dSLR « 360Photography

RSS

Posts Tagged ‘dSLR’

Manager says Canon is willing to cannibalize DSLR sales with mirrorless cameras

06 Mar

Scroll through your photo news feeds this morning, and you’ll get a lot of “Canon manager confirms: Canon is shifting focus from SLRs to mirrorless” type headlines. But you may want to wait before you grab your hammer and smash that piggy bank in anticipation of new high-end mirrorless option from Canon, because the ‘manager’ in question confirmed no such thing.

The reports we’re seeing are based on a late-February report in Nikkei Asian Review titled, admittedly, “Canon shifts focus from SLR to mirrorless cameras.” The article was written the day after Canon released the M50 mirrorless camera, and in it, Nikkei quotes the president of Canon Marketing Japan, Masahiro Sakata, who identified mirrorless as a ‘growth market’ that Canon needed to invest in:

[Canon must] actively roll out products for a growth market even if there is some cannibalization.

Needless to say, this is not the same as confirming that “Canon is shifting focus from SLR to mirrorless cameras.”

The quote is still intriguing, however, especially in the light of recent shipment and sales numbers out of Japan. Quoting last year’s CIPA numbers, Nikkei points out that the Japanese market for interchangeable lens cameras dropped by 10% while mirrorless increased by just over 29%.

Over the years, the generally accepted narrative has been that Canon doesn’t want to invest in mirrorless because it will cannibalize its SLR sales. Sakata’s statement indicates that those days are over—Canon has noticed the industry trends, and is willing to “actively roll out” mirrorless cameras even if it means eating into sales of its affordable DSLRs.

Canon wants to be more active in the mirrorless space, but that doesn’t necessarily mean ‘high-end’ mirrorless like the full-frame Sony a7 III

When it comes to high-end mirrorless, however, Sakata was much more reserved. He tells Nikkei that Canon will “look at the timing and consider [releasing a high-end mirrorless cameras],” which makes it seem like Canon’s immediate mirrorless future might look more like the M50 than Sony’s a7 line.

Of course, only time will tell, and rumor sites are still speculating that Canon (and Nikon) will both debut full-frame mirrorless offerings at Photokina 2018. We just wouldn’t take these sparse quotes from Masahiro Sakata as “confirmation” that this will, in fact, happen.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

The Canon EOS 4000D might be the cheapest DSLR ever launched

27 Feb

Canon Europe has launched the EOS 4000D, a still more cut-down version of the EOS 2000D/T7 announced earlier today. The entry-level model will launch for around £330/€380 body only, which would equate to somewhere around $ 385 without tax. That’s the lowest launch price of any DSLR we can remember.

Canon’s four-digit-D series cameras, from the 1000D (Rebel XS) onwards, have always hit aggressive price points in the market by recycling existing components and features—we called the original 1000D a “reheated” 400D/Rebel XT at the time. But the EOS 4000D takes this to a new level.

The 4000D shares its body and viewfinder with its more expensive sibling (and previous cameras of this series), but relies on a version of the 18MP sensor first introduced nine years ago in the EOS 7D, and the Digic 4+ processor that made its debut in Canon’s 2014 model-year compacts. The camera’s rear display is a 2.7-inch LCD that we last encountered in 2011’s EOS 1100D/Rebel T3.

Finally, some kits of the camera will include the unstabilized 18-55mm F3.5-5.6 III first announced in February of 2011, although we’re pretty sure the plastic lens mount is a first for a digital EOS.

That’s not to say that Canon has just launched a DSLR from five years ago’s parts bin. Although it loses the NFC feature of the 2000D, it does retain Wi-Fi connectivity. This feature, a more modern version of Canon’s Auto modes, and its much-loved JPEG engine means the EOS 4000D is likely to be a pretty credible super-budget DSLR.

Still, we’ve not seen such aggressive corner cutting unit cost optimization since Sony’s a3000 (which was seemingly made from upcycled yogurt containers), and can’t think of a DSLR that has ever launched at a lower price.

Is there one we’ve overlooked? And what do you make of the EOS 4000D? Let us know in the comments.

Note: While the Canon EOS 4000D has only been launched in Europe thus far, don’t rule out seeing a wall of them at your local BestBuy just as soon as Canon US has worked out which random letters to call it.

Step up to effortless DSLR storytelling with Canon’s new EOS 2000D and EOS 4000D cameras

London, UK, 26th February 2018 – Canon Europe today unveils the launch of the EOS 2000D and EOS 4000D, Canon’s latest entry-level DSLR cameras. With a wide range of practical and easy to use features, these new cameras cater to the storytelling needs of individuals taking their first steps into interchangeable lens photography and those wanting to create superbly detailed DSLR quality pictures and cinematic Full HD movies with ease.

The newest additions to Canon’s entry-level DSLR range, the EOS 2000D and EOS 4000D have been designed for people who seek out new experiences and want to share their adventures seamlessly to social media. The cameras’ powerful combination of APS-C sensor technology, DIGIC 4+ image processor, seamless Wi-Fi connectivity and straightforward in-camera feature guides enable stories to be captured and shared with highly detailed photos and Full HD movies.

With the EOS 2000D featuring a new 24.1 Megapixel APS-C sensor, and the EOS 4000D using an 18 Megapixel APS-C sensor, each camera allows for compelling storytelling with superb control over depth of field for beautifully blurred image backgrounds. Shooting rich, atmospheric photos during night-time adventures is also made possible with both models capable of low light shooting up to ISO 6400, expandable to ISO 12800.

The DIGIC 4+ image processor, used in both models, powers Canon’s Scene Intelligent Auto mode, enabling simple point and shoot photography with superb image results, as it automatically optimises every shot. The fast and responsive DIGIC 4+ image processor enables the Full HD video capabilities in both models, breathing cinematic life into captured memories.

In addition to a rear mounted LCD screen (7.5 cm on the EOS 2000D and 6.8 cm on the EOS 4000D), both cameras feature a centrally mounted optical viewfinder, providing a distinctly authentic photography experience and allowing stories to be told just as they were experienced with the naked eye. Decisive moments in unfolding stories can be captured with responsive and precise nine point auto focus and continuous shooting at 3.0 frames per second.

Both cameras are Wi-Fi enabled for seamless smartphone connectivity via the Canon Camera Connect app (iOS and Android), enabling adventurers to rapidly shoot and share their content on social media whilst on the move. New images can be conveniently backed up to Canon’s cloud storage service, irista, via a Wi-Fi connection, ensuring stories and memories shared are never lost.

These processes are made even easier for the EOS 2000D with the inclusion of Near Field Communication (NFC), which can establish a Wi-Fi connection to a smartphone by simply tapping the device on the camera (available on compatible Android devices).

Both models include simple in-camera feature guides, perfect for those looking to improve their storytelling potential as they upgrade from a smartphone. Both cameras include six image settings outside of basic auto modes and a variety of creative filters, enabling experimentation with manual control and the artistic freedom to tell dynamic and vibrant stories. Those embarking on their first DSLR adventure will also benefit from the Canon Photo Companion app, which provides the necessary tips on getting the best out of the cameras.

The EOS 2000D and EOS 4000D’s excellent battery life delivers approximately 500 pictures, or one hour 30 minutes and one hour 15 minutes of HD video respectively, allowing for peace of mind during extended outdoor adventures and the freedom to explore.

Both DSLR models are compatible with over 80 Canon EF and EF-S lenses and range of accessories, giving beginners the greatest choice of systems as they grow and develop their photography skills. The new cameras will be sold as a body only option or with a selection of lens kit options, including an 18-55mm f/3.5-5.6 IS II lens.

