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Posts Tagged ‘Cameras’

Extended Spring Roll Camera Jacket launches for mirrorless cameras

02 Jun

Japanese company Extended has launched a new protective case for select cameras, the Extended Spring Roll Camera Jacket. This case is compatible with the Leica M series, Leica Q, Fuji X-Pro series, and other similarly-sized cameras. As the product’s name suggests, the Spring Roll protects cameras by wrapping around them; two small snap clasps are used to keep the case closed.

According to the company’s website, Spring Roll measures 155mm x 290mm when open; the lens cover has a 70mm diameter and a 55mm length. Extended Photographic recently launched the Spring Roll Camera Jacket on its website, where it is priced at ¥12,800 / $ 110 USD with shipping to the US being an additional ¥2,000 / $ 18.

Via: LeicaRumors

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm releases firmware updates for several cameras and software products

26 May

Fujifilm has released firmware updates for its camera models X-T2, X-Pro2, GFX 50s, X-T20, X100F and X-T1. The links below include download links for the updated camera manuals and full details about the updates:

  • Fujifilm X-T2 Firmware ver. 2.10
  • Fujifilm X-Pro2 Firmware ver. 3.10
  • Fujifilm GFX 50s Firmware ver. 1.10
  • Fujifilm X-T20 Firmware ver. 1.01
  • Fujifilm X-T1 Firmware ver. 5.20
  • Fujifilm X100F Firmware version 1.01

In addition Fujifilm has provided updates to several of its software products:

  • Tethered Shooting Software HS-V5 for Windows Ver.1.6
  • Tethered Capture Plug-in for Adobe Photoshop Lightroom Ver.1.6 (Windows / Macintosh)
  • Fuji X Aquire + PC AutoSave

Articles: Digital Photography Review (dpreview.com)

 
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Some Annoying Things About Photography and Cameras

26 May

Photography gave me a creative outlet in life, and I owe so much to it. It’s my form of escape and a way to relax. It pushes me to explore new places and it gets me out the door. I love it dearly.

That being said, there’s a lot about photography that annoys the heck out me, and here’s a list of everything I can’t stand. As a side note, I hope you don’t mind that I illustrate this article with some zen photography instead of pictures of the things that annoy me. That would just get my heart rate up too high.

Disclaimer: This article is meant to be tongue-in-cheek and have some fun. Don’t take it at all seriously, please!

Everything that annoys me about photography and cameras

Buttons

Have you seen a Nikon camera these days?? Most people will never need half of those buttons in their lifetime. Can’t they invent a camera that only needs a few buttons? Where is Apple when you need them?

But seriously, I wish more camera companies put extra time into thinking about ergonomics, design, and making everyday use more pleasant rather than trying to pack each camera with new unneeded features just to lure people into an upgrade.

Everything that annoys me about photography and cameras

Lens dust

Last time I changed lenses, I was literally in a vacuum chamber and still a piece of dust got stuck smack in the middle of the sensor. And is there anyone who can clean it easily near me? Nope, because Nikon stopped making repair parts available in order to shut down third party repair companies. So not only do I have to send my Canon camera to the factory for small repairs because my local shops couldn’t stay in business without the Nikon business, but I can’t even find someone locally to quickly clean my sensor.

Yes, I know I can do it myself, but I’d rather have someone trained so that I don’t screw something up.

Everything that annoys me about photography and cameras

Filters

Remember that time when you thought you needed all these expensive filters to be a good photographer? While you do need a few filters, everyone goes overboard at some point and now has a filter graveyard drawer.

Everything that annoys me about photography and cameras

Megapixels

We don’t need more megapixels Sony! Our computers and external hard drives can barely keep up. Instead, give us better ergonomics, better ISO, faster focusing, and better dynamic range. Which brings me to the next point.

Everything that annoys me about photography and cameras

Small cameras with big lenses

What’s the point in a tiny mirrorless camera with a massive 20-pound lens? Is it impossible to make that 24-70mm lens that everyone uses just a little bit smaller? Please take the money from the megapixel blitzkrieg department and put it into the making lenses smaller department.

Everything that annoys me about photography and cameras

Tripods

Why are all $ 300 tripods designed to fail after a year of use? I can’t imagine how much money the Planned Obsolescence Manager at Crap Tripod Inc. makes. We all learn this the hard way. We suffer until we get fed up and spend way too much money on a Gitzo that lasts us the rest of our lives and makes us really happy.

