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Posts Tagged ‘Cameras’

Sigma Mount Converter MC-11 adapts Sigma lenses to E-mount cameras, supports autofocus

23 Feb

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Sigma has announced an adapter for Sony E-mount cameras, making it possible to use Sigma’s most recent lenses in Canon and Sigma mount on full-frame or APS-C E-mount bodies. The MC-11 adapter is able to use phase detection AF with adapted lenses, and makes use of both camera and lens stabilization when present. An LED display on the side of the mount provides compatibility information of attached lenses. The adapter also communicates EXIF data to the camera body, and retains profiles of compatible lenses – those included in Sigma’s Global Vision line – to optimize AF performance. 

Sigma has not announced pricing or availability at this time.

Press release:

New Sigma Global Vision Lens Mount Converter Expands High-Performance Lens Options for Sony Cameras

Brings Sigma’s Global Vision Lenses to the Sony E-Mount Camera Family

KANAGAWA, JAPAN — February 23, 2016 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessories manufacturer, today announced the release of its new high-performance Sigma Global Vision lens converter – the Mount Converter MC 11 – for Sony E-mount, full frame and APS-C sensor cameras. With the new MC-11, Sony camera users will be able to utilize 19 Global Vision lenses in Sigma Canon Mount (EOS) and Sigma Mount (SA).

“There are many challenges to designing high-quality mount converter and topping the list is aptly handling phase detection AF in newer cameras and this is where the Sigma MC-11 is groundbreaking in its support for the Sony E-mount systems,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “The new Sigma MC-11 mitigates complications with a purpose-built lens control data system engineered for maintaining superior AF functionality. So the growing number of Sony E-mount camera users who have been asking for more lens options, now have access to a large pool of lenses that fully embody Sigma’s signature quality and performance.” 

The Sigma MC-11’s sleek LED display lets Sony users know if the attached Sigma lens is compatible and whether or not the MC-11 needs to be updated for that specific lens. Its internal control data system keeps detailed information on each compatible Sigma lens, automatically optimizing performance of AF drive, aperture control and other critical lens functions. The MC-11’s internal control data system also maintains continuity with key camera functions that control brightness and correct transverse chromatic aberration, distortion, and more. The complete compatibility with both Sigma lens OS and Sony in-camera OS ensures correction of camera shake and other stability issues and when used with in-camera stabilization, MC-11 allows angle shake correction in the lens. The integrated flocking helps prevent internal reflections and reduction in lens performance. In addition, the MC-11 retains important EXIF data ensuring users can analyze every detail of their lens setting. 

The Sigma MC-11 converter can be updated with the latest compatible lens information from a workstation or laptop using the Sigma Optimization Pro software and Sigma USB Dock (sold separately).

For more information on the Sigma MC-11 converter please visit www.sigmaphoto.com/mount-converter-mc-11

Articles: Digital Photography Review (dpreview.com)

 
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GoPro to discontinue three cameras and exit entry-level market

06 Feb

This week, GoPro announced it will discontinue three of its six available action cameras and abandon the entry-level market. This follows the company’s preliminary fourth quarter results revealed last month. GoPro had stated at the time that poor holiday sales would likely result in low quarterly revenue, and that it would layoff 7% of its workforce as a result.

In a conference call this week, GoPro’s founder and CEO Nick Woodman said the company’s recent misfortunes aren’t due to increased competition. ‘Growth slowed in the second half of the year,’ said Woodman, ‘and we recognize the need to develop software solutions that make it easier for our customers to offload, access and edit their GoPro content.’

GoPro is banking on the improved software reversing its sales numbers, but it isn’t clear what other plans may be in place. Woodman said the company will be ‘delivering this new experience in 2016, period.’ In the meantime, though, GoPro anticipates its first quarter sales will be below analysts’ $ 300 million expectation, falling between $ 160 and $ 180 million.

GoPro will stop selling its HERO+ LCD, HERO+ and HERO entry-level cameras in April, making the $ 200 HERO4 Session its least expensive model.

Via: Financial Times

Articles: Digital Photography Review (dpreview.com)

 
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All cameras are great, but that doesn’t make choosing one any easier

22 Jan

It’s often said all modern cameras are good. And it’s true: That’s the reason most of the cameras we review get some kind of award. But it’s also close to meaningless. It seems to imply that it doesn’t matter which camera you buy, yet that’s as far from the truth today as it’s ever been.

The thing that stood out to me as we selected our recommendations in our recent roundups was that, no matter how much technology improves and cameras converge, there’s still a huge difference in terms of what each camera does well and what it falls down on. Which means there’s still a right and a wrong camera for you.

Not just any camera will do

It is also true of course that it’s your own skills, rather than the limitations of technology, that are most likely to hold you back. But again, this doesn’t mean that just any camera will do.

One of the most witless arguments I regularly see is: ‘it won’t improve your photography – Ansel Adams would get better photos using an iPhone.’ (And it’s always Ansel Adams, isn’t it?).

