360Photography

Tag: Camera

  • Pros and Cons of Upgrading from a Phone to a Real Camera

    You may have guessed from my use of the phrase real camera in the title that this article may contain some bias. Everything I write does to some degree, that’s normal. Hopefully, though my experience is helpful to you when you come to think about upgrading.

    I want to present some of the pros and cons of upgrading to a real camera from a photographer’s perspective. This article is for you if enjoy using your phone to take photos but feel limited by it. It is also for you if you have a real camera to help answer questions from phone photographers who ask why you use a camera.

    My intention here is to share information from my perspective. I am a long-time professional photographer and photography teacher. But I have also recently started taking phone photography more seriously.

    Phone and Camera - Pros and Cons of Upgrading from a Phone to a Real Camera

    Size Matters

    Almost all cameras are bigger than a mobile phone. Phones have the advantage of portability, but this is about the only advantage size has. Let me explain.

    Lenses

    DSLR Lenses - Pros and Cons of Upgrading from a Phone to a Real Camera

    A good camera lens is essential to being able to make good clear photos. If the lens is small and low-quality, you are not going to get the best results.

    Lenses on phones are tiny and most often made of plastic or sapphire crystal. Lenses for real cameras are larger and most often made of multiple glass elements.

    Light is essential for creating a photograph. Light must first pass through lens, which bends it and focuses it so an image can be captured by the sensor. If there is any distortion in the lens the image quality will be compromised. Good quality larger lenses are more capable of producing sharper, more accurate images.

    The range of lenses for cameras is enormous. Even small compact cameras have the capacity to zoom from wide-angle to telephoto optically. When the lens does the work of manipulating the light and sending it to the sensor, the quality is far better. On a phone when you zoom in, the image is just enlarged digitally and the quality suffers dramatically.

    Image Sensors

    Smart Phone Photo selfie - Pros and Cons of Upgrading from a Phone to a Real Camera

    Sensor size is the other main factor in the image quality difference between phones and cameras. By sensor size, I do not mean the megapixel count. Often phones can now have more megapixels than cameras. The actual physical dimensions of the sensor are what make the biggest difference.

    A phone sensor is tiny and measures approximately 4.8 x 3.6 mm. There’s no room in a camera to put a larger sensor further away from the lens. Sensor size in cameras varies a lot, but suffice to say they are a lot larger than the ones in phones. Compact cameras have the smallest sensors in cameras which measure approximately 6.2 x 4.6 mm. Currently, the largest sensors in mirrorless and DSLR cameras are 36 x 24 mm (full frame).

    Some phones boast huge megapixel counts, similar or larger than some cameras. I would prefer fewer megapixels on a sensor with a larger physical dimension. Squeezing more pixels into a tiny sensor may seem impressive, but it’s not in reality.

    If you have the same number of megapixels on a sensor which is physically larger you will have technically higher quality images. To learn more about sensor size and why it’s important, please read this article.

    Creative Control

    Woman Photographer at the Shopping Mall- Pros and Cons of Upgrading from a Phone to a Real Camera

    Cameras are generally easier to have creative control over the outcome of the photograph. Phones are designed to be easy to use to get a quick snapshot. This is how most people use them. There are many good apps available to enable more manual control of the camera settings on your phone. Some are easier to use than others.

    Entry-level cameras are not often any easier to control manually than phone cameras. Higher-end cameras of any type are more user-friendly for photographers who want a higher degree of control.

    On cheaper cameras, it’s often necessary to dig into the camera’s menu system to adjust things like exposure and white balance. Higher-end cameras have more external controls so they are easier and quicker to set manually.

    Creative Intention

    Photographer at an Outdoor Event - Pros and Cons of Upgrading from a Phone to a Real Camera

    One of the most significant differences between a phone camera and a real one has nothing to do with the technology. When most people pull out their phone to take a photo it’s for a quick snapshot. The picture may be posted to social media and quickly forgotten about.

    Using a real camera requires more focused and creative intention. You are more likely to take time and think creatively when you are taking photos with a camera. This increases the likelihood of producing better photos. For me, taking the time to concentrate on photography is more important than the hardware I use to make the image.

    Image Processing and Sharing

    Photographer at an Outdoor Event taking a selfie - Pros and Cons of Upgrading from a Phone to a Real Camera

    Processing and sharing photos from your phone is much easier than from a real camera. Phones are built for connectivity. The internal image manipulation, either native or in any number of apps, is impressive.

    The biggest drawback when post-processing images on your phone, is that they are prone to lose quality. Often this is difficult to detect until the image is viewed on a monitor or you want to have it printed. It is very easy to over sharpen or saturate a photo using an app. It might look good on the screen on your phone, but not printed or on a larger monitor.

    With a real camera there’s a certain amount you can tweak an image and share it, but it is not nearly as extensive as it is on a phone. Some cameras have built-in wifi and there are also memory cards with wifi available.

    The Best Camera is the One You Have With You

    Photographer n the Street taking a shot - Pros and Cons of Upgrading from a Phone to a Real Camera

    This is true. You cannot take a photo if your camera is in a bag in the cupboard at home. But you don’t often forget your phone. This makes it a very good camera, because it is right there with you.

    Learning to use your phone to do more than taking snapshots will improve the quality of all your photos. Spending money on a real camera that you don’t learn to use properly and leave at home is not going to make you a better photographer.