Everything that annoys me about photography and cameras

People walking in the way of your shot to get a closer shot

You’re pretending you don’t see me. I’ve been here for an hour. I’m a peaceful man, but I will strangle you with my remote shutter cord and break this tripod over your skull (not really, I’m just kidding!). Oh wait, it’s a Gitzo. This Gitzo will break your skull and then continue to work perfectly fine.

Everything that annoys me about photography and cameras

Neck pain

Please don’t carry your tripod over your neck. Use a backpack sometimes instead of a shoulder bag. Pick one lens before you go out the door instead of five. Stretch. Your body will thank you in 20 years when you’re not walking around like the Hunchback of Notre Dame.

Everything that annoys me about photography and cameras

Taking an iPhone photo of some sweaty person at a party with overhead lighting and them thinking it’s going to be amazing because I’m a photographer

I’m not Saint Theresa – I can’t perform miracles. Now stop trying to look like a duck.

Everything that annoys me about photography and cameras

People saying, “Isn’t everyone a photographer these days?”

You know, photography is a way for all types of people in all walks of life to find a creative outlet, and there’s a vibrant community of so many fun and interesting people that are drawn to it. But whether you meant it or not, that statement has a demeaning and devaluing undercurrent to it. All of us are completely different as photographers, just as anyone with a pen will write in a completely different way. Just because this amazing community is growing, does not mean that photography should be devalued.

Everything that annoys me about photography and cameras

When we’re traveling and I can’t skip out on all the fun stuff to take photos

You mean I have to go to a nice dinner at a fun looking place on the water with someone that I love dearly? What the heck – I want to go walk down this dirty alleyway for the next hour to take some moody photographs!

Everything that annoys me about photography and cameras

Conclusion

What things annoy or make you angry about photography or your gear? Please share in the comments below.

The post Some Annoying Things About Photography and Cameras by James Maher appeared first on Digital Photography School.


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How to Understand Your Camera’s Light Meter and Get the Exposure You Want

26 May

Regardless of how you shoot, and whichever shooting mode you prefer to use, there is one item that remains constant – the light meter. Somehow, either you or your camera has to know how much light in on your scene in order to determine the optimal combination of aperture size, shutter speed, and ISO sensitivity to get the photo you want. This tool, which may not seem all that relevant to new photographers, is called a light meter.

Understanding what your camera’s light meter does and how it works is critical to advancing your skills and helping you get the shots you really want. Hopefully, this article will help you get a grip on it.

How to Understand Your Camera's Light Meter and Get the Exposures You Want

An analogy to help you understand the light meter

Before I get into a discussion about how the light meter works, think about the last time you cooked some meat on the grill. Whether it was a steak, some pork chops, or even just a couple hamburgers – you likely had a vision in your mind of what the finished product would be.

For backyard chefs like me who aren’t very good at this sort of thing, we have to use a meat thermometer to make sure our food is properly cooked. There’s always the question of where to put the thermometer to check and see if the meat is done. Or, in photography terms, check to see if the meat is properly exposed. You can touch it to the surface, poke it through to the middle, or insert the thermometer at various points around your dinner in order to get a good overall reading.

Each method would work for a different scenario, but it all depends on what you are cooking and how you want the finished food to turn out.

How to Understand Your Camera's Light Meter and Get the Exposures You Want

Your camera’s light meter is like measuring the temperature using a meat thermometer. Placement is crucial for an accurate reading.

How the camera light meter works

When you point your camera at a scene you also need a way of measuring the incoming light so you know how much of it there is and what settings you (or your camera) need to control in order to get the shot you want. It’s just like measuring the temperature of your food with a thermometer to make sure it’s done properly.

Most cameras today use a process called TTL Metering, which stands for through-the-lens. It means that your camera examines the light coming in through the lens and evaluates the brightness of the scene. Then you, or your camera, can adjust the settings in order to make sure your photo is exposed how you want. You may not ever notice the light meter at work or even see that it’s there at all unless you shoot in Manual Mode. But trust me, it’s constantly monitoring the light whether you know it’s working or not.

