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Gear of the Year – Barney’s choice part 1: Ricoh GR III

05 Dec

Photo: Dan Bracaglia

I’m of the opinion that if you use a phrase like ‘shut up and take my money’ in the title of an article about a camera, you’d damned well better buy it. It’s not about gear acquisition (honest it isn’t) it’s about reader trust.

Yeah, right. But either way, I was serious. It wasn’t long after writing our review of the Ricoh GR III that I bought my own, right before a trip to Japan this summer. I’ve been to Japan a few times for work, but this was to be a proper vacation for once. Just me, a couple of guidebooks, some depressing podcasts and a sturdy pair of hiking boots. And the GR III.

In the end, it didn’t end up being all vacation (one of those “Hey, so we’re planning a video project in Japan, and since you’re going to be there anyway…” things) but I did get in a decent amount of hiking, and the GR III was with me every step of the way.

ISO 200 | 1/400 sec | F5.6

The GR III wasn’t the only personal camera I took to Japan (I also grabbed my Nikon Z7 with a 24-70mm F2.8 lens, just to be on the safe side) but it was the one I ended up using most. Partly that’s because it’s a great camera and I love the images that come out of it, but that’s equally true of the Z7. Mostly it’s because the GR III is small enough to fit into a shirt pocket.

In terms of image quality, the new sensor in the GR III offers a useful resolution boost over its predecessors, but more important to me is the addition of stabilization and a major increase in usable Raw dynamic range.

ISO 160 | 1/400 sec | F7.1

There’s no doubt that 28mm equiv. is a limiting focal length, but it also turns out to be perfect for trail landscapes and for quick grab shots walking around cities. Considering that the GR III is barely any bigger than my phone (albeit thicker) it’s hard to imagine a better traveling companion, provided of course that you don’t need to shoot video.

Downsides? Naturally there are a few. The aforementioned uninspiring video mode, for one, but aside from that, the GR III’s maximum aperture of F2.8 means there’s very little scope for creative depth of field control, and while built-in stabilization helps, low light shooting often ends up meaning high ISO shooting.

ISO 640 | 1/40 sec | F4

There’s no built-in flash, which I know some GR/II fans will sincerely miss, the battery is tiny (but offers more stamina than you might expect in normal use) and there’s no EVF. Outside on a sunny day it’s not always easy to get an accurate idea of composition on the shiny rear screen, and it’s hard even to make out the horizon level indicator when shooting in especially bright conditions.

It’s a pocketable and silent camera with a very sharp lens, which can get you pictures that larger, louder cameras simply cannot.

Of course you can boost the screen brightness, and you can also add an optical finder. Neither are a perfect solution though. Bumping up the brightness kills battery life, and with a finder, framing becomes approximate, there’s no shooting data in your eye-line (obviously) and the GR III suddenly gets less pocketable.

Being such a small camera, the GR III’s controls are also rather cramped in general, but that comes with the territory.

Like many cameras of its type, the GR III is arguably at its best when used as a point and shoot, but that doesn’t mean you can’t (or shouldn’t) take full control. The GR III offers full manual exposure control and retains the top control dial from previous generations, which for an aperture-priority photographer such as myself is probably the most important single control point. A large, responsive touchscreen takes care of almost everything else.

ISO 1600 | 1/40 sec | F2.8

Although some GR/II fans will miss those cameras’ dedicated +/- rocker switch for exposure compensation, the rear jog switch on the GR III can be set up to do the exact same thing, and users of previous generations will be reassured to know that it’s just as easy to accidentally hit.

That was sarcasm. For the most part, the GR III does exactly what I want it to, when I want it to, and it’s exactly in line with what Ricoh has aimed to provide from the very beginning of the GR series way back in the 1990s. The GR III is a pocketable and silent camera with a very sharp lens, which precisely for those reasons can get me pictures that larger, louder cameras simply cannot.

Like all cameras, it has some limitations. Many of these are inherent to the design and form factor, but all are forgivable and in my opinion none devalue its main selling points.

For all of these reasons, my first choice for Gear of the Year is a camera that I’ve carried with me more than any other in 2019, not including my phone: the Ricoh GR III.

Watch out for Part 2 of my personal ‘Gear of the Year’ in a few days.

Ricoh GR III sample gallery

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Articles: Digital Photography Review (dpreview.com)

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Our recommendations: essential gear for your winter photo adventures

01 Dec

Winter travel gear for photographers

Whether you’re photographing wildlife at Yellowstone or your kids sledding at the neighborhood park, winter presents a lot of great photo opportunities. However, winter also has its own challenges due to the short days, cold weather and – in places like Seattle – a fair bit of rain. On the next few slides, we’ll take a look at some important gear to consider as you head out for your winter photography adventures.

Gloves

This one should be pretty obvious. If you’re shooting in very cold weather – especially when handing metal lenses or other gear – you’ll want to keep your hands warm. Otherwise, your camera will be about as useful as a brick in your numb, unresponsive fingers. Typical gloves are usually a poor match for photography as they limit dexterity, but there are some good options for photographers.

Look for gloves or mittens that fold back to expose your fingertips. These facilitate short periods of exposure to the cold without having to remove your gloves completely, and you can uncover just one or two fingers while keeping the rest of your hands insulated. Great options include gloves from Vallerret (pictured), Freehands and The Heat Company.

Sometimes, a pair of lightweight or liner gloves are all you’ll need, but not all liners are created equal. Look for gloves designed to work with a capacitive touchscreen, which will allow you to use your camera’s touch controls as well as other electronic devices like a smartphone. We like RucPac’s professional tech gloves, but there are probably lots of options at your local outdoor store as well.

Hand warmers

Hand warmers are obviously designed to do a good job of warming your hands, but they’re good for other things as well. For example, I find them effective at keeping the non-photographer who’s stuck outside with me a bit more patient while I get that one last shot before heading inside (yeah, right…). Of course, hot chocolate liberally spiked with Bailey’s Irish cream seems to help as well, but your mileage may vary.

One of my favorite tricks is to gaff tape a hand warmer to the barrel of a lens. This can be useful when shooting in an environment where you’re at risk of dew or frost forming on the front lens element as the temperature drops. I’ve used this technique when photographing time-lapse sequences of the night sky or the aurora borealis. Sometimes, just a bit of warmth is all you need to avoid a ruined sequence.

Chemical hand warmers like those from HotHands (pictured) can be found everywhere from your favorite online outlet to the local hardware store. If you cringe at using disposable hand warmers, check out HotSnapZ reusable hand warmers, the EnergyFlux Enduro rechargeable warmer from Human Creations or the Zippo Hand Warmer which heats catalytically to produce flame-free heat.

Camera cover

Many cameras today include weather sealing to keep out the elements. However, the fact that you’ve got weather sealed equipment that doesn’t necessarily mean you want to get your camera soaking wet, despite all those manufacturer videos showing cameras getting sprayed by a garden hose.

Camera rain covers have been around for a long time, and while they may not be quite as necessary as they used to be, it’s still nice to have one when shooting in a complete downpour. You can find a variety of commercial models from companies like Think Tank Photo and Ruggard (pictured). There are lot of great DIY hacks as well – a hotel shower cap or plastic shopping bag with a few rubber bands can work miracles. It’s good to have one of these stashed somewhere if you’re shooting in a rainy place. You know, like Seattle.

Tripod leg wraps

Other than a camera and lens, one of the largest, coldest objects many of us carry around in the winter is a tripod. If you’ve ever used a tripod with bare hands in really cold weather, particularly and aluminum model, you know exactly what I’m talking about. Of course, one solution is to use gloves. But there’s another solution as well: leg wraps. (For your tripod’s legs – not yours. That said, I make no judgements about fashion.)

Some tripods come factory equipped with leg wraps. However, if your tripod arrived, ummm… naked, a set of LegCoats (pictured) from LensCoat.com will run you about $ 50. Your hands will appreciate them.

Extra batteries

Cameras operate pretty well in cold weather, but even the best can be susceptible to power loss from cold batteries. In fact, with more photographers moving to mirrorless cameras our dependence on batteries is arguably greater than it was with DSLRs.

To keep shooting in the coldest conditions, consider some cold weather best practices for your batteries. Keep reserve batteries in your pocket so they stay warm rather than going into a deep freeze in your bag. When removing a battery that’s been in the camera for a while, consider putting it back in your pocket (a different one) for a few minutes to warm it up a bit. You may discover it has a fair amount of power left once it’s back to a normal temperature.