    The biggest downside to phone cameras is the lower quality images they produce. Most of the time this is not relevant as most photos are shared and viewed on mobile devises these days.

    bike on a path with a shadow - Pros and Cons of Upgrading from a Phone to a Real Camera

    I processed this image with the Snapseed app on my phone. It looked okay on my phone.

    Pros and Cons of Upgrading from a Phone to a Real Camera - close up of image above

    At 100% on my computer monitor, the deterioration of the image quality caused by processing is obvious.

    The things that will keep you from relying too much on your phone for taking pictures are:

    • Lower quality images.
    • Less control over exposure settings.
    • Little ability to effectively zoom.
    • The possibility of getting a stunning image that cannot be enlarged and hang on the wall.

    These things do not stop me taking photos with my phone. Currently, I am using it more than ever, but I need to understand my phone camera better so I can teach people to take better photos with theirs. I am particularly interested in experimenting with the panorama mode.

    Poi Sang Long Festival Photographer- Pros and Cons of Upgrading from a Phone to a Real Camera

    I believe there are still many years left when real cameras will hold their own against phone cameras. How quickly the technology evolves will determine just how long.

    If you are a phone photographer I hope this article will tempt you to pick up a real camera. When you learn to use it you will discover the real joy of photography. If you already use a real camera I hope this information will help you better answer questions when people ask why you don’t just use your phone.

    The post Pros and Cons of Upgrading from a Phone to a Real Camera appeared first on Digital Photography School.


    Digital Photography School

  • Chroma Chrono is a programmable RGB camera flash for colorful long exposures

    A new Kickstarter campaign seeks funding for Chroma Chrono, a programmable RGB camera flash that emits multiple colors during long exposures. Users can program the flash using a web interface accessible on any device with a web browser and WiFi; the system enables users to choose the flash colors and the on/off duration for each color.

    Sample image via Chroma Chrono

    Chroma Chrono features a high-intensity RGB LED, a WiFi-enabled microcontroller, and three AA batteries. Users can connect the flash to a standard hot shoe or trigger it remotely via a Prontor-Compur adapter. The camera flash currently exists as a final production prototype with anticipated manufacturing if the Kickstarter is successful.

    Backers are offered an early bird Chroma Chrono flash for pledges of at least £120 / $ 164.

    Via: Kickstarter

    Articles: Digital Photography Review (dpreview.com)

  • Why Your Camera Gear Doesn’t Matter

    graffiti wall - Why Your Camera Gear Doesn't Matter

    Many discussions in online photography groups and discussions revolve around “What’s the best camera brand?” or “What is the best lens for x?” or “Thinking about upgrading, should I pick between camera x or camera y?” and so on.

    It seems that a lot of people think that there is a Holy Grail of camera gear that will solve all their problems if only they can achieve it. However they fail to understand that it isn’t the gear that matters, it’s what you do with it that counts.

    Why Your Camera Gear Doesn't Matter - pink flower

    So many people praise Ansel Adams or Cartier-Bresson as peers of the craft, yet those photographers were dealing with old film cameras. The camera in your cell phone is more powerful and advanced in technology by light years in comparison.

    If all the photographers in history were capable of making lasting impactful images with old film camera hardware and development techniques – if you have a modern camera (of whatever brand you choose) or even just your cell phone – what is your excuse?

    old cabin b/w - Why Your Camera Gear Doesn't Matter

    It isn’t about the gear. It has never been about the gear and as soon as you realize that, you will be free to create and shoot in a new and exciting way.

    Why Your Camera Gear Doesn't Matter - still life image

    Let’s Count the Ways That Gear Doesn’t Matter

    1. The camera doesn’t decide what brand or model you buy, or what lens you opt for. You do your own research (presumably), make your choices, place the order and pay the money. Or perhaps you were gifted with some gear or loaned it. Maybe you just have a phone with a camera. It doesn’t matter, they are all cameras with essentially the same capability to capture images.
    2. Your camera doesn’t haul itself out of bed early in the morning to get to the desired destination for a sunrise shot. It doesn’t drive for hours to get to a pretty lake, nor does it pack itself into a backpack and hike its way into the mountains to get the perfect shot – would be nice if it did though!
    Why Your Camera Gear Doesn't Matter - ice and snow in the sun

    This image was taken on a recent camera club trip in the mountains – roughly 4 hours drive from home. Lying full length on a snow bank to brace to get this shot, I chose to do it backlit for the desired creative outcome.

    1. The camera doesn’t decide what the composition will be, it doesn’t walk this way and that way, crouch down low, or climb up looking for a better vantage point.
    2. The camera doesn’t go without its daily latte for a year, while it saves up to go on holiday to an exotic destination so it can take lovely new photos while its there.
    3. Your camera doesn’t sit for hours on the side of a river, lake, or estuary waiting for the birds to come close enough to shoot.
    4. The lens doesn’t decide, “Hey I want to be the lens on your camera today, shoot with me all day”.