View the metering scale in Manual Mode

To see the light meter doing its thing, put your camera in Manual Mode and look for a series of dots or vertical lines at the bottom of your camera’s viewfinder.

How to Understand Your Camera's Light Meter and Get the Exposures You Want

In Manual Mode, look at the bottom of the screen in your viewfinder. Notice the scale with zero in the middle. That is the light meter at work.

The number scale at the bottom of the image above is an example of a camera’s light meter, and the tiny little triangle shows whether the picture is properly exposed or not. In this case, the triangle is at 0, which means the image is neither under or overexposed, but changing the aperture, shutter speed or ISO would make the triangle move up or down the line accordingly and result in a picture that is either a little too bright or a little too dark.

What part of the scene is the camera measuring the light from?

While that is all well and good, it’s only part of the story because it doesn’t explain how your light meter actually functions. Is it looking at all the incoming light or just some of it? Where in the frame is it looking as it measures the light? Understanding the answers to these questions is the key to unlocking the power of your camera’s light meter, and it all has to do with what’s known as metering modes.

How to Understand Your Camera's Light Meter and Get the Exposures You Want

Measuring the Light

Most cameras today have a few basic ways of measuring the incoming light:

  1. Matrix or Evaluative Metering – the camera looks at the light in the entire scene and averages it, (Nikon puts a bigger emphasis on the area where your lens is focused as well). Nikon calls this Matrix Metering, Canon calls it Evaluative.
  2. Center-Weighted Average Metering – looks at the light of the entire scene and averages it, but with emphasis on the center of the frame. Nikon and Canon both call this Center-Weighted Average Metering.
  3. Partial Metering – this measures the light only in a small portion of the center of the frame (about 8-12% of the scene). This is a Canon metering mode, Nikon does not have one similar.
  4. Spot Metering – measures the light only in a small area around the central autofocus point (about 1.5-3% of the frame). Nikon and Canon both call this Spot Metering.

Other camera manufacturers have different names for these modes, but suffice it to say the way in which your camera measures incoming light can have a huge impact on whether your photo is properly exposed. As an example, here are three shots that were taken with different metering modes.

Image #1, taken with Matrix (Nikon) or Evaluative (Canon) Metering.

Image #2, taken with Center-Weighted Metering.

 

Image #3, taken with Spot Metering.

 

Reflective versus incident metering

There’s another aspect of light metering that comes into play when setting up a shot. It has to do with how TTL metering works as opposed to a handheld light meter.

Reflective metering

The former, (the type of metering used in DSLRs), works by measuring the amount of light that comes through the lens. But the problem with that is that unless you are pointing your camera directly at the light source, the light being measured is actually bouncing off your subject first.

All the colors we see in the world around us get their hues and tonal values by absorbing every color of light except for what is bounced off of them. As many of us learned in grade school, light is made up of a spectrum of colors including red, orange, yellow, green, blue, indigo, and violet. A green tree leaf absorbs every color of light except for green. A red car absorbs every color except for red, and so on.

reflective metering - camera light meter

When your camera measures incoming light, it’s looking at the amount of light being bounced off your subject, not the amount of light actually hitting your subject. This has huge implications and can dramatically affect your exposure. In the illustration above, the subject is wearing clothes that absorb most colors of light except for blue, which means there is still a great deal of light being bounced off him and sent to the camera. However if the child changes clothes things can change a great deal.

reflective metering dark subject - camera light meter

In the illustration above, even though the amount of light hitting the boy has not changed, the camera will read the scene much differently because he is now wearing a dark shirt and pants. The camera will think it needs more exposure to compensate for what it thinks is less light on the scene, and the overall image will be overexposed as a result.

Here’s a real-world example of how this works:

reflective metering - camera light meter

Nikon D7100, 200mm, f/2.8, 1/8000th of a second.

In the photo above, so much light was being reflected off the girl’s white shirt that my camera had a hard time metering the scene properly. Much of the sunlight was bouncing off the shirt and coming directly back to my camera, so it responded by using a very fast shutter speed and low ISO value in an effort to make sure the shirt was properly exposed. Unfortunately, the rest of the scene was underexposed as a result.

Nikon D7100, 200mm, f/2.8, 1/1500th.