Follow that logic to its conclusion and none of us would ever use a proper camera. Sure, a great photographer will be able to take better photographs using any old camera, but they’ll probably take an even better photo if you give them a better camera – especially if it’s a better camera for them. And, while it’s obvious that a better camera won’t instantly make me a better photographer, it could result in me enjoying photography more.

There is no ‘best’ camera

Predictably enough, there were howls of outrage at the cameras we recommended, with owners of other brands passionately advocating for the camera they’ve chosen. And it’s easy to see how this comes about: along with a healthy dose of post-purchase justification I’d like to think that a lot of these people have bought cameras that are well suited to their needs. But this doesn’t mean they’d be well suited to everybody else’s.

We recommended the Sony a6000 in our roundups because it’s probably the best all-rounder in its class: it’s got a viewfinder, really good video, excellent autofocus and competitive image quality (despite its age). Yet it’s not the camera I’d buy for myself, in this category.

Just look at the mid-range interchangeable lens camera category. There is no camera that’s best at everything so in the end we selected the Sony a6000. It no longer offers the very best image quality or the very best specs, nor is it the stand-out leader for video at this point. However, without knowing more about the person we’re recommending it to, it stands out as the best all-rounder because it’s consistently competitive in every respect. By this same logic, we didn’t end up recommending a couple of cameras that we as a team really like.

The Fujifilm X-T10, for instance, is a cracking little camera, it borrows most of its technology from the much more expensive X-T1 and retains just about everything we like about that camera (the JPEGs, the controls, the choice of lenses…). However, its continuous autofocus simply isn’t a match for the likes of the a6000, NX500 or D5500 and its video is a significant weak spot, meaning it was never going to be one of our overall recommendations. And yet, for a certain type of photographer, it’s the best camera in its class.

Know your needs and be willing to grow

One of the key lessons, then, is that it’s important to think hard about what you want to use a camera for and what your priorities are. And just as a good camera can encourage you, a limited camera can limit you.

The Nikon D5500 offers some of the best image quality in its class, a well worked-out user interface, great autofocus and excellent battery life. But it’s also one of the bulkiest cameras in its class, one of the least video-friendly and one of the few not to include twin control dials for the price.

I regularly see comments saying ‘I don’t care that my camera isn’t very good at Movie shooting/Dynamic Range/Autofocus tracking, I never use it.’ Which increasingly prompts me to wonder whether that person might use the feature more it their camera was better at it. As I review cameras it’s occasionally frustrating to have to continue to use a feature that doesn’t work very well. I know I’d just stop using it if it wasn’t my job to persevere. So, before you consider your next upgrade, think carefully: might you use a feature more if it was easier to use or gave better results?

It still matters

This is why I think saying ‘all cameras are great’ is such an unhelpful statement: because they’re not equally great at everything and the differences still matter.

The Fujifilm X-T10 is the last camera I’d choose for video work and its continuous autofocus isn’t a match for the best of its peers. Yet there are plenty of people I’d recommend this camera to. Or the Olympus E-M10 II, for that matter.

The difference between the best and worst autofocus performance is the difference between it being easy to get the shot and there being a high chance you’ll miss the moment. The difference between the best sensor and the weakest is the difference between you having the latitude you need when you get to Lightroom and having to work out how to hide the noise. The difference between the best movie shooting camera and the worst is the difference between being able to easily capture great-looking footage and finding yourself thinking ‘can I really be bothered with this?’

So yes, most modern cameras are amazing, but not all of them will encourage, support and inspire you in your photography. And that’s got to matter, hasn’t it?

Articles: Digital Photography Review (dpreview.com)

 
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ZY Optics unveils new Lens Turbo adapters for Micro Four Thirds cameras

13 Jan

Chinese lens maker Zhongyi Optics has added M42, Canon FD and Minolta MD lens adapters to its second-generation Lens Turbo lineup for Micro Four Thirds cameras. Like Metabones’ Speedboosters, the adapters shorten the effective focal length, increasing the F-number by one stop and partially negating the crop factor. The 0.726x focal length reduction combines to give a net 1.45x focal length crop, rather than the 2x crop that you’d usually experience on a Micro Four Thirds camera.

These three adapters join ZY Optics’ existing Lens Turbo Version II adapters for Canon EF and Nikon G lenses. Among the adapters’ four optical elements is an extra-low dispersion element, and all three offer stainless steel mounts and metal bodies.

All three adapters are available directly from ZY Optics for $ 149 USD.

Articles: Digital Photography Review (dpreview.com)

 
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UHD Alliance sets ‘premium’ standards that could prompt higher-quality 4K cameras

07 Jan

As the industry starts to set quality standards, camera manufacturers may be pushed towards offering higher-quality 10-bit 4K recording. The UHD Alliance, a group made up from leading producers, distributors and device makers has defined the Ultra HD Premium brand that requires certain minimum specifications to be met for content production, streaming and replay.

