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Posts Tagged ‘dSLR’

Nikon D5600 DSLR announced, though not in the US

10 Nov

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Nikon has made a global announcement of its D5600 mid-range DSLR. It evolves the line by adding SnapBridge (Wi-Fi + Bluetooth + NFC) as well as touchscreen enhancements and a time-lapse feature. Like its D5500 predecessor, it uses a familiar 24MP sensor and EXPEED 4 processor.

The D5600 also maintains a 3.2″ fully articulated LCD, but adds a few new functions: enabling and disabling auto ISO is now possible via the touch Fn button and the D5’s frame advance bar touch interface has been adopted. In-camera time-lapses are also offered with an auto exposure smoothing feature to make varying exposures due to changes in lighting look less jarring.

The Nikon D5600 is announced for areas outside of the US – no shipping or pricing information is available at this time. 

Press release

Digital SLR Camera, Nikon D5600

Entry-level DX-format Digital SLR Camera with Seamless Connectivity Ignites Creativity and Sharing by Transforming Social Storytelling

TOKYO – Nikon Corporation is pleased to announce the release of the D5600, an entry-level DX-format digital SLR designed for photography hobbyists and content creators to explore different creative and artistic expressions. With convenient connectivity features, the D5600 is also built for easy sharing and social storytelling.

The Nikon D5600 is equipped with a range of features that encourages users to capture and communicate their stories. Featuring a Vari-angle LCD monitor that flips out and rotates, it is possible to shoot from nearly any angle for greater creative freedom. The touch-screen operation so popular with the D5500 has been further enhanced in the D5600 with the addition of a crop function for use during playback zoom, and a frame advance bar that lets users scroll through images in playback mode easily. The D5600 also incorporates the time-lapse movie function equivalent to that of the more advanced Nikon D7200, enabling users to capture changing scenes over a time period and create stunning time-lapse videos.

In addition, a constant connection between the Nikon D5600 and a smart device is possible using the SnapBridge app and Bluetooth® low energy (BLE) technology. Images captured are automatically transferred to the paired smart device and users can upload and share high quality images in a seamless, integrated process. The image transfer continues even after the camera has been turned off. SnapBridge also enables automatic image upload to NIKON IMAGE SPACE. Furthermore, wireless video transfer and remote shooting are –possible via Wi-Fi®.

Primary Features

1. SnapBridge support for constant connection of the Nikon D5600 to a smart device

Support for the SnapBridge app*1 means that with one-time setup, a constant connection between the D5600 and a smart device*2 is maintained, realizing simple automatic transfer*3 of photos. In addition, a number of convenient functions, including automatic upload to Nikon’s photo sharing service, NIKON IMAGE SPACE*4, the addition of copyright information and comments to photos, and automatic synchronization of camera date/time and location information with that of the smart device, can be used. What’s more, the Nikon D5600 also supports the high-speed transfer of selected still images, movie transfer, and remote capture of still images when Wi-Fi“*5 is enabled.

*1 The SnapBridge app can be downloaded free of charge from the App Store® and Google Play™.
*2 The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the Android™ operating system.
*3 Images (JPEG) reduced to 2-megapixel equivalent can be transferred automatically. RAW/TIFF data cannot be transferred. Movies can be transferred by switching to Wi-Fi®.
*4 To upload images automatically to NIKON IMAGE SPACE, Nikon ID registration (free) is required, which can be easily setup via [Nikon ID registration/change] menu on the SnapBridge application. Only when uploading to NIKON IMAGE SPACE via SnapBridge, JPEG data reduced to 2-megapixel equivalent can be uploaded unlimitedly in number and capacity.
*5 The camera cannot be directly paired with a smart device using Wi-Fi. Wi-Fi can be used by enabling it after the camera has been paired with the smart device using Bluetooth®.

2. A Vari-angle LCD monitor that makes capturing creative photos easy from any angle

The Nikon D5600 is equipped with a 3.2-inch Vari-angle LCD monitor that enables shooting from low angles, high angles, and even selfies. A touch screen has also been adopted. Naturally, it supports the same touch operation available with the D5500, but it also supports the frame advance bar adopted for the high-end D5 and D500 for scrolling through images in full-frame playback. In addition, the touch Fn function so popular with the D5500 has been expanded to support the enabling and disabling of auto ISO sensitivity control, and operation with viewfinder shooting has also been improved.