Canon’s latest entry-level DSLR cameras offer a fantastic gateway to the joys of interchangeable lens photography. The Canon EOS 2000D and Canon EOS 4000D provide an easy and reliable shooting experience that enable users to capture detailed images and sharp Full HD video. As people step-up from their smartphone and expand their creativity, Canon’s new DSLR cameras will intuitively capture superbly detailed professional-looking images, time after time.

The Canon EOS 2000D is available to pre-order from Canon’s online store from 26^th February 2018.

For more information, please visit: Canon EOS 2000D and Canon EOS 4000D

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Fujifilm interview: ‘We want the X-H1 to be friendly for DSLR users’

21 Feb

Fujifilm’s new X-H1 sits above the X-T2 in the company’s X-series APS-C lineup. As well as offering several enhancements in its core stills photography feature set, the X-H1 also brings high-end 4K video capture with up to 200Mbps capture and 5-axis in-body stabilization.

At the X-H1’s launch in Los Angeles last week, we sat down with the camera’s product manager, Jun Watanabe, to get a detailed look at the new camera. The following interview has been edited for clarity and flow.

Jun Watanabe is the Manager of Product Planning in the Sales & Marketing group of the Optical Device & Electronic Imaging Products Division at Fujifilm.

Fujifilm has stated previously that IBIS would not be possible in X-series cameras because of the small imaging circle of some XF lenses. What changed?

We have spent the past two or three years developing a system where using both hardware and software, we can cover [the necessary] imaging circle. The most important thing is precision. Because a sensor with IBIS is a floating device, it has to be perfectly centered and perfectly flat. We had already achieved a sensor flatness tolerance down to an order of microns, but the challenge was to maintain this precision with IBIS.

A laser measurement device is used during the process of manufacturing the image stabilization unit, and the assembly process also includes inspection and adjustment of each individual camera. For that reason, a micron order level of sensor parallelism is realized even while IBIS is activated.

A chart showing CIPA figures for image stabilization benefit of all compatible XF lenses, when used with the X-H1. As you can see, the least amount of benefit comes when the 10-24mm wideangle zoom is used. Users of the vast majority of XF lenses should see 5 stops of stabilization benefit.

Are there some lenses that will deliver better stabilization than others, as a result of having a larger imaging circle?

Yes. The most effective is the 35mm F1.4. But every XF lens without OIS will benefit from five stops of stabilization.

When you were developing the X-H1, how important was the requirement to add high-end video features?

Many videographers gave us input. A lot of them said they needed in-body stabilization, and F-Log in-camera recording. Those were the top requests from video users.

Compared to the X-T2, the X-H1 is a larger, more DSLR-styled camera which inherits a lot of styling cues from the medium-format GFX 50S. It is also 25% thicker, and better sealed against the elements.

What kind of feedback have you had from videographers since the X-H1 was announced?

Pretty good. We’ve heard from videographers that they really like the 200Mb/s internal recording and 12 stops of dynamic range with the Eterna film simulation. They’ve told us that this combination is the best solution for quick, high-quality video capture.

We wanted to create a more cinematic look, so we studied ‘Eterna’ – one of our cine film emulsions

We received a lot of feedback after we launched the X-T2, from videographers and DPs who said that our film simulation modes in video were unique, but too still photography oriented, with the narrow dynamic range. They wanted a real cinema look. On the product planning side we wanted to create a more cinematic look, so we studied one of our cine film emulsions – ‘Eterna’. That was the starting point.

Velvia is tuned to give you colors as you remembered them. More vivid blue skies, for example. Eterna is tuned in the opposite direction, for moderate saturation, with more cyan and green bias. With Eterna, combined with the X-H1’s dynamic range settings, we have achieved a 12 stop dynamic range.

How did you decide on what video features to include in the camera? Some expected features – like zebra – are missing.

Honestly, we couldn’t add zebra because of hardware constraints. The processor cannot support it. It requires too much processing power. At this time, we’ve achieved the best possible performance for the processor.

The X-H1 (on the left) features a substantially deeper handgrip than the X-T2, which we’re told was a major feature request from existing X-series customers. It also sports a top-plate mounted LCD, which should make it more familiar to photographers coming from using an enthusiast DSLR.

Is 8-bit capture enough, for F-Log recording?

There are 10-bit cameras on the market, but we recommend using Eterna to short-cut the recording process. We think 8-bit is enough for good quality.

Do you think the X-H1 will be bought mostly by stills photographers, or videographers?

We are targeting both. We have greatly upgraded the video performance [compared to the X-T2] but we have upgraded the stills performance too, especially autofocus in low light, and subject tracking. We also added flicker reduction and dynamic range priority, and so on. We are targeting both kinds of professional users.

When it comes to autofocus, minimum low light AF response has been improved from 0.5EV to -1EV. We’ve also introduced a new phase-detection autofocus algorithm and parallel data processing. The X-H1 has the same processor as the X-T2 but the algorithms are new. A single autofocus point in the X-T2 was divided into 5 zones. In the X-H1, this has been increased to 20 zones.

Phase-detection autofocus will be possible with our 100-400mm lens in combination with a 2X teleconverter

Data from each zone is processed in three ways, for horizontal detail, vertical detail, and fine, natural detail like foliage or a bird’s feathers. This processing happens simultaneously, rather than in series, which is a big advantage over the X-T2. We’ve also achieved phase-detection performance down to F11, which means that phase-detection autofocus will be possible with our 100-400mm lens in combination with a 2X teleconverter, with a much higher hit-rate compared to the X-T2.

During shooting, the predictive AF algorithm now generates information from captured images in a sequence, for more reliable subject tracking while zooming.

Now that you have a powerful 4K-capable video camera with IBIS, how will this change how you develop lenses, in the future?

For stills lenses, our approach will stay the same. But we’ve also announced two cinema lenses. These both work with IBIS and the MKX 18-55mm zoom will deliver 5 stops of correction. This is a unique selling point.

We have had requests from some of our professional users for a bigger camera

The X-H1 is considerably larger than its predecessors. Is there a point when the size advantage of APS-C compared to full-frame gets lost?

Professionals are generally more accepting of larger cameras, and [compared to DSLRs] the X-H1 isn’t that big. And we have had requests from some of our professional users for a bigger camera, especially those photographers that use our longer lenses. A bigger grip and more solid body were both requested.

Here’s that deeper handgrip, in action.

When the camera gets bigger, does it make some aspects of design easier? Like heat management?

Yes, the increased camera volume gives us some advantages when it comes to heat and cooling systems. In fact the X-H1’s 4K recording time is 50% longer than the X-T2, thanks to a new cooling system and two large copper heat sinks.

How much technology from the GFX 50S has made it into the X-H1?

Some of the operation and operability improvements have made their way into this camera. We hope that some DSLRs users will come over to the X-series, thanks to things like the top LCD, and twin control dials and so on. We wanted the X-H1 to be ‘friendly’ to photographers who are used to DSLRs.

Editor’s note:

I always enjoy talking to engineers, even with the caveat that some of what they say occasionally goes completely over my head. I was very surprised, for instance, after hearing Mr. Watanabe detail all of the clever ways in which the X-H1 processes AF information, to be told that the new camera has the same processor as the X-T2.

It’s not impossible to imagine that the X-T2 might yet benefit from some of these advances.

Quite how Fujifilm has managed to eke such increased efficiency from essentially the same amount of computing power is beyond my intellect, but if the claimed increase in performance holds up in our testing, the company deserves a lot of credit. And given Fujifilm’s excellent track record of updating older models, it’s not impossible to imagine that the X-T2 might yet benefit from some of these advances.