The most interesting detail is the requirement for 10-bit capture, distribution and playback, meaning cameras must be able to record 10-bit footage to meet the standard. We’re hoping this will mean higher bit-depth recording from 4K-capable cameras to allow their use in productions hoping to carry the Ultra HD Premium branding.

At present, most cameras we encounter can only capture 8-bit files, limiting dynamic range and flexibility at the color grading stage.

Press Release:

UHD Alliance Defines Premium Home Entertainment Experience

Unveils Consumer-Facing “ULTRA HD PREMIUM” Logo and Begins Certification, Licensing Establishes First Cross-Industry-Developed Quality Criteria for HDR across Displays, Content and Distribution

LAS VEGAS–(BUSINESS WIRE)–Enjoying a premium, full-featured Ultra High Definition in-home experience has been simplified for consumers as the UHD Alliance (UHDA), the inter-industry group charged with fostering the Ultra HD ecosystem and promoting the benefits of Ultra HD entertainment technology, today unveiled a consumer-facing logo to identify devices, content and services capable of delivering a premium experience to an exploding Ultra HD market that is expected to grow eightfold by 2019. The UHDA also announced the start of licensing of its ULTRA HD PREMIUM logo.

Developed through the collaborative efforts of leading film studios, consumer electronics manufacturers, content distributors and technology companies, the Ultra HD Premium specifications reflect collective expertise from across the Ultra HD ecosystem, as well as significant input gleaned from experiential consumer testing.

The UHDA’s ULTRA HD PREMIUM logo is reserved for products and services that comply with performance metrics for resolution, high dynamic range (HDR), peak luminance, black levels and wide color gamut among others. The specifications also make recommendations for immersive audio and other features. These advances in resolution, contrast, brightness, color and audio will enable certified displays and content to replicate the richness of life’s sights and sounds and allow in-home viewers to more fully and accurately experience the content creator’s vision.

“The diverse group of UHDA companies agreed that to realize the full potential of Ultra HD the specs need to go beyond resolution and address enhancements like HDR, expanded color and ultimately even immersive audio. Consumer testing confirmed this,” said UHD Alliance President Hanno Basse. “The criteria established by this broad cross section of the Ultra HD ecosystem enables the delivery of a revolutionary in-home experience, and the ULTRA HD PREMIUM logo gives consumers a single, identifying mark to seek out so they can purchase with confidence.”

To ensure products bearing the ULTRA HD PREMIUM logo are certified and conform to the organization’s specifications, the UHDA has designated multiple, independent centers around the globe to handle testing. Companies throughout the ecosystem will work directly with these centers to have their products tested and certified.

The UHDA’s new ULTRA HD PREMIUM specifications cover multiple display technologies and reference established industry standards and recommended practices from the Consumer Technology Association, the Society of Motion Picture and Television Engineers, the International Telecommunications Union and others.

“Ever-rising consumer adoption of Ultra HD TV sets will fuel strong growth for the entire Ultra HD ecosystem over the next few years,” noted Paul Erickson, senior analyst at IHS Technology. “Annual worldwide shipments of Ultra HD TVs are expected to grow nearly 719% over the next several years according to IHS’ forecasts, from nearly 12 million in 2014 to nearly 96 million in 2019, with over 300 million in use by the end of 2019. For the many mainstream consumers looking to make sense of the various terminologies, acronyms and feature descriptions at retail, standardization efforts such as the UHDA’s “ULTRA HD PREMIUM” can reduce consumer confusion and help ensure consistency of both buyer expectations and the delivery of the end experience – benefiting not only consumers, but also the industry as a whole.”

Founded in January, 2015, the UHDA, has grown to more than 35 companies in two membership categories – Board and Contributor. In 2016, the UHDA will add a third member category, Adopter, for those who wish to license the Ultra HD Premium specifications. Collectively, the UHDA member companies will continue to lead the charge into this new era of home entertainment through advances in resolution, brightness, contrast, dynamic range, color and audio.

Companies interested in the UHDA specification and the associated licensing terms can obtain the UHDA Information Agreement and/or licensing terms by going through: http://www.uhdalliance.org/contact-us/.

ABOUT THE UHD ALLIANCE:

The UHD Alliance (UHDA), comprising more than 35 member companies, is a global coalition of leading film studios, consumer electronics manufacturers, content distributors and technology companies aligned to foster the creation of an ecosystem that fully realizes and promotes the next generation premium in-home entertainment platform. Key characteristics of a robust next generation experience should offer 4K resolution as well as a mix of other features that include high dynamic range, wide color gamut, high frame rate and immersive audio, among other features. UHDA Board members are executives from: The DIRECTV Group Inc, Dolby Laboratories, LG Electronics, Netflix, Panasonic Corporation, Samsung Electronics, Sony Corporation, Technicolor, The Walt Disney Studios, Twentieth Century Fox, Universal Pictures and Warner Bros. Entertainment. To learn more about the UHD Alliance, please visit: www.uhdalliance.org

“ULTRA HD PREMIUM” Logo
“ULTRA HD PREMIUM” logo is trademark of the UHD Alliance, Inc.