    Why Your Camera Gear Doesn't Matter - rolling hills landscape

    1. Unless you are a complete beginner and shooting with everything on Auto, the camera doesn’t decide what settings it’s going to use. Nor does it decide when to click the shutter, when is exactly the right time to take the shot.
    2. The camera doesn’t say, “I don’t want to shoot macro today, instead let’s do architecture instead, I’m bored with flowers”.
    3. The camera doesn’t go, “I know it’s going to be cold and frosty tomorrow in the snow but it will be super pretty so let’s get up early to take photos before everyone walks all over it”.
    Why Your Camera Gear Doesn't Matter - food photo setup

    A behind the scenes shot of what it takes to stage a food photography shot – I haven’t even got the camera out yet.

    There are so many decisions that you, the photographer make, that are essential to the image being created. But you could get the same shot with a Canon, or Nikon/Pentax/Sony or whatever brand you have.

    For many of the shots that are taken, a recent cellphone has a pretty good camera in it and will do a good job too.

    Why Your Camera Gear Doesn't Matter - flower abstract

    Specifically mounted and lit against a black background, this was deliberately shot with selective focus and edited for a dark moody rich color tone.

    What the Photographer Does Matters

    • You are the one saving up to go on the exciting holiday, deciding where to go, what time of year, what places to visit, what things you might want to see and photograph.
    • It’s you that decides how your image is going to be composed – portrait/landscape, close in or far away, what the subject is, what aperture or shutter speed to use for the desired creative outcome.
    • You choose your subject, you decide how the image is going to look, where you will shoot from, what height/angle, and what settings you will use.
    • You make the creative choices such as is it going to be macro, or shot with a very wide open aperture for a blurred background. Perhaps a long telephoto lens to separate the subject from the background. Maybe an ultrawide or fisheye lens for a different look, or even an old vintage lens with swirly bokeh.  You choose the gear and decide how you are going to use it at any given point in time.
    • It’s you that makes the sacrifice to get out of bed early in the morning for the sunrise shots.
    • You load up the gear, put on walking shoes, load up a drink bottle and head off into the unknown for an adventure and you earn your blisters and sore feet.
    • If you are a food photographer, you might spend hours baking in the kitchen to create tasty treats which you then spend ages styling and propping before you eventually shoot.
    • If you are a portrait photographer you might dabble in hair or makeup, and you absolutely need to have control of the light, shaping and modifying it to suit the desired outcome.
    • Maternity photographers probably have to do some hair/makeup/clothing as well as set design and lighting for newborn shots.
    • If you are a wedding photographer you probably have a bag full of tricks and emergency supplies to cope with any last minute drama or wardrobe failure, plus you have to wrangle all of the people on what is often a stressful day.
    Why Your Camera Gear Doesn't Matter - frosty morning mountains

    Minus 6C Hoar Frost – yeah it was pretty cold getting out of bed that morning but it was totally worth it.

    There are so many creative choices that you can make – high key or low key, black and white or color, cool or warm tones, tight abstract or bigger picture, low to the ground or eye level, morning/daytime/evening light – but none of these references your gear at all. These are all things you may even decide before you even pick up the camera.

    So much of what we do is visualizing the image in our heads, and putting in place the required circumstances or situations to make that image happen. You may have to save for a couple of years to afford the trip to Patagonia or Alaska. Perhaps you might chase storms for months before you get the absolute best cloud formation or lightning shot you were after.

    You might get up night after night to capture an aurora or every morning for a month to get the stunning sunrise. Maybe you have to wait until the next breeding season to get the shot of the bird that only flies in once a year. Plus you have to stake out a nest, build a hide and keep it secret.

    Why Your Camera Gear Doesn't Matter - cutlery still life

    Sometimes Gear Does Matter

    Yes, there are absolutely situations when having a specific piece of gear totally matters. It is difficult to take macro shots of things if you don’t have a macro lens, or extension tubes or similar options.

    Having a longer lens makes those birding shots a lot easier as well, not only are birds skittish, they can fly away from you. Plus you should be a responsible environmentally aware photographer and stay out of their habitat and not scare them deliberately.

    I don’t shoot astrophotography but am aware that there are recommended lens choices to get the best outcome for your night shots.

    Sports, action, and wildlife photographers usually want a camera with a high burst rate for the action shots, fast focus action, and reasonably good high ISO for low light situations and a really long lens.

    Wedding photographers need high-performance camera/lens options that are adaptable to a range of situations and can work in low light.

    If you want to do soft flowing waterfalls and waves, neutral density filters, a tripod, and a remote shutter are usually requirements.

    So yes, there will always be situations where you do need specialty gear, but the same rules apply. You still need to make all the creative choices and decisions. Adding that extra hardware choice into the mix just becomes part of it.

    Why Your Camera Gear Doesn't Matter - flowing water frozen in the air

    To get this shot I needed a 70-200mm lens mounted on a tripod and then I experimented with fast shutter speeds to get capture the motion in the water and the splashes.

    Conclusion

    Being there matters. Having the right light matters. Your subject choice matters. How you choose to frame up the composition matters. Your creative choices matter. Post-processing matters.

    What gear you use to take the shot – doesn’t matter.

    Any general camera gear can do the job for the vast majority of images taken. Does the brand matter? No.

    Is it a cell phone? If you can take images you are happy with on a cell phone, then keep doing it.

    Are there situations where specific lenses or gear makes a difference? Absolutely, and yes you probably will need to have what’s required to make those images.

    But not everyone wants to do macro. Lots of people have no need for a tilt-shift lens for those architecture shots. 600mm lens that weighs several kilos? No thanks!

