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Samyang is making good on its promise of a new lens every week for five weeks, kicking things off with a XEEN 135mm T2.2 cinema lens. It slots into the company’s relatively new lineup as the longest lens in the range.
Like its siblings, the XEEN 135 is offered with interchangeable mount fittings for PL, Canon EF, Nikon F, Sony E and Micro Four Thirds bodies. Its manual focus only and uses an 11-blade aperture. No price is given, but XEEN series lenses have averaged around $ 2500 each.
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Drone maker DJI has today announced its first aerial zoom camera, the Zenmuse Z3. The new model is optimized for still photography and combines a 3.5x optical zoom with 2x digital magnification, resulting in a 7x overall zoom factor, covering equivalent focal ranges from 22-77mm. Aperture ranges from F2.8 at wide angle to F5.2 at the long end of the zoom. Inside the 262-gram camera body images are captured on a 12MP 1/2.3-inch Sony sensor that can also record 4K video at 30fps and save DNG Raw files.
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| Drone shot at 22mm equivalent focal length |
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| Done shot at 77mm equivalent focal length (7x zoom) |
The camera can be used on the DJI’s Inspire 1, Matrice 100 or Matrice 600 drones and the company’s dedicated HD video downlink allows for transmission from a distance of up to 3.1 miles (5km) away. The zoom is operated via the DJI GO app or the Drone remote control. DJI says it has refined and improved image stabilization, as any camera movement is magnified at the longer end of the zoom lens. The Z3 also comes with an upgraded gimbal. The camera will be available from July 28th and retail for $ 899.
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SHENZHEN, July 14, 2016 – DJI, the world’s leading aerial-imaging company, on Thursday announced the Zenmuse Z3, DJI’s first integrated aerial zoom camera optimized for still photography.
The Zenmuse Z3 will offer up to a 7x zoom. The camera incorporates DJI’s leading gimbal technology, which has been upgraded to work optimally with its zoom capabilities.
“The Zenmuse Z3 pushes the possibilities of use for industrial applications,” said Senior Product Manager Paul Pan. “Before this camera, the only way to zoom in on a subject or object was to fly closer to it. Now, pilots in a search-and-rescue situation, or conducting surveys or inspections, can maintain distance and still zoom in for sharp, detailed images.”
The zoom camera is aimed at providing new capabilities for industrial applications, such as inspection and surveying.
The Zenmuse Z3 is compatible with the Inspire 1, Matrice 100 and Matrice 600 drones and uses the company’s dedicated HD video downlink, Lightbridge and Lightbridge 2, providing up to 3.1 miles (5.0 kilometers) of HD transmission range.
The Zenmuse Z3 is fully integrated into the DJI GO app and provides a seamless user experience, including a live feed from the camera and the ability to change camera settings, swipe to zoom in and out, capture photos or video and to activate intelligent flight modes. Users may also choose to employ camera controls, such as capturing photos and video and zoom, through their drone’s remote controller.
The Zenmuse Z3 weighs 262-gram and achives up to a 7x zoom via a 3.5x optical zoom, combined with a 2x digital zoom. This gives the Zenmuse Z3 an effective zoom range of 22 millimeters to 77 millimeters. It has a maximum aperture of F2.8 and F5.2 at 22 millimeters and 77 millimeters, respectively.
When the camera zooms in, the smallest movements are magnified. Adding an additional layer of fine-tuning to the yaw control of the Z3 is a custom-designed reaction wheel. This works in tandem with the normal yaw motor to allow for more refined and controlled movement and greater stability.
The Zenmuse Z3 features the same highly refined Sony 1/2.3-inch sensor that is found on the Inspire 1 and the Phantom 4, leading the class in image quality. It can shoot still images at 12 megapixels with additional Adobe DNG Raw Support for maximum editing options in post-production. The camera also shoots video at up to 30 FPS in 4k resolution.
Flight time with the Zenmuse Z3 is up to 19 minutes on the Inspire 1. Pilots can extend flight time up to 30 minutes with the dual-battery-equipped M100 and up to 39 minutes with the M600.
The Zenmuse Z3 is priced at USD899 and will start shipping after July 28, 2016.
For more details please visit:
www.dji.com/product/zenmuse-z3
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Samsung has announced that it intends to produce the first removable versions of a new format of memory cards designed, it says, to replace the microSD card in portable electronic devices such as cameras, drones and phones.