3. An effective pixel count of 24.2-million pixels and support for a broad range of sensitivities—ISO 100–25600—enable expression with superior image quality

The camera offers an effective pixel count of 24.2-million pixels. It is equipped with a Nikon DX-format CMOS sensor with no optical low-pass filter. This enables capture of images that make the most of the superior rendering characteristics of NIKKOR lenses. The EXPEED 4 image-processing engine has been adopted, and a broad range of standard sensitivities are supported—ISO 100 to 25600, the combination of which enables capture of highly detailed images in which noise is effectively suppressed, even with shooting in dark or dimly lit surroundings.

4. Equipped with the same time-lapse movie function found in more advanced models

The Nikon D5600 is newly equipped with the time-lapse movie function, which allows users to easily compress long periods of time into short ones, entirely within the camera, to express changes that occur over time, such as the shapes of clouds as they roll by, or the movement of people and cars through city streets. In addition, the exposure smoothing function makes capturing beautiful time-lapse movies easier by suppressing variations in exposure caused by changes in lighting that occur naturally, such as when the sun comes up or goes down. Time-lapse movies recorded with the camera can also be transferred to a smart device via SnapBridge.

  • The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation is under license.
  • Wi-Fi and the Wi-Fi logo are trademarks or registered trademarks of the Wi-Fi Alliance.
  • Apple®, App Store®, the Apple logos, iPhone®, iPad®, and iPod touch® are trademarks of Apple Inc. registered in the U.S. and/or other countries.
  • Android™ and Google Play™ are trademarks of Google Inc.
  • Other trademarks and trade names are those of their respective owners.

Nikon D5600 specifications

Body type
Body type Compact SLR
Body material Composite
Sensor
Max resolution 6000 x 4000
Other resolutions 4496 x 3000, 2992 x 2000
Image ratio w:h 3:2
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type CMOS
Processor Expeed 4
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100 – 25600
White balance presets 12
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, Normal, Basic
File format
  • JPEG (Exif v2.3)
  • Raw (Nikon NEF, 12 or 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 39
Lens mount Nikon F
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3.2″
Screen dots 1,037,000
Touch screen Yes
Screen type TFT LCD monitor
Live view Yes
Viewfinder type Optical (pentamirror)
Viewfinder coverage 95%
Viewfinder magnification 0.82×
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Auto
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Scene modes
  • portrait
  • landscape
  • child
  • sports
  • close up
  • night portrait
  • night landscape
  • party/indoor
  • beach/snow
  • sunset
  • dusk/dawn
  • pet portrait
  • candlelight
  • blossom
  • autumn colors
  • food
Built-in flash Yes (Pop-up)
Flash range 12.00 m (at ISO 100)
External flash Yes (Hot-shoe)
Flash modes Auto, On, Off, Red-eye, Slow sync, Rear curtain
Flash X sync speed 1/200 sec
Drive modes
  • Single frame
  • Continuous (low, high)
  • Quiet shutter release
  • Self-timer
  • Interval timer
Continuous drive 5.0 fps
Self-timer Yes (2, 5, 10 or 20 sec)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes (3 frames in either blue/amber or magenta/green axis)
Videography features
Format MPEG-4, H.264
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (mini-HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n with Bluetooth 4.1 LE and NFC
Remote control Yes (MC-DC2 (wired), WR-1/WR-R10 (wireless))
Physical
Environmentally sealed No
Battery Battery Pack
Battery description EN-EL14a lithium-ion battery & charger
Weight (inc. batteries) 465 g (1.03 lb / 16.40 oz)
Dimensions 124 x 97 x 70 mm (4.88 x 3.82 x 2.76″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS Optional
GPS notes Optional GP-1/GP-1A

Articles: Digital Photography Review (dpreview.com)

 
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DSLR or Mirrorless Cameras Which is Right for You?

10 Oct

Have you considered switching to a mirrorless camera system from your DSLR? Or are you upgrading fro a point and shoot and want to know which system is the right choice for you? This video from Phil Steele may help you understand the differences and make a decision that’s sound.