    Street art in Melbourne, Australia. Some of these laneways are so hidden away only a local knows where to find them.

    But even when you do get the specialty gear, there are usually multiple choices of options to purchase. But again, the brand doesn’t matter.

    Even if you do have the top-end camera with the fanciest tripod, the longest lens with all the bells and whistles…unless YOU take it out and use it, it isn’t going off and having photography adventures on its own.

    As the saying goes, “The best camera is the one you have with you” so work with what you have, learn to use it to the best of your ability. Experiment, be creative, try different things, push your boundaries and have fun.

    My camera does landscape, nature, birds, macro, food, still life, fine art self-portraits, flowers, cats, long exposures, black and whites, high key, low key, sports, abstract, events and probably many other things I have yet to point it at.

    What does matter is that you are out there, with whatever gear you have, and are using it.

    Happy shooting!

    The post Why Your Camera Gear Doesn’t Matter appeared first on Digital Photography School.


    Digital Photography School

  • Cosyspeed launches Phoneslinger line of smartphone “camera” bags

    Easy accessibility in your pocket and ultimate portability are a smartphone’s main advantages over dedicated digital cameras. However, if you’re the kind of mobile photographer who likes to use their device in combination with add-on lenses, powerbanks or other accessories, the pockets in your pants might not be roomy enough.

    Help is at hand, though, in the shape of Cosyspeed’s new Phoneslinger line of smartphone “camera” bags which you can now pre-order on Indiegogo. There are three bags in the new line, the Phoneslinger Power, Prime and Outdoor, which are all designed for different use cases and, in conjunction with a few accessories, form part of a modular bag system.

    The Phoneslinger Power is a phone pouch that comes with a built-in 8000mAh powerbank that can charge your device via the QI wireless standard or a USB-cable. The Phoneslinger Prime comes close to a “real” camera bag, offering space for even the largest smartphones and four accessory lenses. You can also leave a lens attached to your device. The Phoneslinger Outdoor is a rugged phone pouch that protects your expensive device while hiking, climbing or any other activity that might put your phone at risk.

    Accessories include the Flowbelt which comes with attachment points for the Phoneslinger bags and other items. The Stuffbag is designed to hold items such as sunglasses, passport, keys, etc. and comes with an included wallet. The Prime Pouch is a dedicated lens pouch, holding up to five smartphone accessory lenses.

    A full Power kit, which includes the Phoneslinger Power, Stuffbag, Prime Pouch and the Flowbelt will set you back $ 149. For more information and full pricing for all items have a look at the Phoneslinger Indiegogo page.

    Articles: Digital Photography Review (dpreview.com)

  • CIPA: Sizable drop in camera shipments for July

    CIPA, the Japanese Camera & Imaging Products Association, has released its numbers for July and things don’t look terribly rosy. The summer months are generally a slower time of the year for most retail sectors, but in terms of camera shipments this past July has been much worse than in 2017.

    Compared to last year, shipments of all digital cameras are down 33%, dropping from 1,942,192 to 1,496,604. Things look only slightly better in the interchangeable lens segment where we have seen a smaller drop from 973,651 to 820,893 units (down 16%).

    The numbers look particularly bad in part because summer shipments in 2017 were strong – or at least, didn’t dip as dramatically as they have in 2016 and this year. And on the plus side, the industry can now look forward to the traditionally stronger autumn months and the holiday season. The recent high-profile product launches from Nikon, Fujifilm and Panasonic, plus any new products that might be announced at the upcoming Photokina trade show, will likely have a positive impact on shipments for the remainder of the year.

    Articles: Digital Photography Review (dpreview.com)

  • Polaroid launches Mint digital instant camera and mobile printer

    Polaroid has launched the Mint 2-in-1 digital instant camera at the IFA trade show in Berlin. The Mint camera (not to be confused with the Instax-mini-compatible Mint InstantFlex TL70) comes with a 16MP image sensor, a microSD-slot for cards of up to 256GB capacity, a built-in selfie mirror, and a self-timer. A smartphone-like LED-flash is on board as well.

    Polaroid says the camera “makes it easier than ever to capture and print instant photos that last a lifetime” and the built-in printer, which uses the inkless ZINK-technology can produce color, black-and-white or sepia prints in less than a minute. Before printing, users have the option of adding a frame to the image. The Polaroid Mint instant camera is available in black, white, red, blue and yellow and will set you back $ 99.99.

    The Mint Instant Digital Pocket printer is Polaroid’s second new product at the trade show and meant to be used in conjunction with mobile devices. The pocket-sized printer uses the same ZINK technology as the Mint camera and lets you print any photo from your smartphone or tablet via the Polaroid Mint app and a bluetooth connection. The app features many common editing functions, including filters, frames and stickers.

    The printer can be charged via a USB port and is the battery is good for 50 prints. The Polaroid Mint printer is available in black, white, red, blue and yellow and retails at $ 129.99. More information on the Mint camera and printer is available on the Polaroid website.

    Articles: Digital Photography Review (dpreview.com)

  • Blackmagic releases first Pocket Cinema Camera 4K footage

    Blackmagic Design has released three videos demonstrating the performance of its upcoming Pocket Cinema Camera 4K. It updates the Pocket Cinema Camera introduced in 2013, was revealed at NAB 2018 in April and is expected to launch next month.