The Universal Flash Storage cards are as small as microSD cards but boast enhanced read/write speeds, with the company claiming that 5GB can be read in just 10 seconds at a rate of 530MB/s. The write speeds a less impressive however, with a quoted maximum of 170MB/s, but Samsung says that is still almost twice the speed of a top end microSD card. The company says its cards will write at 170MB/s, which compares well to the 100MB/s rate quoted by SanDisk for its Extreme Pro UHS-II cards. The same SanDisk card reads at 275MB/s.
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Although the format was announced in a white paper (pdf) in 2013, and Samsung announced its plans in February, this is the first time the cards appeared to become a reality with compliance with the Joint Electron Device Engineering Council (JEDEC) standards.
The company expects to introduce capacities of 32, 64,128 and 256GB, but hasn’t said when or whether there will be devices to take them.
Press release:
Samsung Electronics, the world leader in advanced memory technology, today unveiled the industry’s first removable memory cards based on the JEDEC Universal Flash Storage (UFS) 1.0 Card Extension Standard*, for use in high-resolution mobile shooting devices such as DSLRs, 3D VR cameras, action cams and drones. Coming in a wide range of storage capacities including 256, 128, 64 and 32 gigabyte (GB), Samsung’s UFS cards are expected to bring a significant performance boost to the external memory storage market, allowing much more satisfying multimedia experiences.
“Our new 256GB UFS card will provide an ideal user experience for digitally-minded consumers and lead the industry in establishing the most competitive memory card solution,” said Jung-bae Lee, senior vice president, Memory Product Planning & Application Engineering, Samsung Electronics “By launching our new high-capacity, high-performance UFS card line-up, we are changing the growth paradigm of the memory card market to prioritize performance and user convenience above all.”
Samsung’s new 256GB UFS removable memory card ? simply referred to as the UFS card will provide greatly improved user experiences, especially in high-resolution 3D gaming and high-resolution movie playback. It provides more than five times faster sequential read performance compared to that of a typical microSD card, reading sequentially at 530 megabytes per second (MB/s) which is similar to the sequential read speed of the most widely used SATA SSDs. With this UFS card, consumers have the ability to read a 5GB, Full-HD movie in approximately 10 seconds, compared to a typical UHS-1 microSD card, which would take over 50 seconds with 95MB/s of sequential reading speed. Also, at a random read rate of 40,000 IOPS, the 256GB card delivers more than 20 times higher random read performance compared to a typical microSD, which offers approximately 1,800 IOPS.
When it comes to writing, the new 256GB UFS card processes 35,000 random IOPS, which is 350 times higher than the 100 IOPs of a typical microSD card, and attains a 170MB/s sequential write speed, almost doubling the top-end microSD card speed. With these substantial performance improvements, the new 256GB UFS card significantly reduces multimedia data downloading time, photo thumbnail loading time and buffer clearing time in burst shooting mode, which, collectively, can be particularly beneficial to DSLR camera users. To shoot 24 large/extra fine JPEG photographs (1,120 megabyte (MB)-equivalent) continuously with a high-end DSLR camera, the 256GB UFS card takes less than seven seconds, compared to a UHS-1 microSD card which typically takes about 32 seconds, at 35MB/s.
To achieve the highest performance and most power-efficient data transport, the UFS card supports multiple commands with command queuing features and enables simultaneous reading and writing through the use of separately dedicated paths, doubling throughput.
As the leading memory storage provider, Samsung has been aggressive in preparing UFS solutions for the marketplace, while contributing to JEDEC standardization of the Universal Flash Storage 2.0 specification in September 2013 and the Universal Flash Storage (UFS) 1.0 Card Extension standard in March 2016. Following its introduction of the industry-first 128GB embedded UFS chip in January 2015, the company successfully launched a 256GB embedded UFS memory for high-end mobile devices in February of this year. As of earlier this month, Samsung also completed the Universal Flash Storage Association** (UFSA)’s certification program that evaluates electrical and functional specifications for compatibility of a UFS card, and Samsung’s new UFS card products were approved as UFSA-certified UFS cards with the right to use the official UFS logo for the first time in the industry.
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The Fujifilm X-T2 is an updated version of the company’s top-level DSLR-shaped APS-C camera. It’s built around the same 24MP X-Trans sensor as the X-Pro2 but ends up being much more than an X-T1 with more pixels. Instead, the X-T2 is a camera that does much to address the X-System’s remaining weaknesses, which can only broaden its already considerable appeal.
