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Canon RF 35mm F1.8 IS STM Macro Review

27 Jun
No Award

86%
Overall score

The RF 35mm F1.8 IS STM is one of four lenses announced alongside the Canon EOS R, the first camera in the company’s new EOS R mirrorless system.

Something of an odd one out in that quartet, it’s the only non L-series lens released for the RF line to date, although that will soon change with the arrival of the RF 24-240mm F4-6.3 IS USM later this year. It’s also around half the price of the next cheapest lens in the system, while its focal length and aperture, combined with the fact that it’s a prime lens, also allow it to be considerably smaller and lighter than every other option so far. All of this should mean it holds particular appeal for EOS RP owners who’d like to start exploring the native lens selection but find their camera bodies – and/or wallets – overwhelmed by the other current native offerings.

A 35mm F1.8 option is a fairly sensible and versatile lens to have at the start of a system, and its broad appeal should pique the interest of street, travel, nature, portraiture and even landscape photographers. The added bonus of image stabilization also makes the absence of sensor-based stabilization from the current bodies less of an issue, while ‘Macro’ in the name indicates a close focusing distance of 17cm / 6.7 in (albeit shy of being truly macro, offering a maximum reproduction ratio of 1:2).

All pictures by Matt Golowczynski unless otherwise noted.

Key Specifications:

  • Focal length: 35mm
  • Aperture range: F1.8-22 (In 1/3EV stops)
  • Filter thread: 52mm
  • Close focus: 0.17m (0.56ft / 6.7in)
  • Maximum magnification: 0.5x
  • Diaphragm blades: 9
  • Hood: EW-52 (optional)
  • Length / Diameter: approx. 74.4 x 62.8mm (2.93 x 2.47in)
  • Weight: approx. 305g (approx. 10.8 oz.)
  • Optical construction: 11 elements in 9 groups

The lens has a new formula that sees 11 elements arranged in nine groups. This includes a single glass moulded aspherical element within the focusing group in the middle of the formula, which is in place both to combat spherical aberration and also to keep image quality consistent over focusing distances.

With the lens mounted on either the EOS R or EOS RP, you have access to Canon’s full suite of aberration-rectifying options that deal with vignetting, lateral chromatic aberration, distortion and diffraction, in addition to the Digital Lens Optimizer that aims to counter the softening effects from diffraction, among other things.

The optical design of the RF 35mm F1.8 Macro is similar to the older EF 35mm F2, but flipped. Whereas the older optic (designed for DSLRs) has a large front element and a small rear element, the RF 35mm F1.8 (designed for mirrorless) has a small front element and a large rear element.

Canon has pointed out how the RF mount’s width and the short flange back distance gives new freedom to lens designers, and the optical design here – or, more specifically, the way in which this differs from existing designs in similar lenses – appears to back that up. The rearmost element sits very close to the back of the lens itself and is the largest in the array. Canon claims that this is one of the key reasons for the high corner-to-corner sharpness, even when the lens is used wide open. A diagram of the optical construction also shows that the aperture diaphragm is positioned relatively close towards the front of the lens, which is said to be one reason why the lens can offer such a wide aperture without compromising on size.

The diaphragm is made up of nine blades, which bodes well for round bokeh, while the minimum focusing distance of 17cm gives a minimum working distance – i.e. the distance from the front of the lens to the subject – of 7cm.

A hood isn’t provided with the lens as standard, and that may well be explained by the likelihood of the average user needing or wanting to use it with such an optic. Still, for this kind of money it’s a bit disappointing not to have a hood included.

Design and Handling

Not only is this is the lightest and most compact RF lens so far, but the roadmap Canon unveiled towards the start of the year suggests that will remain so for a while. It’s 30g lighter than the existing EF 35mm F2 IS USM and just a fraction wider, but 70g lighter and considerably shorter in length than the Nikon Z 35mm F1.8. Unlike the latter lens, however, this one isn’t weather sealed.

The lens balances very nicely on the EOS R body and is light enough to allow for one-handed operation when required. Two large switches on the barrel provide control over focus mode and image stabilization, and these click between positions positively. They also barely protrude from the casing, which makes it difficult to inadvertently knock them out of place.

The outer barrel’s matte gray finish mirrors that of the EOS R body, as does the silvery rear of the inner lens barrel with the host cameras throat. The mount is metal and build quality overall appears to be perfectly good.