    Ahead of that launch, Blackmagic Design has published the videos “Nature” by Mark Wyatt, “Models Walking at Night” by John Brawley, and “Models Walking in Daylight” also by John Brawley, each showcasing the upcoming camera’s capabilities. This is the first time footage from the camera has been published.

    Both Wyatt’s and Brawley’s experiences with the camera are provided in each video description. In describing his time with the Pocket Cinema Camera 4K, Wyatt said:

    I had the Blackmagic Pocket Cinema Camera 4K for only a few days, but overall I was really impressed by it. The weight of the camera is very liberating, especially when you are used to using larger camera systems. The screen is big and bright enough to use in daylight, which I found great for judging focus and exposure. And, the colors too on the screen, were also nicely represented. In fact, I would argue it is Blackmagic’s best screen yet.

    The Blackmagic Pocket Cinema Camera 4K features a full size Four Thirds HDR sensor offering a native 4096 x 2160 resolution and 13 stops of dynamic range. The upgraded model also features dual native ISO, a USB-C expansion port with direct support for external storage drives, a new multi-function grip design, and much more.

    Via: Newsshooter

    Articles: Digital Photography Review (dpreview.com)

  • Meike launches new 25mm T2.2 cine lens with ‘decent build quality’ for MFT camera systems

    Hong Kong-based Meike has added to its collection of lenses with a new 25mm T2.2 cine lens for Micro Four Thirds camera systems.

    The lens is entirely manual with a minimum focusing distance of 25cm/9.84in and a 77mm front filter thread. The optical construction includes ten elements in eight groups, which makes for a 49.7 degree angle of view.

    The 25mm T2.2 cine lens weighs 560g/1.23lbs and features a pair of geared rings for changing its focus and aperture. Interestingly, even Meike seems hesitant on the quality of construction. In the product description on its Amazon page, Meike says the lens offers ‘decent build quality.’ Humble, sure, but not exactly reassuring.

    Alongside the lens, which is currently available on Amazon for $ 340, is a rear lens cap, front lens cap, and a microfiber bag for safe transport.

    Articles: Digital Photography Review (dpreview.com)

  • Google Pixel 3 leaks, comes with single camera and updated camera app

    We are very much used to information about new products being leaked before the launch date, and especially so in the case of smartphones and other tech. However, the case of the upcoming Google Pixel 3 device is somewhat special.

    It looks like several pre-production units were stolen from Google and are being sold on the black market. One device made its way to Russian tech site Mobile Review, which produced a fully-fledged hands-on review – of a device that hasn’t even been launched yet.

    Google Pixel 3 camera options, image: Mobile Review

    Thanks to leak and article we now know the Pixel 3 will come with a 12.2MP single-camera – at a time when most direct rivals feature dual-camera setups and, in the case of the Huawei P20 Pro, even a triple camera. There is also an 8MP dual front-camera.

    Camera performance on previous Pixel model was excellent, thanks to Google’s outstanding software processing, and we should again expect class-leading detail and dynamic range from the new Google device. However, without a secondary tele-lens the Pixel is likely going to struggle against some competitors in the zoom department.

    Google Pixel 3 camera user interface, image: Mobile Review

    The camera user interface shown in the Mobile Review article is also different to the current version. Shooting modes are now listed above the shutter button instead of in a menu. You can cycle through Panorama, Portrait, Camera, and Video modes. You can also access Google Lens, Slow Motion video, and Photo Sphere through a More icon.

    “Beautification” in Portrait mode can now be set to Natural and Soft face-retouching in addition to switching it off altogether and there is a new “Google Lens suggestions” mode.

    The Mobile Review article is in Russian but you’ll find plenty of product images and even camera samples on the page, if you’d like to check image quality yourself. The final device is expected to be launched some time in October.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon’s Z 7 mirrorless camera has full-frame 45MP sensor, in-body image stabilization and hybrid AF

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    After years of speculation and a month of teasers, Nikon has lifted the curtain on its new Z-series full-frame mirrorless system. The system will initially comprise two bodies – the flagship Z 7 and midrange Z 6 – alongside three lenses and an F-mount adapter. The Z 7 and Z 6 are physically almost identical, with the main differences being internal: pixel count, number of autofocus points and maximum burst rate.

    The Z 7 is a 45.7MP camera with built-in 5-axis image stabilization. It can shoot at up to 9 frames per second and capture 4K video or output a 10-bit 4:2:2 Log video stream over HDMI.

    “We aim to become number 1 in full-frame mirrorless cameras in the future”
    – Nobuyoshi Gokyu, Senior VP, Imaging, Nikon Inc.

    The Z-mount is the largest full-frame mirrorless mount on the market with a diameter of 55mm, allowing it to support lenses as fast as F0.95. The flange distance is just 16mm, the shortest of any full-frame mirrorless system. The Z-mount has a 65% smaller flange and 17% larger diameter than the legacy F-mount, which, fundamentally, has remained more or less unchanged since the 1950s.

    The Z 7 is the flagship model and has a lot in common with the D850, both in terms of core features and price. It features a Nikon-designed 45.7 BSI-CMOS sensor, 5-axis in-body image stabilization and a hybrid autofocus system with 493 phase-detect points.