Apparently there were internal discussions about including a dual, or even a completely new processor in the X-H1, but this would have added to development time, as well as cost. It’s possible too that some of the heat-management benefits of the X-H1’s larger internal volume compared to the X-T2 might have been nullified.

‘Silent control’ in movie shooting allows you to adjust exposure settings by touching the rear LCD – avoiding the noise and vibration of clicky buttons and dials making its way into your footage.

And in these days of 4K video capture, heat matters. The X-H1 isn’t a perfect video camera by any means, but it’s the most convincing X-series model yet. It should compare well against most of its competitors, barring only the more specialized Panasonic GH5/S. In-camera 5-axis stabilization is a big part of that (involving 10,000 calculations per second, if you can believe it), but features like 12EV of video dynamic range (Eterna + DR400%), internal F-log recording and a maximum quality of 200 Mbps are sure to attract the attention of professional, as well as casual videographers.

One of the most requested features from Fujifilm’s X-series customers was a bigger grip

Even for people with little or no interest in video, the X-H1’s enhanced feature set might still be enough to justify the extra cost over the X-T2. And possibly also its ergonomics. According to Mr. Watanabe, one of the most requested features from Fujifilm’s X-series customers was a bigger grip. The X-H1 gets bigger everythings, just about. Obviously this means that the camera is bigger as a result, but Fujifilm is hoping that this will make the X-H1 appeal to more traditional DSLR users.

Will the X-H1 prove a hit? I hope so. It’s an impressive camera, and a bold move by Fujifilm. I can’t see the company creating a dedicated video camera any time soon (and Mr. Watanabe would not be drawn on this question when I asked him) but however it gets there, one thing is clear: Fujifilm really wants to be taken seriously by filmmakers, as well as traditional stills photographers.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Blackmagic launches 4K broadcast camera for price of a high-end DSLR

10 Feb

Video camera maker Blackmagic Design has announced the “world’s most affordable and flexible professional” camera aimed at broadcast and studio film makers. The URSA Broadcast shoots Ultra HD resolution, uses an interchangeable lens mount and costs just $ 3,495.

The camera comes with the B4 lens mount, but this can be switched so the camera can accept PL, F or EF lenses. Users can load relatively low-cost SD or CFast media to record their footage, with the camera offering two slots for each format. Lossless 12-bit CinemaDNG Raw recording is possible for projects that require the best quality, while broadcast footage can be shot in 10-bit DNxHD 220X, DNxHD 145 or ProRes formats with metadata.

Blackmagic says the URSA Broadcast produces vibrant colors and accurate skin tones so that footage is ready to use straight from the camera, while an extended video dynamic range ensures a wide range of brightness values can be recorded. Three ND filters are built-in and can be dropped into the light path at the turn of a dial. The strengths offered are ¼, 1/16th and 1/64th stops, and each comes with IR compensation to maintain matchable colors from different situations.

The handling of the camera concentrates on placing controls on the outside of the body rather than in menu systems, and the company claims that should any button or control point fail during a job its function can be switched to another button as redundancy has been built into the design.

The Blackmagic Design URSA Broadcast is available now. For more information see the Blackmagic website.

Press release

Blackmagic Design Introduces URSA Broadcast

The world’s most affordable and flexible professional HD and Ultra HD broadcast camera for live production and studio programs, at the same price as a DSLR camera!

Fremont, California, USA – February 1, 2018 – Blackmagic Design today announced Blackmagic URSA Broadcast, a new high end, professional broadcast camera designed for both studio programming and live production. URSA Broadcast works with existing B4 broadcast HD lenses, can be used for both HD and Ultra HD production, features a 4K sensor, extended video dynamic range, traditional external controls and buttons, built in optical ND filters, dual CFast and dual SD card recorders, and much more. Blackmagic URSA Broadcast is available now for only US$ 3,495 from Blackmagic Design resellers worldwide.

URSA Broadcast is like two cameras in one, an incredible field camera for ENG and programming work, as well as a professional studio camera. The camera features traditional broadcast controls along with exceptional image quality, all in a compact design that is ideal for fast paced, fast turn around production work. The key is URSA Broadcast’s new extended video mode which captures incredible looking video with accurate skin tones and vibrant colors. That means customers don’t have to color correct images before going to air, making URSA Broadcast perfect for news, live sports, studio talk and game shows and more. URSA Broadcast lets customers shoot, edit and get stories on air faster than ever before.

URSA Broadcast is also designed to work with the equipment and systems traditional broadcasters already have. For example, customers can use their existing B4 HD and Ultra HD lenses with URSA Broadcast. Unlike other broadcast cameras, URSA Broadcast records onto inexpensive standard SD cards, UHS-II cards and CFast cards, and records 1080i or 2160p video into standard .mov files, with .mxf to be added in future updates. URSA Broadcast records using DNx145, DNx220X or ProRes, so video doesn’t need to be copied or transcoded. This makes it fast to work with video from URSA Broadcast because it’s compatible with virtually all existing broadcast systems and editing software.

The B4 lens mount and matching sensor on URSA Broadcast enables wide depth of field, so broadcast customers can shoot without constantly chasing focus. The lens mount features high performance optics with spherical aberration correction specifically designed to match the camera’s sensor. The ?” mount lets customers use existing HD lenses or Ultra HD lenses. Because B4 lenses are par-focal and have an extremely wide depth of field, images stay in focus when zoomed in and out. That lets customers work faster because they don’t need to change lenses or refocus between close up, medium and wide shots. URSA Broadcast also supports full electronic B4 lens control so customers can adjust focus, iris and zoom using the camera’s controls, or remotely from an ATEM switcher or ATEM Camera Control Panel. In addition, the standard B4 lens mount can be swapped with optional EF, F and PL mounts so customers can use everything from inexpensive high quality photographic lenses all the way up to massive cinema lenses.

URSA Broadcast features a high quality 4K image sensor and a new extended video mode with better dynamic range and color fidelity. The sensor is designed for both HD and Ultra HD, producing images with fine texture and detail, accurate skin tones, vibrant color and high dynamic range. The images from URSA Broadcast have been designed to be used without additional color correction. This makes editing faster, which is crucial in the fast paced broadcast world. The high resolution sensor is a huge advantage, even when working in HD, because it enables sub pixel image processing and superior anti-aliasing, resulting in super sharp images.

URSA Broadcast is designed to be the toughest and most fully featured camera available. It includes everything customers need in a compact handheld magnesium alloy body that’s durable and light enough to use anywhere. There’s an external high visibility LCD status display for viewing critical shooting information, a foldout touch screen for reviewing shots without needing an extra on-set monitor, professional connections such as 12GSDI, XLR audio, built in high quality stereo microphones and more. Plus, every single control on the camera has a redundant backup, including the power, so if anything should go wrong in the field, the camera can still be used.

URSA Broadcast also features built in neutral density (ND) filters with IR compensation for quickly reducing the amount of light that enters the camera. The ¼, 1/16th and 1/64th stop filters are specifically designed to match the colorimetry of the camera and provide additional latitude, even under harsh lighting conditions. That means customers can use different combinations of aperture and shutter angle to achieve shallower depth of field, or specific levels of motion blur, in a wider range of situations. The IR filters evenly compensate for both far red and infrared wave lengths to eliminate IR contamination. The ND filters are true optical filters with a precision mechanism that quickly moves them into place when the ND filter dial is turned.