This was a few seconds later in the exact same spot, and all I did was have her put on a brown shirt. With much of the light from the sun being absorbed by the dark color of her outfit, my camera created a much brighter exposure by using a slower shutter speed. Not as much light was being captured by the TTL metering system so the camera thought more light was required for a good exposure.

Incident metering

This phenomenon can be particularly troublesome if you are shooting a wedding; grooms often wear dark tuxedoes whereas brides will usually be dressed in dazzling whites, which can really throw off your camera’s TTL metering system. The solution is to use an external handheld light meter, such as the Sekonic L-308S-U, which actually measures the amount of light falling on the subject.

Handheld light meter for incident light metering (light falling on the subject).

In the image above you can see that the meter shows you need an aperture value of f/16, shutter speed of 1/125th of a second, and ISO 100 in order to get a properly exposed scene. These numbers will likely be different from what the camera’s TTL system measures because some light will invariably be absorbed by the subject, which is why an external system like this can be so useful.

Here’s how the diagram from earlier would look if the setup involved an external handheld incident light meter.

incident metering - handheld light meter

You will often see wedding photographers using a light meter such as this in order to get a more accurate reading of how much light is hitting the wedding party during formal photos. This is especially true if they’re using a system of flashes or external speedlights because they need to know how much extra light the scene will require or tolerate.

When shooting a wedding it is quite common for the bride to wear a white dress, which reflects a great deal of light, and the groom to wear a dark tuxedo which absorbs almost all light. This can wreak havoc with a TTL metering system, and an external light meter is a great way to address the problem.

light metering - camera light meter

Conclusion

The overall goal here is to understand how the light meter in your camera functions. This, in turn, will help you know how you will need to alter the exposure settings to get the shot you want.

I hope this article has been helpful in explaining how the light meter works, how light is reflected off your subjects, and why your camera may not see a given scene quite like you expect it to. Ultimately it’s important to remember that there is no one correct way of metering a scene. Any of the metering modes and methods will work as long as you know what you are shooting and what type of results you are trying to achieve.

Knowing the difference between the various metering modes and types, and understanding how light is measured as it hits your camera can help you get the shots you want. None of these methods are any better or worse than the other, but each one has its own strengths and weaknesses. The more you know about how all of this works the better equipped you will be to get precisely the photographs you want.

The post How to Understand Your Camera’s Light Meter and Get the Exposure You Want by Simon Ringsmuth appeared first on Digital Photography School.


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Analog gems: 10 excellent, affordable film cameras

20 May

Affordable analog

Battles rage over whether digital or analog is the better medium. But those shouting on both sides are missing out on the simple truth that the two compliment each other beautifully.

With digital photography, there is an ability and sometimes a desire to achieve something precise, while happy surprises can be a big part of the analog draw. Keen photographers realize that shooting with both mediums keeps one creatively-focused and balanced: aware that perfection exists, but open to creative serendipity. Moreover, film gives the user a chance to slow down and be decisive, and digital allows the user to quickly see results and learn.

Of course, many of the readers of our site are digital diehards. But let’s pretend for a moment that we’ve convinced you to dabble a bit in analog. What would be a good camera to run a roll through? What follows is a list of 10 cameras, all of which are easy to find, technically capable, and reasonably priced. These are cameras known for holding up mechanically and don’t require obscure or discontinued batteries, like mercury cells.

Of course, this list is far from complete – there are many excellent film cameras available that fit our criteria. Which is why we’ll be looking to add more periodically. So if there are any you feel particularly strongly about, let us know in the comments. Happy shooting!

Canon AE-1

History: The Canon AE-1 was produced from 1976-1984 and in that time more than a million units were sold. One of the first affordable SLRs on the market to feature TTL auto exposure metering, the AE-1 was also the first SLR to use a microprocessor. It is constructed mostly of injection molded plastic to keep costs down. However, this leads to a comparably lighter body than most metal SLRs of the day.

‘From 1976-1984…more than a million units were sold.’

Why we like it: This camera is a solid choice for beginners, offering both a shutter priority and a manual mode (though sadly no aperture priority mode). Metering tends to be accurate and the camera can be powered by a variety of common drugstore batteries. Canon FD lenses are cheap and readily available for the system.

Buy one: These cameras are extremely easy to come across in working order for under $ 100. If buying on eBay, you can often pick up an AE-1 with a bunch of FD lenses and other accessories for about the same price as the body.

