta. As long as the camera has a decent lens—and most lenses made by camera manufacturers are pretty decent—the capability for an image of good technical quality is there. (Good composition is up to you.) So don’t get caught up in trying to find the best camera—just find a good working camera that you like, because with film, good is good enough.

    Photo: Nikon

    2. Don’t assume a more expensive camera is a better camera

    Used film camera prices are subject to all sorts of forces, including nostalgia. As a result, popular ‘student’ cameras like the Pentax K1000 and Canon AE-1 often command prices out of line with their feature set. In fact, in the topsy-turvy world of used film cameras, some of the most advanced cameras are among the cheapest. The N8008, Nikon’s top-of-the-line ‘prosumer’ camera in the late 80s, was priced three times higher than the entry-level Pentax K1000 when both were new. Today it’s the K1000 that costs three (or more) times as much.

    Used film camera prices are subject to all sorts of forces, including nostalgia

    Brand reputation also plays a big (and sometimes outsized) role. The Nikon FE, a magnificent manual-focus SLR with an aperture-priority automatic mode, sells in the $ 75 to $ 150 range, a good deal for a Nikon of that era. But the Ricoh KR-10 offers most of the same features, and you can easily find one for $ 35 or less. I own both cameras, and while the Ricoh is less refined, it makes equally good photos. (How do you find out what a camera can do? Camera-wiki.org is a great resource for looking up specs and features.)

    Photo: John Nuttall

    3. Don’t be afraid of electronic cameras

    There are a lot of mechanical camera snobs out there; I’m one of them. But some of the arguments for going all-mechanical aren’t relevant to all film shooters (Sure, they work if the batteries fail, but their light meters won’t). Mechanical cameras like the Nikon FM, Olympus OM-1 and Pentax MX are robust but expensive. Cameras with electronically timed shutters (which need a battery for the shutter to work) usually sell for less, and many all-electronic autofocus cameras are even cheaper.

    It’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera

    Electronic cameras do have some key advantages over mechanical cameras, particularly for first-timers. They have fewer moving parts and are less prone to going out of adjustment than mechanical cameras. That means that if they work, they probably work correctly, with accurate metering and shutter timing (which is why camera manufacturers switched over to electronics in the first place). Repairs can be dicey because they often rely on ‘donor’ cameras for electronic parts, which are subject to the same age-related issues. But because they are so cheap, it’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera.

    Photo: John Nuttall

    4. Don’t buy a camera without researching lenses

    The obsession with lens optics is the film equivalent of pixel-peeping. In truth, few people can look at a photo and tell if it was shot with a Nikkor, a Rokkor or a Takumar. The differences in quality between the camera manufacturers’ lenses* is narrow, but the price differences can be massive. (It’s a different story with third-party lenses, which vary in quality.) Remember, an inexpensive camera isn’t inexpensive if it locks you into pricey lenses.

    An inexpensive camera isn’t inexpensive if it locks you into pricey lenses

    The general wisdom is that manual-focus cameras are best paired with prime (fixed focal length) lenses, as the optical quality of zooms from that era wasn’t great. Also, primes tend to have larger maximum apertures for low light. Zoom technology improved in the mid-to-late 80s, so they’re a safer bet for autofocus cameras. You’ll need to do some research on lens compatibility (which can get confusing—for example, Nikon has used the same lens mount for decades, but not all lenses are fully functional with all cameras). Don’t know where to start? For 35mm SLRs, a 50mm lens with a max aperture between F2 and F1.4 is a good first lens, and for autofocus cameras, a zoom in the neighborhood of 28-85mm works nicely. Or you can just buy a rangefinder, compact or bridge camera with a non-detachable lens.

    * Some camera manufacturers used different brand names for their lenses. Nikkor = Nikon, Rokkor = Minolta, Takumar = Pentax, Zuiko = Olympus, and Rikenon = Ricoh.

    5. Don’t get a camera that’s too automatic… or too manual

    Film cameras have different levels of automation. Some only have manual exposure control, requiring the photographer to set both aperture and shutter speed. Some require you to pick one (usually aperture) and will set the other for you. Still others have ‘program’ modes that do everything. Focusing and winding can be manual or automatic as well.

    A manual-focus camera with both manual and automatic exposure modes is a great way to start

    I recommend avoiding automatic-exposure-only cameras as a first-time buy. While they take great pictures, it’s nice to have the option to set your exposure manually and really take control of the process. On the other hand, an all-manual camera can be frustrating if you’re used to digital-era automation. A manual focus camera with both manual and automatic exposure modes is a great way to start. You can shoot in automatic as you get the hang of focusing and winding (which takes more getting used to than you might think), then switch to manual when you’re ready. Some good examples of these cameras include the Nikon FE2, Minolta X-700 and Canon AE-1. If you buy an autofocus SLR, look for one that has a manual mode.

    6. Don’t buy a camera that hasn’t been tested

    If you’re buying on an auction site, check the description and see if the camera has been tested. If it doesn’t say, ask. Working, for a film camera, means that the light meter turns on, the shutter fires at all speeds, the film and battery doors latch shut, the film advance moves freely, and autofocus, auto-wind, and self-timer functions, if present, are operational. Not every seller knows this, but you do, and if the seller says the camera works and it doesn’t, you have grounds for a refund. ‘Not tested’ or ‘parts’ cameras are a crapshoot. If you’re squeamish, shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting.

    Shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting

    Should you buy a non-working camera? Probably not for your first one, but don’t rule it out. Most issues with mechanical cameras, and some better-made electronic cameras, can be fixed as part of a CLA (cleaning, lubrication and adjustment) service, which generally costs $ 100 and up, and this may be worthwhile for a more valuable camera or a model you really want. Once CLA’d, a camera should work for years without needing further attention. Find a good film camera repair shop and get their opinion on whether a given camera is worth fixing.

    Photo: Gerry Lauzon

    7. Don’t buy a camera that doesn’t focus

    If you’re looking at compact point-and-shoot cameras, you should be aware of the difference between autofocus and focus-free. Autofocus is exactly what you think it is. Focus-free cameras have a small lens aperture and rely on depth-of-field to get your shot in focus. These cameras often don’t have much in the way of exposure control, either; they rely on the built-in flexibility of the color print film process to get good pictures out of close-enough exposures.

    If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free

    Believe it or not, there were focus-free cameras made by big-name brands like Olympus, Minolta and Kodak as well as cheap-camera purveyors like Vivitar, Argus and Keystone. Most of these will say ‘Focus Free’ on the body. If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free.

    Photo: E Magnuson

    8. Don’t buy a used ‘pro’ 35mm camera

    When you see a legendary top-of-the-line camera like a Nikon F4 or Canon EOS-1n come up on eBay for a fraction of its original price, it can be tempting to slam that ‘BUY NOW’ button. These cameras were the best of the best in their day, listing for upwards of $ 2,000, and the idea of buying one for a couple hundred bucks is pretty darn tasty. Resist! Resist!

    Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives

    Here’s the problem: A lot of these cameras were purchased by working professional photographers, which means they were used often and hard. Like DSLRs, film cameras with electronic shutters have finite shutter lives, and even mechanical shutters can wear out. An avid shutterbug averaging two 35mm rolls a week will take around 3,800 pictures per year, but a busy wedding or news photographer can take that many snaps in a month. If the shutter goes south, replacing it can cost more than the camera is worth. Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives.

    Photo: ShikikanZero

    9. Don’t buy a medium-format camera (yet)

    Medium format cameras produce big, beautiful negatives that can be enlarged to ridiculous sizes. But the bigger the image, the more money you’ll spend, both for cameras* and film. If you’re just starting out in film, 35mm offers you a lot more camera and lens choices at a lower price point. If you find you’re in love with film, you can always move up to medium format later.

    If you find you’re in love with film, you can always move up to medium format later

    * Okay, not always. Plastic cameras like the Holga and the Diana (sometimes called ‘toy’ cameras) are inexpensive, but they have imperfect plastic lenses and the occasional light leak, which injects a random element into one’s photography. Some people like that look (I think it’s pretty darn cool), but they aren’t a real alternative to a professional-quality cameras from Mamiya, Rolleiflex, Hasselblad or Pentax. Another exception: Older twin-lens reflex (TLR) cameras, which were popular with snap-shooters before the rise of smaller film formats. They offer limited creative control but can make beautiful photos.

    Photo: Classic-Photographic

    10. Don’t start out with good film

    Buying a used camera always carries an element of risk, and I can imagine few things that will turn off a first-time film photographer more than spending a lot of money on film and processing and getting back a roll of unusable negatives. Save that Ektar, Portra or Cinestill film for later. The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest (not expired) print (not slide) film you can buy.

    The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest film you can buy

    Fire off a quick few exposures close to home. Try to include a variety of subjects of different textures and brightness, and shoot at different distances. If possible, use a variety of apertures and shutter speeds. Get the film processed and check the negatives carefully. If you don’t have experience evaluating negatives, your lab can help you find signs of light leaks or improper exposure, as can your friends on the DPReview film forum. Once you’re sure your new camera works, you can confidently load up the good stuff.

    11. Don’t buy just one camera

    Back in The Day, it was common to carry two cameras in your gear bag. Unlike digital, a film camera can’t change ISO on the fly or switch seamlessly between color and black-and-white, at least not without unloading and reloading. A second camera gives you options: You can shoot the same scene in color and B&W, or you can run faster film if the clouds roll in or the action moves indoors. And it’s nice to have a backup in case your primary camera craps out.

    A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX

    If you use an interchangeable-lens camera, owning two compatible camera bodies means less gear to carry. They needn’t even be the same model: A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX (or a Nikon EM + FM2). I wouldn’t necessarily buy two cameras right off the bat, but if you find a camera and a set of lenses you like, a second compatible camera body is a smart investment.

    12. Don’t spend too much money just yet

    I think film photography is wonderful, but it’s not for everyone. You might get some film experience under your belt and decide you prefer digital, and that can be a real tragedy if you’ve spent $ 500 on gear. There are plenty of good cameras available for $ 100 or less (often a lot less), so start with something more modest.

    Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss

    Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss—or give it to someone else who wants to try film. If you do fall in love, as so many of us have, you can always buy something more expensive, though I can all but guarantee that your first film camera will always have a special place in your heart.

    Ready to start the hunt for your first film camera? Here are some of our all-time favorite analog gems, most of which are affordable and easy to find in good working order (though not all follow the advice of this article!):

    Analog gems: 20 film cameras worth buying right now

    Articles: Digital Photography Review (dpreview.com)