    The magnesium alloy body is fully weather-sealed to the same level as the D850. It features an ultra-high-resolution electronic viewfinder with 3.6 million dots and 0.8x magnification, along with a 3.2″ 2.1M-dot tilting touchscreen display on the rear of the camera. On the top plate is an OLED display showing current camera settings. The Z 7 has a single XQD slot, which will support CFexpress via a firmware upgrade in the near future.

    The camera’s in-body Vibration Reduction system can reduce shake by up to 5 stops and, when used with the optional F-mount adapter, provides 5-axis stabilization for VR-equipped lenses and 3-axis for those without VR.

    The camera’s in-body Vibration Reduction system can reduce shake by up to 5 stops

    The autofocus system features 493 PDAF points with 90% vertical and horizontal coverage. While the camera can detect faces, it lacks an equivalent to Sony’s useful Eye AF. Naturally, the Z 7 offers subject tracking (though it doesn’t behave in the same way as the 3D Tracking system that we enjoy in Nikon’s DSLRs) and it’s sensitive down to -3EV on lenses with apertures of F2 and faster.

    The Z 7 can shoot bursts at 9 fps with full autofocus but with exposure locked on the first shot, or at 5.5 fps with with continuous exposure and focus. The Z 7’s buffer fills up after about 18 14-bit compressed and 23 12-bit lossless compressed Raws. Battery life is rated at 330 shots per charge (CIPA) and a battery grip will be available in the future.

    Video features are plentiful. The camera captures UHD 4K video at 30p and 24p using the full width of the sensor. When using a Super 35/DX crop of 1.5x, the camera uses all the pixels in that region to produce its video. There are 435 phase-detect points available when capturing video, with both in-body and electronic VR available to reduce shake.

    The Z 7 supports 10-bit N-LOG (4:2:2) when output over HDMI as well as the ability to simultaneously output video (8-bit 4:2:0) while recording to the memory card. There’s also live focus peaking, zebra stripes, adjustable AF tracking speeds, time code while in 4K mode.

    The Nikon Z 7 will be available body-only
    for $ 3399

    The Z 7 uses the latest version of the company’s SnapBridge wireless system, which includes 802.11ac Wi-Fi and Bluetooth. Users can transfer JPEGs and Raws direct to a PC and, of course, remotely control the camera from a smartphone. The currently available WT-7A wireless transmitter set is also compatible, allowing Wi-Fi transfer outside the SnapBridge system.

    The Nikon Z 7 will be available body-only for $ 3399 or bundled with the 24-70mm F4 S lens for $ 3999 when it ships in late September.

    Press Release

    NIKON INTRODUCES THE NEW NIKON Z MOUNT SYSTEM, AND RELEASES TWO FULL-FRAME MIRRORLESS CAMERAS: THE NIKON Z 7 AND NIKON Z 6

    MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of the full-frame (Nikon FX–format) Nikon Z 7 and Nikon Z 6 mirrorless cameras, as well as NIKKOR Z lenses, featuring a new, larger-diameter mount to enable the next generation of ultimate optical performance.

    Mirrorless Reinvented

    The new Nikon Z mount system is comprised of mirrorless cameras and compatible NIKKOR Z lenses and accessories. This system has been realized through the pursuit of a new dimension in optical performance. It has inherited Nikon’s tradition of quality, superior imaging technology, intuitive operability and high reliability, all innovated from its digital SLR cameras.

    At the heart of the Z mount system is the new, larger-diameter mount, which unlocks further possibilities of lens design. The Z mount system will offer a variety of high-performance lenses, including the fastest lens in Nikon history, with f/0.951. Additionally, the new mount adapter will enable compatibility with NIKKOR F mount lenses, adding to the range of choices for photographers.

    The letter “Z” represents the culmination of Nikon’s relentless pursuit of ultimate optical performance, and a bridge to a new chapter. It is about redefining possibilities to provide image makers with tools to pursue greater creativity.

    Nikon will expand the value of mirrorless cameras through the pursuit of a new dimension in optical performance, and by upholding Nikon’s tradition of quality while responding to the evolution of imaging technology. By providing image makers with stimulating new products, Nikon will continue to lead imaging culture.

    Z 7, Z 6 Product Overview

    The Z 7 and Z 6 are equipped with a new backside illumination Nikon FX-format CMOS sensor with built-in focal-plane phase-detection AF pixels, and the latest image-processing engine, EXPEED 6.

    The high-resolution Z 7 has 45.7 effective megapixels, and supports a standard sensitivity range of ISO 64–25600. In combination with NIKKOR Z lenses, the camera achieves an outstanding level of sharpness and detail, all the way to the edges of the image.

    The versatile Z 6 is an all-purpose FX-format camera with 24.5 effective megapixels, and supports the wide sensitivity range of ISO 100–51200. With superior performance at high ISO sensitivities and full-frame 4K UHD video capture with full pixel readout, the Z 6 responds to a variety of needs, such as shooting in dimly lit environments and high-quality movie recording.

    These two models combine legendary Nikon reliability and a familiar interface with the benefits of a mirrorless, including rapid FPS, hybrid AF, silent shooting and advanced multimedia capabilities.

    Primary Features of the Z 7 and Z 6

    1. Equipped with a new backside illumination Nikon FX-format CMOS sensor with focal-plane phase-detection AF pixels

    A backside illumination CMOS sensor without an Optical Low Pass Filter, with focal-plane phase-detection AF pixels, has been adopted for both the Z 7 and the Z 6. The Z 7 has 45.7 effective megapixels, and supports ISO 64–25600 range of standard sensitivities (reduction to the equivalent of ISO 32 and expansion to the equivalent of ISO 102400 is also possible). The Z 6 has an effective pixel count of 24.5 megapixels, and supports a broad range of standard sensitivities, from ISO 100–51200 (additional reduction to the equivalent of ISO 50 and expansion to the equivalent of ISO 204800).

    1. A fast and accurate hybrid AF system with focus points covering approximately 90% of the imaging area

    The Z 7 has 493 focus points2 and the Z 6 has 273 focus points2, enabling broad coverage of approximately 90% of the imaging area both horizontally and vertically. This hybrid AF system uses an algorithm optimized for the FX-format sensor, to automatically switches between focal-plane phase-detection AF and contrast-detect AF when focusing to achieve focus. Newly-designed NIKKOR Z lenses take full advantage of this system, providing faster, quieter and with increased AF accuracy than previously possible for both still images and videos.

    1. The new EXPEED 6 image-processing engine for sharp and clear imaging, and new functions that support creativity

    The Z 7 and Z 6 are equipped with the new EXPEED 6 image-processing engine. Employing the superior resolving power of NIKKOR Z and NIKKOR F mount lenses, subjects are rendered more sharply than ever before. Noise is also effectively reduced.

    Additionally, a mid-range sharpening option has been added to Picture Control sharpness parameters. This option, along with existing sharpening and clarity parameters, allows users to make various textures within the screen sharper or softer, for both still images and video3. The cameras also offer 20 options of Creative Picture Control, supporting creative imaging expression. The effect level is adjustable from 0 to 100.

    1. An electronic viewfinder that utilizes Nikon’s superior optical and image-processing technologies to offer a clear and natural view

    The electronic viewfinder adopted for the Z 7 and Z 6 is comfortable and easy to use, comparable to optical viewfinders. Both cameras are equipped with an electronic viewfinder for which an approximately 3690k-dot OLED panel has been adopted. The electronic viewfinder has frame coverage and magnification of approximately 100% and 0.8×, respectively, as well as an approximately 37.0° diagonal viewing angle. It draws on Nikon’s superior optical technologies and image-processing technologies, ensuring a clear and comfortable view, with reduced aberration and minimum eyestrain, even during extended shoots. Furthermore, a fluorine coat that effectively repels dirt has been applied to the eyepiece protection window. In addition, the <i> menu can be displayed in the electronic viewfinder, allowing users to quickly view and adjust a variety of shooting settings, including ISO sensitivity, AF-area mode, and Picture Control, all while looking through the viewfinder.

    1. An ergonomic design unique to Nikon that enables intuitive and familiar operation

    The Z 7 and Z 6 have inherited the superior operability that Nikon has cultivated over the years through its development of cameras. The bodies are compact, while boasting a firm grip that is easy to hold, and the sub-selector and buttons such as AF-ON, ISO, and exposure compensation are all placed so that they can be operated swiftly and easily. Additionally, a display panel has been placed on the top plate of the camera, where information about settings can be displayed, similar to high-end digital SLR camera models.

    1. Video functions such as 10-bit N-Log that enables wide dynamic range, and timecoding that respond to professional needs

    The Z 7 and Z 6 support recording of not only full-frame 4K UHD (3840 × 2160)/30p movies using the FX-based video format, but also Full-HD/120p movies. Sharper 4K UHD movies are made possible, using the full-pixel readout4. Additionally, Active D-Lighting, electronic vibration reduction, and focus peaking can be used with 4K UHD and Full-HD movie recording. Nikon’s original N-Log color profile can also be used with 10-bit5 HDMI output. The N-Log setting utilizes extensive color depth and twelve-stop, 1,300% dynamic range to record a wealth of tone information from highlights and shadows for more effective color grading. Timecode support makes synchronizing video and sound from multiple devices easier. Additionally, the control ring built into NIKKOR Z lenses can be used to quietly and smoothly adjust settings such as aperture and exposure compensation.

    1. Nikon’s first6 in-camera vibration reduction with approx. 5.0-stop7 effectiveness

    The Z 7 and Z 6 are equipped with in-camera vibration reduction (VR). The VR unit provides compensation for movement along five axes. The effects of vibration reduction are equivalent to a shutter speed up to approximately 5.0 stops6. This function can also be used effectively with NIKKOR F lenses, including those not equipped with a VR function, with the Mount Adapter FTZ (sold separately)8.

    1. Other features
    • Same level of strength and durability, as well as dust- and drip- resistance, as the Nikon D850, offered in a compact body
    • A 3.2-in., approximately 2100k-dot touch-sensitive LCD monitor, with a tilting mechanism
    • Silent photography function eliminates shake and noise caused by shutter release,
    • Peaking stack image function9 enables confirmation of the area in focus after shooting using focus shift, which is convenient for focus stacking10
    • High-speed continuous shooting (extended)11 at approximately 9 fps (Z 7) and 12 fps (Z 6) captures fast motion
    • Interval timer photography that makes 8K (Z 7) time-lapse movie creation10 possible
    • An extended low-light metering range12 allows users to easily capture scenes such as the transition from sunset to starry night sky, using aperture-priority auto exposure
    • Built-in Wi-Fi® for direct connection to a smart device using SnapBridge
    • Built-in Wi-Fi® makes the transfer of images and movies to a computer possible
    • Support for existing digital SLR camera accessories such as the EN-EL15/a/b batteries, WT-7/A/B/C Wireless Transmitter (available separately) for transferring images and movies at high speed over a wired or wireless LAN, and radio-controlled/optical controlled Advanced Wireless Lighting, which makes flexible multi-flash photography possible