The lens is encircled by a Control Ring towards its front and a focusing ring towards the middle of the barrel. While the pair sit close to each other, their different finish, together with the fact that the Control Ring is clickable, mean you’re unlikely to mistake them in use.

You can customize the action performed by the Control Ring to your liking, or even deactivate it completely if that suits you, and it’s also possible to switch the direction of rotation if the default arrangement bothers you. If enabled, you can opt for it adjust aperture, shutter speed, ISO or exposure compensation, and in each case you can select whether the ring adjusts these at all times or only when you have your finger half-pressed on the shutter release button. The setting you select stays the same between exposure modes, which you probably won’t find to be an issue unless you tend to hop between exposure modes with some frequency.

Some predictable limitations occur with some combinations or setting and exposure mode, such as no exposure compensation control in manual mode, and no adjustment of aperture in shutter priority mode (and vice-versa).

The Control Ring provides excellent feedback, with increments nice and coarse, and the camera responds without any delay. Those looking to use the lens for video might be disheartened to learn there’s no way to alternate be-tween clicked and de-clicked operation, but if you’re happy with it being permanently de-clicked, Canon can do this for you (for a fee).

Articles: Digital Photography Review (dpreview.com)

 
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Video: Canon explains how its new RF lens mount is better than smaller, older mounts

18 Jun

Canon Imaging Plaza, an official Canon YouTube channel dedicated to showing off the latest Canon technologies and cameras, has shared a video highlighting the benefits of its new full-frame RF lens mount and the advantages it has over older lens mounts, such as its own EF mount.

The four-and-a-half-minute video uses CGI renderings and example images to show off the various benefits Canon’s RF mount offers and the technology that goes into its RF lenses.

A rendering comparison from the video showing how the light can be better controlled through elements when the elements are able to be placed close to the imaging sensor.

The narrator addresses the shorter back focus distance and larger diameter mount, which allows Canon to move the rear-most elements in lenses closer to the sensor, which helps to minimize chromatic aberration and allows engineers to get more creative with lens designs. Having the rear-most lens elements close to the sensor creates its own problems though, which leads the video to Canon’s SubWavelength Structure Coating (SWC) and Air Sphere Coating (ASC) technologies, which are designed to minimize ghosting and flaring in images.

A comparison shot from the video that shows how the shorter back focus distance and larger diameter mount can yield better image quality—especially near the edges of the frame—thanks to better aberration control.

The video also mentions the additional contacts found in the RF lens mount, which are designed to increase the bandwidth of data and power that flows to and from the lens through the camera.

While this video is clearly about Canon’s RF mount, the pros (and cons) of larger-diameter lens mounts and shorter back focus distances also apply to Nikon’s new Z mount, which is both larger in diameter (55mm to the RF’s 54mm) and features a closer flange focal distance (16mm to the RF’s 20mm).

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D3500 vs. Canon T7: Which is better?

16 Jun

Nikon D3500 vs. Canon T7: Which one should you buy?

You don’t need to know much about photography to know that Canon and Nikon are two of the major brands in the business of selling photographic equipment. And there’s a good reason why those names have so many fans: they make really good cameras and lenses, and have done so for generations.

It makes sense that many beginning photographers would turn to those same companies when looking for an inexpensive DSLR for the first time. The Canon EOS Rebel T7 / 2000D and Nikon D3500 are certainly two of the least expensive interchangeable lens cameras (meaning the lens comes off as opposed to being fixed to the body) you’ll find on the market now: at the time of writing, they’re each selling for about $ 400 with an 18-55mm kit lens.

So which one is better for a beginning photographer? We think that the Nikon D3500 will be the better choice for most people. The bundled 18-55mm F3.5-5.6G VR kit lens is superior to Canon’s, battery life is more robust and users who plan to do significant post-processing will find Raw files more malleable. But as usual, there’s more to the story than just that.

Read on for a detailed feature-by-feature comparison and find out how we came to our conclusion.

Photo quality vs. a smartphone

If you’re considering either of these cameras, there’s likely one question at front of mind: How much better will it be than my smartphone? The answer is a bit complicated.

Both the D3500 and T7 use 24 megapixel APS-C sensors, which are many times larger than anything found in a modern smartphone. Bigger sensors come with benefits: more flexibility processing image files, and all things being equal, better low light performance.