The X-Pro2 represented a good step forward for image quality within the system and the X-T2 gains all of that improvement, but there are also some considerable changes in terms of autofocus, video and flash control, suggesting Fujifilm wants its the X-T2 to be an all-round more capable camera than its predecessor, rather than just building on its existing strengths.
The body seems broadly unchanged at first glance but there’s a clever doubly-hinged flip-out screen that seems to offer many of the flexibility advantages of a fully articulated monitor while retaining the more compact form of a tilting screen.
There’s also a Performance Boost mode that speeds up several aspects of the camera’s behavior (at the expense of some battery life), but that really comes into its own when the optional ‘Power Boost Vertical Grip’ is added. None of these additions comes for free, though: at $ 1599, body only, the X-T2’s launch price has jumped $ 300, compared to its predecessors’.
Part and parcel of that 24MP sensor are the 169 phase-detection points that we saw in a large central square region of the sensor on the X-Pro2. Beyond this, the X-T2 now gains an extra two columns of 13 contrast-detection AF points down each side of the frame, widening its AF area and bringing it to a total of 325 AF points in total.
Fujifilm also promises a more powerful processor and revised algorithms, along with faster sensor read-out, to improve the camera’s speed, regardless of whether it’s using a combination of phase detection and contrast detection (Hybrid AF), or simply the latter alone.
To get the best-possible performance out of the newly refined AF system, the X-T2 introduces a use case-based AF-C setup system. Much like the one we’ve seen on high-end Canon DSLRs, this lets you specify the types of movement you’re expecting from your subject, so that the camera can try to respond appropriately.
The X-T2 makes a bigger leap forward into video than we were expecting. There was much chatter around the time of the X-Pro2’s launch that the camera’s hardware was, theoretically, capable of 4K capture, but that the company hadn’t pursued its development for such a stills-orientated model. Well, it has now.
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| The X-T2’s movie capabilities are a big step forward for the system. |
But Fujifilm has done more than just do enough to be able to emblazon the phrase ‘4K capable’ on the box: the camera also gains a mic socket and on-screen audio monitoring with the ability to assign mic volume to a Fn button. There’s also an ‘F-Log’ flat profile to give flexibility while color grading.
The good news is that our first shots of our test scene suggest the camera’s 4K footage is much more impressive than the 1080p that the first X-Trans cameras could muster. Combine this with 4K output over HDMI and the X-T2 looks like the first X-Trans camera that might appeal to shooters interested in shooting both stills and video.
One of the missing pieces of an increasingly well fleshed-out XF mount system has been the lack of advanced flash control – something that the X-T2 is looking to address. Up until now, users have had to turn to third-party makers if they wanted to communicate TTL flash information to remote flash units.
The newly introduced EF-X500 flash allows high speed flash sync and remote TTL flash control for the first time, making it significantly easier to use the X-T2 with strobes.
Along with the X-T2, Fujifilm has introduced the VPB-XT2, a vertical battery grip that holds two extra batteries. As well as significantly extending the camera’s battery life, the grip also extends the camera’s ‘Boost’ mode. With the grip attached, this is able to draw power from multiple batteries, increasing the camera’s maximum continuous shooting rate, as well as extending its video recording time to 30 minutes.
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| The entertainingly-named ‘Vertical Power Booster Grip’ can house two addition batteries (without displacing the camera’s internal unit), helping increase capacity to around 1000 frames between charges. It also adds a headphone socket and a ‘Boost’ switch that improves responsiveness and ups the frame rate to 11 fps. |
This grip features the same level of environmental sealing as the camera body and also plays host to a headphone socket for audio monitoring while shooting video.
| Review History | |
|---|---|
| 6 July 2016 | First Impressions, Studio Scene and Beta Gallery published, based on pre-production camera running f/w 1.34 |
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At its TechWorld conference Lenovo has not only announced the modular Moto Z and Moto Z Force smartphones but also the first Google Project Tango enabled device, the Lenovo Phab 2 Pro. The phone provides an Augmented Reality (AR) experience, thanks to its ability to sense 3D-motion and geometry. It can capture 3D-scans of its surroundings and use the data to create 3D-maps, recognize places or track objects. The technology can project virtual effects in real-world spaces, help navigate indoor areas or provide information about objects it has recognized.
