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12 Things Not To Do When Buying Your First Film Camera

29 May

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)

 
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Sony ZV-1 ‘content creator camera’ focuses on making vlogging easy

27 May

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Sony has announced the ZV-1, which it calls a content creator camera. It’s built around a 1″-type 20MP stacked CMOS sensor and a 25.5-70mm equiv. F1.8-2.8 lens similar to the on in the RX100 III, IV, V and VA, but it uses a fully articulating touchscreen and reworked ergonomics to allow for selfie-style operation. In essence, the ZV-1 gives you the hardware of an RX100 VA redesigned to make vlogging and facing-the-camera shooting easier.

The ZV-1 includes a number of features and modes intended to make vlogging easier. These build on Sony’s very dependable Eye AF capabilities, to give confidence that your footage will be in focus while you concentrate on talking to your audience. There’s also a directional three-capsule mic setup built into the top of the camera to help isolate what’s being said from ambient noise.

There’s a ‘background defocus’ mode that automatically opens up the aperture to its maximum setting, accessed from a button on the top of the camera, and an AF mode that will prioritize nearby objects if that you hold up in front of the camera, rather than continuing to focus on your face. And there’s also a front-mounted tally light, to indicate when the camera is recording.

The specs are broadly consistent with recent RX100-series models, including 4K UHD video at up to 30p, 1080 capture at up to 120p and high-speed upscaled video at up to 960p. There’s no built-in viewfinder or headphone socket, but the ZV-1 does have a ‘multi-accessory’ hot shoe on which to mount an external mic.

The ZV-1 will be available from early June with a list price of $ 799 (CAD$ 999). In the US there will be a promotion that drops the price to $ 749 if you buy before June 28th. Sony is also discounting its VCT-SGR1 Bluetooth shooting grip if you buy it with the ZV-1, until June 28th in the US and June 25th in Canada. Pricing in the UK and Europe is set at £700 and €800.

Go hands-on with the Sony XV-1Press release

Sony Electronics Introduces the Digital Camera ZV-1, A Newly Designed Camera for Video Content Creators

New Video-Forward Design and Compact Body Packed with Advanced Imaging Technology and Easy-to-Use Functionality

SAN DIEGO – May 26, 2020 –Sony Electronics Inc. today has announced the new pocket-sized digital camera ZV-1 (hereafter referred as “ZV-1”) – a lightweight, compact “all-in-one” style solution. Designed from the ground up for content creators and vloggers, the ZV-1 combines easy-to-use features with uncompromising imaging technology, making this the perfect tool for any content creator at all skill levels.

“Sony’s new ZV-1 was purpose-built to meet the needs and demands of today’s video creators,” said Neal Manowitz, deputy president of Imaging Product and Solutions Americas at Sony Electronics. “We are always listening to our customers, and this camera is the result of direct feedback from our extended community. Featuring an innovative design plus many new technologies, settings and modes, it will allow creators to make content in ways they have never been able to before.”

The ZV-1 features a 1.0-type stacked Exmor RS® CMOS image sensor with DRAM chip and 24-70mm[i] F1.8-2.8 ZEISS® Vario-Sonnar T* large-aperture lens creating beautiful background bokeh (background blur), allowing the subject to stand out from the background. The camera locks on to and tracks subjects with high accuracy and speed using Sony’s leading-edge autofocus system. The ZV-1 also includes the latest-generation BIONZ X™ image processor with front-end LSI delivering high resolution as well as low noise for superior image quality. It also combines this exceptional imaging technology with high-quality and versatile audio options. The ZV-1 is Sony’s first compact camera with a side-opening Vari-angle LCD screen, making it easier to compose your shots in selfie mode while connecting external audio accessories. To meet any video need, the ZV-1 contains advanced video features including 4K movie recording[ii] and in-body image stabilization.

Meeting the Needs of Today’s Content Creators

Quickly Switch Between two modes of Background Bokeh
The ZV-1 offers a simple solution to easily switch between two levels of background bokeh while recording. Using the new Background Defocus function, users can rapidly adjust the optical aperture between more and less background defocusing blur without losing focus on the subject. Located on top of the camera, this Bokeh button is easily accessible and makes selfie shooting operation a breeze.