If you found that helpful you can learn more from Phil over on his website Steele Training.

Soe Lin

By Soe Lin

You can also see more info on mirrorless cameras and the differences between them and SLRs in these dPS articles:

  • 3 Reasons Why Mirrorless Cameras are Better than Digital SLRs for Focusing
  • Does the Camera Matter? SLR versus Mirrorless versus Smartphone
  • 8 Factors to Look at Before You Choose a New DSLR or Mirrorless Camera
  • The 19 Most Popular Compact System and Mirrorless Cameras with Our Readers
  • 5 Lessons Learned Switching from DSLR to Mirrorless for Travel Photography
  • How the Switch from DSLR to Mirrorless Changed How I Edit Photos
  • 10 Reasons Why a Pro is Using a Mirrorless Camera for Personal and Paid Jobs

You can also vote and see the results of our poll on mirrorless cameras here.

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The post DSLR or Mirrorless Cameras Which is Right for You? by Darlene Hildebrandt appeared first on Digital Photography School.


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Beginner’s Guide to Doing DSLR Video Clips

06 Oct

The video function on your camera is probably one that you don’t play with very often. It’s often disregarded – after all, DSLR cameras are not exclusively video cameras are they? But did you know that some big budget films, including The Avengers, have scenes shot on DSLR cameras? In fact, The Avengers used the Canon EOS 5D Mark II and 7D cameras on the set!

Dave Dugdale

By Dave Dugdale

Understanding your camera’s video mode opens a world of opportunities to you. Filming is great for recording a developing scene, rather than trying to record a sequence in a still image. As a wildlife photographer, I use film to record sequences of behaviour with wildlife. For obvious reasons, it’s much easier to convey something that occurs over time with moving images. Whether you work with wildlife or not, I hope the following guide to taking DSLR video helps you to unlock the potential of your camera’s video mode.

#1 Understand frame rates

When you’re shooting a video, you’re actually recording images at a very fast frame rate. These are then played back so quickly that the human brain sees one moving image. Depending on where or what you are shooting, the frame rate you go for will vary. It’s worth noting that the frame rate your camera can shoot video at is different to the frame rate at which it can shoot still images.

Movies are shot almost exclusively at 24 frames per second. Television doesn’t have an internationally accepted frame rate. For example, in Europe and many other countries, videos are shot in PAL format at 25 fps. In North America, and also Japan, videos are shot in NTSC format and at 29.97 fps (often written as 30 fps).

Steven Worster

By Steven Worster

#2 Choose your shutter speed

Big movie cameras will likely have rotary shutters. They are semicircular and spin around to expose the sensor for each frame. Filmmakers would then adjust the shutter angle to alter the amount of motion blur in a video and how smooth the movement appears to the eye.

DSLR cameras almost exclusively use curtain shutters. You don’t need to worry too much about the workings of the shutter for this. Just remember that to convey normal motion in your video, and avoid static uncomfortable viewing of your video, you should shoot at 1/ double the frame rate.

So, if you are shooting at 25 frames per second, then you should choose a shutter speed of 1/50th second. You can balance the exposure using the aperture or ISO. The following video illustrates the differences in motion blur with different shutter speeds.

#3 Do both wide and close-up shots

It can be easy to train your camera on an event, set it to record and leave it alone. But how many films or videos have you watched where the camera angle or composition never changes? Very few, if any. One of the best ways to keep the viewer’s attention, and add a professional touch to your videos, is to shoot one scene in a number of different compositions.

This is why shooting video with a zoom lens is so handy. You can zoom out to record your wide shots, and then zoom in to record close-ups that highlight the details of whatever you are filming. It allows you to jump between clips, keeping the viewer’s attention.

If you were to just show one clip for 30 seconds solid, it is likely that the viewer would become bored. If you cut between compositions, then their interests are peaked. It also allows you to skip through time, cutting between more interesting parts of a sequence (although you need to be careful that the scene looks the same and flows – that’s known as continuity).

Take a look at this example:

#4 Focus manually

It’s super tempting to use autofocus when you first start filming, especially if you’re recording a moving subject. But autofocus makes the lens search for the focus, and once it starts trying to refocus in your video then it looks very amateur. Instead, pull the focus manually.