Also consider: The Canon AE-1 Program (shown above). The Program was released in 1981 is the follow up to the original AE-1. It is largely the same camera, except for the inclusion of a Program auto exposure mode that sets both shutter speed and aperture.

Pentax K1000

History: The Pentax K1000 first debuted in 1976 (same year as the Canon AE-1) and was manufactured continuously for just over two decades. The body is made mostly of metal and the camera is fully mechanical in operation (there is no auto mode). The K1000 has a built-in light meter that runs on generic drugstore camera batteries. Just remember to put the lens cap on to avoid draining the charge!

Why we like it: The K1000 represents a very different approach to the amateur SLR market than the Canon AE-1. Both are great cameras with redeeming qualities, but we really appreciate the Pentax’s mechanical design, which means it can be operated without batteries (unlike the Canon). And due to its metal build, K1000’s tend to stand the test of time quite well. In short, these cameras have a reputation for being simple, but reliable – great for beginners or purists. And there is also a ton of great glass to be had for the system.

‘We really appreciate the Pentax’s mechanical design, which means it can be operated without batteries.’

Buy one: Not only are these cameras built to last, they were made non-stop for 21 years! So it comes as no surprise that they are easy to find used. Expect to pay between $ 50-$ 175 for one on eBay, depending on the condition. Snagging a deal that includes the body and some Pentax glass is not super likely, but also not impossible. Some collectors claim the bodies with “Asahi” on the prism are more reliable – as they are older and supposedly use fewer plastic components internally – something to keep in mind.

Photo credit: John Kratz

Olympus XA

History:  The Olympus XA is one of the smallest 35mm rangefinder cameras ever made. Sold from 1979 to 1985, this camera manages to tuck a very sharp Zuiko 35mm F2.8 lens (with a 4-blade aperture) behind a protective sliding door. The camera is aperture priority-only, however there is a +1.5 Exp. comp. lever on the bottom of the body. The camera itself is built mostly of plastic, but still feels dense in hand.

Why we like it: There’s a lot to like about this tiny rangefinder: It’s incredibly quiet, the lens is sharp and the metering is good. It also represents one of the most unusual camera designs of its time. The focusing lever is admittedly a bit small and fiddly, but the focus depth scale makes things a bit easier.

‘The Olympus XA is one of the smallest 35mm rangefinder cameras ever made.’

Buy one: It’s pretty easy to find this camera sold alongside its original accessory flash (which mounts on the side of the body). Expect to pay between $ 50-150 for one in working order, with or without the flash. A note of caution: sometimes these turn up in seemingly working order, but with a dead light meter (bad news for an aperture priority-only camera).

Also consider: The Olympus XA2. It is essentially a simplified version of the XA, but with a 35mm F3.5 lens and zone focusing. Some people find the XA2 easier for casual pointing and shooting.

Mamiya M645

History: The Mamiya M645 was the company’s first 6 x 4.5 format SLR-style camera and was manufactured from 1975-1987. It uses an electronic focal plane shutter and features an interchangeable finder and focus screen, but not interchangeable film backs. The camera uses a generic 6 volt camera battery. There are several different versions available including the M645 1000 and the budget-friendly M645J.

Why we like it: These are beautiful cameras both to hold and to operate. Not only that, they are also mechanically reliable. And while there are more feature-packed 6 x 4.5 cameras on the market (including many from Mamiya), few are as affordable as the original M645.

‘There are more feature-packed 6 x 4.5 cameras on the market, but few are as affordable or reliable as the original M645.’

Buy one: These cameras are easy to find in working order. You can expect to pick one up on eBay, with a lens, for between $ 250-350. Note: the M645J model (shown in the image above) is a stripped down version of the M645 for slightly less cash (it has a limited shutter speed range, no mirror lock-up, and one shutter release as opposed to two).

Nikon L35AF

History: Introduced in 1983, the L35AF was Nikon’s first compact with autofocus capability. Its sharp 35mm F2.8 lens and simple design led it to become a marketplace hit. The camera is fully automatic, but does have a +2EV exposure compensation lever on the front of the body. The metering cell is located directly below the lens and the camera can accept filters. It also has a built-in pop-up flash.