To achieve this the Phab2 Pro has a total of four cameras. In addition to the 8MP front module and the 16MP rear camera there are a depth and a motion tracking camera, both also located on the back. Underneath the 6.4″ Quad-HD IPS display there is a Qualcomm’s Snapdragon 652 chipset running Android 6.0. 4GB RAM and 64GB of microSD-expandable storage are on board as well, along with a fingerprint reader and Dolby Atmos surround sound technology. Energy is provided by a 4,050 mAh battery. All the high-end technology is nicely wrapped up in metal unibody that is available in gold or silver.
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The Lenovo Phab2 Pro will be available to purchase online in August and one month later in stores globally. In the US it will cost $ 499. Lenovo promises that by the time of shipping a special Tango App Store will contain around 25 apps and is planning to expand this number to 100 by the end of the year. The new technology certainly looks promising, and it will be interesting to see how it catches on with consumers and developers. Additional information on how Tango works on the Phab2 Pro can be found in the Lenovo promotional video below.
Printed layer by layer from the ground up using a special cement mixture, this rapidly-produced curvilinear structure is a functional example as well as proof of concept, illustrating the architectural potential of 3D printing.
The entire 2,700-square-foot structure was built for a relatively modest $ 140,000, requiring just one operator to oversee the printer plus an array of electricians, plumbers and detailers to outfit the completed shell for power, water, lighting and telecommunications. The modular machine assembled to do the printing measured approximately 120 by 40 feet and stood 20 feet high, able to build while sitting in one place.
The new building will (aptly enough) be home to the Dubai Future Foundation, providing space for offices, workshops and events. Global architecture firm Gensler designed the building in partnership with structural experts from Thornton Tomasetti and Syska Hennessy.
Complex curves on the interior and exterior were both considered part of the visual design but also a way to showcase the possibilities of 3D printing technology.
“We announce today the opening of the first 3D-printed office in the world, after less than one month of launching Dubai 3D printing strategy which showcases a modern model of construction. This is an experience we present to the world on utilizing future technology in people lives. It also represents a new milestone for the UAE as a global leader in strategic achievements,” Sheikh Mohammed said.
Henri Cartier-Bresson once said that your first 10,000 photos are your worst. The point of that statement was that photography ought to be an art that is perfected with practice, hard work and repetition. It takes time before a photographer feels as one with their camera. Over time though you eventually learn your camera backwards and forwards, the two of you are old friends and you handle it with the skill of an expert. Likewise, after enough experience you begin to develop your own style. You find what works for you compositionally. Light and color take central stage as you do what you do best, naturally, borne out of habit and experience.
I would change Cartier-Bresson’s quote in the modern digital age to say that your first 100,000 photos are your worst. Maybe it really ought to be your first 1,000,000 photos are your worst.
My love affair with photography began early when I was given my first camera, a Kodak Instamatic at the age of 7 or so. When I really became most interested in photography though was at the age of 15 when my parents bought me my first SLR. It was a Sigma camera with a zoom lens. The very first photos I took with that camera were the Summer between 9th and 10th grade when I rode my bicycle across America. I did the trip with a group called Wandering Wheels out of Taylor University. I rode my bicycle from Lincoln City, Oregon to Rehoboth Beach, Delaware over the course of about six weeks. It was one of the best things I did in my youth and seeing and photographing America in my youth has carried on with me as I continue documenting America now at the ripe old age of 48.
On my coast to coast trip in 1983 I shot Kodak slide film. I had the slides developed back in 1983 but I’ve never scanned or published any of these images. Today I finally got around to spending some time with Epson V700 and scanned in the 100 or so images I took on that trip. The slides are old, dirty and scratched, but here are some of my first 100,000 images.
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The Nikon D500 is a 20MP APS-C DSLR capable of shooting at up to 10 frames per second and featuring an autofocus system derived from the one in the D5. In other words, it’s exactly the kind of high-end DX format body that appeared to have become extinct with the D300S.
The six-and-a-half years that have passed since the D300S’ launch have seen the camera market move on considerably but the D500 does much to reclaim the position as one of the pre-eminent APS-C camera on the market.
As you might expect, much of the improved capability of the camera centers around sports and high-speed shooting, with significant upgrades to the shooting rate and autofocus system, but there are also major upgrades to the viewfinder, video capabilities and connectivity options which expand its utility beyond one particular niche.