You’ll need to practice this technique, but it’s not as hard as it sounds. Using a smaller aperture helps too. In big film productions, there are entire jobs for focus pullers – this is a guy who manually focuses the lens for the cameraman.

#5 Take filler shots

Make sure you record the little details around your subject of the film. It might be water hitting a leaf, or the wind blowing through trees. It could be anything. But filler clips let you pad out your final film with extra details, meaning that you don’t require footage of your target throughout the whole film.

This is particularly useful in wildlife films, as it helps to transition time and events more easily by breaking up different clips. It works in a similar way to the wide and close-up shots mentioned in tip #3 above.

#6 Record sound externally

Big productions never record sound directly from the camera. They’ll have a sound man with a boom pole, holding it over people talking. This removes the interference of you actually working the camera, but it also ensures sound receives the attention it deserves. A film without sound is often a bad film, but a film with only sound can paint a picture easily.

For wildlife, we record sound at a later date. Very rarely is it recorded at exactly the same time. Instead, it is dubbed onto the footage during editing. Here’s an example:

Notice how it helps the clips to flow into one another? I am definitely not a sound expert, but it helps to make a conscious effort to improve your sound recordings.

In Conclusion

Video is a fantastic medium, I love it. There is a reason we are transfixed by film and television. Quality film production is an art, just like photography, and it is great fun to try your hand at it. So switch over to the video mode of your camera and see what you can put together.

If you’ve made any DSLR films yourself, please share them in the comments below.

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The post Beginner’s Guide to Doing DSLR Video Clips by Will Nicholls appeared first on Digital Photography School.


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Foolography’s Unleashed is a tiny Bluetooth DSLR controller

22 Sep

German company Foolography has launched a Kickstarter campaign for its latest product, the Unleashed smartphone DSLR remote control, and is showing a prototype device at its booth in Hall 4.1 at Photokina. The Unleashed is a tiny Bluetooth module that plugs into the USB and HDMI ports of your DSLR and allows you, via a dedicated app, to change camera settings, capture photos, record videos or create timelapses. You can also embed location information from the smartphone or an external GPS receiver in your images. 

The Unleashed’s Bluetooth LE technology uses minimal power from the camera and does not require any charging. It automatically reconnects to the smartphone and, unlike Wi-Fi connected competitors, is always ready to be used. Its small dimensions mean that the camera hot shoe can be kept free and the Unleashed can stay on the camera at any time, even when in a bag or case.

On the downside, Bluetooth LE does not provide enough bandwidth for the transmission of a live view image. However, the Unleashed extracts low resolution thumbnails that allow for basic checks of exposure and composition. The Foolography Unleashed Kickstarter campaign has already reached its funding goal but you can still pledge $ 129 to secure a device. Shipping is planned for June 2017. 

Articles: Digital Photography Review (dpreview.com)

 
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Cooke Optics to offer miniS4/I lens range in mounts for DSLR and mirrorless cameras

06 Sep

UK lens manufacturer Cooke Optics has announced that it is to produce a much wider range of mounts for its compact miniS4/i family of lenses to allow access for DSLR and mirrorless camera owners. From October the lenses will be available in mounts for Canon EF, Nikon F, Sony E and Micro Four Thirds systems, as well as the normal PL mount for movie cameras. In addition the company will offer the new mounts on their own for existing miniS4/i lens owners who will be able to switch the fittings themselves.

The Cooke miniS4/i series is designed to offer movie makers a smaller, lighter alternative to the company’s S4/i lenses through the use of a T2.8 maximum aperture instead of the T2 opening of the S4/i range. There are ten prime lenses in the series ranging from 18mm to 135mm, and each is capable of covering a Super 35mm frame.

Although the miniS4/i series is considered to be a cost-effective alternative to the company’s larger lenses, a set of all ten costs around $ 69,500 while the individual lenses are priced at about $ 7300 each. The price of the individual mounts has yet to be announced.

For more information see the Cooke Optics website.

Press release

Cooke Optics introduces multiple mounts for miniS4/i lens range

Users of Canon EF, Nikon F, Sony E and micro 4/3 cameras now have access to the Cooke Look

Leicester, UK- Cooke Optics, the multi-award winning manufacturer of precision lenses for film and television, is pleased to announce that it is introducing multiple mounts for its acclaimed miniS4/i lenses, enabling more cameras and productions to benefit from the ‘Cooke Look®’. The new mounts, including Canon EF, Nikon F, Sony E and micro 4/3, will be available to view at IBC 2016 on Stand 12.D10 and will ship from October 2016.