But things aren’t exactly ‘equal’ anymore. Smartphones are now using computational techniques to reach beyond the limitations of a smaller sensor: Night Sight in the Google Pixel is an example of this. In short, the advantages of a big sensor are somewhat diminished, especially if your photos will only ever be viewed on a computer screen or a mobile device.

However, 24MP of resolution comes in handy if you’d like to make large prints, or if you plan on making substantial post-processing edits. And there’s the potential for zoom: the bundled kit lens provides a bit more reach than the telephoto lens on most smartphones, and there’s always the option to buy additional, longer zoom lenses.

The advantages of a big sensor are somewhat diminished, especially if your photos will only ever be viewed on a computer screen or a mobile device

And then there’s bokeh: the lovely blurry background effect imitated by portrait mode. Without getting too in-depth, smartphones with portrait mode will generally produce synthetic bokeh that looks close enough to the real deal to satisfy most users, and in many cases will produce a stronger blurred effect than either camera’s kit lens is capable of.

If highly convincing bokeh is a priority though, you can add an inexpensive 50mm F1.8 lens to either camera and the results will (for now, at least) outperform a smartphone. And if you don’t have a recent smartphone with a good portrait mode, a camera with additional lens will cost quite a bit less than a $ 1000 flagship smartphone.

This is a long way of saying that yes, the 24MP sensor in either the D3500 or T7 is better than what’s in your smartphone, but that doesn’t necessarily translate to the image quality advantage that you might expect.

Photo quality vs. each other

Comparing the two cameras, you won’t see any dramatic differences in image quality. The Nikon offers a higher ISO sensitivity, which will allow for shooting in very dark conditions without a flash (and quite a bit of unpleasant splotchy noise as a result). Some people prefer Canon’s out-of-camera color rendition and tendency toward deeper reds, but the differences are subjective and subtle.

The Nikon does offer more malleable Raw files if you intend to push shadows in post-processing, but it’s not something we find a lot of beginning photographers wanting to do.

Each camera sells with an 18-55mm F3.5-5.6 lens, which will be wide enough for landscapes and long enough to frame a head-and-shoulders portrait. While they both offer stabilization and cover roughly the same focal range, the lenses are quite different in age: Nikon’s 18-55mm is about three years old, surprisingly sharp and collapsable when it’s not in use. Canon’s lens dates back to 2011 and isn’t as sharp.

Viewfinder and Live View

Both the T7 and D3500 offer 3″ 921k-dot non-touchscreens primarily for image review and navigating menus. It’s possible to use the screens for still image composition and shooting, but live view (as it’s called) on both cameras uses a much slower autofocus system. Shooting with your eye to the optical viewfinder means you don’t get a live preview of your exposure, but you do get a faster autofocus system.

The viewfinders on these cameras are comparatively small, and less comfortable to use than that of a bigger, more expensive DSLR. There’s plenty to be said for having an optical viewfinder at all: they’re much easier to use in bright light than a rear screen, and provide a sense of ‘being there’ that many photographers prefer.

There’s no clear winner in this category: neither provides a great viewfinder, and for live image composition on an LCD (perhaps even with tap-to-focus!), you’ll want to look elsewhere.

Video

There’s not much to separate the T7 and the D3500 in terms of video recording capabilities. Both offer 1080p recording; the T7 provides up to 30 fps, the D3500 records up to 60 fps, which will represent fast motion better. However, you’ll be using live view to record video on these cameras and as we’ve already established, autofocus while shooting via the rear screen is not very good.

Both will record decent video clips, but if you own a smartphone that was launched in the last couple of years, chances are your phone will do just as well (or in some respects, even better).

Wireless image sharing

As is required of a digital camera in 2019, both the T7 and D3500 provide the means to beam images wirelessly from your camera to your phone. They go about this in slightly different ways. Canon has built Wi-Fi into the T7 which will connect with the company’s app. If you have an Android phone with NFC, the connection process is made even simpler.

Nikon takes a different approach, including only Bluetooth rather than Wi-Fi. This allows the camera to maintain the wireless connection and transfer 2MP images as you’re shooting, something not possible with Wi-Fi. The downside is that 2MP is your only image size option: which to be fair, is big enough for social media and 4×6″ prints.