Blackmagic URSA Broadcast puts control buttons, switches, knobs and dials on the outside of the camera, giving customers direct access to the most important camera features. The controls are laid out in a logical order that makes them easy to remember so operators can use the camera without having to look at the buttons, hunt through menus, or take their eye off of the action. URSA Broadcast also features a high visibility LCD status display which shows important information such as timecode, shutter and lens settings, battery, recording status, and audio levels. The status display features a backlight and is designed to be clearly visible in both dimly lit studios and outside in direct sunlight.

URSA Broadcast features both dual CFast 2.0 recorders and dual SD/UHS-II card recorders. Both types of media are standard, non-proprietary, inexpensive and readily available at most computer and camera stores. Customers can record 10bit broadcast quality DNxHD 220X, DNxHD 145 or ProRes files with metadata, making it is easy to integrate URSA Broadcast into existing broadcast systems and workflows. URSA Broadcast can even record lossless 12bit CinemaDNG RAW files for high quality programming and post production. With dual slots for each media type, URSA Broadcast gives customers redundant recorders and non-stop recording. When the first card is full, recording automatically continues onto the next card so the full card can be swapped while recording continues on the other.

All of the connections on URSA Broadcast are standard television industry connectors so customers don’t need expensive, proprietary cables. The camera features multi rate 12GSDI connections for video output and return program feed input. Both connections automatically switch speed so they work with all HD and Ultra HD formats up to 2160p60 over a single cable. In addition, URSA Broadcast features HD-SDI monitoring out, 2 LANC inputs, balanced XLR audio with phantom power, and timecode/reference input. A 12 pin Hirose connector provides analog and digital broadcast lens control for powering and controlling SD, HD and Ultra HD lenses. There’s also a 4 pin XLR 12V DC power output and HD-SDI monitor output that can be used with Blackmagic viewfinders or any third party viewfinders and monitors.

Blackmagic Design also makes a complete set of professional camera accessories designed to work perfectly with URSA Broadcast. Customers can add a Blackmagic URSA Viewfinder or a large 7 inch Blackmagic URSA Studio Viewfinder. There are microphone mounts, standard V-Lock and Gold battery plates, optional lens mounts and more. The all new Blackmagic Camera Fiber Converter, Blackmagic Studio Fiber Converter and ATEM Camera Control Panel let customers create a complete broadcast camera chain that costs hundreds of thousands of dollars less than traditional camera chains. The fiber converters let customers extend their cameras and power them from up to 2 km away using industry standard SMPTE fiber cables. It includes 1 Ultra HD camera feed, plus 3 HD return feeds, common live camera controls with multiple channels of talkback, and standard television industry talkback headset connections, all in a compact IP video based design that allow it to be connected and controlled from a live production switcher.

“URSA Broadcast lets customers get the most out of their investment in cameras and lenses because it can be re-purposed and used on every type of project, whether it’s out in the field or in the studio. It’s like getting two cameras in one.” said Grant Petty, CEO, Blackmagic Design. “URSA Broadcast is exciting because it makes high end broadcast camera technology available to everyone from AV and web producers all the way up to professional broadcasters, for the same price as a common DSLR!”

Blackmagic URSA Broadcast Key Features

4K sensor, extended video dynamic range, traditional external controls and buttons, built in optical ND filters, dual CFast and dual SD card recorders,
Advanced HD and Ultra HD broadcast camera with B4 mount.
New extended video mode with better dynamic range and color fidelity producing images with amazing texture and detail, accurate skin tones, vibrant color and high dynamic range.
Full electronic B4 lens control support for adjusting focus, iris and zoom using the camera’s controls, or remotely from an ATEM switcher or ATEM Camera Control Panel.
Built in dual SD/UHS-II and CFast card recorders allow unlimited duration recording in high quality.
Records 1080i or 2160p video into standard .mov files using DNx145, DNx220X or ProRes for compatibility with existing broadcast systems and workflows. Standard .mxf will be added in future updates.
Support for DNxHD 220X, DNxHD 145, Apple ProRes 4444 XQ QuickTime, ProRes 4444 QuickTime, ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime and ProRes 422 Proxy QuickTime, CinemaDNG RAW, CinemaDNG RAW 3:1, CinemaDNG RAW 4:1.
High quality clear, 1/4, 1/16th and 1/64th stop neutral density (ND) filters with IR compensation designed to specifically match the colorimetry and color science of URSA Broadcast.
Fully redundant controls including external broadcast controls which allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
Interchangeable lens mount with B4 mount included as standard. Optional EF, PL and F mount available separately.
Status display for quickly checking timecode, shutter and lens settings, battery, recording status, and audio levels.
Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12GSDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
Built in high quality stereo microphones for recording sound.
4 inch foldout touchscreen for on-set monitoring and menu settings.
Blackmagic SDI Control Protocol for external control or iPad control via Bluetooth®, 2 x 2.5mm LANC for lens and record control.

Availability and Price
Blackmagic URSA Broadcast is available now from Blackmagic Design resellers worldwide for US$ 3,495.

Blackmagic URSA Broadcast Accessories

Blackmagic Camera Fiber Converter.
Blackmagic Studio Fiber Converter.
ATEM Camera Control Panel (available May/June 2018).
Blackmagic URSA Broadcast Shoulder Kit features built in rosettes, rail mounts, viewfinder mount, integrated tripod quick lock release and top handle.
Blackmagic URSA Viewfinder is a high resolution viewfinder that includes a full HD OLED display and true glass optics for perfect focus.
Blackmagic URSA Studio Viewfinder featuring 7” screen, variable tension mounting points, easy grip handles, external controls and more.
URSA VLock Battery Plate provides a VLock compatible plate for attaching third party batteries.
Interchangeable EF, F and PL lens mounts.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Review of the Nikon D850 DSLR

24 Jan

The latest addition to the Nikon line up has been a highly anticipated full frame camera. While many other cameras were being updated rumors started circulating 12 months ago that the D810 would be updated. Finally, the news came that the Nikon D850 was being released. It seemed like everyone in the photography industry was looking forward to it. So much speculation – what will it have, and how will it perform?

The Nikon D850 with the 14-24mm lens.

The Hype

There was similar hype around 5 years ago when Nikon released the D800. It was almost 12 months before I was able to get one, and when the talk started on this one I knew that I would be getting one. The D800 has been an amazing camera and by far the best I’ve ever owned. But it is showing its age and doing long exposures with it was becoming harder. The logical update was always going to be the replacement for the D810.

What I needed was a camera capable of taking long exposures without the problem of dead or hot pixels. I wanted a touchscreen as others I’ve used have been fantastic. I had hoped that with Live View it would be possible to see through ND Filters without having to remove them all the time. While it wasn’t necessary, being able to transfer photos from the camera to the phone would be handy as well.

Once the camera was released and I finally got my hands on one, there was nothing to be disappointed about. It lived up to my expectations, perhaps even more. It is a complicated camera, and the phrase being used, “A game changer” is true. It does a lot and it is going to take some time to learn all that my new camera can do.

An early morning image of the city with reflections.

First impressions of the D850

For most people, it will seem like a gigantic camera. However, those that have been using the D800 or D810 will not be surprised. It is slightly bigger, but not a lot. The weight is around the same as well. Overall it looks almost the same. As you start to study the D850 you can see how some functions have changed positions. I keep pressing the mode button now to change the ISO.

Doing a long exposure on the top of a cliff with the Nikon D850.