Focus on the Subject You Want

The ZV-1 makes it easier than ever to shoot product reviews and similar video content. Gone are the days of placing a hand behind an object to prompt the camera to bring it into focus thanks to a new Product Showcase Setting, which allows for quick and smooth focus transitions between the subject’s face and the object placed in front of the lens.

Building on the leading-edge technology developed for ?™ (Alpha brand) and RX series cameras, this new compact camera includes advanced autofocus (AF) allowing it to lock on and track subjects with high accuracy and speed while recording. For maintaining focus on the intended subject or subjects in busy environments, Real-time Eye AF[iii] and Real-time Tracking AF for video allows the ZV-1 to seamlessly switch focus between multiple subjects while controlling the AF speed and tracking sensitivity.

Prioritize Your Face

Extreme changes in lighting, like walking outside on a sunny day and suddenly moving from a bright location into shade, are no problem for the ZV-1 thanks to the new Face Priority autoexposure (AE) function. It detects and prioritizes the subject’s face and adjusts the exposure to ensure the face is depicted at an ideal brightness in any environment. This AE technology also suppresses an abrupt change in exposure if the subject quickly turns away from the frame to eliminate unexpected blown-out or extremely dark shots. In addition, the camera features a new advanced color science that has been re-engineered to optimize skin tones for any subject in both still and video modes.

Crystal Clear Audio

High quality content requires clear, excellent audio quality, and the ZV-1 is well-equipped to produce just that with reliable and versatile audio options. The ZV-1’s onboard mic features Sony’s latest Directional 3-capsule Mic which was designed for forward-directional audio capture, allowing for clear capture of the subject’s voice while minimizing background noise, especially when operating in selfie mode. For added flexibility, the ZV-1 also features an industry standard mic jack (3.5mm) and Multi Interface Shoe™ (MI shoe) making it easy to connect a wide range of external microphones. The ZV-1 is also supplied with a wind screen[iv] accessory that fits on the MI shoe to minimize wind interference.

Design and Functionality Optimized for Vlogging

The ZV-1 was designed with content creators and vloggers in mind. This compact, lightweight (approx. 294g / 105.5mm x 60.0mm x 43.5mm) camera is the first Sony compact camera with a flip-out, tiltable LCD Screen, allowing creators to simplify their setup by utilizing the MI shoe for optional external mics without the need of an additional mounting bracket.

Comfortably operate the ZV-1 with one hand thanks to the easy-to-hold comfortable grip and a large movie REC button located on the top of the camera for quick access to video recording, as well as a recording lamp on the front of the camera that indicates if the camera is actively recording.

The ZV-1 also includes advances in image stabilization, ensuring steady video even when shooting hand-held while walking. When recording in HD (Active mode), optical and electronic stabilization methods are combined to reduce shaking up to 11 times[v] that of standard SteadyShot™ image stabilization. When shooting 4K video using Optical SteadyShot (Active mode), there is improvement in stabilization effect of up to 8 times[vi] that of standard SteadyShot. The ZV-1 is also compatible with the GP-VPT2BT Shooting Grip with Wireless Remote Commander, offering additional stability and comfort combined with cable-free Bluetooth® connectivity.

Class-Leading AV Features

Despite the small form factor there are a multitude of pro-level movie making capabilities, including:

4K movie recording with full pixel readout and no pixel binning in high bit rate XAVC S™ codec. [vii]

  • Industry standard 3.5mm microphone input
  • Hybrid Log-Gamma (HDR) [viii] / S-Gamut3.Cine / S-Log3, S-Gamut3 / S-Log3
  • Interval Shooting[ix] for stunning time-lapse videos[x]
  • Super Slow Motion[xi] recording at up to 960fps[xii]
  • Compatibility with ‘Movie Edit add-on[xiii]’ from the “Imaging Edge™” mobile application for image stabilization while editing[xiv] Highlight ability to edit aspect ratios for IG etc.

Live Streaming with the ZV-1

Transform the ZV-1 into a webcam by connecting it to a PC[xv] via USB, which allows content creators to interact with their followers in real-time while also utilizing the advanced imaging technology and unique features of the ZV-1. Sony’s new PC software will be available in July 2020.