Why we like it: At first glance, the L35AF looks like a cheap, plastic camera. But looks are deceiving. This camera is in fact a gem (the body is actually metal with a plastic shell). As mentioned, the lens is sharp, and metering is accurate. AF is also surprisingly accurate. Plus, the camera is powered by two generic AA batteries. Technically-speaking, this is an outstanding film point and shoot. The only down side is the camera is a tad chunky.

‘The L35AF looks like a cheap, plastic camera. But looks are deceiving because this camera is in fact a gem.’

Buy one: You can expect to pay between $ 60-150 for one of these cameras, in working order, on eBay. However the L35AF often turns up in thrift store bins and at rummage sales. Spend a little time hunting and you might find one for under $ 10. There is also the Nikon L35AD, which is the same camera as the L35AF, but with an autodate function.

Minolta Hi-Matic AF2

History: The Minolta Hi-Matic AF2 first debuted in 1981 and is a fully-automatic fixed lens compact, with the exception of its manual film advanced/rewind (weird, we know). The camera has a fairly sharp 38mm F2.8 lens. And like the Nikon L35AF, the camera’s meter is located directly below the front element, which also accepts filters. The camera runs on two AA batteries and offers a pop-up flash.

Why we like it: There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness-to-price ratio, this camera is hard to beat. And while there is no exposure compensation lever as you’ll find on other fixed lens compacts of its time, the camera will warn you if there is not enough light or if a subject is too close. It does this by emitting an irritating beep. It’s plasticky, light weight and a lot of fun to shoot with.

‘There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness to price ratio, this camera is hard to beat.’

Buy one: These camera can be purchased in working order for between $ 10-35 on eBay. And if you are really turned off by the manual film advanced, consider the Minolta Hi-Matic AF2-M instead. It’s the same camera, but with a motorized film advanced.

Photo credit: Jonathan Mauer

Olympus Stylus Epic

History: The Stylus Epic or Mju II, as it was called in European and Asian markets, is a fully automatic, weatherproof compact camera that debuted in 1997. Like the Olympus XA, the Stylus Epic features a sliding door to protect the lens – it also doubles as an on/off switch. These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design. Plus the camera is powered by a long-lasting and easily obtainable lithium battery.

Why we like it: There’s a lot to like about the Olympus Stylus Epic. While not everyone is a fan of the camera’s odd, rounded design, this writer finds it fits perfectly in a back pocket. This, plus its weather-sealing make it a great take-everywhere-camera. Also, the flash starts charging as soon as the cover is opened, meaning it should be ready to go when it comes time to photograph a decisive moment.

‘These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design.’

Buy one: These cameras are a cult classic and can be a tad tricky to acquire. This is partly due to the fact that Olympus made numerous compacts under the ‘Stylus’ and ‘mju’ names. However the Stylus Epic/Mju II is optically the best and therefore the most coveted. You can generally find one for between $ 150 and $ 250 on eBay – not bad for a camera originally marketed as a budget compact.

Nikon N90s

History: The N90s, also know as the Nikon F90x in Europe, first debuted in 1994 and was manufactured until 2001. Geared toward advanced amateurs, this camera sounds quite advanced on paper, for a film SLR. Features like 3D Matrix metering, a top plate LCD, 4.1 fps continuous shooting in AF-C and a 1/8000 sec max shutter speed sound like digital camera specs. But don’t get too ahead of yourself, it has only a single AF point and AF performance does not compare to that of modern DSLRs. Still the camera is quite capable. And it runs on four ubiquitous AA batteries, which is a plus.

Why we like it: The turn of the century was an interesting time for camera makers: as consumers slowly began to shift from film to digital, a lot of advanced film cameras debuted at a time when the market was drying up. In a sense, the N90s offers nearly the same feel and handling of a modern Nikon DSLR in a film SLR body. If you’re a Nikon digital shooter, there’s simply no reason not to pick one of these up just to try. They are fantastic. 

‘The N90s offers nearly the same feel and handling of a modern Nikon DSLR, in a film SLR body.’

Buy one: It’s kind of crazy how cheap these cameras can be had. On eBay, expect to pay between $ 40-$ 120. Plus, they are easy to find in working order because of how recently they were manufactured. Just don’t expect to find a sweet deal on one with with a lens included. Oh and be aware, the rubberized coating on the body can become unpleasantly sticky with age, especially if the camera was stored in a warm environment.