45.7 MP Sensor

The big thing to test was going to be the massive 45.7-megapixel sensor. In most of the other Nikon cameras Sony sensors have been used, however, Nikon has developed their own for the D850. It is said to be sharp and create very crisp images. That would appear to be true so far. There is a warning about using low-quality lenses on it, which can create a lot of chromatic aberration. So far, I have noticed that.

Touchscreen

Nikon has given the D850 a touch screen, and I am so happy. Touchscreens make navigating around the menu so much easier. You can flick through your photos very easily, or change a setting in the menu.

With the touchscreen activated, you can also focus the camera and take your photos, whether you are using a tripod or not. With the Bulb setting, you can now touch the screen to open the shutter, and then tap again to close it. This means that when you go out to take long exposures you don’t have to worry so much about a remote shutter release or intervalometer. It doesn’t have a timer or display how much time has elapsed, but there are always ways around that, like using your phone.

Capturing a single light trail from a bicycle along Southbank at night.

The LCD Screen can be manipulated

Like other models, you can now manipulate the screen so you can move it to help you take photos in Live Mode, or when using the playback function. If you like taking photos close to the ground you can do that now without having to get on the ground yourself or having to guess at the composition. I’m getting too old to get down on the ground, getting back up isn’t so easy, so this function is one that I’ve been eagerly awaiting.

The front of the D850, set up for a long exposure.

Using Live View for Long Exposures

One of the frustrating things about doing long exposures with the D800 was having to constantly remove the filters every time you wanted to recompose your image. They were too dark for the camera to see through. The Canon 5D Mark IV is capable of seeing through the filters in Live View, so I was really hoping the Nikon D850 would have that capability as well. I’m happy to report that it does.

It doesn’t quite work the same way, you do have to open the aperture up a bit, but you don’t have to remove the filters. If you can open it up to f/2.8 then it is like there are no filters there at all. It will also make it easier to use graduated filters and polarizers when doing long exposure photography.

The camera photographing the Dragon’s Head.

As someone who loves doing long exposures, this new feature is a very welcome addition to the camera. It is something that I will use a lot. My workflow when shooting has changed from never using Live View, to using it constantly.

One of the major advantages of shooting with Live View is that your mirror is up, so you don’t get those minute vibrations when you are taking an image.

ISO

One of the biggest problems with photography is low light. While in most situations you can use a tripod, there are some situations that mean it is just isn’t possible. With an ISO rating up to 25,600, you can take photos easily without a tripod.

Capturing Christmas windows using ISO 25600.

There will be noise in the images, that is one thing you can’t avoid. However, compared with what you got with the earlier models in the D800 series it’s a big improvement. You could comfortably go up to ISO 2000, perhaps even higher and get images that you would be happy with.

At the other end of the scale, you can go to ISO 64 when you want the best quality images in the right lighting conditions or when using your tripod. Most cameras only go to 100, so having that extra step means finer grain or almost no noise in your images.

Some of the controls are in different places

While the basic setup is very similar to all Nikon cameras, there are some things that have changed from previous models (for me, that is compared to the D800). The Mode button is on the left top buttons with the WB and QUAL. ISO is now over near the Shutter button. The Bracket feature is now set where the flash button used to be.

Overall, the camera is much the same. The menu system remains very similar to previous models and is easy to understand. It is one thing that has always been good with Nikon, you can go from one model to another and still be able to figure out how it works.

Late afternoon in the city of Melbourne.

No flash

One major change from the D800 and D810 is the removal of the built-in flash. For most users, it was not necessary and the flash popping up could create problems. You can still attach an external flash to it, so for most this isn’t going to be a problem as they would use that option anyway.

3 Different RAW sizes

One the main concerns with the camera was the 45.7-megapixel sensor. The more MPs it has the larger the images will be. Storage can become a problem, especially when shooting in RAW. The D850 now comes with three different sizes of RAW files. You can choose to shoot RAW images in Large, Medium or Small. The large will take images that are 8256 x 5504 pixels, while the small will take images that are 4128 x 2752 pixels, similar to a cropped sensor.

Having the choice of deciding how big your image will be is a good function to add. If you know you are going to take a photo for social media, with no intention of doing anything else, then using the small option makes sense. However, if you are going to be taking photos for a client or for printing on a big scale then the large size is the best choice.

Doing a long exposure of the Dragon’s Head on the Rye back beach.

Fast frames per second burst mode

I went from a Nikon D300s, that could shoot 6-7 frames per second to the D800 which was capable of only four. It was a shock and possibly one of the biggest disappointments with that camera. It always seemed clunky when you were taking several images at once, especially for bracketing.

It’s good to see they have sped up the frame rate in the D850. It will take around 6 images a second, so it is reasonably fast. When you are bracketing there is less chance of a mistake when taking a series of images. It is great to hear how fast it shoots the frames.

Using the Nikon D850 at the zoo to capture birds.

The XQD card

With the release of the Nikon D850, we also see that it has two memory card slots; one for an SD card, and the other for an XQD card. As the file sizes are large, and you can take many images per second, you also need a card that can keep up. The XQD cards are good for writing your images quickly so you shouldn’t have moments where you can’t shoot because the camera is saving your images onto the card.

These cards are quite expensive. Not many manufacturers are making them, the one I got was made by Sony. You also need to get a memory card reader for these as well. I purchased mine from B&H, it was 128GB and cost almost $ 200.

Capturing a waterfall with a long exposure.

Wifi and Snapbridge

Nikon cameras that have Snapbridge allow you to use your phone with the camera. You can download images to it, for easy loading to social media when you are out and about. There is also the option for your phone to capture GPS data for future reference.

When Snapbridge was first released there was a lot of negative publicity about it. People said it didn’t work properly, and if we are being honest, it wasn’t great. But it has improved a lot. It is now easier to connect your camera to your phone to look at photos. You can have it set up so it automatically transfers the images to your phone. They go into the cloud, so they don’t take up any room on your phone.

The only downside seems to be that to get your images to your phone you have to shoot in jpeg format. Considering the target market of who will be using the D850 (mostly pros), it is a bit disappointing. Most users will be taking their photos in RAW format and won’t be able to do that.

To overcome this, I decided to shoot in RAW and basic JPG. You don’t need high-quality JPGs to share, and basic is fine for social media. Once the files are all downloaded to my computer I select all the jpegs and delete them. It does mean that you will be using more memory on your cards, but I have 128GB cards, so it isn’t going to be an issue that often. I would also only use this selection if I knew that I wanted to capture an image to share, otherwise I would choose RAW only.

Snapbridge will keep the firmware on your camera up to date which is great, otherwise, it only happens if you get it serviced. One thing that is a definitely a plus for someone like me is that the app will also make sure the time and date are correct on your camera by syncing it with your phone. You don’t have to worry about daylight savings and changing the camera settings for it anymore (or when you travel and change time zones).

The D850 with the Lensbaby Velvet 56 photographing macro flowers.

Battery life

The experience of other cameras has shown that using Live View can drain your battery. Earlier this year I had an opportunity to try out the Canon 5D Mark IV and when using Live View for long exposures the battery did drain very quickly. You would get maybe three hours with it when using that mode. With the Nikon D850, using Live View it doesn’t drain the battery as quickly.

A fully charged battery for normal use will last a few days, with heavy use a day or so. The Nikon batteries are very good, and if you want spares, it is advisable to go for regular Nikon ones over third-party options.

An image taken at sunrise with the Nikon D850.

Conclusion

Without a doubt, those who described the Nikon D850 as a game changer were not lying. It’s one of the most sophisticated cameras on the market. While hailed as a great camera for landscape photographers, it is also suitable for many other genres of photography as well. One has to wonder what they will do to the next generation of the D5 to make it better than the D850.