UHD Alliance Technical Specifications Overview

The UHD Alliance has developed three specifications to support the next-generation premium home entertainment experience. The three specifications cover the entertainment ecosystem in the following categories:

  • Devices (currently, television displays, with other devices under consideration)
  • Distribution
  • Content

A high level overview of each technical specification can be found below. Please join the UHD Alliance for full access to all technical and test specifications.

Devices

The UHD Alliance supports various display technologies and consequently, have defined combinations of parameters to ensure a premium experience across a wide range of devices. In order to receive the UHD Alliance Premium Logo, the device must meet or exceed the following specifications:

  • Image Resolution: 3840×2160
  • Color Bit Depth: 10-bit signal
  • Color Palette (Wide Color Gamut)
    • Signal Input: BT.2020 color representation
    • Display Reproduction: More than 90% of P3 colors
  • High Dynamic Range
    • SMPTE ST2084 EOTF
    • A combination of peak brightness and black level either:
      • More than 1000 nits peak brightness and less than 0.05 nits black levelOR
      • More than 540 nits peak brightness and less than 0.0005 nits black level

Distribution

Any distribution channel delivering the UHD Alliance content must support

  • Image Resolution: 3840×2160
  • Color Bit Depth: Minimum 10-bit signal
  • Color: BT.2020 color representation
  • High Dynamic Range: SMPTE ST2084 EOTF

Content Master

  • The UHD Alliance Content Master must meet the following requirements:
  • Image Resolution: 3840×2160
  • Color Bit Depth: Minimum 10-bit signal
  • Color: BT.2020 color representation
  • High Dynamic Range: SMPTE ST2084 EOTF

The UHD Alliance recommends the following mastering display specifications:

  • Display Reproduction: Minimum 100% of P3 colors
  • Peak Brightness: More than 1000 nits
  • Black Level: Less than 0.03 nits

The UHD Alliance technical specifications prioritize image quality and recommend support for next-generation audio.

UHDA Member Companies

Company

Membership Level
The DIRECTV Group, Inc. Board Member Company
Dolby Laboratories, Inc. Board Member Company
LG Electronics Board Member Company
Netflix, Inc. Board Member Company
Panasonic Corporation Board Member Company
Samsung Electronics Corporation Board Member Company
Sony Corporation Board Member Company
Technicolor Board Member Company
The Walt Disney Studios Board Member Company
Twentieth Century Fox Board Member Company
Universal Pictures Board Member Company
Warner Bros. Entertainment Inc. Board Member Company
 
Amazon.com Contributor
ARRI, Inc. Contributor
Dreamworks Contributor
DTS Contributor
Fraunhofer Gesellschaft Contributor
Hisense Contributor
HiSilicon Technologies Contributor
Intel Corporation Contributor
Koninklijke Philips N.V. Contributor
MStar Semiconductor, Inc. Contributor
Nanosys Inc. Contributor
Novatek Contributor
NVIDIA Contributor
Orange Contributor
Realtek Semiconductor Corp. Contributor
Rogers Communications Contributor
Sharp Corporation Contributor
Shenzhen TCL New Technology Co., Ltd. Contributor
Sky UK Ltd Contributor
THX Ltd Contributor
Toshiba Lifestyle Products & Services Corporation Contributor
TP Vision Europe B.V. Contributor

Articles: Digital Photography Review (dpreview.com)

 
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Opinion: Pour one out for Samsung cameras

06 Jan
I attended the Samsung press conference at CES in eager anticipation of new developments in Samsung’s NX line, but there was no mention of mirrorless cameras at all. Fridges though. Fridges have become a lot more advanced since the last time I was in a Sears. 

CES press conferences can be a bit overwhelming, especially when they’re presented by companies that make lots of different things. Take Samsung for instance: a company with an incredibly diversified portfolio of consumer electronic products. Their press conference draws an enormous crowd of technology journalists and industry folks from vastly different fields. Compared to the Nikon press conference I attended earlier this morning, the Samsung one easily had 20x the number of attendees, eager to hear about everything from fridges to virtual reality headsets. Of course, DPReview was there in the hope of reporting on new photography-related products. Silly us. 

The one-hour event opened with talk of Samsung’s wide range of products and went on to detail developments in everything from 8K televisions to smartwatches with Jean-Michel Basquiat’s artwork plastered on the face.

Somewhere in the middle of a presentation on space-age refrigerators with inward facing video cameras (so you can see just how moldy that peach you forgot about is?), I realized that Samsung’s line of mirrorless cameras had yet to come up. Hmmm. Looking at my non-smart watch with a mere 20 minutes to go, I figured there was still time for cameras to be at least mentioned. Even if only in terms of how they might work with other freshly-announced Samsung products. After all, Samsung impressed us enormously in 2015 with the ambitious, 4K-capable NX1 and NX500 and the company’s camera division seemed to have built up a lot of momentum in the middle of last year.

The Samsung NX1 is one of our favorite mirrorless cameras ever. But will there be an NX2?