New Vlogger Accessories Kit

Sony will also be introducing a Vlogger Kit (ACCVC1), which includes a GP-VPT2BT Shooting Grip with Wireless Remote Commander and 64GB Ultra High Speed Media Card. The grip is compatible with a variety of Sony cameras[xvi].

Pair this kit with an external microphone (sold separately), such as Sony’s Stereo Microphone (ECM-XYST1M), for a convenient and simple vlogging setup.

Pricing and Availability

The Digital Camera ZV-1 will be available in June 2020 for a special introductory price of approximately $ 749 USD through June 28, 2020. After that, the price will increase to approximately $ 799 USD. The ZV-1 will be available in Canada for approximately $ 999 CAD.

The ACCVC1 Vlogger Kit will be available in June 2020 with a special introductory offer of $ 50 off when purchased together with ZV-1 (at participating retailers) through June 28, 2020 in U.S. and June 25, 2020 in Canada, and can be purchased separately for approximately $ 149 USD and $ 199 CAD.

[i]Angle of view (35mm format equivalent)

[ii] 4K (QFHD: 3840×2160) Extended continuous video recording is available when setting Auto Power OFF Temp. function to High

[iii] Real-time Eye AF for animals is not available movie shooting

[iv] Audio input itself is via the camera’s internal mic but attaching the wind screen to the mic suppresses wind noise

[v] Image stabilization angle at the wide-angle end of the zoom range. When active mode is on. Relative to angle of view with optical image stabilization on standard mode.

[vi] Image stabilization angle at the wide-angle end of the zoom range. When active mode is on. Relative to angle of view with optical image stabilization on standard mode.

[vii] A Class 10 or higher SDHC/SDXC memory card is required to record movies in the XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps

[viii] Connect this product to an HDR (HLG) compatible Sony TV via a USB cable to display HDR (HLG) movies

[ix] Wi-Fi is not operational during interval shooting

[x] Time-lapse movie creation is possible on a PC

[xi] Audio recording is not available. A Class 10 or higher SDHC/SDXC memory card is required

[xii] In NTSC mode. Menu allows switching between NTSC and PAL modes

[xiii] Please use the latest version

[xiv] Availability of video transfer and playback varies depending on smartphone in use. Membership to Imaging Edge account and app on smartphone required with connection to Wi-Fi. See Imaging Edge terms and conditions/privacy policy for details.

[xv] Windows® 10

[xvi] Compatible with RX100 VII, Alpha 6100, Alpha 6400, Alpha 6600, Alpha 7 III, Alpha 7R III, Alpha 7R IV, Alpha 9, Alpha 9 II. Firmware must be updated on camera to ensure compatibility.

Sony ZV-1 specifications

Price
MSRP $ 800/£700/€800
Body type
Body type Compact
Body material Aluminum/composite
Sensor
Max resolution 5472 x 3648
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 21 megapixels
Sensor size 1″ (13.2 x 8.8 mm)
Sensor type BSI-CMOS
Processor Bionz X
Color space sRGB, AdobeRGB
Color filter array Primary color filter
Image
ISO Auto, 125-12800
Boosted ISO (minimum) 80
Boosted ISO (maximum) 25600
White balance presets 9
Custom white balance Yes
Image stabilization Optical
Uncompressed format RAW
JPEG quality levels Extra fine, fine, standard
File format
  • JPEG (Exif v2.3, DCF v2.0)
  • Raw (Sony ARW v2.3)
Optics & Focus
Focal length (equiv.) 24–70 mm
Optical zoom 2.9×
Maximum aperture F1.8–2.8
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (3.8x)
Manual focus Yes
Normal focus range 5 cm (1.97″)
Macro focus range 5 cm (1.97″)
Number of focus points 315
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 921,600
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/2000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes
  • Auto
  • Program Auto
  • Aperture Priority
  • Shutter Priority
  • Manual Exposure
Scene modes
  • Portrait
  • Sports Action
  • Macro
  • Landscape
  • Sunset
  • Night Scene
  • Handheld Twilight
  • Night Portrait
  • Anti Motion Blur
  • Pet Mode
  • Gourmet
  • Fireworks
  • High Sensitivity
Built-in flash No
External flash No
Flash modes Auto, Flash On, Slow Synchro, Rear Sync, Flash Off
Continuous drive 24.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Average
  • Spot
Exposure compensation ±3 (at 1/3 EV steps)
AE Bracketing ±3 (3 frames at 1/3 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, AVCHD, XAVC S
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 100p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 100p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 50p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 16 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 25p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 16 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 24p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 24p / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1280 x 720 @ 30p / 6 Mbps, MP4, H.264, AAC
  • 1280 x 720 @ 25p / 6 Mbps, MP4, H.264, AAC
Microphone Stereo
Speaker Mono
Storage
Storage types SD/ SDHC/SDXC, Memory Stick Pro Duo/ Pro-HG Duo
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11ac + Bluetooth
Remote control Yes (wired or smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description NP-BX1 lithium-ion battery & USB charger
Battery Life (CIPA) 260
Weight (inc. batteries) 294 g (0.65 lb / 10.37 oz)
Dimensions 105 x 60 x 44 mm (4.13 x 2.36 x 1.73″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Z-CAM’s new E2-M4 is an affordable 4K Raw-shooting cinema camera with livestreaming