For more information on the specifications, click here to go to Nikon. The camera retails on Amazon for $ 3,295.

I would give the camera a rating of 9.9 out of 10, maybe even a 10. I love the Nikon D850, it is the best camera I’ve ever used

The post Review of the Nikon D850 DSLR by Leanne Cole appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

DJI introduces Ronin-S stabilizer for DSLR and mirrorless cameras

07 Jan

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8401019711″,”galleryId”:”8401019711″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

DJI has announced the Ronin-S, its first single-handed stabilizer designed for use with DSLR and mirrorless cameras.

It will be available in two frame sizes (referring to the frame that holds the camera), one for mirrorless cameras such as the Sony Alpha system and Panasonic GH series, and another for larger DSLRs like the Canon 5D Mark IV. Additionally, the 3-axis gimbal is fully compatible with both in-camera and in-lens stabilization systems.

DJI tells us that it put a lot of work into making the system easy to use. It comes with a tripod that screws into the base, allowing the Ronin to stand upright on its own while rigging the camera, axis locks to prevent gimbal movement during setup, and a calibration process that it describes as quick and easy. Also included is a feature called Push Mode, activated in the Ronin app, that allows users to tune settings like pan and tilt while the Ronin-S is still turned on, eliminating the need to shut down the system to make these adjustments.

The Ronin app also provides a number of features designed to automate complex camera moves. These include CamAnchor, which allows you to set designated camera positions and toggle between them, Panorama and Hyperlapse tools, and also DJI’s ActiveTrack technology. SmoothTrack enables you to adjust gimbal responsiveness on each axis, along with the ability to save profiles for later use.

The Ronin app also provides a number of features designed to automate
complex camera moves

The Ronin-S includes dedicated control buttons for both camera and gimbal, including the ability to quickly toggle between settings, activate recording on the camera, and adjust camera position using the built-in joystick.

The Ronin-S is also compatible with some very useful accessories, including a focus dial with built-in screen that can be used as a follow-focus (primarily on Sony cameras, we’re told) or used to select SmoothTrack profiles saved in the Ronin app. There’s also a cheese plate for attaching other accessories and a car mount for shooting on vehicles.

Over the past couple years we’ve seen quite a few products designed for the growing market of small production companies and emerging filmmakers, including more cameras with advanced features like Log video, as well as a number of budget-oriented cinema lenses. A compact, affordable stabilization system should be very appealing to this audience.

Pricing for the Ronin-S has yet to be announced, but DJI indicated it will be available in the second quarter of 2018. If you’re attending CES 2018 in Las Vegas you can see the Ronin-S in person at the DJI booth.

Press release:

DJI Reveals New Handheld Camera Stabilizers At CES 2018

A Redesigned Osmo Mobile 2 Turns Smartphones Into Smart Steadycams and Ronin-S Becomes DJI’s First Single-Handed Stabilizer for DSLR and Mirrorless Cameras

January 7, 2018 – DJI, the world’s leader in creative camera technology, introduced two new handheld camera stabilizers at CES 2018 – Osmo Mobile 2 and Ronin-S. Built for smartphones, DSLRs, and mirrorless camera systems, they give consumers, professional videographers and photographers new tools to capture smooth, steady videos and stunning photos wherever they go.

Osmo Mobile 2: The handheld smartphone camera stabilizer from DJI, redesigned for the storyteller in all of us. Using a lightweight design that supports portrait orientation, with simpler controls with cinematic zoom, a longer battery life for more filming, and intelligent features to help you share a professional-looking story wherever you go.
Ronin-S: DJI’s first single-handed stabilizer for DSLR and Mirrorless Cameras. Built for efficient setup and ease of use with a compact form and dedicated buttons to control camera settings and precise positioning, plus intelligent features for advanced shooting modes all designed to help bring a steady shot to any set.

“With the introduction of these two stabilizers, DJI now offers gimbal technology to help unlock the creative storyteller in everyone no matter what camera they’re using,” said Paul Pan, Senior Product Manager at DJI. “Osmo Mobile 2 offers the best in smartphone stabilization at an affordable price, and Ronin-S brings the quality of DJI’s professional gimbal technology to a new form factor that is perfect for run-and-gun filming using your favorite DSLR or mirrorless camera system.”

Osmo Mobile 2 – Redesigned for the Storyteller in All of Us

Osmo Mobile 2 is a smartphone camera stabilizer that captures smooth videos and high-definition panoramas with cinematic movement and incredible ease. DJI’s industry-leading three-axis gimbal technology cancels out movement in three directions so your video stays steady even if your hands shake or wobble, while DJI’s built in SmoothTrack technology detects and compensates for your movement of the camera to ensure a smooth cinematic shot every time.

Designed to be lightweight and portable, Osmo Mobile 2 is made from high-strength modified nylon and features a folding design that makes it perfect for all-day use. The two-way mobile clamp lets you easily pivot between landscape and portrait orientation so that you can chose the most engaging full-screen format for your audience. In addition, a 1/4” universal screw mount ensures compatibility with your favorite photography accessories, making Osmo Mobile 2 more versatile than ever.

Simpler controls let you use your phone’s camera like a professional camera with integrated settings for ISO, shutter speed and more. A new zoom slider lets you completely operate your smartphone camera from the handle and you can even produce dolly zoom, a visual effect usually created only on professional film sets.

A more powerful built-in battery system lets you film for up to 15 hours, over three times longer than the original Osmo Mobile’s battery. The new USB port enables phone charging during use and serves as a power bank for charging other electronics while on the go.

Smart software in the DJI GO mobile app unlocks intelligent photo and video features that help you create professional-looking content automatically. Videographers can use modes including ActiveTrack to automatically follow of subjects in motion, Motion Timelapse with up to five different camera positions, Hyperlapse to create dramatic time-lapse videos with the camera in motion, or stream live to popular social platforms like Facebook and YouTube. Photographers can expand their creativity with options such as Panorama, Long Exposure and LightTrail modes.

Ronin-S – Bring a Steady Shot to Any Set

Ronin-S is DJI’s first single-handed stabilizer for DSLR and mirrorless camera systems. Available in two frame sizes for either camera type, DJI’s powerful three-axis gimbal technology delivers smooth, shake-free video and crisp photos, adding a cinematic and professional look to your work.

Powerful high-torque motors support the most popular camera and lens combinations including the Canon 5D, Panasonic GH and Sony Alpha systems. Its stabilization system compensates for zoom lenses with higher magnification ratios and an external zooming barrel, while its advanced stabilization algorithms work with both in-camera and in-lens optical stabilization technology.

Capturing stabilized video has never been easier because Ronin-S was designed for easy setup and use. A new Push mode lets you adjust the pan and tilt axis by hand while the Ronin-S is powered on and axis locks speed up the setup process so you can spend more time filming and less time prepping your gear. Ronin-S has a comfortable, ergonomic curved design that helps capture smooth cinematic movements from upright to underslung positions without obstructing the camera’s display. Ronin-S also features DJI’s intelligent battery technology that can be hot-swapped during operation for extended shoots.*

Dedicated control buttons for the camera and gimbal let you toggle between SmoothTrack settings, record and stop the camera, and the high-precision joystick changes the camera position to help frame your shot perfectly. A new Sport mode allows for fast movements with tight and quick subject following speed.