Photo credit: Amydet at English Wikipedia

Minolta X-700

History: At the time of its release in 1981, the X700 was Minolta’s top tier manual focus camera. A market success, it was manufactured continually until 1999 and was also the final manual focus SLR the company made.  Stand-out features include TTL flash metering, a bright viewfinder and multiple auto exposure modes. Like the Canon AE-1, the body is made mostly of plastic, which keeps the weight (and manufacturing cost) down. It uses generic drugstore camera batteries.

Why we like it: The X-700 offers both Program auto exposure and Aperture Priority modes as well as full manual mode, making it a good choice for those learning. Plus, Minolta glass is fairly easy to come by on the cheap for this system.

‘The X-700 offers both Program auto exposure…as well as full manual mode, making it a good choice for those learning.’

Buy one: You can expect to pay between $ 75 – $ 150 on eBay for one of these cameras with a lens. And like the Canon AE-1, it’s pretty easy to come across a bundle with camera, extra glass and accessories for around the same price as a single camera and lens. 

Photo credit: Retired Electrician

Canon EOS 5

History: The Canon EOS 5, also sold as the EOS A2 in some markets, is a semi-professional SLR manufactured starting in 1992 and discontinued around the turn of the century. It uses Canon’s latest EF mount, first introduced in 1987. The camera features 16 zone evaluative metering and offers a top burst rate with AF, of 3 fps (5 fps in one shot mode). Other standout features include 5 selectable autofocus points as well as the very first iteration of Canon’s infamous eye-controlled focus. The body is powered by a single 2CR5 lithium battery. These batteries can be a tad pricey, but they’re easy enough to find online. 

Why we like it: High and mid-range SLRs from the 90’s are strange beasts: retro in format, while offering some modern-DSLR features. The EOS 5 is a great example of this: it’s highly capable despite its lack of a sensor. Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.

‘Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.’

Buy one: No need to break the bank. You can pick up one of these cameras body-only for between $ 30 – $ 100 on eBay. But because they use the modern Canon EF mount, picking one up with a decent lens is going to set you back considerably more.

What cameras should we add?

Is there a camera you feel strongly should be added to this list? Is it affordable, readily available and technically capable? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

 
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2017 Roundup: Semi-Pro Interchangeable Lens Cameras

20 May

What do we mean by Semi-Pro?

Within this category, you’ll find some of the most capable cameras the industry has to offer. The Semi-Pro name doesn’t indicate that they’re below the consideration of professionals, though. Quite the opposite: it means that their price and performance makes them attractive to a range of enthusiasts, photographers who make some money from their shoots and professionals who earn their livelihood with their camera.

Due to the fuzzy line between semi-pro and pro, we’ve made the decision to not include very high-end full-frame (e.g. Nikon D5, Canon 1D X Mark II, Sony a9) and medium format (e.g. Pentax 645Z and Fujifilm GFX 50S) cameras in this roundup.

All of the cameras in this price range use full-frame sensors. And while most of them are DSLRs, there are also several mirrorless options as well. Simply put, there is something here to satisfy just about everyone who is willing to pony up the requisite funds. Read through to see what makes this segment so cut-throat, and what innovations are driving this tier forwards at a remarkable pace.

The models covered in this roundup are:

    • Canon EOS 5D Mark IV
    • Canon EOS 5DS / 5DS R
    • Leica M10
    • Leica SL
    • Nikon D750
    • Nikon D810
    • Sony Alpha a7R II
    • Sony Alpha a7S II
    • Sony Alpha a99 II

Read on to see which cameras we chose as best-in-class!

Articles: Digital Photography Review (dpreview.com)

 
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2017 Roundup: Interchangeable Lens Cameras around $500

14 May

Entry-level interchangeable lens cameras have never been so affordable or more capable. There are plenty of choices around the $ 500 mark that will take better pictures than most cameras ever made.

They don’t always have the very latest sensors or the premium build quality of their more expensive midrange siblings – and their controls tend to err on the side of simple, rather than extensive – but they tend to be excellent value and comparatively easy to use.

All of these cameras – both mirrored and mirrorless – produce good image quality, offer respectable performance and can record Full HD video. The majority have Wi-Fi to make it easier to share images to a smartphone. Many of them are targeted toward beginners, with ‘help’ systems that point out the best settings to use for various shooting situations.