Finally, if you’ve recently switched from a DSLR to a mirrorless camera, consider picking up a couple extra batteries before a big winter trip. Some newer models get impressive battery life, but they still require more power than most DSLRs.

Night sky apps

Winter brings with it short days and long nights. Why not take advantage of it by doing some night sky photography? When planning night shots, it helps to know things such as in what direction the Milky Way will rise, what time it will be visible, or even just the phase of the moon. There are a lot of apps to help you with this; I recommend Sky Guide for iOS (pictured) or Star Walk 2 for Android.

If you live far enough north to see the aurora borealis (the northern lights), consider downloading an app like Aurora Forecast Pro (iOS, Android) which can alert you when conditions are such that you might be able to see the aurora from your location. All it takes is a burst of solar activity for the aurora to be visible at lower than usual latitudes, including northern areas of the continental US.

Zip-lock bags

Zip-lock bags are a great all-around utility. If it’s wet outside, they keep gear dry. If your gear gets wet you can put it inside a bag with a desiccant to dry it out. A large zip-lock can even be adapted to serve as a rain cover for your camera.

However, one of the best winter uses for zip-lock bags is transferring equipment between cold and warm environments. If you’ve been out shooting in frosty temperatures and walk into a warm building with any humidity, you may find water vapor condensing on your equipment. Instead, seal your gear inside a zip-lock bag before going inside and let it equilibrate to room temperature for at least 30 minutes. This makes it less likely that you’ll need the next item on our list.

Oh, right. Don’t use the same bag that you used for pasta sauce. I always forget that part.

Silica desiccant beads

When camera gear gets wet on the outside we usually dry it off and keep going. However, if you make the mistake of getting moisture inside your gear, as may happen when you walk from a cold to a warm environment, you’ll need something other than a towel or microfiber cloth to get rid of the moisture.

When that happens – assuming you didn’t actually drop your whole camera into an ice-covered pond – silica gel beads, which acts as a desiccant, come to the rescue. Put the gear, along with a bunch of beads, into a zip-lock bag and seal it up. It may take some time, but eventually your gear will dry out. Silica beads can be purchased in bulk or in packets. In a pinch and don’t have silica beads? Use instant white rice instead.

Silica gel beads can often be found at hardware stores, but if you have trouble finding them locally there are lots of options on Amazon.

Headlamp

While not – strictly speaking – photography equipment, a headlamp can be one of the most useful accessories when the short winter days get dark. Since most cameras don’t have illuminated buttons a headlamp is a great way to see them, along with your other gear, without giving up one hand to hold a flashlight. Consider a model that includes a red light to better preserve your night vision while working.

A headlamp should probably be part of your winter kit anyway, just in case you get stuck somewhere after dark; I keep one in my pack at all times. If you’re not sure where to start check out options from companies like Petzl, Black Diamond, Princeton Tec or NiteCore (a company that, oddly enough, recently announced plans to manufacture full frame cinema lenses).

Personal locator beacon

This one applies to people whose winter photography takes them into the backcountry, away from roads, or anywhere else that might be inaccessible or cut off from mobile phone service. If you’re that kind of person and you don’t want to become the next Aron Ralston, it’s a good idea to carry a personal locator beacon (PLB) like the SPOT Satellite Messenger or Garmin InReach. With many PLBs it’s now possible to communicate with someone remotely, and in a real emergency they can be used to set off a search and rescue by local authorities. It’s like insurance – you hope you don’t need it, but if you do you’re glad to have it.

Umbrella

Finally, it’s not frozen everywhere in winter. In some places – Seattle comes to mind – it basically means a lot of rain, which is why our sample galleries often look grey enough to be mistaken for Log video footage this time of year. One simple technique to keeping rain off your camera and lens is to go old school and use an umbrella. “But, wait!” I hear you say, “I need both hands to use my camera.” I like to secure an umbrella to my pack so it just hovers above me. I’m sure it works better with some packs than others, so your mileage may vary on this one.

Hopefully, I don’t need to tell you where to buy an umbrella, but before you do that let me suggest acquiring a used umbrella instead. Go to the Lost and Found desk at just about any large venue or destination and tell them you lost a black umbrella. Chances are good they’ll bring out a box with a couple dozen to choose from. As you drive away in your 8-passenger SUV you’ll have the joy of knowing that in some small way you’re helping to save the planet.

Alternatively, you could just get the Nubrella (pictured).

Articles: Digital Photography Review (dpreview.com)

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2019 Black Friday and Cyber Monday camera gear deals

29 Nov

Love it or hate it, the deals weekend of the year is here, at least for our American readers. Between Black Friday, Small Business Saturday (yes, that’s a real thing) and Cyber Monday, there are deals aplenty.

We’ve scoured the web for discounts and have rounded up the best cameras, lenses and major accessories deals we could find. We’re going to try our best to update this article throughout the weekend, but if you see a deal that we’ve missed, paste it into a comment. If you’re posting a non-US deal, that’s great! Just flag it clearly.

Please note that the ‘SAVE’ figures below represent discount from original MSRP and we make no guarantees that the discounts listed will be available across the entire holiday weekend. If a deal has expired, let us know in a comment and we’ll remove it from this list.

We’re focusing on deals from three major US online retailers in this article, and if you choose to shop via the Amazon links below, you’ll be supporting DPReview in a small way.

Happy holidays!

Canon

Canon EOS R Camera Body (+ accessory kit) SAVE $ 500
$ 1,799, normally $ 2,299 (Adorama, Amazon, B&H)

Canon EOS Rebel T7i Camera Body (+ accessory kit) SAVE $ 150
$ 599, normally $ 749 (Adorama, Amazon, B&H)

Canon EOS Rebel T6 with 18-55mm IS & 75-300mm (+ accessory kit) SAVE $ 350
$ 399, normally $ 749 (Adorama, Amazon, B&H)

Canon EOS M100 with 15-45mm and 55-200mm STM (+ accessory kit) SAVE $ 400
$ 549, normally $ 949 (Adorama, Amazon, B&H)

Canon PowerShot G7 X Mark II (+ accessory kit) SAVE $ 100
$ 599, normally $ 699 (Adorama, Amazon, B&H)

Canon EF 70-200mm F2.8L IS III USM with Tripod & head SAVE $ 300
$ 1,799, normally $ 2099 (Adorama) B&H also has the lens for $ 1,799, without the tripod.

Canon Speedlite 430EX III-RT SAVE $ 100
$ 199, normally $ 299 (Adorama, Amazon, B&H)

Fujifilm

Fujifilm X-Pro2 Body SAVE $ 400
$ 1,299, normally $ 1,699 (Adorama, Amazon, B&H)

Fujifilm X-Pro2 with XF 23mm F2, Graphite (+ accessory kit) SAVE $ 700
$ 1,599, normally $ 2,299 (Adorama, B&H)

Fujifilm X-T20 with XF 18-55mm F2.8-4 R (+ accessory kit) SAVE $ 200
$ 799, normally $ 999 (Adorama, Amazon, B&H)

Fujifilm X-E3 Body, Black (+ accessory kit) SAVE $ 200
$ 499, normally $ 699 (Adorama, Amazon, B&H)

Fujifilm XF 80mm F2.8 R LM OIS WR Macro (+ accessory kit) SAVE $ 250
$ 949, normally $ 1,199 (Adorama, Amazon, B&H)

Fujifilm XF 8-16mm f2.8 R LM WR (+ accessory kit) SAVE $ 200
$ 1,799, normally $ 1,999 (Adorama, Amazon, B&H)

Fujifilm XF 100-400mm F4.5-5.6 R LM OIS WR (+ accessory kit) SAVE $ 200
$ 1,699, normally $ 1,899 (Adorama, Amazon, B&H)

Nikon

Nikon D850 Body SAVE $ 500
$ 2,796.95, normally $ 3,296.95 (Adorama [includes Nikon MB-D18 Battery Grip and FP Zoom Li-on X R2 TTL Flash], B&H [includes free accessory kit])

Nikon D750 Body: SAVE $ 700
$ 996.95, normally $ 1,696.95 (Adorama [includes Slik Pro II 4-section tripod and ball-head], B&H [includes free accessory kit])

Nikon D610 (with 50mm F1.8G AF-S Lens, MB-D14 Battery Power Pack, WU-1b Wireless Mobile Adapter)
$ 1996.95 (Adorama)