A single mount will fit every focal length lens in the miniS4/i series. For existing miniS4/i lenses, users can simply unbolt the PL mount that comes as standard, bolt on the replacement mount, and shim as required. The mounts can be used on any miniS4/i lens, regardless of delivery date. For new miniS4/i deliveries, starting from October 2016, the lenses will be available with the mount of choice from the factory. The mounts are designed for the MIRRORless cameras.

Les Zellan, Chairman and Owner, Cooke Optics, said, “The miniS4/i lenses are steadily gaining popularity for many genres of production, since they have all the coveted attributes of Cooke prime lenses in a smaller, lighter and more affordable form. With the introduction of these interchangeable mounts, we can now bring the Cooke Look to many more cameras and productions, giving even more choice to directors of photography.”

miniS4/i lenses were recently used to shoot the popular UK TV drama Midsomer Murders and the Spanish feature film El Pregon.

Cooke will also show the new 35-140mm Anamorphic/i zoom lens at IBC 2016, alongside a variety of Anamorphic/i, 5/i, S4/i and miniS4/i lenses.

Articles: Digital Photography Review (dpreview.com)

 
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CamFi DSLR controller now offers real-time upload to Dropbox

06 Aug

The makers of the CamFi wireless DSLR controller have launched a new version of their iOS app. It now allows the user to transfer photos to Dropbox in real-time while shooting. The new feature is aimed at photojournalists who want to send images to news desks as quickly as possible but can arguably be useful in other scenarios as well.

To make the system work, photographers need a so-called MiFi, a portable broadband device that allows multiple mobile devices to share a 3G or 4G mobile broadband Internet connection, or a second phone that is acting as a mobile hot-spot. Both the CamFi that is attached to the DSLR via a USB-cable and the phone that is running the CamFi app are then connected to the MiFi. This way, the CamFi can be controlled via the app and access the Internet at the same time.

As images are captured they are sent from the CamFi to the control phone via Wi-Fi and uploaded from the phone to Dropbox via the MiFi’s internet connection. This works for both Raw and JPEG files. The same system can be setup when controlling CamFi from a Windows PC. The developers say Mac and Android versions will be released very soon.

Articles: Digital Photography Review (dpreview.com)

 
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Miggo wants to ‘DSLR your iPhone’ with the Pictar grip

20 Apr

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Accessory manufacturer miggo has launched a Kickstarter campaign to fund a new iPhone grip that it says brings DSLR-style controls to many current iPhone models. The Pictar grip uses conventional buttons, wheels and dials to deliver a traditional camera experience that makes the photo feature of the phone easier to navigate, and the company claims the app that complements the grip allows greater camera control than the standard iPhone interface.

While most devices that connect wirelessly with smartphones do so using potentially battery-draining Bluetooth, the Pictar grip communicates with an iPhone app using high frequency sound that humans can’t hear but which the phone’s microphone can. It’s definitely a unique approach, and it’s not clear whether it will drive your dog crazy.

Turning the wheels and dials creates unique tones that instruct the app what it is the user wants to do. All of the controls can be customized to suit the user, but by default one of the top plate dials is set to deliver exposure compensation while the finger wheel on the front of the camera is used as a zoom or, when pressed, to switch from front to rear cameras – for selfies.

The Pictar grip is adjustable which allows it to work with a range of past, current (excluding the larger 6s Plus) and future models, and as there is no physical communications plug or socket the company says its device is not reliant on Apple maintaining its current form factor or connections.

The Pictar grip provides a cold shoe for microphones and lighting, as well as a tripod socket on its base. It is powered by a CR ½ AA battery which miggo says will last between six and eight months. The miggo Pictar will cost $ 90 and, if the campaign is successful, will come to market in December.

For more information see the miggo website, and the Pictar Kickstarter campaign page.