Those unfamiliar with DSLR and mirrorless cameras may be wondering what advantages and disadvantages each brings to the table. DSLRs are larger cameras, with a more ‘traditional’ shape and control layout, as well as an optical viewfinder. While they’re great for shooting stills, they’re not as well suited to video capture, and focusing using live view tends to be sluggish. Mirrorless cameras are typically smaller and are very capable video shooters, and live view focusing is much faster than most DSLRs. Two negatives about mirrorless cameras are that battery life isn’t nearly as good as a DSLR and – especially true in this class – they often lack a viewfinder.

Let’s take a look at several entry-level ILCs, with US MSRPs in the $ 500 region, kit lens included:

  • Canon EOS M10
  • Canon EOS Rebel T6
  • Fujifilm X-A3
  • Fujifilm X-A10
  • Nikon 1 J5
  • Nikon D3400
  • Olympus PEN E-PL8
  • Sony Alpha a5100
  • YI M1

Articles: Digital Photography Review (dpreview.com)

 
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Fantasea FRX100 V underwater housing released for Sony RX cameras

12 May

Fantasea has announced the launch of its new FRX100 V Housing, an underwater housing unit designed for the Sony Cyber-shot RX100 III/IV/V cameras. The housing offers protection from water, as well as elemental nuisances like sand and dust, and is rated for depths as low as 60m / 200ft. In addition to being shock-resistant and durable thanks to its injection-molded polycarbonate shell, the housing features a double O-ring seal, support for lighting accessories, and a removable anti-glare hood for using the camera’s LCD.

FRX100 V Housing users are able to access all of the Sony camera’s functions and controls, according to Fantasea, which says they are all ‘clearly marked’ on the housing. A special mount is included for attaching lighting accessories, and there’s also removable connection point for a double fiber optic cable. Operators have access to a dedicated video control button, and there’s likewise a removable flash diffuser.

Fantasea states that each underwater housing unit is equipped with a Moisture Detector installed inside, as well as a port cover and hand strap. The housing is available to purchase from Fantasea now for $ 530.

Via: PhotographyBLOG

Articles: Digital Photography Review (dpreview.com)

 
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Google releases list of Street View-ready certified 360-degree cameras

12 May

Google has released a list of 20 360-degree cameras that are available or will be launched over the coming months that have been certified according to Google’s new ‘Street View ready’ standard. This means they can be used in conjunction with the Street View app to create content for the Google Street View platform. 

The cameras meet one of four new “Street View ready” standards, allowing users to choose the way of uploading 360-degree content that is most suitable for them.

  • Street View mobile ready: 360 cameras that can publish Street View directly from a mobile app, without requiring a desktop workflow

  • Street View auto ready: 360 cameras tailored for vehicle-based collection with the highest accuracy

  • Street View vr ready: 360 cameras or systems that collect geometry in addition to generating sets of connected 360 photos

  • Street View workflow ready: Publishing tools (sometimes bundled with cameras) that can upload to Street View accounts

You can see the list of certified cameras in the graphic at the top of this page. More information on the Street View ready standards is available on the Google developer website. Many of the cameras in the list will be on show at Google’s Street View Summit in Tokyo, Japan this week.

Articles: Digital Photography Review (dpreview.com)

 
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Viltrox launches lens adapters for Sony E-Mount and Micro Four Thirds cameras

10 May

Hong Kong based manufacturer Viltrox has announced three new electronic lens adapters for Sony E mount and Micro Four Thirds cameras. The NF-E1 model lets you use Nikon Nikon F mount lenses on Sony E mount cameras. The EF-M1 and EF-M2 models let you connect Canon EF and EF-S lenses to your Micro Four Thirds camera.

The latter comes with with four optical elements in four groups. According to the manufacturer this design results in a, compared to the EF-M1, one stop faster aperture and a focal length multiplier of 0.71x.

All adapters are made of metal and come with a USB port for firmware updates and gold-plated electronic contacts. Autofocus and aperture-adjustment from the camera are supported and Viltrox says the EF-models are compatible with all Canon EF lenses. Pricing and retail information have not yet been released. 

Articles: Digital Photography Review (dpreview.com)

 
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