Nikon D3500 Body with NIKKOR 18-55mm and 70-300mm (+ accessory kit): SAVE $ 450
$ 396.95, normally $ 846.95 (Adorama, Amazon, B&H)

Nikon Z50 with 16-50mm F3.5-6.3 VR & 50-250mm F4.5-6.3 VR: SAVE $ 150
$ 1,196.95, normally #1,346.95 (Adorama, Amazon, B&H)

Olympus

Olympus OM-D E-M1X Body SAVE $ 400
$ 2,599, normally $ 2,999 (Adorama, Amazon, B&H)

Olympus OM-D E-M1 Mark II SAVE $ 400
$ 1,299, normally $ 1,699 (Adorama, Amazon, B&H)

Olympus OM-D E-M10 Mark III SAVE $ 250
$ 399, normally $ 649 (Adorama, Amazon, B&H)

Olympus M. Zuiko Digital ED 300mm F4.0 IS PRO SAVE $ 200
$ 2,299, normally $ 2,499 (Adorama, Amazon, B&H)

Panasonic

Panasonic Lumix DC-GH5 Body (+ accessory kit) SAVE $ 700
$ 1,297.99, normally $ 1,997.99 (Adorama, Amazon, B&H)

Panasonic Lumix DMC-G85 with 12-60mm OIS & 45-150mm (+ accessory kit) SAVE $ 550
$ 697.99, normally $ 1,245.98 (Adorama, Amazon, B&H)

Panasonic Lumix G9 Body (+ accessory kit) SAVE $ 500
$ 997.99, normally $ 1499.95 (Adorama, Amazon, B&H)

Panasonic Lumix G Leica DG 12mm F1.4 ASP (+ accessory kit) SAVE $ 300
$ 997.99, normally $ 1,297.99 (Adorama, Amazon, B&H)

Panasonic Lumix G Leica DG Nocticron 42.5mm F1.2 (+ accessory kit) SAVE $ 400
$ 1,197.99, normally $ 1,597.99 (Adorama, Amazon, B&H)

Panasonic G Leica DG Vario-Elmarit 12-60mm F2.8-4 (+ accessory kit) SAVE $ 200
$ 797.99, normally $ 997.99 (Adorama, Amazon, B&H)

Ricoh

Pentax K-1 Mark II Body (+ accessory kit) SAVE $ 300
$ 1,696.95, normally $ 1,996.95 (Adorama, Amazon, B&H)

Pentax KP Body (+ accessory kit) SAVE $ 500
$ 696.95, normally $ 1,096.95 (Adorama, Amazon, B&H)

Ricoh WG-60 (+ accessory kit) SAVE $ 80
$ 196.95, normally $ 276.95 (Adorama, Amazon, B&H)

Sony

Sony Alpha a7 III (+ accessory kit) SAVE $ 200
$ 1798, normally $ 1998 (Adorama, Amazon, B&H)

Sony a7R II with FE 28-70mm F3.5-5.6 OSS SAVE $ 500
$ 1,498, normally $ 1,998 (Adorama, B&H)

Sony Alpha A6500 (+ accessory kit) SAVE $ 200
$ 998, normally $ 1,198 (Adorama, Amazon, B&H)

Sony Alpha A6000 with 16-50mm and 55-210mm OSS (+ accessory kit) SAVE $ 400
$ 598, normally $ 998 (Adorama, Amazon, B&H)

Please note, DPReview is a wholly-owned subsidiary of Amazon. We are editorially-independent of our parent company and this article was put together entirely and exclusively by DPReview’s editorial staff.

Articles: Digital Photography Review (dpreview.com)

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Our favorite gear, rewarded: DPReview Awards 2019

28 Nov

DPReview Awards 2019

If 2018 was the year that full-frame mirrorless went mainstream, 2019 was the year when all of the major manufacturers really doubled-down on their mirrorless strategies. Canon pumped out a series of very high quality RF lenses, alongside the world’s cheapest full-frame mirrorless camera. Nikon went all-in on its range of affordable F1.8 primes, and Sony pulled out all the stops – yet again – in the a7R IV.

Meanwhile, Olympus threw all of its technological know-how into the sports-oriented OM-D E-M1 X, Fujifilm reinvented medium-format with the GFX 100 and Ricoh’s GR III and Leica’s Q2 offered a welcome refresh for fans of fixed-focal length compacts.

That’s a lot, and it’s only a small taste of what happened this year. At the end of every year we get together as a team to recognize the standout products of the past 12 months in our annual DPReview Awards. Take a look through the slides above to find out which products made our list of the best gear of 2019!

Best accessory

Shortlist:

DJI Osmo pocket
DJI Ronin SC
Gnarbox 2.0 SSD
Peak Design Travel Tripod

Runner up: Peak Design Travel Tripod

The role of photography accessories is to play support to your creative endeavors. That can mean support in the traditional sense, like a well-designed travel tripod or 3-axis gimbal rig. Or it can mean support in the form of peace of mind, like a rugged file back-up device.

Our runner-up for best photography accessory, the Peak Design Travel Tripod, falls into the former category. Travel tripods aren’t new, but Peak Design has managed to radically rethink the concept to create a package that’s significantly more compact than the competition and just as stable, if not more so. Its Arca Swiss-compatible, dual-locking ball head in particular is worth calling out for its clever low-profile design. Available in both aluminum and carbon fiber, this is the travel tripod we’ll likely be reaching for in 2020, whenever space is tight.

Read more about the Peak Design Travel Tripod

Winner: GNARBOX 2.0 SSD

The Gnarbox 2.0 brings calm to the often chaotic world of photography. It’s the friend in the field you always wanted: a rugged (weather, dust and impact-resistant) SSD (available in 256GB, 512GB and 1TB) with built-in SD reader and super-fast transfer speeds (up to 350MB/s). It’s there to protect all your precious data until you get it home for a full backup.

One-touch copying and an info LCD make it effortless to start transferring and confirm files have been properly duplicated. And for those eager to get ahead on their edits, Gnarbox will pair with a smart device so that you can sort and tag (using Photo Mechanic’s image engine). But that’s not all: Gnarbox also has swappable batteries and can even be used to charge other devices via a Micro-USB port. It’ll also play nice with Apple’s iPad Pro, with support for programs like Adobe Lightroom and Affinity Photo, when connected via its USB-C port. What more could you ask for?

Best smartphone camera

Shortlist:

Apple iPhone 11 Pro
Google Pixel 4
Huawei P30 Pro
Samsung Galaxy S10 5G

Runner up: Apple iPhone 11 Pro

The iPhone 11 Pro is a significant step forward for Apple, and from a pure experience standpoint, is the nicest smartphone camera to use today. Its bright screen combined with HDR playback of photos makes the on-device experience of shooting and enjoying photos industry-leading. And unlike any other smartphone camera to-date, iPhones since the iPhone X utilize the wide P3 color space, meaning more life-like color capture and rendition.

A new ultra-wide lens allows for dramatic perspectives, and wide angle portrait mode – utilizing the main camera module – makes it easy to shoot more intimate perspectives of your loved ones and pets, with better image quality than the standard portrait mode offers. Editing photos, depth effects, and video is pleasing thanks to the Photos app updates, and clever features like ‘capture outside the frame’ offer creative uses of the phone’s three lenses. Video quality is superb, with HDR capture up to 4K/60p.

We have some reservations over the warm and green-shifted colors, overly-processed faces from semantic rendering choices, significant lag in portrait mode, and image quality artifacts including banding, aggressive noise reduction and over-sharpening, but as an all-rounder, the iPhone 11 Pro is hard to beat.

Winner: Google Pixel 4

The Pixel 4 offers compelling still image quality. If you shoot Night Sight – even during daylight hours – you’ll be rewarded with some of the best detail retention and balanced noise reduction we’ve seen from a smartphone. It only gets better in Raw, since the DNGs produced by the Pixel 4 are the result of aligning and merging multiple frames. A new astrophotography mode is not just cool but inspiring, and also benefits any nighttime scene where longer exposures can be used. The combination of super-res zoom and a new telephoto module make ‘zoomed in’ photos better than many peers. And unlike the iPhone, you can continue to use the telephoto module in dim light.

New ‘dual exposure controls’ allow you to fine tune the ‘look’ of the resulting HDR image in real-time. Portrait mode has been improved to yield bokeh similar to what you’d expect from ILCs, with fewer depth map errors and virtually no shutter lag. As such, the Pixel 4 is truly an enthusiast’s smartphone camera. We have reservations over its video quality, display, as well as certain metering and image processing choices, but its strong core competency in stills makes it our winner.