27 May

Chinese cinema camera manufacturer Z-Cam has revealed it’s releasing a lower-cost version of its E2 camera that seems to lack only multi-cam synchronization from the previous model but which will allow live-streaming without a computer and will cost about $ 500 less.

The Z-Cam E2-M4 has much of the same spec as the Z-Cam E2, including the ability to record Raw footage to an external recorder, a claimed 13-stops of dynamic range and 4K video (3840×1620 pixels) at 160fps with 10-bit color.

The Z-Cam website suggests the E2-M4 doesn’t offer Apple ProRes recording, but the product page claims that it does once loaded with the latest firmware and connected to an Atomos Ninja V. Recording in Z-Raw is listed though. BH also says a future update will allow the camera to support RTMP, RTPS and SRT live-streaming directly from the camera without requiring a computer. live-streaming is also supported via the camera’s Gigabit Ethernet port, which can be used to control the camera remotely.

The Z-Cam E2-M4 uses the same Four Thirds sensor format as the E2, and of course takes a range of compatible Micro Four Thirds lenses — though not all. The Z-Cam E2-M4 costs $ 1499 and is currently available to pre-order from B&H. For more information see the Z-Cam website.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: A quick hands-on look at the Sony ZV-1 vlogging camera

26 May

Sony just announced the ZV-1, a modified version of the RX100 series aimed specifically at vloggers. We take a look at six important features you may have missed from the announcement.

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

  • Introduction
  • Built-in microphone
  • Sony 'real time' autofocus
  • Audio monitoring
  • Recording time limits
  • Color profile tweaks
  • Image stabilization
  • See you soon!

Articles: Digital Photography Review (dpreview.com)

 
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Video: Six DIY smartphone camera rigs made from household objects

24 May

The Cooperative of Photography, better known as COOPH, has released its latest YouTube video showing how to make the most of your smartphone footage by creating six different smartphone rigs using materials you likely have sitting around at home.

As you would expect for these rather primitive homemade solutions, the DIY rigs aren’t necessarily aesthetically pleasing but based on the resulting footage, hopefully your video will be. The six-minute video covers how to make a DIY gimbal, a DIY timelapse rig, a DIY stabilizer, a DIY automated slider, a DIY ‘spinning’ rig and a DIY Gorillapod-style tripod.

It’s quite the adventure, but considering there’s a good chance you’re still on some sort of lockdown or stay-at-home order, these DIY projects might be just what you need to keep your creative spirit alive in seclusion. You can find more videos from COOPH on their YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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OnePlus is disabling the near-infrared ‘Color Filter’ camera on its 8Pro smartphone over privacy concerns

23 May

OnePlus has announced it’s working on an update for its OnePlus 8 Pro smartphone that will disable the 5MP near-infrared camera that was able to see through certain materials, including some clothing, when used with a ‘Photochrom’ mode in the native camera app.