Harness intelligent shooting modes on Ronin-S through the DJI Ronin mobile app to create complex camera moves automatically like Panorama, Hyperlapse, Track and CamAnchor that lets you designate specific camera positions in a scene and rotate between them on demand. Directly customize SmoothTrack settings with dedicated controls for responsiveness of each axis. Camera settings can be directly adjusted as well.**

Ronin-S is compatible with a variety of DJI Pro Accessories to capture any scene and expand your creative freedom on set or location. Supported accessories include a Focus Control Center consisting of a focusing dial and a screen allowing advanced gimbal and focus control without a mobile device, a vehicle mount solution, DJI Master Force, DJI Master Wheels, an external focus motor, and a cheese plate adapter so you can use your favorite third-party accessories. A dual-handle support will also be available for when an added level of comfort and stability is required.

Price and Availability

Osmo Mobile 2 retails for $ 129 USD and will be available exclusively for pre-order at Apple.com on January 23, 2018. Starting in early February, it will also be available at store.dji.com, DJI Flagship Stores, and DJI Authorized Retailers, with additional availability later in February at Apple Stores in select regions worldwide. For more information on all the new features and capabilities of Osmo Mobile 2, please visit www.dji.com/osmo-mobile-2.

Ronin-S will be available in the second quarter of 2018 from dji.com, DJI Flagship Stores, DJI Authorized Retail Stores, and DJI Resellers worldwide***. Pricing will be announced prior to availability. Additional information on Ronin-S can be found at www.dji.com/ronin-s.

?Osmo Shield for Osmo Mobile

Osmo Shield is a coverage plan that extends the warranty of any Osmo series product by one additional year, including accidental hardware damage coverage, that covers up to one free replacement and provides repair solutions for two years. Osmo Shield is currently available in select countries, including China, the United States, and Canada.

Photos and Videos Available for Download

Osmo Mobile 2 photos: http://bit.ly/2CGwrPf

Ronin-S photos: http://bit.ly/2lXk4E8

DJI at CES 2018

Visit the DJI booth at CES to see the new Osmo Mobile 2 and Ronin-S, and experience the entire DJI product portfolio of camera drones and image stabilization systems. Onsite activities and promotion for CES attendees at the DJI booth include:

Rent an Osmo Mobile 2 for free each day
Compete in DJI’s daily flight simulator challenge to win a DJI Spark Fly More Combo
Register to enter a daily raffle for Ronin-S and receive a $ 100 USD discount coupon

DJI’s main booth is located in the Las Vegas Convention Center South Hall, Level 2, booth #26002. Drone flight demos will also take place at DJI’s booth in the Central Hall, booth #14710T.

*Can be utilized with dual-handheld accessory as well

**For supported camera models

***The Ronin-S products shown at CES 2018 are prototypes and the final specs and features may vary

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Canon illuminated buttons patent hints at future prosumer DSLR design

23 Nov

Canon has filed a patent that shows illuminated buttons appearing on the back of a prosumer DSLR camera (7D/5D-like design), hinting that the feature may be added to the maker’s future models. Details are sparse at this time, but an illustration in the patent shows a series of buttons with what appears to be a row of LEDs behind them.

The patent implies that this tech is about lighting up buttons while simultaneously preventing light leaks, explaining that this particular design: “enables a letter or character on the surface of a button to emit light uniformly […] without providing any dedicated separate member for light guiding and light shielding, and can prevent light leakage to the inside and outside of the device.”

As with all patents, we can’t say for sure when (or even if) this feature will make its way into a Canon camera, but it seems like a no-brainer and something that would be simple to implement. Check out the full patent for yourself here (Japan Patent Application 2017-147019).

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Canon patents a huge, hinged and reversible DSLR LCD

22 Oct

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9641184357″,”galleryId”:”9641184357″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

A newly published Canon Japan patent might reveal the future of Canon DSLR LCD screens… and that future is massive and flippable. Originally spotted by Canon Rumors, the patent details a hinged rear LCD that is so big it hides all of the controls on the back of the camera underneath it.

As you can see from the diagrams (or read in the patent itself) the LCD is capable of lifting upward, then reversing, and is specifically designed to avoid obstructing the camera’s viewfinder. This makes it possible to view an image from the uplifted LCD and use the viewfinder during the same session.

While a hinged DSLR rear display is nothing new, Canon’s patent shows a design that would allow for a large and reversible display unlike anything we’ve seen before. In fact, the LCD shown in the patent’s illustrations covers the entire back of the camera, making it necessary to tuck the rear dial and several buttons behind it, though several others are exposed on either side of the viewfinder.

As with every patent, there’s no indication of whether or not Canon has plans to incorporate this design into an upcoming camera, but it’s one of the more curious Canon patents we’ve run across.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Shooting with a used DSLR kit that cost me just $80

14 Oct

Cameras and lenses are expensive. Really expensive. Even the cheapest entry-level DSLR kit today costs $ 500 and upwards. But what if you would buy the cheapest possible used DSLR? A camera that is over 10 years old? How would it stack up against today’s modern cameras? I was curious about this, and decided to find out for myself.

After two weeks of watching classified ads closely, and missing a couple of good bargains because I wasn’t fast enough, I finally managed to purchase a Canon 400D(also known as Rebel XTi) with a battery grip and a Canon 50mm f1.8 II lens on it. All this for only $ 80. It seemed like a great deal to me. It even came with a 2GB CF card!

I took the camera for a long walk the same day I bought it, and to summarize my experience: I was amazed by how good it was!

The sensor outputs 10 megapixel photos, meaning that they measure roughly 3900×2600 pixels. This is more than enough for posting on social media or viewing photos on a computer screen. And what amazed me even more, was that with a fairly good lens, which the Canon 50mm F1.8 is, these pixels get utilized very well. A 100% crop looks very crisp and sharp in most cases.

See the video above for image samples and 100% crop examples.

The only major downside with using an 11-year-old camera is that the dynamic range in the sensor falls far short of my modern Sony A7. If you do not nail the exposure really well when you take the photo, you have far less latitude to correct it later. With my modern cameras I just shoot everything slightly underexposed, and lift the exposure later in Lightroom. That would not be a good idea with the Canon 400D.

This camera’s weak dynamic range also makes it hard to capture scenes with strong light and deep shadows in the same frame. But other than that, this $ 80 camera kit has already, after a couple of days, given me a lot of photography joy for the money. I will definitely keep this camera—it’s a fun tool to take out once in a while to add some variation to my photo walks.

This little experiment taught me that if you just want a good camera to take nice looking photos in your everyday life, and you don’t have professional needs (such as 50 megapixel files) $ 80 will take you surprisingly far. And as an added benefit, 10 megapixel files give you such a swift and fast editing experience in Lightroom!

Micael Widell is a photography enthusiast based in Stockholm, Sweden. He loves photography, and runs a YouTube channel with tutorials, lens reviews and photography inspiration. You can also find him as @mwroll on Instagram and 500px.

This article was originally published on Micael’s blog, and is being republished in full with express permission.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

The Nikon D850 could be the only DSLR you’ll ever need

26 Sep

Introduction

Out-of-camera JPEG.
Nikon 70-200mm F2.8E @ 70mm | ISO 125 | 1/2500 sec | F4

Perched on a rock jutting out over Class IV+ rapids on the Deschutes River, I become fully aware that were I to slip and fall, the frothy white waves would toss me around like a cork, I’d probably hit my head on a submerged volcanic rock, fall unconscious and die.

One of the best things about photography (or one of the worst, I suppose, depending on your perspective) is access. Even if you’re not covering the industry, knowing your way around a camera and having a decent portfolio will often afford you opportunities to get up-close and personal with people you’ve never met before, who are doing things you’ve never seen before, in a place you’ve never been before.