Best zoom lens

Shortlist:

Canon RF 70-200mm F2.8L IS USM
Canon RF 24-70mm F2.8L IS USM
Nikon Z 24-70mm F2.8 S
Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH
Sony E 16-55mm F2.8 G

Runner-up: Nikon Z 24-70mm F2.8 S

Every year we struggle to narrow down the number of lenses released to a shortlist of just four or five. This year saw a lot of action in the lens space, with both Canon and Nikon putting considerable energy into building out their native mirrorless lens lineup, and Sigma, Sony and Tamron doing the same.

One of the zoom lenses that has most impressed us this year is Nikon’s Z 24-70mm F2.8 S. Built for use in difficult conditions, the Z 24-70mm is tough and weather-sealed, but more than that, it’s optically outstanding. Sharp, virtually aberration-free and extremely flare-resistant, the Z 24-70mm F2.8 really lets Z7 shooters make the most out of their camera’s resolution, for anything from landscapes to portraiture.

Read more about the Nikon Z 24-70mm F2.8 S

Winner: Canon RF 70-200mm F2.8L IS USM

We really, really like the Canon RF 70-200mm F2.8L IS USM. It’s small (at 70mm), relatively lightweight, autofocus is lightning fast and silent, and its optical image stabilization system is excellent.

The 70-200mm represents the first time we’ve seen Nano USM technology incorporated in fast L-series glass, and the increase in focus speed is dramatic compared to ring-type USM on EF lenses. But perhaps the most impressive thing about this lens is its optical quality. Contrast and sharpness are class-leading wide open at all focal lengths, bokeh is smooth with no distracting patterns, and both longitudinal and lateral forms of chromatic aberration are very well controlled.

This is the most impressive 70-200mm F2.8 lens we’ve ever seen, in a surprisingly compact form factor, and a worthy winner of our award for best zoom lens of 2019.

Read more about the Canon RF 70-200mm F2.8L IS USM

Best prime lens

Shortlist:

Tamron SP 35mm F1.4 Di USD
Sigma 35mm F1.2 DG DN | Art
Sony FE 135mm F1.8 GM
Nikon Nikkor Z 85mm F1.8 S

Runner-up: Sony FE 135mm F1.8 GM

There were so many great prime lenses released this year, and inevitably, it’s near-impossible to reduce the list to just four. This ‘shortlist’ could have been at least twice as long and we would still have had to omit some great lenses. But the primes listed above represent our favorites of 2019, not only because of their optical quality, but also their versatility and overall value for money.

Among the most impressive lenses of any type released this year was the Sony FE 135mm F1.8 GM. Designed for portrait fans, the 135mm F1.8 is stunningly sharp and delivers beautiful images at its widest apertures. It’s virtually aberration free, and is the fastest-to-focus lens of its kind. Sony’s optical science has improved by leaps and bounds in recent years and the FE 135mm F1.8 is an excellent example of the company’s current state-of-the-art. While 135mm isn’t necessarily an everyday focal length, the Sony FE 135mm F1.8 GM is arguably the best option on the market right now for portrait shooters.

Read more about the Sony FE 135mm F1.8 GM

Winner: Nikon Nikkor Z 85mm F1.8 S

Nikon’s S-series prime lenses for the Z system have impressed us this year with their performance, not to mention their versatility and value. All sub-$ 1000 and all relatively small and lightweight, the best of Nikon’s new F1.8 options outperform many faster lenses that cost considerably more.

The Z 85mm F1.8 S is a great example. Sharp, virtually aberration-free and still nicely portable, this portrait prime isn’t as fast as some of its competitors, or as polished as (say) the Sony FE 135mm F1.8 which takes the runner-up spot, but it’s a supremely practical, useful lens. With its smooth bokeh, the Z 85mm F1.8 S is, of course, a fantastic portrait lens for Z6 and Z7 shooters, and a nifty 135mm equivalent on the APS-C Z50. But its size and weight, plus its superb sharpness make it just as useful for landscape and candid work.

Read more about the Nikon Nikkor Z 85mm F1.8 S

Best compact/fixed lens camera

Shortlist:

Canon PowerShot G5 X Mark II
Leica Q2
Ricoh GR III
Sony Cyber-shot RX100 VII

Runner-up: Sony Cyber-shot RX100 VII

This is always a tricky category, spanning multiple sensor formats and including both zoom and fixed focal length lenses. This year saw the release of some very impressive – and very different – compact / fixed-lens compact cameras, from the high-end Leica Q2 to the more consumer-friendly Canon PowerShot G5 X Mark II.

Despite their different shapes, sizes and prices, all of the cameras in this section cater to the same basic need: high quality imaging, in a compact form factor. Our runner-up this year is Sony’s best RX100-series camera yet. A small, powerful zoom with a high-quality EVF, great video and formidable autofocus, the RX100 VII is a near-perfect camera for travel and everyday photography and video. Inevitably it’s not cheap, but this kind of technology never is.

Read more about the Sony Cyber-shot RX100 VII

Winner: Ricoh GR III

First announced in 2018, the GR III was released this year and quickly became one of our favorite compact cameras. Small and lightweight, but with a stabilized sensor and capable of stunning image quality the GR III is – like the Sony Cyber-shot RX100 VII – a wonderful camera for travel and everyday photography.

Yes, the lens is a fixed 28mm equivalent. No, the video mode isn’t great, but this is a pure photography camera, capable of getting you images that larger, heavier or more complicated models simply won’t.

Best consumer stills / video camera

Shortlist:

Fujifilm GFX 100
Panasonic Lumix DC-S1
Panasonic Lumix DC-S1H
Sony Cyber-shot RX100 VII

Runner up: Sony Cyber-shot RX100 VII

While the RX100-series has always been primarily about stills photography, Sony has evolved its range of high-quality 1-inch sensor compacts into powerful video tools, as well. The Mark VII captures oversampled UHD 4K video, Full HD at up to 120 fps and lower resolution video with a top frame rate of almost 1000 fps. Unlike its predecessor, the RX100 VII has a built-in mic input.

In short: the RX100 VII offers excellent 4K video, very good autofocus and a handy built-in finder, making it exceptionally versatile for photographers that need to capture both stills and movie footage.

Read more about the Sony Cyber-shot RX100 VII

Winner: Panasonic Lumix DC-S1

It might seem odd having both the Panasonic Lumix DC-S1 and S1H on the same list, for best stills / video hybrid camera and have the S1 beat its more video-centric stablemate, but this is precisely the point. With the S1H in the pipeline, Panasonic didn’t need to make the S1 as good for video as it did, and it certainly didn’t need to make it even better with a paid firmware update.

With the paid update, the S1 becomes a formidable camera for video, even to the extent that the costlier S1H may prove unnecessary for many filmmakers. We’ve done a lot of shooting this year on the S1 and it’s an impressive machine from a manufacturer that perhaps more than any other, really knows how to do video right.

Read more about the Panasonic Lumix DC-S1

Best entry-level ILC

Shortlist:

Canon EOS M200
Fujifilm X-A7
Olympus PEN E-PL10
Sony a6100

Runner-up: Fujifilm X-A7

While a lot of attention gets paid to the high-end and professional market segments, often the most important cameras in a manufacturer’s lineup are at the entry-level. The reason they’re so important is that these are the products which – it is hoped – will attract new customers into a system.

The Fujifilm X-A7 is a significant camera for Fujifilm, and a great all-round option for beginner photographers in general. Significant for Fujifilm because it’s the company’s first entry-level offering that has really impressed us, and a great entry-level camera because it does exactly what a camera aimed at first-time buyers and smartphone upgraders should. It’s simple, streamlined, reliable and responsive, and can easily transition between stills and high-quality video.

Winner: Canon EOS M200

If there’s one thing Canon knows how to do it’s make an attractive, sensibly-designed entry-level ILC. The EOS M200 is the company’s latest, and while it doesn’t represent a massive upgrade compared to the M100, the changes are very welcome including one change in particular – Eye Detect autofocus. Assuming that a lot of us (and arguably most beginners) will take a lot of pictures of friends and family, the addition of eye detection to the M200’s autofocus mode really does make a big difference. Canon has also added 4K video capture and ‘CRaw’, for Raw format shooting without the massive file sizes.

Overall, the Canon EOS M200 doesn’t bring much to the table which is genuinely ‘new’ but its combination of features, easy to operate design, and reliable image quality make it a great entry-level ILC, and our favorite of 2019.

Best midrange ILC

Shortlist:

Canon EOS M6 Mark II
Fujifilm X-T30
Nikon Z50
Sony a6600

Runner-up: Nikon Z50

We define ‘midrange’ cameras as those transitional models between entry-level and enthusiast / pro which need to be able to work for inexperienced and more seasoned photographers alike.

Nikon’s first APS-C format mirrorless camera is also one of its most user-friendly. Intended to be picked up by first-time ILC buyers and smartphone upgraders, the Z50 is designed to be simple and straightforward to use, but isn’t ‘dumbed down’. Featuring a high-quality electronic viewfinder, twin control dials and photographer-friendly ergonomics, the Z50 is a camera that leaves plenty of room for a beginner to experiment and grow creatively.

Winner: Canon EOS M6 Mark II

Canon has been making good, solid interchangeable lens cameras for a really long time, and this experience shows in products like the EOS M6 Mark II. A really great camera doesn’t need to do everything better than its competitors, it just has to do everything well enough, without getting in the way of your creativity.

The EOS M6 Mark II reaffirms Canon’s commitment to its compact, mirrorless EF-M system. After years of competent but usually beginner-focused models, the M6 II comes out swinging as a convincing option for more advanced users. Its new 32.5MP sensor has impressive resolution and dynamic range, the 14 fps maximum burst speed with autofocus is competitive, and its 4K video uses the full width of the sensor.

It doesn’t hands-down beat any of its competitors in any specific area, but as an all-around package, the M6 Mark II easily won us over for best midrange ILC of 2019.

Read more about Canon’s EOS M6 Mark II

Best high-end ILC

Shortlist:

Fujifilm GFX 100
Olympus OM-D E-M1X
Panasonic Lumix DC-S1R
Sony a7R IV

Runner-up: Panasonic Lumix DC-S1R

The Lumix DC-S1R will tick a ton of boxes for a ton of photographers, which is all the more impressive given that it’s Panasonic’s first full-frame offering (alongside the lower-resolution DC-S1). It’s built like a tank and all of the buttons and dials feel like they’re in just the right place.

The 47MP sensor at the heart of the S1R isn’t class-leading at this point, but it’s still capable of producing excellent image quality in almost any situation. Unfortunately, the DC-S1R falls somewhat short in terms of autofocus and tracking. While it can drive focus very quickly using Panasonic’s DFD technology, it just can’t quite keep up with competitors’ on-sensor phase detection systems for accuracy when photographing moving subjects.

Read more about the Panasonic Lumix DC-S1R

Winner: Sony a7R IV

The fourth iteration of Sony’s high-resolution mirrorless full-frame camera is the most capable, well-rounded interchangeable lens camera on the market today. It shoots 60.2MP files, offers industry-leading autofocus tracking, is capable of 10fps continuous bursts and shoots the best 4K video of any high-resolution camera you can buy. Plus, Sony claims weather-sealing has been improved, battery life is well above average and ergonomic tweaks have made it more comfortable and enjoyable to use than previous models.

The a7R IV is a camera that you really can shoot just about anything with, from action sports to billboard-ready landscapes, and because of that, it earns the distinction of being our high-end ILC of the year.

DPReview innovation award

Shortlist:

Canon RF 70-200mm F2.8L IS USM
Fujifilm GFX 100
Olympus OM-D E-M1X
Peak Design Travel Tripod

Runner-up: Canon RF 70-200mm F2.8L IS USM

Optically the RF 70-200mm F2.8L IS USM is stunning, but it’s also a marvel of engineering. At its short end, it collapses down to a barrel size not much longer than that of the RF 24-70mm F2.8L IS USM. At 1070g, it’s 26% lighter than its EF equivalent, and feels surprisingly light in one’s hands, and well-balanced on an EOS R body. Optical image stabilization offers an impressive CIPA rating of 5 stops. Combined with dual-sensing IS on EOS R bodies, you can expect tack sharp handheld shots on the long end at shutter speeds as low as 1/13s.

If that’s not innovative, we don’t know what is.

Read more about the Canon RF 70-200mm F2.8L IS USM

Winner: Fujifilm GFX 100

While very little about the GFX 100 is new or unique to this model, what counts is how all the ingredients are mixed together. The addition of in-camera stabilization, impressive video capture and hybrid on-sensor PDAF to the medium format world makes the Fujifilm GFX 100 among the most capable and most innovative cameras out there.

Fujifilm has been working hard to democratize digital medium format for a couple of years, but with the 100 megapixel GFX 100, the company completely changed our understanding of what a medium format camera could be.

DPReview product of the year, 2019

Shortlist:

Apple iPhone 11 Pro
Canon RF 70-200mm F2.8L IS USM
Fujifilm GFX 100
Sony a7R IV

Runner-up: Fujifilm GFX 100

As we wrote in the previous slide, the GFX 100 really did turn our idea of what a medium format camera could do on its head. While the MSRP of almost ten grand puts it out of reach to most non-professional photographers, there is an audience out there for cameras like this, and Fujifilm has done a great job of catering to them.

Pro wedding and event photographers, portrait and lifestyle shooters, and even a certain type of videographer have kept the GFX 100 on more or less continuous backorder since it was released. You may not need 100MP, but some people do. And the GFX 100, with Fujifilm’s range of excellent GF lenses, makes 100MP shooting practical and enjoyable.

Winner: Sony Alpha a7R IV

Sony is one of the more divisive brands on our site, partly because of a perception that it gets more attention than other manufacturers. This perception stems from two factors: firstly, Sony has released an astonishing number of high-end products in the past handful of years. Secondly, they have tended to be very good.

Taken as a whole, the a7R IV is Sony’s best mirrorless camera yet. The enthusiast-focused a7 III continues to top the best-seller lists but if you want the highest resolution, the best autofocus system and some of the best video features on the market (not just in Sony’s own product lineup) the a7R IV is where it’s at. A true ‘flagship’, the a7R IV has undoubtedly benefited this year from no direct competition from Canon or Nikon, but it will take an unusually good product from either manufacturer to make the a7R IV look uncompetitive in 2020.

Why You Should Prioritize Spending on Experience Before Gear

22 Nov

The post Why You Should Prioritize Spending on Experience Before Gear appeared first on Digital Photography School. It was authored by John McIntire.

So, why should you prioritize spending on experience before gear? Yearning for new equipment is something that almost all of us, as photographers, go through. For some of us, that desire for the newest and shiniest camera body or lens is near-constant. By now, you should know that new equipment will have little effect on improving your photography. This is, after all, one of the most talked-about subjects in photography circles. Most of that talk, however, tends to suggest that you shouldn’t spend any more money on your photography. I disagree with that.

You should spend money on your photography. I would even go as far as to say that you should spend every penny you can afford. With a few exceptions (what’s a macro photographer without a macro lens?), your money is better spent elsewhere than it is on new equipment.

Fancy equipment

Why-You-Should-Prioritize-Spending-on-Experience-Before-Gear

New toys with lots of features are fun, but they are not the be-all, end-all; nor should they be the goal.

I’m not one to say that new and shiny equipment should be out of the question. Sometimes it’s a must.

That new and wonderful camera body, lens or light might:

Give you more options in how and what you can shoot.
Make certain techniques easier, or open up some techniques altogether.
Give you certain technical gains such as sharpness, low light performance and dynamic range.
Give you a temporary boost in motivation and excitement for your photography
Impress people that don’t know any better.

What new equipment will not do is:

Make you a better photographer.

The only way to get better

Experience. The act of getting out and putting your skills to use over and over again is far more valuable than any new piece of kit.

The only tried and true way to become a better photographer is to get experience in being a photographer. It’s really as simple as that. Go out, boots on the ground, batteries charged, memory card loaded, and take photos. Evaluate, go out, and take some more. Rinse, lather, and repeat ad infinitum.

Sure, along the way, you will need to take on new information and learn new skills that you will then add to your repertoire through (you guessed it) experience.

Spending money

This is where my thought process diverges from those who tell you that you don’t need to spend money at all. If the only way to get better at photography is through experience, then where do you reckon I would suggest that you put the money you might have spent on that new lens that you don’t really need? Experience. It’s always experience.

Do you want to get good at landscapes? Pick a location and go on an extended camping trip and design the experience so you can do little else but concentrate on your photography.

Image: For landscapes, sometimes just a trip a couple of hours away is all you need and it won...

For landscapes, sometimes just a trip a couple of hours away is all you need and it won’t cost you much.

Do you want to get good in a studio environment? Go out and hire a studio.

I can’t speak for all areas, but in my area, most photographers who hire out their studio are more than happy to lend a hand to beginners who hire their space.

Image: Studio photography requires a lot of practice. To get better, you need to be practicing as mu...

Studio photography requires a lot of practice. To get better, you need to be practicing as much as possible. When you’re renting/hiring a space, you often don’t have to have the equipment yourself.

Do you want to be a travel photographer? Use the gear you have and spend as much as you can on traveling to the places you need.

Why You Should Prioritize Spending on Experience Before Gear

Do you want to be a fashion photographer? Spend as much as you can on hiring stylists, makeup artists and models.

Repeat that formula for any genre of photography that you’re interested in.

If you want to fast track the process, you always have the option of workshops or one-to-one tuitions. Do you need to do this? No, absolutely not, but sometimes it is a lot more effective to get the first-hand experience with someone who is already able to get the results that you are after.

But, things cost too much

Careful planning meant that I was able to spend eight days on a camping trip to work on landscapes for around $ 100.

Sure, some things that you may want to photograph will cost a lot more than that $ 3000 camera body that you desperately want.

For example, travel can be expensive. As long as we’re not talking African safaris though, you can still do a lot of travel with that kind of money.

I once flew from Reykjavik to Baltimore for $ 90. As long as you hedge your expectations and plan meticulously, you might be surprised by what you can achieve within a limited budget.

Do you want to be a better photographer?

Yes? Good. Close/put down the spec sheet for the new offering from Canon/Sony/Nikon/Fuji, book a studio, book a trip or just go outside and start taking photos.

They’re probably going to be bad.

Good. Figure out why, then start the process from the beginning, over and over again. Maybe, eventually, you’ll find yourself in a situation where you absolutely have to have that fancy lens that costs more than a good used car, but probably not. So prioritize experience before gear!

The post Why You Should Prioritize Spending on Experience Before Gear appeared first on Digital Photography School. It was authored by John McIntire.

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Lens Rentals celebrated Halloween by testing its rental gear for ghosts and good vibes

02 Nov

In the spirit of Halloween, the team over at Lens Rentals decided to do a little experiment to see if any of their gear was haunted. However just one item in, the plan took a very Roger-esque turn, pivoting from a ghost-hunting endeavor to tearing down the very pieces of gear he was originally using to look for paranormal activity.

After someone had remark that some of its photography gear was used to record various paranormal shows and another individual showed concern of whether or not any of Lens Rental’s gear was haunted, Cicala and his trusty sidekick Aaron decided to put their gear to the test unlike they’ve ever done before.

The array of paranormal-detecting devices Roger and Aaron purchased.

After hunting down an array of various paranormal-detecting devices (and purchasing a dozen 9-volt batteries), Roger and Aaron got to work setting up their testing area. At the suggestion of those more familiar with the paranormal, the duo set up what was supposed to be a pentagram (looks more like a random geometric shape in our book) with multiple ‘Ghost Detector’ modules around the perimeter and burned a candle in the middle to get the paranormal juju flowing.

Clearly someone used that mic pack under sketchy circumstances.

After letting the candle work its magic, the pair put a Sennheiser microphone in the center and used both the ‘Ghost Detectors’ and the EMF detectors to see which how it reacted. Sure enough, the wireless mic pack was haunted (according to the two detectors, at least). The pair also tested their microwave (definitely haunted), as well as their coffee maker (which was thankfully spared by the spirits). It was even discovered that Aaron was haunted too. As a result, it turned out their previous testings couldn’t hold up, as there’s the chance Aaron himself was causing the bad vibes.

So, Roger and Aaron decided to instead direct the various paranormal-detecting devices they purchased to test out the Lens Rentals gear. We’ll let you see the full teardown of the gadgets over on Lens Rentals’ blog post, but suffice to say the Ghost Detector Array, EMF Meter and Ghost Magnet were all relatively cheap pieces of tech that mostly consisted of random PCBs and (in the case of the Ghost Magnet) motors.

The inside of one of the EMF detectors Roger and Aaron purchased.

Considering all of the paranormal devices are now torn down, it’s safe to say Lens Rentals will no longer be offering a spirit-cleansing add-on for future rentals. So you might want to be careful and bring a Shaman along with you on your next photo shoot just in case.

Articles: Digital Photography Review (dpreview.com)

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5 Questions to Ask Before Buying Used Camera Gear

18 Oct

The post 5 Questions to Ask Before Buying Used Camera Gear appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

I’ve bought a lot of used gear over the last decade.

Cameras.

Lenses.

Batteries.

And more.

Questions-to-Ask-Before-Buying-Used-Camera-Gear

A lot of those purchases turned out great. Some of them I still use to this day.

But a large chunk of the used purchases I made?

Trash.

In fact, in my more naive years, I was forced to return over 50% of the gear that I purchased. There were just so many problems: sand in focusing rings, stains on the front element, shutter buttons that couldn’t communicate with the shutter. (Oh, and my least favorite: Fungus inside the lens. Doesn’t that just make you shiver?)

And here’s the kicker:

I bought all of this gear through respectable buyers, who described the equipment as in “excellent condition,” “flawless,” “perfect,” “like new,” – you name it.

It got so bad that I considered leaving the used market entirely and just buying new. But I resisted.

Why?

Used camera gear is a real bargain – if you buy carefully. This is why I took all of my negative gear-buying experiences and turned them into a process for making sure I purchased good used gear.

At the core of that process is a series of questions. Questions that I’m going to share with you today. Some of the questions are for you, the buyer. Others should be posed to the seller before you put any cash down.

Are you ready to discover how to buy used gear effectively?

Let’s get started!

Questions-to-Ask-Before-Buying-Used-Camera-Gear

Question 1: Are you buying from a reputable seller with a money-back guarantee?

This is the number one most important thing that you should do when buying used gear.

Purchase from a seller that you trust – and that gives you an enforceable money-back guarantee. You don’t want to purchase a camera online, only to find that it’s full of water damage and sports a cracked LCD.

This means that buying used through Amazon is fine. All of their products are backed by Amazon month-long guarantees.

Buying used through eBay is also fine. Ebay’s buyer protection ensures that you’re not going to get ripped off in such an obvious fashion.

5 Questions to Ask Before Buying Used Camera Gear

But this makes most forums (if not all forums) off-limits. If the forum doesn’t have a serious money-back guarantee that’s honored by the site itself, then stay away.

This also makes in-person sales off-limits, such as those done through Craigslist. Sure, you can inspect the item upon receipt, but what are you going to do when you get home, put that lens under a light, and realize it’s filled with an army of fungus?

It’ll be too late, and your seller may not be so receptive to a return.

So just don’t do it. Instead, use sites like Amazon, eBay, B&H, or KEH, which all have clear money-back guarantees.

Question 2: Does the seller include actual pictures of the gear?

Sellers not including pictures is a big warning sign, especially on a website like eBay, where pictures are the norm. It should make you ask: Why doesn’t the seller want to show off their “excellent condition” item? Is there something they’re trying to hide?

Another red flag is only showing a stock photo. These are easy to spot; they look way better than anything that a casual, eBay-selling photographer would have taken, and there tends to be only one or two of them.

5 Questions to Ask Before Buying Used Camera Gear

If you like the price and everything else checks out, then go ahead and shoot the seller an email, asking for in-depth pictures of the item. If the seller refuses, then it’s time to look elsewhere.

You might come across some sellers who are offering many units of the same item (e.g., five Canon 7D Mark II’s). In this case, they likely have shown a stock photo, or a photo of one item, because they don’t want to go through the effort of photographing each piece of kit.

In such cases, you should message the seller and ask for pictures of the exact item that you’ll be purchasing. It’s too easy, especially with these big sellers, to end up with an item that you’ll have to send back.

Question 3: How many shutter actuations has the camera fired?

(Note: This section is for buying cameras.)

First things first: A shutter actuation refers to a single shot taken with a camera.

Every camera has a number of actuations its shutter is rated for. Once the shutter has reached around that point, it just…fails. While you can get the shutter replaced, it generally costs enough that you’re probably better off buying a new camera body.

5 Questions to Ask Before Buying Used Camera Gear

If you want to know the shutter actuation rating of any particular camera, you can look it up through a quick Google search.

Of course, the shutter rating isn’t a hard and fast rule. There are some cameras that go far beyond their predicted shutter count, and there are some cameras that fail far sooner. The shutter count is just an average.

Now, when you look at camera listings online, you’ll see that shutter actuations are reported about fifty percent of the time.

But the other fifty percent of the time, there will be no mention of them.

This is for three possible reasons:

The seller doesn’t know about the importance of shutter actuations.
The seller can’t figure out how to determine the shutter actuations for their camera.
The seller doesn’t wish to share the shutter count because it won’t help the sale.

I would never buy a camera without knowing its shutter count. Therefore, I recommend reaching out to the seller and asking.

If the seller refuses to share the count, then let the camera go. If the seller claims they don’t know how to view the shutter count, explain that they should be able to find it easily, either within the camera itself or through a website such as https://www.camerashuttercount.com/.

If they still won’t give you the count, then don’t buy. It’s not worth risking it.

Question Four: Does the lens have any blemishes on the glass, fungus, scratches, haze, or problems with the focusing ring?

(Note that this is for purchasing lenses.)

This is a question to ask the seller, and I suggest you do it every single time you make a purchase.

5 Questions to Ask Before Buying Used Camera Gear

Yes, the seller may be annoyed by your specific question. But this is a transaction; it’s not about being nice to the seller! And I’ve never had someone refuse to sell to me because I annoyed them with questions.

In fact, what makes this question so valuable is that it often forces sellers to actually consider the equipment they’re selling. Up until this point, the seller may not have really thought about some of these things. So it can act as a bit of a wake-up call and make the seller describe the item beyond “excellent condition.”

When you ask this question, make it clear that you want a detailed description. You genuinely want the seller to check for scratches on the glass, fungus in the lens, problems with the focusing ring, and more. You don’t want a perfunctory examination.

Unfortunately, there will still be some people who don’t do a serious examination, or who lie in the hopes that you won’t notice the issues (or be bothered enough to make a return). But asking the question is the best you can do.

Question Five: Has the seller noticed any issues with the item in the past?

This is another question to ask the seller before you hit the Buy button. It’s meant as a final attempt to determine whether the item has any issues.

In this case, by asking about the item’s past.

5 Questions to Ask Before Buying Used Camera Gear

Unfortunately, there will be sellers who have had an item break repeatedly – but, as long as it’s working at the moment they take the photos, they’ll give it the “perfect condition” label. Fortunately, many sellers will still be honest with you. If they’ve had a problem with the item, they’ll say.

So it’s definitely worth asking – just to be safe.

5 Questions to ask before buying used camera gear: Conclusion

Now that you know the five most important questions to ask before buying used camera gear, you’re well equipped to start buying gear online.

Questions-to-Ask-Before-Buying-Used-Camera-Gear

Yes, you’re still going to run into the occasional issue, but if you’re careful, and you think about these crucial questions to ask before buying used camera gear…

…the number of issues will be far, far lower.

And you’ll be able to effectively take advantage of used camera equipment!

Questions-to-Ask-Before-Buying-Used-Camera-Gear

The post 5 Questions to Ask Before Buying Used Camera Gear appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Diversify Your Gear Options With Old, Manual Focus Lenses

16 Oct

The post Diversify Your Gear Options With Old, Manual Focus Lenses appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Photographers like to talk about gear. Discussion about the latest and greatest camera equipment is common. That’s fine to focus on if you think you can improve your photography, or if you like talking about new shiny things. And you have the money to satisfy your desires.

Image: Taken using a 55mm Micro-NIKKOR-P manufactured in about 1970 © Kevin Landwer-Johan

Photographers who can’t afford to keep upgrading their gear tend not to talk about it so much. It can become depressing. Some of them also understand that purchasing the latest camera gear may do very little to improve their photography. Sometimes using older gear invokes more creativity.

What is it about old, manual focus lenses?

I’ve been taking photos for a long time. It was years before I had a camera capable of autofocus, let alone any autofocus lenses. I had to learn the old fashioned way.

This was my first camera and lens – a Nikkormat FTN with a 50mm f/1.4 attached. I continued to use this lens for 27 years until it finally was not in focus all the time. I think it’s worn out; the glass elements are slopping around inside.

Manual focusing is not so difficult. It’s like learning to drive a manual shift car. It takes some practice. Once you can, you never forget how. You may get a little rusty if you haven’t done it for a while, but before long, you’ll be driving along and not thinking about it.

Old lenses were built more solidly and feel different in use. Because of their build quality, they can last longer. Many of them are as sharp, if not sharper, than modern lenses.

Take a look back at some of the famous photographers of the last century. Photographers including Sebastião Salgado, Don McCullin, Henri Cartier-Bresson and others did not rely on modern autofocus lenses.

Image: Taken using my Nikkormat FTN and 50mm lens. Scanned from a slide. © Kevin Landwer-Johan

Using manual focus lenses can help you improve your photography

You have to slow down and think more about what you are doing while using a manual lens. Well, initially, you do. After some practice, you’ll find manual focusing comes pretty naturally.

So much attention in photography is on doing things fast. Manual focus has a bad rap because it’s slower than autofocus. I don’t perceive that this always has to be a negative thing.

Slowing down can help you see more and to think more about what you are doing. Using a manual focus lens can encourage you to become more engrossed in your photography. Without relying on autofocus technology, you have to use alternative means of capturing the photos you want.

Image: Taken using a manual focus 20mm. © Kevin Landwer-Johan

Creative thinking becomes more to the fore when you do not have autofocus lenses to use. You must consider more carefully what you want to focus on. This is never a bad thing to master.

Learning to prefocus so your subject will be sharp when it’s time to take the photo is a great skill to have. With a manual focus lens, this becomes less optional.

Any of these methods, when practiced enough, will become second nature. You’ll find yourself using them no matter what lens you have on your camera.

Diversifying your lens options doesn’t have to be expensive

Old lenses are available secondhand almost everywhere at reasonable prices. If you have a new camera with a kit lens and want to add another lens or two, consider buying used.

Picking up an older 50mm lens will not set you back as much as a brand new lens. Depending on what brand camera you have, you may also need to purchase an adapter. This will allow you to mount older lenses to your digital camera. Nikon users have the advantage here.

I was able to keep using my original lens on each camera I upgraded to because Nikon never changed the lens mount. Any older Nikon lens will attach to every Nikon camera. Some very old lenses may lose some metering functionality but otherwise, work very well. Some may also need slight modification.

Adapters are available for just about every camera and lens combination. Once you’ve bought your first old manual focus lens, it may pay to stick to buying the same brand. That way you can use the same adapter.

Image: Taken with a 105mm manual focus lens manufactured around 1973 © Kevin Landwer-Johan

Manual focus lens structure and build are much less complicated than autofocus lenses. The higher quality older lenses are sturdy and robust. There are three main things to look out for in second-hand lenses:

Indications that they have been dropped or otherwise mistreated. Dings and heavy scratches on a lens are not a good sign.
Fungus in the lens is another thing to watch for. Dirt on the outside is easy enough to clean off. A lens with fungus on the outside or any of the inner lens elements can be expensive to clean and may well be damaged beyond repair.
Thirdly, the focusing ring can become stiff and hard to turn, particularly if the lens has not been used for a long time. You can repair it, but repairs can become expensive, depending on where you live.

Image: Taken using a manual focus 85mm. © Kevin Landwer-Johan

I picked up a bag of camera gear at a general household auction years ago. In it was a Nikon FM2 body with an MD4 motor drive. I knew I could sell the drive for $ 400. The camera had a 135mm lens on it with so much mold you couldn’t see through it. That was worthless. Also in the bag was a 55mm micro Nikkor in lovely condition.

I bought the lot for $ 250, then sold the camera and motor drive and kept the lens. I made around $ 350 on the deal, plus I got to keep the lens, which I still love using. If you know what you are buying you can be lucky enough to end up with another lens and it not cost anything.

Main drawback of older lenses

Build quality and glass are not often a problem in good-quality older lenses. Coatings of lenses have improved over time. Modern lenses have coatings developed for use with digital cameras.

Chromatic aberration, also known as purple fringing, is more prevalent in old lenses. This is because the lens coatings are different. However, post-processing software can often fix the problem pretty well.

Lack of sharpness at wide apertures can sometimes be an issue with older lenses. Avoiding using the widest aperture setting can often alleviate this problem.