But sadly I was wrong. Aside from the space-age fridge with the video camera inside it, the closest thing to photography that was mentioned was Project Beyond, a 360-degree VR camera, which was announced a few months earlier. The press conference concluded without dedicated stills cameras being mentioned once. 

Of course all of this is building up to the inevitable question: Is Samsung pulling out of digital cameras altogether? With the news back in November that Samsung was yanking the NX1 from European markets, the complete omission of digital cameras from a press conference at the world’s largest consumer tradeshow doesn’t bode well.

As the press conference wrapped up, and high-tech washing machines and smartphone-connected stoves appeared on stage via floating platforms (no kidding), I wondered whether the lack of photography news was a blip, or whether Samsung has indeed decided to place its bets on the connected home and device being the future of consumer technologies, not digital cameras. 

If so (and trust us, we know no more than you do) that’s a real shame. The NX1 raised the bar for mirrorless camera technology considerably, and the two ‘S’ lenses released alongside it are outstanding. Some of this technology may live on in some form or another in other Samsung products of course, but we were really looking forward to seeing how the NX system evolved.

At the end of the day, the last thing I want to see in the world of digital imaging is a lack of competition, and the loss of even one player is a mighty blow. Still, business is business, and maybe – just maybe – consumer mirrorless cameras are no longer part of Samsung’s long-term planning. We’ll continue to ask that question and we’ll let you know if we get a clear answer.

For now, pop open that Internet-connected Samsung fridge (you know, the one with the giant tablet built right into the door), grab an ice cold one and pour it on out for Samsung NX, because at this point, I would not be surprised if it’s a thing of the past. 

Hopefully I’m wrong.  

Articles: Digital Photography Review (dpreview.com)

 
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Overview of Several New Sony Cameras

04 Jan

Sony has released several new cameras over the last few months including:

  • The Sony Cyber-shot RX10 Mark II all-in-one camera
  • The Sony A7RII mirrorless camera
  • The Sony A7SII mirrorless camera
  • The Sony Cyber-shot RX1R Mark II full frame fixed lens camera

In these two videos you can get an overview of these cameras’ features and get an idea of which one might be right for you if you’re in the market for a camera:

First up the Cyber-shot RX10 Mark II:

B&H Photo does a good job going over the features of this camera and some of its strengths, including 4K video.

More Sony options – by Adorama TV

Adorama interviews Sony rep, Mike, about some of their A7 line-up.

Have you tried any of these cameras? Still want more info?  Try this pages:

  • The 19 Most Popular Compact System and Mirrorless Cameras with Our Readers
  • The 20 Most Popular DSLRs Among our Readers

Add your comments below if you’ve given any of these a test drive.

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The post Overview of Several New Sony Cameras by Darlene Hildebrandt appeared first on Digital Photography School.


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DPReview recommends: Best Cameras for Kids 2015

23 Dec

If they’re young enough, your kids have always known a world in which smartphones are the most popular devices for taking photos. That’s too bad. To ensure that the next wave of young photographers understand the performance and ergonomic advantages of using a real camera, you’ll need to get one into their hands as soon as possible.

But wait! Before you sneak a Nikon D810 into your baby’s basket of toys, you’ll need to consider choking hazards and the fact that some children are a lot more careful than others when it comes to handling expensive electronics. If you want to buy a camera specifically for your child – or a camera that your entire family can share without worrying too much – durability and ease of use are just as important, if not more, as image quality and features.

And, of course, much of that depends on the age and maturity level of your child. We wouldn’t trust any toddler or the vast majority of 10-year-old boys with an advanced point-and-shoot, but for a teenager or pre-teen that’s wise beyond their years and genuinely interested in photography, a compact with a lot of zoom and manual controls to grow into might be a great fit.

So here’s a selection of some of what we think are the best camera options for your kids. Most of these models aren’t specifically for kids, and all of the obvious caveats apply. Batteries aren’t edible, memory cards are choke hazards, cameras can hurt when they’re thrown at people, etc. All prices are approximate street prices, correct at time of publication, and if you think we’ve missed a model that deserves consideration, let us know in the comments!

Younger Kids

If you’re shopping for kids 6 and under, you probably don’t want to spend a lot of money, and durability is likely to be important. You want something lightweight that won’t break the first time it gets dropped, and the simpler the operation the better.

Vtech Kidizoom Connect ($ 48)

1.3MP sensor | 4X digital zoom | 1.8″ LCD | 320 x 240 video | 128MB built-in memory | uses AA batteries

Baby’s first piece of kit should be tough and inexpensive, and the VTech KidiZoom fits the bill. This durable 1.3-megapixel camera/toy comes has a fixed lens with 4X digital zoom, 128MB of internal memory (with an option for MicroSD memory card expansion), a 1.8″ LCD and 320 x 240 video. There are even three photo-related games to keep your kids entertained.