For most users, the benefits of the constant connection will probably outweigh the need for high-resolution images, and we’d recommend the Nikon if easy image transfer and sharing is a priority.

Battery

At last! A category in which either of these cameras will run circles around a smartphone. If you rely mostly on the optical viewfinder for shooting, the T7 or the D3500 will get you through days of shooting without ever flashing the dreaded low-battery signal. The T7 is officially rated to 500 shots per charge (which tends to be lower than most people’s real-life results) which is quite good, so the D3500’s 1550 shots per charge rating is insanely good.

Relying heavily on live view or recording a lot of video footage will drain the battery faster, but as we’ve established, these aren’t strong suits for either camera so that’s kind of a moot point.

The D3500 comes out on top but both cameras are really winners here.

Conclusion

If you tally up the ‘points’ for the D3500 and you’ll see how we drew our conclusion that it’s the better pick between the two. However, the two cameras are incredibly similar in most ways, so it’s really only details like a nicer 18-55mm kit lens and incredibly robust battery life that tip the scale.

It’s pretty remarkable what both of these cameras offer for their price, but it’s also worth noting what you aren’t getting, like a touchscreen, faster autofocus in live view, robust continuous autofocus, subject tracking for sports and action photography, 4K video… you get the idea.

It’s pretty remarkable what both of these cameras offer for their price, but it’s also worth noting what you aren’t getting

If any of those features strike you as important, and you aren’t too attached to having an optical viewfinder, then it would be in your interest to consider options like the Canon EOS M100: we think it’s actually your best bet for under $ 500.

But there is something quite appealing about an optical viewfinder, the ergonomics of a DSLR and the way a traditional camera engages you in the process of taking pictures that smartphones can’t touch. If it’s these qualities you’re after, then we think the D3500 is well worth your time.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS 6D Mark II Review: Full-Frame King?

14 Jun

Moving from the APS-C to the full-frame world can be a very intimidating thing to do. After all, you’re going to spend a significant amount of money; money you have most likely been saving up for quite some time. There are so many options out there, and we know you want to pick a camera that will give the most Continue Reading

The post Canon EOS 6D Mark II Review: Full-Frame King? appeared first on Photodoto.


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Canon EOS Rebel SL3 review

12 Jun

Introduction

Silver Award

79%
Overall score

The Canon EOS Rebel SL3 (also known as the EOS 250D) is the the latest in the company’s lineup of ultra-compact DSLR cameras, and comes with a 24MP APS-C sensor that has accurate and easy-to-use Dual Pixel autofocus.

Not only does the SL3 have one of the best beginner-friendly ‘guide’ modes we’ve seen on a camera (the same as Canon’s very similar, but bigger Rebel T7i), but it’s capable of taking great images under a wide range of circumstances. It’s also fun to use, comfortable to hold, and has insane battery life: provided you use the optical viewfinder.

Key specifications:

  • 24MP APS-C sensor with Dual Pixel on-sensor Autofocus
  • Optical viewfinder with secondary 9-point autofocus system
  • 4K video recording (with 1.7x crop)
  • Fully articulating rear touchscreen
  • Excellent ‘guide’ mode for beginners
  • Wi-Fi with Bluetooth for image transfer and remote camera control
  • Impressive 1,070 shot battery life (CIPA rating) using optical viewfinder
  • Passable 320-shot battery life (CIPA rating) in live view with Dual Pixel AF

Even as the ‘compact’ DSLR model, the Rebel SL3 shares its sensor, processor and much of its feature set with Canon’s existing (and much smaller) EOS M series of mirrorless cameras. So why would you opt for the SL3 over, say, the Canon EOS M50, which will offer almost identical image quality? It comes down to a handful of personal preferences, particularly when it comes to viewfinders. The SL3 has an optical viewfinder, compared to mirrorless cameras’ electronic ones.

Put simply, an electronic viewfinder allows you to easily preview your exposure settings, but some people prefer the more ‘natural’ and immediate view of the world that an optical viewfinder provides. We’ll look at the differences in more depth in just a bit.


Features that matter

Why should you buy the Rebel SL3 over so many other options? Well, let’s take a look.

Read more

Using the Rebel SL3 on vacation

Turns out the SL3 makes for a pretty great vacation camera – provided you can look past a few caveats.

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Conclusion

The Rebel SL3 is a fine photographic companion, if not an absolute standout in today’s marketplace.