Conclusion

Diversifying your gear options with older manual focus lenses is worth considering. If you’re a student on a budget (or anyone else on a budget!), picking up a second-hand lens or two will help you in a number of ways:

You’ll be saving money
You will have to learn to use manual focus
Second-hand lenses keep their resale value more than new lenses
Working more slowly will help your photograph in other ways too

When looking to buy older lenses, it’s best to do your research carefully first. There’s no point buying a lens that won’t work with your model of camera. Get on the internet and specifically search for the camera and lens you want to combine. If it can be done, someone has likely blogged about it or posted a video to Youtube already.

Do you use old, manual focus lenses? What is your experience with them? Share your experiences and images with us in the comments!

The post Diversify Your Gear Options With Old, Manual Focus Lenses appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Gear Review: 4 New K&F Concept Filters Put to the Test

25 Sep

The post Gear Review: 4 New K&F Concept Filters Put to the Test appeared first on Digital Photography School. It was authored by Kav Dadfar.

I have always been an advocate of carrying as little camera equipment as possible. In fact, most people are surprised to hear how little I carry with me on any trip. Besides the obvious weight to carry, it also means more things to lose or have stolen. But whilst carrying less is always better, there are some things that I simply can’t live without. Filters are one of the sets of accessories that I always take with me as they are essential for my photography. So when given four new K&F Concept filters recently, I was very excited to put them to the test.

k&f-concept-filters-put-to-the-test

Why should you use filters?

As advanced as digital cameras are these days, they still occasionally need some help to capture photos the way you want. Often the big issue in photography is light. Too much of it, not enough, too harsh, in the wrong place…if only you could control outdoor light like in a studio.

Filters can help a photographer control light in varied circumstances. There are lots of filters that all fill different objectives. Two of the most common filters are neutral density filters and polarizing filters.

Polarizing filters

Polarizing filters help to remove unwanted reflections from non-metallic surfaces. For example, if you are photographing water or through glass, they can help ensure you keep reflections to a minimum. In addition to this, they also help to boost the saturation in images (especially blues and greens). So, they are very useful for photographing things like waterfalls.

Neutral Density filters

Neutral Density filters help to reduce the amount of light that enters the camera. This allows you to select a slower shutter speed to create motion blur (when photographing water during the day or moving clouds). However, even in day to day photography, you may sometimes find ND filters useful to help avoid overexposure at wide apertures.

k&f-concept-filters-put-to-the-test

Square filters vs screw-on filters

There are two types of filters these days – square filters and screw-on filters.

Square filters are either square or rectangle and attach to a holder attached to your camera. As the name suggests, screw-on filters screw onto your lens directly.

There are pros and cons for using both. Historically, I have always used square filters, so this was a good test to see how I get on with using screw-on filters instead.

Gear Review: 4 New K&F Concept Filters Put to the Test

The filters tested

The four filters tested for this article are:

77mm ND8-ND128 Variable Neutral Density ND Filter Nano Coated
77mm Variable ND2-ND32 Neutral Density and Circular Polarizing Filter Coated
77mm Circular Polarizers Filter, K&F Concept 77MM Circular Polarizer Filter HD 18 Layer Super Slim Multi-Coated CPL Lens Filter
77mm ND2-ND32 Variable Neutral Density ND Filter Nano Coated

Packaging

My first impression of the filters was of the beautiful and secure packaging they arrive in. They come in a hard cardboard box with the filter itself placed in a hard plastic case inside the cardboard box. The filter is further protected inside the plastic box wrapped in a plastic bag and placed on a piece of foam. The plastic box that they come in makes them really easy to get in out to use when needed as the lid flips open. The circular polarizing filter comes in a slightly different plastic box which twists open but is still secure inside due to some rubber ridges. This stops the filter rattling around the case.

I will need to stick some small stickers on the plastic boxes and write the filter on them to make them easier to find – something that is currently lacking on the plastic boxes. Other than that, the packing is very impressive.

k&f-concept-filters-put-to-the-test

Build and ease of use

The frames of all of the filters, except the circular polarizer filter, are made from an aluminum alloy (the polarizer filter has extra-tough magnalium). Even though they are very slim in design, they certainly feel rigid with no real bending even when forced.

The glass itself on all the filters is coated optical glass (to help reduce reflections) that is waterproof and scratch-resistant.

k&f-concept-filters-put-to-the-test

Performance

Overall, all of the filters performed very well. As someone who has always used square filters, I was skeptical about the quality and how they would affect the image. I deliberately headed out during early afternoon as I wanted to test these filters in harsh light. Below are the images taken using these filters.

Gear Review: 4 New K&F Concept Filters Put to the Test

Circular Polarizer Filters

I conducted the first test with the circular polarizer. Below are two images taken from the same place only seconds apart. The image on the left was with no filter. In the image on the right, you can see how the reflection from the water has been removed using the K&F Polarizer Filter. In addition, you can see a boost in the blue in the sky a little. There is a very slight vignette on the top left corner, but this is so minor that it can easily be removed in post-production.

Gear Review: 4 New K&F Concept Filters Put to the Test

ND2-ND32 Neutral Density

I conducted the next tests with the two ND filters. Both filters easily screwed in and were subsequently easy to remove with no jamming at all. Both filters performed very well with no color casting or vignetting. I also didn’t come across the X cross-issue that might sometimes occur with variable ND filters.

From the left: ND2, ND4, ND8, ND16, ND32

ND8-ND128 Neutral Density

The thing that I found so useful with these variable filters is the ease of transporting them and the amount of space saved in my camera bag. To be able to carry two ND filters that cover such a wide range is definitely something I feel is worth including in my camera bag.

From the left: ND8, ND16, ND32, ND64, ND128

ND2-ND32 Neutral Density and Circular Polarizing

The final filter tested was the ND filter with the circular polarizing filter. Whilst I was really impressed with the other filters, this is the one that I really found useful. Normally in a situation like this, I screw on my circular polarizing filter, then screw in my filter holder ring, put the holder on, and add the filters I need before I’m ready to shoot.

This filter does all of that. You can see below how using the filter gives you a longer shutter speed to achieve smooth water, and also removes much of the reflection as well. This helps bring out the details on the river bed.

No filter on the left, ND16, ND32

Conclusion

As mentioned, I have always been skeptical of using circular or screw-in filters. However, I am thoroughly impressed with the K&F Concept filters I tested out. The image quality is superb and the added benefit of just using one filter and adjusting the gradient without having to stack filters is really useful.

The thing that really impressed me about these filters is how premium they look, feel, and perform. In fact, I did not notice any difference between these K&F Concept filters and my very expensive current square filters.

Another huge benefit of these filters is the cost. For example, at the time of writing the 5-stop variable ND and CPL filter is priced at $ 89.99. In other words, you are getting six filters for that price. Individually purchasing good quality filters will be a lot more expensive. This will obviously help anyone starting out and wanting to build their accessories up without spending a small fortune. I, for one, will be adding these filters to my collection.

Note: The author was given the K&F Concept filters free of charge to test out. But he is not paid or affiliated with K&F Concept and his review is honest and unbiased and based his personal experience of using the products.

The post Gear Review: 4 New K&F Concept Filters Put to the Test appeared first on Digital Photography School. It was authored by Kav Dadfar.

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Spiffy Gear launches Lumee wearable cinematic bi-color, RGB LED light strips

07 Sep

Spiffy Gear has launched a new wearable LED light called Lumee that features a ‘slap bracelet’ design with magnets for attaching it to metal surfaces. The light is splash-proof, rechargeable, and offered in two varieties: an RGB model and a CRI 95, 2700-6500K bi-color model. Both are described as cine-grade with run times of up to 1 hour at full power and up to 4 hours at low power.

The Lumee lights from Spiffy Gear can ‘snap’ onto poles, straps, wrists, and other similar places like an old school snap bracelet. As well, the light is shipped with magnetic mounting discs for attaching the light to other surfaces. In addition to running off battery power, Lumee can be used while it is running off an external battery or charger.

The RGB version of Lumee offers five light effects: Police Fire, TV, Fireworks and Breathing. The bi-color version of Lumee also offers light effects, though they’re different due to the absence of colored LEDs: Explosion, Candle, Breathing, Stroboscopic and Red Carpet.

Both versions of Lumee are available from Spiffy Gear now for $ 45 USD.

Articles: Digital Photography Review (dpreview.com)

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