The D850 might just be the most well-rounded camera Nikon’s ever made.

In this particular instance, the access came courtesy of Nikon USA. They wanted us to use the D850 so much that they flew me down to Bend, Oregon with a collection of other photographers and journalists, and stuck us all in a variety of disparate scenarios to get a feel for the camera.

From sports to portraits, the D850 seems almost universally capable. Out-of-camera JPEG, cropped slightly to taste.
Nikon 24-120mm F4 @ 50mm | ISO 2200 | F4 | 1/125 sec

And, not being one to back down from a challenge (or maybe I’m just terrible at scheduling), I was booked to photograph a friend’s wedding immediately upon returning to Seattle. I was eager to use the camera outside of the realm of a press trip, especially since its specs seem to indicate that the D850 might just be the most well-rounded camera Nikon’s ever made.

Actually, it might be the most well-rounded stills camera that anyone has ever made.

This thing is way too fast to be shooting 46 megapixels

This kayaker didn’t seem particularly worried about the Class IV+ rapids, which I was later told verged on Class V. Out-of-camera JPEG.
Nikon 70-200mm F2.8E @ 70mm | ISO 64 | 1/800 sec | F2.8

Perhaps the highest praise I can offer for the D850 is that, in more ways than one, it reminds me of Nikon’s flagship D5 with one of the grips lopped off.

The camera feels incredibly solid. The AF joystick is fantastic. Shutter lag is nonexistent. Autofocus is instant. As with the D5, I repeatedly got the sense that the camera was waiting for me, not the other way around. It offers a ‘transparent’ experience by just getting out of the way and letting me focus on what’s happening in front of me so I don’t miss a photo.

In more ways than one, the D850 reminds me of the flagship D5.

And that’s exactly what I needed as the first kayaker came around the bend. I initiated autofocus and let the camera’s 3D Tracking do its thing as I constantly zoomed and adjusted my composition, with the kayaker moving unpredictably through the scene in front of me and the camera motoring away at seven frames per second.

Want to know what brand the kayak is? Just zoom in to 100%. Out-of-camera JPEG.
Nikon 70-200mm F2.8E @ 70mm | ISO 125 | 1/2500 sec | F4

The fact that the D850 behaves this way, in that it is capable of churning out accurately focused 46MP files of fast-moving subjects, makes it unique. It’s true that Sony’s a99 Mark II shoots 42MP files at a speedier 12fps, but that camera wasn’t our best autofocus performer, and the user interface and SD-only recording media make it a slower camera than the D850 in most other respects.

So in the D850, you basically have a sports camera that you could turn around and make wall-sized gallery prints with in a heartbeat. If that doesn’t meet your definition of ‘well-rounded,’ I don’t know what will.

This man seems comfortable with his life choices. Out-of-camera JPEG.
Nikon 70-200mm F2.8E @ 70mm | ISO 125 | 1/2500 sec | F4

Good at every ISO

As I was heading to the airport outside of Bend, I was looking forward to my evening. I had a short flight back to Seattle, and enough time to get from Seatac Airport to a friend’s wedding ceremony on the shores of Puget Sound. Then I checked in, and saw my flight was delayed by 45 minutes.

Heavy sigh. Heavy stress.

By the time I hopped out of my cab in West Seattle minutes before the ceremony was set to start, the sun had already dropped low in the sky. I hastily introduced myself to the family members I hadn’t yet met, apologized profusely for my tardiness and gave the happy couple a couple of hugs. Time to start taking pictures.

Image processed to taste in Adobe Camera Raw, exposed for the highlights with shadows lifted. With a Nikon D5, Canon EOS-1D X Mark II or Sony a9, this processing would result in a much noisier image.
Nikon 24-120mm F4 @ 24mm | ISO 64 | 1/160 sec | F8

In many ways, peak action and wedding photography place similar demands on both photographer and camera. You’re constantly on the lookout for fleeting moments, and the camera has to be able to respond when you do.

But dedicated sports cameras often come with compromises, such as lower resolution and lower dynamic range. It’s not uncommon to see wedding shooters with one ‘speed’ body and one ‘resolution’ body. With the D850, I’m not sure that’s going to be necessary anymore.

Out-of-camera JPEG.
Nikon 24-120mm F4 @ 46mm | ISO 900 | 1/200 sec | F4

Even without a boost from the battery grip, the burst rate is more than sufficient. As when shooting white water kayaking, I never once found myself waiting for the camera during the ceremony. I knew that images at lower ISO values would have lots of editing latitude, but I was also pleasantly surprised at the quality of higher ISO shots when the sun set behind the clouds.

You can dramatically change an image’s composition while still maintaining a good amount of resolution.

The biggest downside for using the D850 for weddings, so far as I can see it, is just that the average client might not need 46MP for every single image. It burdens the photographer in terms of storage space, and honestly burdens the clients if they’re not going to be printing anything bigger than an 11×14. (Even high-quality JPEG files out of the camera weigh in at 20-30MB).

The camera’s smaller Raw file options might help this somewhat, but we’re still testing to see if there will be any dynamic range or other image quality penalty involved. But on the flip side, there’s no avoiding the freedom you’ll feel when cropping tightly on such a high-res image. You can dramatically change an image’s composition while still maintaining a good amount of amount of resolution, which is pretty powerful.

In the wild. Out-of-camera JPEG.
Nikon 24-120mm F4 @ 110mm | ISO 1400 | 1/500 sec | F4

Should I buy it?

No camera is perfect.

I’m not a big video shooter for freelance work, but I love a tilting screen to get some unique angles for stills, and while Nikon’s live view autofocus is accurate, it certainly isn’t fast. Forget about shooting moving subjects if you’re not in a position to have your eye to the finder.

Commitment.
Nikon 35mm F1.8G | ISO 400 | 1/160 sec | F4

Beyond that, Snapbridge (Nikon’s term for a suite of features including Wi-Fi and Bluetooth connectivity for downloading images) has improved, but still isn’t exactly refined. The initial connection process was quick and easy, but I couldn’t reconnect again until after I had both my phone and the camera ‘forget’ each other, and start all over again.

For the last year or so, I’ve been wrestling with the issue of whether or not to upgrade. For what I shoot, which is mostly weddings and events, the D850 certainly has a lot to offer. The files are awfully big, but downsizing them will just make for very sharp lower megapixel options.

Nikon seems to have thrown just about everything they’ve got into the D850, and it sits at a very reasonable price point for all that it is capable of. At first glance, it may not be the most exciting camera for the average consumer; it certainly isn’t flashy, nor is it petite.

Out-of-camera JPEG.
Nikon 35mm F1.8G | ISO 3200 | 1/320 sec | F1.8

But for seasoned photographers shooting a variety of subjects, the D850 is a formidable option.

For landscape shooters, you have the current low ISO benchmark at ISO 64, meaning the D850 should be able to match some medium format digital cameras in terms of dynamic range. For wedding and event shooters, you have all the speed you need, but with tons more resolution than may be used to – this could be a blessing or a curse, depending on your style. For those that love manual focus lenses, you get Nikon’s biggest-ever viewfinder on a DSLR. And for wildlife enthusiasts, you get the benefits of the latest sensor tech with plenty of resolution for cropping, as well as excellent autofocus tracking and coverage, even with low light levels.

In all, the D850 offers excellent autofocus performance, incredible resolution, expansive dynamic range and a capable burst speed. Unless you find yourself shooting run-and-gun video on the regular, the D850 is worth a look.

Sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5682971467″,”galleryId”:”5682971467″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized