Tag: first

  • Canon EOS R First Impressions Review

    The Canon EOS R is the first full frame mirrorless camera to use the new RF mount. It’s built around the same 30 megapixel Dual Pixel CMOS sensor as 2016’s EOS 5D Mark IV but is designed for a new series of RF lenses. Canon says the shorter RF lens mount will allow them to design better or smaller lenses than they can for the existing EF mount.

    Being the first RF-mount camera, it’s not surprising that the EOS R occupies a unique new position in Canon’s lineup. In essence, you’re getting image and video quality from the 5D Mark IV at around the price point of the 6D Mark II with a healthy dose of control philosophy from both of those cameras as well as the EOS M series.

    Key Specifications:

    • 30MP full frame Dual Pixel CMOS sensor
    • 3.69M dot OLED viewfinder
    • Fully articulated rear LCD
    • Autofocus rated down to -6EV (with F1.2 lens)
    • Up to 8 fps shooting (5 fps with continuous AF, 3 fps ‘Tracking Priority mode’)
    • UHD 4K 30p video from a 1.83x crop of the sensor
    • Canon Log (10-bit 4:2:2 over HDMI or 8-bit 4:2:0 internal)
    • USB charging (only using optional Canon charger)
    Converted from Raw using ACR 11 and the Camera ‘Standard’ profile.
    ISO 100 | 1/100 sec | F1.2 | Canon RF 50mm F1.2L
    Photo by Wenmei Hill

    The EOS R was announced less than two weeks after Nikon’s Z7, which itself is Nikon’s first full-frame mirrorless camera and is also designed around a new mount. Where Nikon makes a big deal about how immediately familiar the Z7 will be to existing Nikon shooters, Canon is incorporating some more radical ergonomic innovations on the EOS R – it handles unlike any existing Canon camera. Let’s take a closer look at what exactly those innovations are and how they work.

    The Canon EOS R will be available from October 2018 at a cost of around $ 2,299 or $ 3,399 with the RF 24-105mm F4L IS lens.


    What’s new and how it compares

    The EOS R comes with a lot more than just a new mount. Read about the new features included on the EOS R.

    Read more

    Body and handling

    The EOS R is Canon’s lightest full-frame camera, but remains weather sealed and has a full-size grip. Read about all of the EOS R’s ergonomic updates here.

    Read more

    First impressions

    The EOS R comes with some surprising ergonomic updates that aren’t to everyone’s tastes, but its still capable of great image quality.

    Read more

    Sample gallery

    View a variety of sample images from our final production EOS R.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • LG V40 ThinQ first smartphone to offer super-wide-angle and tele cameras

    Multi-camera setups with a variation of focal lengths are pretty much the norm on high-end smartphones these days. However, thus far you’ve had to decide if you want a super-wide-angle module (like on most recent LG models) or a tele-camera (like on the iPhone X, Huawei P20 Pro or Galaxy Note 9) next to the camera’s “standard” wide-angle lens.

    Pretty soon you’ll be able to have both. LG just “pre-announced” its new LG V40 ThinQ on its Korean website and confirmed the triple-camera setup that reportedly comes with a super-wide angle and tele next to the main camera. The latter will feature a very fast F1.5 aperture.

    The official announcement of the device is scheduled for October 3rd, and unfortunately information on other specifications is rather sparse at this point. All we know is that the display will measure 6.4 inches and, looking at the teaser video, will feature some kind of soft-touch surface for increased grip.

    We will let you know as soon as more information on the LG V40 ThinQ camera specs and features becomes available.

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2018: First look at new Ricoh GR III

    Our new favorite compact? Meet the Ricoh GR III

    Ricoh has announced the development of a third model in its popular GR lineup: The forthcoming GR III will feature an updated sensor and redesigned lens. We’re at Photokina, where we took a quick look earlier at an early sample under glass.

    The biggest upgrade to the GR III is invisible. The new camera features a 24MP APS-C sensor, which should substantially improve upon the rather old 16MP sensor used in the GR/II. The new sensor brings with it phase-detection autofocus, and in-camera stabilization. Both these changes are potentially of huge value to prospective buyers, and serve as a major differentiator against arguably the GR III’s main competitor, Fujfilm’s X100-series.

    Our new favorite compact? Meet the Ricoh GR III

    Externally, the magnesium alloy-bodied GR III is virtually indistinguishable from its predecessors, the GR and (extremely closely-related) GR II. The 28mm effective focal length of it 18.3mm F2.8 lens is unchanged, but it has been redesigned.

    The new lens features six elements in four groups, including two aspheres. The GR/II’s lens was made up of seven elements in five groups, also including two aspherical elements. Beyond an improvement to minimum focusing distance from to 6cm (2.4″) from 10cm (3.9″) we don’t know what the practical effects of this redesign are (the GR/II’s original lens was stunningly sharp) but we’re keen to put it to the test as soon as we can.

    Our new favorite compact? Meet the Ricoh GR III

    Movie shooting has been moved from its old position on the main exposure mode dial, to a button on the left-hand side of the camera. This button can also be configured to activate the GR III’s wireless feature. Notice also the omission of the mechanical flash release switch, which was featured on the GR/II. The GR III does not include a built-in flash.

    Our new favorite compact? Meet the Ricoh GR III

    Sorry for the poor quality of this image, which was (obviously) shot through perspex, and against powerful spotlights. Hopefully it shows you what you need to know. From behind, the biggest difference to the GR III compared to its predecessors appears to be a larger LCD, but in fact this is partially an illusion. The GR III’s screen is now 3:2 aspect ratio (as opposed to 4:3) but the diagonal length is the same and resolution (1.03 million dots) is unchanged compared to its predecessor.

    The biggest difference is that the GR III’s screen is touch-sensitive.

    Our new favorite compact? Meet the Ricoh GR III

    You might also notice that the GR/II’s AE/AFL / AF-C switch has been deleted in the new model – likewise the +/- toggle that used to live on the upper-right corner of the thumb grip. This is a shame, but the GR III does gain a rear control dial around the 4-way pad, and from the labeling it looks like the rear ‘ADJ’ jog switch can be used for quick exposure compensation.

    Our new favorite compact? Meet the Ricoh GR III

    From the top, the simplified exposure mode dial looks noticeably less cluttered than the older GR/II. Movie mode has gone, but so has the auto-everything ‘green’ camera mode, and TAv. Instead, we have the traditional PASM plus three user-configurable settings. The front control dial and trademark Ricoh pill-shaped shutter button are unchanged.

    That’s it! At least for now. This camera was firmly behind glass but as soon as we can get our holds on a working sample, we’ll be posting a lot more about the GR III, which is already looking like it might become our new favorite compact.

    Articles: Digital Photography Review (dpreview.com)

  • First lens adapters for Nikon Z already appearing

    British photographic engineer MTF Services is claiming to have created the world’s first third-party lens adapters for the new Nikon Z system, with a collection of four units designed to allow cinema lenses to be mounted on the mirrorless full frame bodies. The adapters are made with stainless steel and HE30 aluminum, and feature a toe support with steel helicoil 1/4″ threads.

    The lenses the adapters are aimed at are PL, Panavision, B4 and Arri bayonet, so they are intended to appeal to filmmakers and broadcasters. The adapters come pre-shimmed, and spare shims will be included.

    The PL to Nikon Z version is available to order on the company’s site for £350 + VAT (approx $ 460), and the other models are expected to follow soon. For more information see the MTF Services Lens Adapter website.

    Articles: Digital Photography Review (dpreview.com)

  • Canon EOS R: first sample images posted

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    Canon has formally rolled out its EOS R full-frame mirrorless system with a camera, four lenses and a trio of adapters. We’ll have plenty of opportunities to get to know the camera much better in the short and long term, but for now we’ve published our very first images with Canon’s brand new EOS R. We’ve included images shot with the RF 50mm F1.2L and 24-105mm F4L IS. We’ll be adding more images very soon.

    Read more about the Canon EOS R

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-T3 First Impressions Review

    When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1, most notably in terms of autofocus and video. While the new X-T3 hasn’t changed the overall design of the camera (which doesn’t really need it, in our opinion), this model is way more than an upgrade; rather, it’s a quantum leap.

    The X-T3 brings with it a brand new sensor, a hybrid autofocus system that looks extremely promising and video features more in-line with a Panasonic GH5 than typical enthusiast mirrorless cameras. Based on our initial impressions, the X-T3 may be the mirrorless APS-C camera to beat.

    Key Specifications

    • 26MP BSI ‘X-Trans CMOS 4’ sensor
    • 425-point hybrid AF system
    • Improved AF Tracking and Face/Eye Detection AF
    • 20 fps shooting with AF (11 fps with mechanical shutter)
    • 30 fps shooting in 1.25x crop ‘Sports Finder’ mode
    • 3.69M-dot electronic viewfinder
    • Two-axis tilting touchscreen
    • 10 bit 4:2:0 H.265 internal video capture (4:2:2 over HDMI)
    • UHD/DCI 4K/60p from 1.18x crop region
    • UHD/DCI 4K/30p using full width of sensor
    • Internal F-Log capture (HLG coming by end of 2018)
    • Dual UHS-II SD card slots
    • USB C-type connector can be used for charging battery
    • Headphone and Mic Sockets
    Out of camera JPEG shot using the Provia/Standard profile.
    ISO 640 | 1/ 160 sec | F2 | Shot using the Fujifilm XF 90mm F2 R LM WR
    Photo by Wenmei Hill

    The X-T3 will launch with an MSRP of $ 1499 (down $ 100 from the X-T2) but will still cost $ 1899 when sold as a kit with the XF 18-55mm R F2.8-4 OIS lens. It will be available in black or black and silver.


    What’s new and how it compares

    Autofocus, video and the user interface are just a small portion of what’s new on the X-T3 compared to its immediate predecessor.

    Read more

    Body and handling

    The X-T3’s design is nearly identical to that of the X-T2, and that’s a good thing. The improvements are significant, though, with the addition of a higher-res EVF and a touchscreen LCD.

    Read more

    Operation and controls

    The name of the game is customization, with nine buttons to choose from. There are also use-case-based AF controls available. Battery life is above average.

    Read more

    First impressions

    Fujifilm has raised the bar for video on APS-C cameras, one example of why crop formats are not dead yet.

    Read more

    Sample gallery

    View a variety of sample images from our final production X-T3.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: Fujifilm X-T3 hands-on first impressions

    Join Chris and Jordan for a first look at Fujifilm’s powerful new X-T3, which offers greatly improved autofocus, 10-bit internal 4K recording and several other refinements compared to the popular X-T2.

    Also, make sure to read our in-depth Fujifilm X-T3 First Impressions Review.

    Read our in-depth Fujifilm X-T3 First Impressions Review

    Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    Subscribe to our YouTube channel

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: First thoughts on the Canon R

    Hours after the official launch of the Canon EOS R, Chris and Rishi sat down to chat about the camera and what we know about the system so far. They talk about where the camera falls short of expectations, some initial handling impressions and the promise of this new system.

    Read more about the Canon EOS R

    Articles: Digital Photography Review (dpreview.com)

  • First impressions: DJI Mavic 2 Pro and Mavic 2 Zoom

    The DJI Mavic 2 is a foldable drone that comes in two versions: the Mavic 2 Pro features an integrated Hasselblad camera with a 1” sensor and the Mavic 2 Zoom has a 2x optical (4x digital) zoom lens.

    The bodies of the two drones are identical. Both include 10 sensors which combine to detect obstacles in any direction, utilize a 3-axis mechanical gimbals, come with 8GB of internal storage and feature a number of automated flight modes. I had a chance to test both drones in flight before launch and was generally impressed with what I saw.

    Like the original Mavic Pro, the Mavic 2 Pro and Zoom models are foldable—making them ideal for travel. Unfolding the drones and preparing them for flight is as easy as you would expect it to be. The Mavic 2 has a solid feel and is slightly larger and heavier than the original Mavic Pro. A button on the top of the drone turns it on and within seconds the camera orients itself to give you a straight horizon line once you take flight.

    The Mavic 2 Pro (front) and Mavic 2 Zoom (rear) are physically identical except for their cameras, though the Mavic 2 Zoom has a couple of extra tricks up its sleeve that require a zoom lens.

    The controller is also foldable. Your smartphone clicks right into place, and it uses the familiar DJI GO app, along with the physical controls, to pilot the drone. The controller is similar in size to the one from the Mavic Air, and I found it comfortable to hold. Like the Air, it also features joysticks that can be unscrewed to make its profile smaller when packed. I found all the controls to have well designed ergonomics, and all were easy to access with your thumb and index finger. The controller for the Mavic 2 also features its own display, making it useful for things such as monitoring battery levels on the drone.

    During my flight I found the controller to be quite responsive—a light touch gave me the movements I was looking for, although you’ll surely be able to adjust this within the DJI GO app to match your preferences. Since both models are identical except for the cameras the experience of flying them was the same.

    I found the experience of flying the Mavic 2 so intuitive that I was able to focus on getting epic shots, rather than worrying that the drone might drift into something and crash.

    The real beauty of the Mavic 2 is that you don’t have to be an expert flier to keep this drone in the sky. The omnidirectional obstacle avoidance sensors, along with a variety of automated flight modes, make the Mavic 2 a drone that you can essentially launch into the sky and with minimal movements on the controller grab beautiful and seamless footage. I found the experience of flying the Mavic 2 so intuitive that I was able to focus on getting epic shots, rather than worrying that the drone might drift into something and crash.

    The compact Mavic 2 controller is similar to that seen on other recent DJI models, and includes its own screen to display much of the information you would normally monitor through the DJI GO app. One of the dials on the back of the remote can be used to control zooming on the Mavic 2 Zoom.

    Zooming while flying Mavic 2 Zoom is also a breeze; you control the zoom function of the camera using the dial on the back right side of the remote. If you’ve spent limited time with video game controllers or previous drones it’s an intuitive movement.

    The Mavic 2 Zoom features two new automated modes: Dolly Zoom and Super Resolution, both of which leverage its 2x zoom lens, and I tried out both during my test flight. Dolly Zoom is an automated video mode where the drone physically moves away from a subject while the camera zooms in—it’s an old cinema effect popularized by folks like Alfred Hitchcock that was once quite tricky to pull off. With the Mavic 2 Zoom it’s all automated and can be found in the quickshot menu in the DJI GO app. It takes just a few steps to activate the feature and in use I found it very smooth.

    The Mavic 2 Zoom can create dolly zoom effects by automating the process of synchronizing the drone’s movement with its optical and digital zoom, keeping a subject in place while changing the perspective of the surrounding scene. Video courtesy of DJI

    Super Resolution is a photo mode which uses the optical zoom to shoot 9 overlapping images of a scene and then automatically stitches them together to create a 48MP image. I wasn’t able to take the sample images with me after my test flights, so we can’t comment on the level of detail captured, but the process of shooting the images and stitching them together was quick, and from the phone screen appeared to be quite accurate.

    The Mavic 2 Zoom can capture 48MP ‘Super Resolution’ images by shooting nine overlapping photos and stitching them together automatically. Image courtesy of DJI

    The drone’s updated OcuSync 2.0 gave me nearly instant access to the photos and videos from my flight, including 1080p video and full resolution JPEGs. These can be saved to your phone and immediately shared.

    In the air the two new drones are noticeably quieter than the original Mavic Pro as well. There is of course some noise, but the familiar drone hum isn’t found here.

    The Mavic 2 is larger than DJI’s Mavic Air (pictured), and is also slightly larger than the original Mavic Pro.

    Landing the Mavic 2 is just as easy as getting it into the air. I flew during the middle of the day so I didn’t get to see the auxiliary LED lights in action, but according to DJI these additional lights will help with landing the drone in low light conditions.

    I was impressed by the performance of both Mavic 2 models during my brief hands on time with the products. They’re compact, easy to fly and the number of automated flight modes should make the Mavic 2 appealing to enthusiasts and even some pros. We’re planning a full review of both models to see how they stack up against the competition, as well as to see how the different cameras perform.

    Articles: Digital Photography Review (dpreview.com)

  • Blackmagic releases first Pocket Cinema Camera 4K footage

    Blackmagic Design has released three videos demonstrating the performance of its upcoming Pocket Cinema Camera 4K. It updates the Pocket Cinema Camera introduced in 2013, was revealed at NAB 2018 in April and is expected to launch next month.

    Ahead of that launch, Blackmagic Design has published the videos “Nature” by Mark Wyatt, “Models Walking at Night” by John Brawley, and “Models Walking in Daylight” also by John Brawley, each showcasing the upcoming camera’s capabilities. This is the first time footage from the camera has been published.

    Both Wyatt’s and Brawley’s experiences with the camera are provided in each video description. In describing his time with the Pocket Cinema Camera 4K, Wyatt said:

    I had the Blackmagic Pocket Cinema Camera 4K for only a few days, but overall I was really impressed by it. The weight of the camera is very liberating, especially when you are used to using larger camera systems. The screen is big and bright enough to use in daylight, which I found great for judging focus and exposure. And, the colors too on the screen, were also nicely represented. In fact, I would argue it is Blackmagic’s best screen yet.

    The Blackmagic Pocket Cinema Camera 4K features a full size Four Thirds HDR sensor offering a native 4096 x 2160 resolution and 13 stops of dynamic range. The upgraded model also features dual native ISO, a USB-C expansion port with direct support for external storage drives, a new multi-function grip design, and much more.

    Via: Newsshooter

    Articles: Digital Photography Review (dpreview.com)