The Color Filter camera onboard the 8 Pro has been known since the smartphone’s announcement back in April. However, not much was shared about the particular camera module at the time. It wasn’t until 8 Pro units started hitting the front doors of reviewers when it became clear what the 5MP near-infrared camera could see.

Last week in particular, a number of high-profile reviewers and pundits shared examples of just how much the Color Filter camera onboard the 8 Pro could reveal. Most notably, the below video, shared by YouTube channel Unbox Therapy, showed that beyond being able to see through the plastic IR shields built into numerous electronics, it could also see, at least to some degree, underneath certain clothing when stretched unusually thin.

Unsurprisingly, the see-through capability of the 8 Pro brought up privacy concerns, not unlike those that led to Sony recalling more than 700,000 ‘HandyCam’ camcorders back in 1998 when it was revealed the ‘Nightshot’ mode on its TRV 615 XR camcorders was revealing more than the general public was comfortable with.

OnePlus heard the response loud and clear and in an effort to get ahead of any further controversy, OnePlus announced, via Weibo, that it is temporarily disabling the Color Filter camera via a software update within the next week. In the post, OnePlus writes (machine-translated, edited with brackets for clarity):

‘When planning the [color] filter lens of OnePlus 8 Pro, we hope[d] to use this lens to perceive the characteristics of infrared light to provide users with a unique texture photography style effect. But recently, based on user feedback, we have found that under very specific environmental conditions, the filter lens may have a slight perspective effect on special materials at very close distances […] In order to eliminate the impact on user privacy under possible extreme circumstances and eliminate everyone’s concerns, we decided to temporarily disable the filter function through software upgrades.’

OnePlus doesn’t elaborate on how temporary this solution is or what the long-term fix will be, but it’s a start. It’s also unknown whether this will be a forced update or something optional users can opt out of to keep the near-infrared capabilities.

Articles: Digital Photography Review (dpreview.com)

 
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The Sony ZV-1 Is a Powerful New Camera Designed for Vloggers

22 May

The post The Sony ZV-1 Is a Powerful New Camera Designed for Vloggers appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

New compact camera announcement teaser

Sony is preparing to launch a new camera, designed specifically for vloggers:

The Sony ZV-1, a small camera that will pack a large punch.

News of the ZV-1 has been leaking for weeks, but as we approach the likely announcement date (May 26th), information has appeared at a frenzied pace, including leaked product photos, leaked press announcements, and even a teaser from Sony.

What can you expect from this compact camera?

While nothing has been officially confirmed, Sony’s teaser shows a small camera with a full-articulating rear LCD. This is fully in line with the leaked press text, which suggests that the new ZV-1 will offer:

  • An articulating screen
  • A 1-inch, 20.1-megapixel sensor
  • A 24-70mm lens
  • Excellent AF (including Real-time Eye AF)
  • A soft skin effect “to reduce skin wrinkles and marks while ensuring you preserve skin-tones and the sharpness of eyes and mouths”

(And more!)

If all this information is accurate, vloggers will be in for a treat; the combination of an articulating screen, a 24-70mm focal length, and Sony autofocus capabilities (described in the leaked press text as “super-fast AF”) will be too good to pass up for plenty of content creators. The press text also promises “high-quality sound capturing performance and noise reduction in full stereo,” in addition to “a wind screen” and a “3.5mm input jack” for increased flexibility.

The camera will also likely appeal to still photographers looking for a compact, walkaround option. Twenty megapixels is just enough to satisfy beginners looking to enter the realm of higher-resolution photography, plus the 24-70mm lens offers a great range of focal lengths for street photography, landscape photography, architectural photography, portrait photography, and more.

So if you’re a vlogger or a still photographer looking for a camera that’s small, mighty, and tailored to the needs of content creators, the ZV-1 is certainly worth a look. Keep your eye out for news of the ZV-1’s official announcement on May 26th.

Now over to you:

What do you think of the ZV-1? Is it a camera you’d be interested in? Is it missing any features that you’d like to see? Share your thoughts in the comments!