Press release:

miggo Transcends the Limitations of Mobile Photography with the Launch of Pictar

Inspired by classic camera design, Pictar unleashes the true photographic power of iPhones

New York – miggo, which first made its worldwide debut with the innovative Strap & Wrap and Grip & Wrap protective carrying solutions for digital cameras, today unveiled its most revolutionary offering yet – Pictar. High-tech and cutting edge, Pictar is an ergonomically advanced Camera-Grip for the iPhone that brings the familiar controls of a DSLR right to users’ fingertips.

Key features of Pictar include:
– Five user programmable wheels/buttons for full user control.
– Ergonomic grip for one handed use.
– Revolutionary communication between hardware and App via ultrasonic sounds.
– Compatibility with most iPhone models (4-6s and planned support for future models).
– Control over iPhone camera features not possible in the native App.

While the digital camera incorporated in each new generation of the iPhone has improved dramatically, what has stayed the same since its introduction is the way consumers hold the device and navigate its features and settings. With that in mind, when it comes to taking a photo, it’s not very ergonomic and simply does not compare to the traditional experience offered by that of a dedicated DSLR. Advanced shooters welcome a DSLR’s physical controls which put frequently used settings right at their fingertips – something Pictar was designed specifically to replicate. By bringing these physical controls to the iPhone, Pictar offers unprecedented control and gives users the ability to take their iPhone photography to a completely new level and transform the way they use it to take photos and video.

“As the adage goes, the best camera you have is the one you have with you,” said Guy Sprukt, co-founder of miggo. “It’s no secret that one of the most popular smartphones in the world is also one of the most widely used digital cameras.  The image quality of the phone can rival that of some of the best digital cameras on the market. With Pictar, we’re looking to give users – whether they be professionals or social shutterbugs — the ability to DSLR their iPhone and completely unleash its full potential.”

The Pictar project is the result of over a year of extensive research and development focusing on alleviating the shortcomings as it relates to the ergonomics and control of the iPhone. miggo’s product design engineers devoted significant resources to developing a solution to address these shortcomings and help deliver an experience that’s more natural, more comfortable, and that delivers better results.

Key shortcomings addressed by Pictar include:
* Poor control – while touchscreens have proven to be the method of choice for many of today’s mobile devices, they simply aren’t fast enough when it comes to navigating menus or accessing camera controls. Because of this, users choose to simply press capture or record i.e. take the pictures on Auto and fail to truly experience what the iPhone could offer.

* Uncomfortable grip- sleek and slim, the iPhone simply does not offer users a comfortable or secure grip when using the device to capture photos or videos. Due to the way users are forced to hold the phone, it’s often easily dropped or results are often not sharp enough because of an unsteady hand, especially when operating with just one hand.

Pictar features five external controls which operate key settings and includes a patented, revolutionary interface which utilizes high-frequency dual tone sound to activate and control the camera, saving significant battery power compared to standard Bluetooth connectivity. In addition, the ergonomically designed grip allows for one handed operation and sharper images.

In addition, users will also benefit from the optional hand and neck straps, which offer peace of mind, saving Pictar and the user’s iPhone from damage in the event of accidental drops. Both straps feature quick release buckles which enable the user to effortlessly switch between both to suit their needs. Moreover, for safe storage, miggo also includes a stylish padded pouch. Manufactured from neoprene, the pouch will protect Pictar when not in use and can also be attached to a belt or bag for easy transport.

External controls and features include:
1. Multi-state shutter button – electronically calibrated to provide maximum sensitivity, just like that of a traditional DSLR. Pictar’s shutter button offers a “half press” mode to lock focus and exposure for easy tracking of a moving object or to create a desired composition, as well as full-press for immediate shutter release.

2. Zoom ring – located right under the index finger, the rotating zoom ring alleviates the need to touch the screen to pinch-and-zoom, making it easy for the user to zoom in and out with just one hand. The zoom ring can also be programmed and changed by user to suit specific needs.

3. Selfie button – clicking the zoom ring will switch between the iPhone’s front and back camera for easy “selfie” shots.  Like the rotation of the zoom ring, the button can also be programmed and changed by user to suit specific needs and control other settings.