Nikon Coolpix S33 ($ 99)

13.2MP CMOS sensor | 30-90mm equiv. lens | Waterproof to 32ft | Shockproof from 5ft | Full HD video

Full specifications, sample images, user reviews and more 

Cameras do get bumped and dropped (or worse), making Nikon’s inexpensive waterproof, shockproof and freezeproof Coolpix S33 worth a look. It features an easy-to-use interface and dedicated one-touch buttons for simple shooting. Although it’s 13.2 megapixel CMOS sensor is roughly the size of what’s in your smartphone, it can capture decent quality images. Its lens has a focal range of of 30-90mm – adequate for most purposes. A dedicated movie record button allows users to quickly shoot Full HD video clips. The S33 offers sixteen creative styles and effects options (including Underwater Face Detection) and an option to shoot videos with a miniature effect.

Fujifilm instax mini 8 ($ 80)

Makes card-sized instant prints | 60mm equiv. fixed lens | Uses AA batteries | Comes in several colors

Now your kids can relive the days of instant prints with the Fujifilm instax mini 8, one of several models available from the company. It’s definitely not rugged, but the thrill of getting a 2.4 x 1.8 inch print in about 2-3 minutes will excite both kids and adults alike. The mini 8 is a very basic camera, with a small optical viewfinder (and no LCD), dial-in exposure, and a flash that always fires. One important thing to know is that instax cameras are a bit of a money pit, with a ten pack of film priced at around $ 8.50, so your little photographers will need to be pretty selective before pressing that shutter release button.  

Viddy Pinhole Camera kit ($ 57)

DIY pinhole camera | Accepts 35mm or medium-format film | Available in four colors

For the creative kid with a do-it-yourself attitude, the VIDDY is a pinhole camera kit made from tough, durable recycled cardboard in four colors: green, black, blue or red. It accepts both medium format and 35mm film. Bonus: it’s a perfect project between parent and child. Pop out VIDDY’s screen printed parts and assemble in 30 minutes.

Polaroid Cube ($ 99)

6MP sensor | 35mm lens w/124° angle-of-view | Weatherproof | Full HD video | Numerous mounts available

The latest HD action camera from Polaroid combines a 6MP sensor with a lens with an impressive 124° field-of-view and puts it into a weatherproof body measuring just 35mm on each side. The camera has can record Full HD video onto an optional microSD card, and a 90 minute battery allows extended recording for every bike ride and beach adventure. Just like more expensive GoPros, there are numerous mounts available for the Cube, plus an underwater housing. And a magnet in the camera’s base opens up even more potentially interesting vantage points.

For those seeking Wi-Fi capabilities, the Cube+ offers that for $ 149.

Older Kids

Durability may be less important in a camera for this age group, but it really depends on the child. In our selection we’re assuming that you’re buying for a kid who’s learned not to throw precious things around, and most of the models we’ve chosen offer a little room for your child to grow away from the strictly auto-everything snap-shooting if they get more confident.

Olympus Tough TG-4 ($ 349)

16MP BSI CMOS sensor | 25-100mm equiv. lens | Waterproof to 50ft | Full HD video | Wi-Fi + GPS

Full specifications, sample images, user reviews and more

For kids that are on the go – or have the tendency to drop expensive pieces of electronics, the Olympus TG-4 is a good choice. It’s well built, responsive, full-featured and produces excellent quality images for a small-sensor camera. It offers automatic shooting modes but opens up the world of manual exposure for older children ready to get their feet wet (no pun intended) in more serious photography. Other features include numerous ‘art filters’, Full HD video recording, and support for fisheye and telephoto conversion lenses. It has very good battery life as well, so it can make it through the day with ease.

The TG-4 is waterproof to 50ft, shockproof from 7ft, crushproof to 220lbf and freeze proof to +14F, so it can take a beating. Wi-Fi is built-in for easy photo sharing, and the GPS receiver will let young photographers check a map to see where a photo was taken.

Panasonic Lumix DMC-ZS50 ($ 250)

12MP BSI CMOS sensor | 24-720mm equiv. lens | Electronic viewfinder | Full HD video | Wi-Fi

For the child you trust with more fragile cameras, might we suggest the Panasonic Lumix DMC-ZS50. It’s a great camera to take on vacation, thanks to its long 24-720mm (30X) zoom lens and ultra-compact body. It offers speedy focusing and continuous shooting, and photos can be composed on either a 3″ LCD or a small (but still useful) electronic viewfinder. The camera can record Full HD video with ‘hybrid’ image stabilization to reduce severe camera shake. 

The ZS50 offers more advanced manual controls than the TG-4 above, so if you want to teach your budding photographer about aperture and shutter speed or how to manual focus, the ZS50 is a camera which can do it.

Apple iPod Touch ($ 199 and up)

Full-featured smart device | 8MP BSI CMOS sensor | F2.4, 29mm equiv. lens | 4″ Retina display | Full HD video

While it may be too early in their lives to buy your kids an iPhone, you might as well prepare for the inevitable by picking up an iPod Touch (2015). It’s essentially an iPhone without the phone, meaning that you get access to hundreds of thousands of apps, many photo-related, easy photo sharing over Wi-Fi, and all of the other things that have made iPhones a smash hit.