    Development of the MB-N10 Multi-Power Battery Pack

    The MB-N10 Multi-Power Battery Pack that is currently in development will hold two EN-EL15b, effectively increasing the number of shots possible and/or movie recording time by approximately 1.8×. It will provide the same level of dust and drip resistance as the Z 7 and Z 6, and will support USB charging using the EH-7P Charging AC Adapter. Information regarding the release of this product will be announced at a later date.

    Price and Availability

    The Nikon Z 7 will be available September 27 for a suggested retail price (SRP) of $ 3399.95* for the body-only configuration, or for $ 3999.95* SRP as a kit with the new NIKKOR Z 24-70 f/4 S lens. The Nikon Z 6 will be available in late November for the $ 1995.95* SRP for the body only configuration, or for the $ 2,599.95* SRP with the NIKKOR Z 24-70mm f/4 S lens kit. For more information on these and other Nikon products, please visit www.nikonusa.com.

    1. Within interchangeable lenses for Nikon SLR cameras and Advanced Cameras with Interchangeable Lens.
    2. With FX (36×24) image area and single-point AF enabled.
    3. Mid-range sharpness adjustment is only possible at “High quality” movie setting.
    4. DX-based movie format with the Z 7.
    5. Simultaneous recording of 4K UHD movies with 10-bit output to the camera’s memory card is not possible.
    6. Among interchangeable-lens cameras.
    7. Measured in accordance with CIPA standards (using the NIKKOR Z 24-70mm f/4 S, with zoom set at the maximum telephoto position)
    8. The level of compensation achieved when a NIKKOR F mount lens is used is not as high as that of a NIKKOR Z lens
    9. Can only be confirmed using the camera with which focus shift was performed.
    10. Third-party software is required.
    11. Continuous H (extended) in 12-bit RAW, JPEG, or TIFF format.
    12. With interval timer shooting or time-lapse movie recording with silent photography and exposure smoothing enabled.

    Nikon Z 7 specifications

    Price
    MSRP $ 3399 (body only), $ 3999 (w/24-70 F4 lens)
    Body type
    Body type Rangefinder-style mirrorless
    Body material Magnesium alloy
    Sensor
    Max resolution 8256 x 5504
    Other resolutions 5408 x 3600 (DX crop), 6880 x 5504 (5:4), 5504 x 5504 (1:1), 8256 x 4640 (16:9)
    Image ratio w:h 1:1, 5:4, 3:2, 16:9
    Effective pixels 46 megapixels
    Sensor photo detectors 47 megapixels
    Sensor size Full frame (35.9 x 23.9 mm)
    Sensor type CMOS
    Processor Expeed 6
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Auto, 64-25600 (expands to 32-102400)
    Boosted ISO (minimum) 32
    Boosted ISO (maximum) 102400
    White balance presets 12
    Custom white balance Yes (6 slots)
    Image stabilization Sensor-shift
    Image stabilization notes 5-axis
    CIPA image stabilization rating 5 stop(s)
    Uncompressed format RAW
    JPEG quality levels Fine, normal, basic
    File format
    • JPEG
    • Raw (NEF, 12 or 14-bit)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Manual focus Yes
    Number of focus points 493
    Lens mount Nikon Z
    Focal length multiplier 1×
    Screen / viewfinder
    Articulated LCD Tilting
    Screen size 3.2″
    Screen dots 2,100,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder magnification 0.8×
    Viewfinder resolution 3,690,000
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/8000 sec
    Exposure modes
    • Program
    • Aperture priority
    • Shutter priority
    • Manual
    Built-in flash No
    External flash Yes (via hot shoe)
    Flash modes Front-curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync, off
    Flash X sync speed 1/200 sec
    Continuous drive 9.0 fps
    Self-timer Yes (2, 5, 10 or 20 secs)
    Metering modes
    • Multi
    • Center-weighted
    • Highlight-weighted
    • Spot
    Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
    WB Bracketing Yes
    Videography features
    Format MPEG-4, H.264
    Modes
    • 3840 x 2160 @ 30p / 144 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 25p / 144 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 24p / 144 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 120p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 100p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types XQD card
    Connectivity
    USB USB 3.1 Gen 1 (5 GBit/sec)
    USB charging Yes
    HDMI Yes (micro HDMI)
    Microphone port Yes
    Headphone port Yes
    Wireless Built-In
    Wireless notes 802.11ac + Bluetooth
    Remote control Yes (via MC-DC2 or smartphone)
    Physical
    Environmentally sealed Yes
    Battery Battery Pack
    Battery description EN-EL15b lithium-ion battery & charger
    Battery Life (CIPA) 330
    Weight (inc. batteries) 675 g (1.49 lb / 23.81 oz)
    Dimensions 134 x 101 x 68 mm (5.28 x 3.98 x 2.68″)
    Other features
    Orientation sensor Yes
    Timelapse recording Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)