4. Exposure compensation wheel – located on the rear of Pictar, the exposure compensation wheel helps the user determine the exact level of exposure. Based on the user’s preference, the exposure compensation wheel – like Pictar’s selfie button and zoom ring – can also be programmed and changed from its default setting to control other features

5. Smart wheel – customizable, the smart wheel allows users – beginners and advanced – to control a variety of functions. In default mode it changes the camera’s preset modes: sports, landscape, portrait and for the more advanced users, full manual, aperture priority and more. Advanced photographers can choose to program the smart wheel to control other functions, such as manual mode, shutter speed, iso, flash modes and white balance settings.

6. Tripod mount – for those photographers looking for added stability, for landscapes or for video recording, Pictar offers a ¼” standard tripod mount located on the bottom of the device.

7. Cold shoe – located on top of Pictar, the integrated cold shoe will allow users to mount a variety of LED lighting accessories or mics for added creativity and control.

A powerful, dedicated app featuring patented high-frequency dual tone sound control:
Pictar is designed to communicate with the iPhone via a dedicated camera app which unlocks key features inaccessible on the native app to iPhone users. Each of the physical controls found on Pictar drive a specific function or setting and does so using high-frequency dual tone sounds. Each physical control is assigned a specific tone, and with each turn of a dial, press of a button or turn of a wheel, Pictar omits a sound that – when detected by the app – generates a corresponding action. The high-frequency dual tone (18,500 – 20,000 khz) is inaudible to the human ear and significantly increases battery life when compared to Bluetooth connectivity. Using a standard CR ½ AA battery which is easily found worldwide, miggo estimates 6-8 months of use before the need to replace the power source is required.

The Kickstarter campaign is now live with an introductory price of $ 90 USD. Full retail availability is slated for December 2016.

miggo was founded 2013 by a group of designers with extensive experience in developing award-winning camera cases and bags, as well as a passion for bringing to market innovative concepts for carrying and supporting cameras. In just three years, miggo expanded its portfolio to include patented game-changing camera carriers, multi-functional camera and binocular straps and innovative compact tripods. These products are successfully marketed in over 30 countries around the world.

Today, with two highly-successful Kickstarter projects under the company’s belt – the 2014 “Strap & Wrap” campaign and the 2015 “agua” campaign – miggo returns to Kickstarter for the third time with its sights set on the trend of mobile photography. With Pictar, the company’s new state-of-the-art grip enclosure, miggo is giving consumers the ability to truly unleash the power of their iPhone camera and take their mobile photography to a completely new level. 

For more information please visit www.mymiggo.com or follow us on Facebook.

Articles: Digital Photography Review (dpreview.com)

 
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Best of both worlds? Canon patent for DSLR hybrid viewfinder design published

01 Apr

Canon has applied for a patent for a viewfinder design that combines both optical and electronic displays in a DSLR style system. Via a system of mirrored prism the design allows users to benefit from all the advantages of both EVF and TTL optical systems through the same eye piece. Menus can be overlaid on a normal optical view, or a live view function can be used through the viewfinder – which would be of great benefit to video shooters.

In Canon’s new hybrid viewfinder design light passes through the lens as usual and is reflected through a ground glass screen into the pentaprism. As it exits the pentaprism is can be supplemented with light from a LCD panel (labelled ‘9’) that is projected through a series of lenses and bounced from a half-mirror (6b) and on to a reflective surface (6). The two sources of light combine and pass to the photographer’s eye via the eye piece (8). When the mirror is in the up position the image recorded by the sensor (12) can be sent directly to the LCD panel (9) so the photographer can get a live view of what the sensor is recording. Thus the system combines the best elements of electronic and optical viewfinders.

Through a clever use of optics and a mirrored prism, the new design allows a ‘full screen’ display across the whole viewfinder. The significance of the system is that DSLRs will be able to gain some of the advantages of mirrorless systems, such as full menus and playback in the viewfinder, and shooting information could be shown across the larger screen instead of just the bottom or sides of the screen. This would also make possible video shooting through the viewfinder, which could become important if technologies like Dual Pixel AF start to replace secondary-sensor PDAF systems. This would eliminate the need to switch between viewfinder and rear screen shooting to change from stills to video mode, creating a more consistent experience.