On the photo side, the iPod Touch sports a 8MP BSI CMOS sensor and an F2.4, 29mm equivalent lens, plus a lower resolution front-facing camera for selfies. It has the usual features you’d expect to see on a ‘regular’ camera, plus impressive Auto HDR and panorama features. The iPod Touch can also record Full HD video, with slo-mo and time-lapse options. You couldn’t ask for a better screen on which to compose photos, either, as the 4″ Retina display truly shines. You can even add extra lenses from companies like Olloclip for more flexibility.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview Recommends: Best compact cameras for travel 2015

23 Dec

Whether you’re traveling the world or the next town over, having the right camera at your side makes all the difference. We’ve picked out our best picks for the photographer who wants to keep things simple by carrying a compact camera rather than one with interchangeable lenses. If you fall into that category, we’ve got great news for you – there are more high quality cameras with attached lenses than ever before, brimming with features tailored to your needs. 

Fujifilm X100T

$ 1099 | 16MP APS-C sensor | 35mm equiv F2 lens | Hybrid electronic / optical viewfinder | 3″ LCD

Full specifications, sample images, user reviews and more

Few cameras in recent history have attracted as much of a cult following as Fujifilm’s X100 series. They’re the photographer’s darling – not just a good-looking camera, but a beautifully effective machine. The X100T is small and light, and won’t burden a weary traveler, and its low-profile lends itself to street shooting. If you don’t mind zooming with your feet, its 35mm F2 equivalent lens and 16MP X-Trans APS-C sensor will serve you well.

In addition to its travel-friendly size, the X100T offers a hybrid viewfinder with optical and digital views. That’s especially handy when the sun is high in the sky and the 1.04M-dot 3″ LCD becomes harder to see. Having been on the market over a year (at time of publication), its 16 megapixels are starting to feel quite low in comparison to some of its peers, but it also means that the price has dropped slightly since its launch. It is worth noting though that its movie mode, which was far from class-leading at launch, is now well behind the competition in terms of quality and 4K support.

With obviously classic design cues, the X100T’s controls and handling are timeless. Though it doesn’t offer the cutting-edge modern features of its newer peers, it won’t go out of style anytime soon. 

Also consider…

Ricoh GR II
Not a revolutionary update to the original by any means, but the Ricoh GR II’s 16MP APS-C sensor and 28mm F2.8 make the camera one of the best bargains on the market for under $ 600.

Panasonic Lumix FZ1000

$ 750 | 20MP 1″-type sensor | 4K video | 25-400mm equiv. focal range | XGA OLED viewfinder

Full specifications, sample images, user reviews and more

You can zoom with your feet all day long, but some situations and shooting styles call for real zoom. The Panasonic Lumix FZ1000 doesn’t top its class in terms of massive zoom reach, but its 25-400mm equivalent zoom opens up plenty of options, and an F2.8-4.0 aperture is brighter than most of its peers. With a 1″-type 20.1MP CMOS sensor, it borrows some tech from the GH4 including 4K video recording at 30 fps. Its DSLR-style build includes a fully articulated 921k-dot 3″ LCD and a 2.4M-dot OLED viewfinder.

Also consider… 

Nikon Coolpix P900 
On the seventh day, the Nikon Coolpix P900 was created. And there was much zoom. An incredible 24-2000mm equivalent range, in fact. The P900 uses a considerably smaller 16MP sensor than the FZ1000, but its lens is impressive considering what it has to do, the image stabilization is amazing, and the built-in GPS won’t let you forget where you’ve been.

Sony Cyber-shot DSC-RX100 IV

$ 950 | 20MP 1″-type sensor | F1.8-2.8 24-70mm equiv. lens | Pop-up EVF | 4K video

Full specifications, sample images, user reviews and more

It’s hard not to recommend the Sony RX100 IV to anyone buying a compact. It’s by no means a budget-friendly option, but it’s among the most capable pocket-sized cameras we’ve ever tested. Sony’s excellent 20MP 1″-type sensor is bigger than your garden-variety compact camera sensor with lots of dynamic range, and a 24-70mm equiv. F1.8-2.8 lens is much brighter than most of its competition. The camera’s tiny pop-up EVF is higher resolution than that of it predecessor and comes in very handy in bright outdoor light.

The RX100 IV really shines when you set the mode dial to movie mode. 4K/UHD recording is available, and at lower resolutions (upscaled to 1080p) high frame rates of 240, 480 and 960 fps can be used. Slow motion video is an awful lot of fun.

If you want to take control over your settings, shoot high quality video and make the most of your vacation Raw files, the RX100 IV is a solid choice. Of course, if you can live without 4K and high frame rates, the RX100 III will save you a couple hundred dollars and get you much of the same excellent image quality. Neither will get you a lot of zoom if that’s what you’re after, but their image quality is at the top of their class.

Also consider…

Panasonic Lumix DMC-ZS50 
Before there were fancy Sony point-and-shoots with 1″ sensors, Panasonic had the market cornered on premium zoom compacts for travelers. While its 12MP 1/2.3″ sensor looks a bit pedestrian in comparison, there’s something to be said for a 24-720mm equiv. zoom that just about fits in your pocket. And for under $ 300, it’s pretty much a steal for full manual controls, Raw support and Wi-Fi with NFC.

Panasonic Lumix DMC-LX100

$ 700 | 13MP Four Thirds sensor | 24-75mm equiv. F1.7-2.8 lens | Electronic viewfinder | 4K video

Full specifications, sample images, user reviews and more

Why stop at a 1″-type sensor? That’s the question Panasonic engineers must have asked themselves, and lo and behold, the Lumix LX100 was born. It uses a cropped 13MP Four Thirds sensor coupled with a very fast 24-75mm equiv. F1.7-2.8 lens and offers great ergonomics and handling for the kind of photographer who wants quick access to exposure settings. It’s not as pocket-friendly as the RX100 IV, but its solid handgrip gives it a steady feel and its responsive user experience is one of the best we’ve encountered in a compact.

In addition to recording 4K video, the LX100 also offers a useful 4K Photo Mode, which lets you extract a high quality 8MB still from your clip. Its time-lapse and stop motion animation modes are also a lot of fun. Its zoom is certainly on the shorter side, and for someone who plans to stay in Auto mode the camera’s controls and customization will verge on overkill. But for the seasoned photographer wanting to give her shoulders a break from the big camera, the LX100 is a joy to carry and shoot with.

Also consider…

Canon PowerShot G5 X 
If you want just a bit more zoom (100mm at the top end) and a more traditional SLR-style body you may want to consider the Canon PowerShot G5 X. It sports a 20MP 1″-type BSI CMOS sensor (likely the same as in the RX100 III) and a 24-100mm equiv. F1.8-2.8 lens, along with a fully articulating LCD, high resolution EVF, and full set of manual controls. It’s not great for action shooting and it lacks 4K video, but the G5 X is still worth a look.

Olympus Tough TG-4

$ 350 | 16MP 1/2.3″ BSI CMOS sensor | 25-100mm equiv. F2.0-4.9 lens | Everything-proof

Full specifications, sample images, user reviews and more

Nothing spoils a vacation like spilling a Mai Tai on your fancy new camera. The Olympus TG-4 isn’t just sealed against spills, its fully waterproof to 15m/50ft, as well as shockproof from 2.1m/7ft, crushproof to 100kg/220lbf and freezeproof to -10C/14F. Wherever your travels may take you, the TG-4 is up to the challenge.

Outside of its rugged specs, we like the TG-4’s ability to shoot Raw, making it possible to get very nice image quality with a little time invested in post-processing. Its moderate 25-100mm equiv. zoom, which is fast at its wide end, will get you a little closer to the action, and optional accessories like a macro LED ring light and waterproof fisheye lens open up more possibilities. It also provides the peace of mind of knowing your camera will survive just about anything your vacation throws at it.

Also consider…

Olympus Tough TG-860
The Stylus TG-860 is the TG-4’s more casual sibling, lacking buttoned-up features like Raw capture and Aperture priority mode, but provides identical rugged specifications with a flip-up selfie-friendly LCD. If you don’t anticipate doing extensive editing to your snapshots, the TG-860 is good, clean fun for a significantly cheaper price.

Articles: Digital Photography Review (dpreview.com)

 
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Kipon to launch reducer to mount medium format lenses on full frame cameras

18 Dec

Chinese lens manufacturer Kipon has announced that next year it will make available a reducing adapter that’s designed to allow medium format lenses to fit on full frame cameras. The adapter will have a magnification factor of 0.7x which it says will both widen the effective focal length of the lens in use and widen its effective aperture. 

The first adapter will be designed to mount Hasselblad lenses on Sony E-mount cameras, but the company says it is working on other mounts for a wider range of both lenses and host cameras. 

The lenses in the adapter channel the light from the exit element to create a tighter covering circle. This means light that would otherwise fall outside the sensor area is directed to land on it to be recorded.

When a 50mm Hasselblad lens is mounted on a current Hasselblad digital body it produces a similar image area to a 35mm lens on a full-frame camera. That calculation though is a factor of the sensor size of the Hasselblad camera, and the same lens would not deliver that apparent angle of view were it mounted on a full frame camera or in front of the 6x6cm film frames Hasselblad lenses were designed to be used with. 

The 0.7x magnification of the Kipon adapter has the effect of canceling out the crop factor, turning that 50mm Hasselblad lens back into a 35mm-equivalent on a full-frame camera.

The adapter will have to be very good quality to make the most of the resolution of Hasselblad lenses, otherwise the exercise will be a bit pointless. It is expected to retail for $ 415 when it becomes available in February.

For more information visit the Kipon website. 

Articles: Digital Photography Review (dpreview.com)

 
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