Read more

Sample gallery, image quality, lens quality

Click through to look at some pretty pictures from New Orleans, or get the details on the SL3’s image quality in our studio test scene.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Panasonic DFD vs. Canon dual-pixel autofocus

08 Jun

To DFD or not to DFD, that is the question.

Panasonic’s proprietary DFD (Depth from Defocus) autofocus system has both critics and fans, but Chris and Jordan think the system might have received a bad rap. In this episode they compare DFD to Canon’s Dual-Pixel autofocus system. Might the results surprise you?

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  • Introduction
  • How the autofocus systems work
  • Face detect C-AF
  • Single point C-AF
  • Tracking C-AF
  • Video C-AF
  • Shooting experience
  • Panasonic GH5 comparison
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Apple used an unreleased 8K Canon cinema camera to show off its Mac Pro, Pro Display XDR

04 Jun

During the launch of Apple’s new hardware and software yesterday at the World Wide Developers Conference (WWDC) 2019 an unreleased 8K Canon video camera was used to capture high resolution footage to demonstrate the quality of the new Pro Display XDR. The video camera was mounted on a robotic arm and was feeding the Apple display with 4:4:4 ProRes 8K raw video via an Atomos Shogun, according to tech YouTuber Jonathan Morrison who live streamed from the event.

During his video the Apple rep refers to the camera on the robotic arm as an ‘unreleased 8K Canon camera’ and from the clips it is easy to see it is designed in the style of the company’s C series. Interestingly, it appears to be mounted with a Sigma 18-35mm T2 in the EF mount. The relevant portion of the video is at roughly the 10:55 mark in the video below:

Canon has featured 8K demonstration cameras and displays in the past at its Canon Expo events, but this is the first time it has allowed the technology to be shown outside of the ‘showcase’ environment, and in a body form that we would recognize.

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery update: Canon RF 35mm F1.8 IS Macro

27 May

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Canon’s RF 35mm F1.8 IS Macro is a compact, affordable prime lens for the new EOS R system. The only non – ‘L’ lens currently available for Canon’s mirrorless EOS R and RP, the 35mm F1.8 offers a versatile focal length for everyday shooting, optical stabilization and a useful semi-macro focus capability.

We’re working on a full review of the RF 35mm F1.8 right now, but in the meantime we just added several images to our previously-published sample gallery.

See our updated Canon RF 35mm F1.8 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Canon now offers a service to de-click the Control Ring on its RF lenses

23 May

In addition to a larger diameter mount and additional contacts, one of new features of Canon’s RF lenses—and one of its EF to RF adapters—is the Control Ring, a physical dial around the perimeter of the lens that can be customized to control various camera functions including aperture, ISO and shutter speed.

By default, the Control Ring is adjusted in predetermined steps, which click into place while rotating the ring. While this is beneficial when you need a tactile indication of how many steps you’ve adjusted various settings, it does cause a bit of movement and noise, which isn’t helpful if you’re filming video.

An illustration provided by Canon showing off the Control Ring on its RF 35mm F1.8 IS Macro lens.

Canon is addressing this problem by offering a de-clicking service for RF lenses. According to a pricing sheet, Canon will charge $ 79.99 to de-click any RF lens and $ 59.99 to de-click the Control Ring Mount Adapter EF-EOS R, not including the cost of taxes and shipping. Once de-clicked, the lens or adapter will be able to be switched between its default functionality and the de-clicked mode.

The service can be scheduled via Canon’s customer service phone number (1-800-652-2666) or its online support page.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Canon EOS Rebel SL3 / 250D Review

18 May

The SL3 is the latest rendition of Canon’s super-tiny, entry-level Rebel. Added to the formula is 4K/24p video and enhanced eye-detection in Live View, but as Canon giveth… Canon taketh away. Find out Chris and Jordan’s impressions of the SL3’s still and video capabilities, and get ready for an intense case of déjà vu – especially if you’ve seen their review of the SL2.

  • Introduction
  • Design and Interface
  • Image Quality and Autofocus
  • Battery Life
  • Missing hot shoe sync
  • Optical Viewfinder Experience
  • Touchy Shutter Button
  • Video
  • Conclusion

Sample gallery from this week’s episode

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Our Canon EOS Rebel SL3 / 250D sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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