The post The Sony ZV-1 Is a Powerful New Camera Designed for Vloggers appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Vivo shows its ‘gimbal-like’ smartphone camera stabilization system

21 May

In February Chinese smartphone maker Vivo showcased a concept phone that featured a ‘gimbal-like’ stabilization system on its rear camera. Now the company has published further information about the system that will first be commercially available on the Vivo X50 Pro which is scheduled to launch on June 1.

Vivo calls the system ‘micro cloud’ and claims it is more effective than conventional stabilization systems without quantifying the difference. It certainly looks more complex. Instead of a lens element, like on most current smartphone stabilization systems, on the Vivo the entire camera module is stabilized using a double-ball suspension which allows for movements of +/- 3° which, according to Vivo, is three times the angle of more conventional systems.

Like on most high-end stabilization systems, the mechanical motion is combined with electronic image stabilization (EIS) methods that typically slightly crop the frame in order to correct for camera shake.

Motion is powered by two voice coils and the ribbon cable connecting the camera to the main device board is folded twice in order to allow for the movements of the camera unit. One downside of the system is space-requirements, though. The system is 4.5mm thick and occupies 363mm² board space which is more than the cameras in most other current devices.

Given the X50 Pro system is the first of its kind it’s probably fair to assume following generations can be designed with smaller dimensions, and first samples look indeed promising, although the comparison device chosen for the video below appears to have a particularly bad stabilization system.

In addition to the innovative stabilization system the X50 Pro will feature a new color filter that offers 39 percent higher light transmission. Vivo says that combined with the stabilization system the camera will capture 220 percent more light than the Vivo X30 Pro. Presumably this is because the stabilization system will allow for more frames to be combined using computational methods, and/or simply lets the auto exposure system use slower shutter speeds.

If the micro cloud system works as well as advertised it should provide both super-smooth video footage and low light photos with good exposure and detail in very low light. We should find out when the X50 Pro is launched in June.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus will shutter its camera business in South Korea on June 30

21 May

Olympus will end its camera business in South Korea on June 30, according to a new report from The Korea Times. The decision is ‘mostly’ based on low camera sales volume, the report claims. Olympus will continue to sell medical and scientific equipment in the country.

In a statement to the publication, Olympus said that despite focusing on mirrorless cameras and interchangeable lenses, ‘it has become barely possible to sustain the business with profit,’ spurring the business decision.

Though the company will shut down its brand store and online shop for South Korean customers on June 30, it will continue to operate its servicing facility in the country until March 31, 2026, enabling existing customers to get their camera gear repaired.

Olympus says it had to make this decision despite ‘strenuous efforts to increase the profitability and efficiency of its imaging business’ in South Korea. Olympus told The Korea Times that its decision to end camera sales in the country doesn’t have anything to do with a social movement among residents to boycott products from Japanese companies.

The news isn’t terribly surprising as camera sales are indeed down worldwide. Back in November 2019, rumors surfaced that Olympus was planning to entirely exit the camera business, something the company denied, stating instead that it was working on improving the ‘profitability and efficiency’ of both its imaging and scientific equipment businesses.

According to the CIPA figures released last month, camera shipments to Asia in March reached only 39.8% of the volume of shipments reported in March 2019. Overall worldwide shipments only reached 47.8% of the volume compared to the same month in 2019, with mirrorless camera models proving more popular than SLR cameras.

It’s unclear how great of an impact the economic downturn caused by the COVID-19 pandemic had on this drop in sales volume, but it seems unlikely that camera companies can expect a spike in sales at any point in the near future. Given the fact that Olympus’ imaging business was already struggling to survive in South Korea, it makes sense that the company would choose this time to exit the camera business in that market entirely.

We have contacted Olympus for a comment and will update this article accordingly if we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: What critical items does Chris stash in his camera bag?

20 May

We all have our favorite essential gear that lives in our camera bags. Find out what DPReview TV host Chris Niccolls keeps in his when he and Jordan are out on a shoot.

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

  • Introduction
  • Chris' bag
  • Chris' main camera
  • Sensor cleaning tools
  • Filters
  • Cards and storage
  • Audio tools
  • Fashion accessories
  • Honorable (carry-on) mention
  • See you soon!

Articles: Digital Photography Review (dpreview.com)

 
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