Much of the D500’s capability is built around the ability to focus and shoot very quickly. Its 153-point AF module offers near full-width coverage and is linked to a 180,000 pixel RGB metering sensor to further improve its AF tracking capabilities. Interestingly, and like the D5, the D500’s AF system now offers two parameters for fine-tuning the autofocus tracking behavior, letting the user specify the type of subject movement and the correct response to another object blocking the targeted subject. Existing Nikons only let you specify duration, suggesting Nikon is trying to expand the range of shooting situations for which the AF system can be optimized.
Only 55 of the camera’s AF points can be directly selected and the D500 gains both a joystick and a touchscreen to make it as fast as possible to select the point you want to use. Add to this the ability to shoot up to 200 Raw frames before slowing down (if you use an XQD card), and it becomes obvious that the D500 is intended as a high-speed pro/semi-pro camera in a way the D7000 series never was.
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| How’s that for coverage? The D500 doesn’t just boast a lot of autofocus points, it also offers them across most of the width of the frame, which is useful whether you’re manually selecting a point or letting the camera track your subject. |
The D500 also gains an anti-flicker option designed to ensure the camera shoots in-sync with the brightest point in the flickering cycle of artificial lights. It’s a feature we first saw on the Canon EOS 7D Mark II and we’d expect it to be particularly valuable for shooting indoor sports such as basketball.
Another sign that this is a true high-end camera is the inclusion of a larger viewfinder. Like previous DX00 class cameras it has 100% coverage but it also offers 1.0x magnification, which is the largest optical viewfinder we can remember seeing in an APS-C camera (electronic viewfinders are a different matter, since size and brightness isn’t constrained by sensor/mirror size).
The D500 can also shoot 4K video and includes both an input for using an external mic and a headphone socket for audio monitoring. The camera also offers a flat picture profile to provide more post-processing flexibility, on-screen highlight warnings and power aperture control that allows you to select and change the aperture when in movie mode. There’s no focus peaking option, though, and you can’t zoom-in while you record to confirm or adjust focus as you record.
One of the other big features Nikon is touting is its Snapbridge system that uses Bluetooth LE (a low-power variant of Bluetooth also known as Bluetooth Smart), and Wi-Fi to maintain a connection between the camera and a smart device. This includes the ability to auto-transfer images from the camera, as well as initiating the Wi-Fi connection for remote shooting or manual image transfer.
To show where the D500 sits in the lineup, here are the major feature differences between it and the less expensive D7200, along with a comparison back to the D300S – not because we expect anyone to be choosing between them, but to show how much of a step forward the camera represents.
| Nikon D500 | Nikon D7200 | Nikon D300S | |
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| Sensor Resolution | 20MP | 24MP | 12MP |
| AF points | 153 (99 cross type) | 51 (15 cross-type) | 51 (15 cross-type) |
| Max frame rate | 10 fps |
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| Buffer depths | 200 lossless compressed 14-bit Raw |
~17 14-bit Raw |
30 lossless compressed 14-bit Raw |
| Shutter durability rating | 200,000 | 150,000 | 150,000 |
| Viewfinder |
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| Rear screen |
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| Video Resolution |
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| Mic/Headphone? | Yes/Yes | Yes/Yes | Yes/No |
| Wi-Fi? | Yes (and Bluetooth) | Yes | No |
| Built-in flash? | No | Yes | Yes |
| AF-On Button? | Yes | No | Yes |
| Body construction | Magnesium Alloy + Carbon fiber composite | Magnesium Alloy + Carbon fiber composite | Magnesium Alloy |
| Battery Life (CIPA) | 1240 shots/charge | 1100 shots/charge | 950 shots/charge |
| Weight (Body Only) | 760g | 675g |
840g |
| Review History | |
|---|---|
| 26 April 2016 | Studio scene and Raw dynamic range published. |
| 16 May 2016 | Introduction, Body and Handling, Operation and Controls, Wi-Fi and Connectivity and Video pages published |
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The Moto G Plus is a brand new model in Motorola’s Moto G mid-range series, but its camera specification looks pretty much top-notch. A 1/2.4-inch Omnivsion OV16860 16MP sensor with a large pixel size of 1.34um is paired with a fast F2.0 aperture. Its contrast detect autofocus is supported by on-sensor phase detection and a laser to measure subject distance. A dual-LED flash is on board for shooting in very dark conditions, and in the camera app a new Professional mode allows for manual control over the most important shooting parameters like shutter speed and ISO.