The system allows menus to be viewed and accessed as they are overlaid on the image produced by the optical finder

The patent description explains that one of the challenges has been to ensure that the image projected from the electronic screen matches that of the optical system, which is why the screen has been placed close to the viewfinder instead of before the prism, where there might have been more room. Being on the viewing side of the prism means less magnification is needed to create an image big enough to coincide with that of the optical view.

The projection system uses a complex set of lenses to reduce the size of the construction so that the manufacturer shouldn’t have to make physically larger cameras to accommodate it. Canon also indicated that it has taken steps to reduce the impact of the half mirror that has been placed in the optical path. It says that the angle of the mirror is optimized to allow as much light to pass as possible.

The heads-up display type viewing system is nothing new, and although it has been discussed in camera circles before we have yet to see a good example of technology combining optical and electronic views. The closest we have come is the hybrid viewfinders used by Fujifilm in the X-Pro and X100 series of cameras, but Canon’s method is the first to combine an EVF with a TLL viewfinder, rather than a more rangefinder-style arrangement.

Canon’s patent was applied for in 2014 and the information only just published, so the company may be in a position to introduce the system quite soon. However, as with any patent there’s a chance nothing will come of it, no matter how good an idea it is. We will just have to wait and see what, if anything, comes of it.

Articles: Digital Photography Review (dpreview.com)

 
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Studio report: Nikon D5 has lowest base ISO dynamic range of any current FF Nikon DSLR

29 Mar

When the Nikon D5 arrived in our office on Friday we immediately wanted to answer a few questions: How is the low light performance? How good is the autofocus? How is the Raw dynamic range? After running our Exposure Latitude and ISO Invariance tests we’ve found that while the D5’s sensor is clearly optimised for low-light image making, it represents a rather surprising – and disappointing – step backwards in terms of base ISO dynamic range.

Let’s take a closer look, starting with our Exposure Latitude test scene. There are two pages in this article, so don’t miss page 2, where we’ll look at ISO invariance. 

Exposure Latitude

In this test we look to see how tolerant of pushing exposure the D5’s Raw files are. We’ve done this by exposing our scene with increasingly lower exposures, then pushed them back to the correct brightness using Adobe Camera Raw. Examining what happens in the shadows allows you to assess the exposure latitude (essentially the dynamic range) of the Raw files.

Because the changes in this test noise are primarily caused by shot noise and this is mainly determined by the amount of light the camera has had access to, the results are only directly comparable between cameras of the same sensor size. However, this will also be the case in real-world shooting if you’re limited by what shutter speed you can keep steady, so this test gives you an idea of the amount of processing latitude different formats give.

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Even at a modest 3 stop push, we see the D5 has already contributed a considerable amount of noise to its low ISO images compared to the 24MP D750. After a 5 stop push the gap widens, with the D750’s 5 stop file looking more like the 3 stop file from the D5. In fact, the D5’s performance closely resembles the performance seen from the Canon 6D$ (document).ready(function() { $ (“#imageComparisonLink2279”).click(function() { ImageComparisonWidgetLink(2279); }); }), with just a bit more color noise showing in the 6D’s file.

After very aggressive pushes, an interesting series of bands appears at the top and bottom of the image. We don’t know what’s causing this additional noise (which appears to be confined to specific read-out rows) but it’s interesting to note.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2016: Sigma MC-11 adapter allows DSLR Sigma lenses full range of AF modes on Sony bodies

02 Mar

While photographing and filming our way through Sigma’s booth this year at CP+ 2016 in Yokohama, one rather understated product may have just stolen the show for a number of Sony shooters, as well as our Technical Editor Rishi Sanyal.

Put simply, the Sigma MC-11 adapter allows the use of Sigma-mount and Canon-mount Sigma lenses, such as the excellent Sigma Art 35mm F1.4, to be adapted to Sony bodies with no autofocus compromises whatsoever. That means Sigma is the first brand of DSLR lenses to support Eye AF and Lock-On AF modes on Sony cameras, as well as smooth phase-detection in video. What’s more, they work really well.

Don’t believe us? We didn’t believe it at first either. Watch the video and see for yourself why this is a huge step forward in realizing truly hybrid camera systems: where you can pair the best lens with the best camera body – for you – without severe compromises.

Pricing and availability of the Sigma MC-11 adapter has yet to be announced.

Articles: Digital Photography Review (dpreview.com)

 
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