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| The new Professional mode allows for manual control over shutter speed and other shooting parameters via a range of virtual dials. It’s also possible to display just one dial at a time. |
We have had the chance to use the Moto G Plus for a couple of days before launch and shot a good number of samples in a variety of situations. Read on for our first impressions of the new smartphone and its camera.
In bright light the Moto G Plus 16MP camera module does a very good job at resolving detail. Thanks to very well balanced sharpening and noise reduction, fine textures and low contrast detail, such as the trees in the distance in the left sample below, are rendered very nicely. The lens in our test unit is sharp, with only some minor softness toward the edges. Skin tones look natural and color is overall pleasantly neutral, without any white balance issues in natural light.
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| ISO 64, 1/1236 sec | ISO 64, 1/137 sec |
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| 100% crop | 100% crop |
Some luminance noise is visible in blue skies but it is finely grained and not too intrusive. In the shadow areas some smearing of detail is noticeable, but again this is well within acceptable limits. Shadow noise is very well controlled as well.
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| ISO 64, 1/2836 sec | ISO 64, 1/450 sec |
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| 100% crop | 100% crop |
The well-balanced approach toward noise reduction is maintained throughout the ISO range and while noise and the effects of noise reduction inevitably become more evident in lower light the Moto G Plus performs very well in dimmer conditions.
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| ISO 160, 1/33 sec | ISO 400, 1/30 sec |
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| 100% crop | 100% crop |
In lower light shutter speeds are reduced down to 1/15 sec which, without optical image stabilization, can result in the occasional shaky image. However, as long as you keep your hands steady the Moto captures very good detail, color and exposures in lower light. Both images below were shot in fairly dim conditions. In the one on the right the camera deals particularly well with the mix of artificial and very low natural light.
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| ISO 640, 1/20 sec | ISO 800, 1/15 sec |
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| 100% crop | 100% crop |
Like on the higher-end Moto models, the Moto G Plus offers a multi-frame Night Mode that kicks in when things get too dark. This allows for decent exposures of even very dark scenes, such as the image on the left below which was captured in a museum in very low light. We also liked the Moto G Plus flash performance which delivered well-exposed images with good color and detail during our brief test.
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| ISO 1250 1/15 sec | ISO 2000, 1/15 sec, flash on |
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| 100% crop | 100% crop |
The Moto G Plus comes with the same panorama mode as previous Moto devices and image output is very similar. Stitching is generally very good but panorama mode does not deal well with moving subjects in the scene. At under 3000 pixels the output size is very small.
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| Vertical panorama, 2472 x 704 pixels |
HDR mode works in the conventional way and combines several exposures into one. On the Moto G Plus the effect is much more pronounced in shadow areas, which are noticeably lifted while highlights are only recovered minimally.
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| ISO 64, 1/1196 sec, HDR off | ISO 64, 1/1158 sec, HDR on |
In video mode the Moto G Plus can capture 1080p footage at 30 frames per second that is digitally stabilized. Detail is good, the autofocus tends to be stable and the stabilization works efficiently, making for smooth panning and stable hand-held recording.
During our testing we were impressed with the image output produced by the Moto G Plus. The large pixels in combination with very well-balanced image processing result in image quality that we would typically expect from devices in a higher price category. Images show good detail and well-controlled noise levels across the ISO range. Colors are pleasantly natural, even in difficult light situations, and thanks to its night mode the Moto is capable of capturing decent exposures even at very low light levels. On the downside, in dim conditions camera shake can lead to some image blur, though it is typically only noticeable at a 100% view.
The new Professional mode is good news for those mobile photographers who want maximum control over the capture process, and the large 1080p display is nice for viewing and composing images. The fingerprint sensor performs very swiftly and increases the security of your image and video files that are stored on the device. The plastic back is in line with a mid-ranger but overall the Moto G Plus looks like a great option for consumers who want excellent camera performance without spending money on a flagship device.
Recently Canon released their latest upgrade in the EOS line, the 80D. It’s a direct update of its predecessor the 70D but it competes well in many areas when compared to the older 5D Mark III, and the 7D Mark II bodies.
See what Chris and Jordan from The Camera Store think as they put the Canon 80D through various tests.
It has some great dynamic range, focus pull features while doing video, and a rotating tilting screen. The guys feel that the 80D is the best DSLR in the Canon range right now, and that it’s a step in the right direction for Canon.
What are your thoughts? Have you tried it out?
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