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Hands-on with new Fujifilm X-E3

10 Sep

Hands-on with new Fujifilm X-E3

Fujifilm has just taken the wraps off a brand new camera: the X-E3. Successor to the X-E2S, we’ll admit that the X-E3 took us rather by surprise. After the release of the X-T10 and X-T20 we had assumed that the rangefinder-style X-E line was all but dead.

We don’t mind being proven wrong though, especially given that the X-E3 looks like a really nice camera. Fujifilm kindly loaned us a prototype for a few days, and we’ve taken a closer look at what we’re starting to think of as a mini X-Pro2.

Hands-on with new Fujifilm X-E3

Compared to the X-E2S, the new X-E3 is slightly smaller, and a little lighter. The design is cleaner, too. The X-E2S’s hard cutout in the handgrip is gone, likewise the non-continuous contour of the metal top-plate. You’ll notice that the X-E3 features a front control dial, which while largely redundant if you’re using lenses with a dedicated aperture dial, can be handy.

Hands-on with new Fujifilm X-E3

The generally cleaner design extends to the rear of the camera, too. The X-E3 features the same 3″ 1.04 million-dot LCD screen as the X-T2, (although without the tilting mechanism) and the AF positioning joystick that’s becoming standard on the X-series.

The X-E3’s electronic viewfinder is the same excellent 2.36M-dot display that we’ve seen previously in the X-T2.

Hands-on with new Fujifilm X-E3

Between them, the touchscreen and joystick replace several of the X-E2S’s rear buttons, including the traditional 4-way controller. Where previously access to ISO, white balance, film simulation, and AF mode were controlled via the buttons on the controller, now they’re accessed by swiping up/down/left/right on the touch-screen.

The touchscreen experience on our prototype camera is reasonably fast, with some occasional lagginess. It remains to be seen whether final shipping cameras will offer a significantly improved experience but either way, the X-E3’s touchscreen is very usable.

Hands-on with new Fujifilm X-E3

Here’s a closeup of the joystick, which replaces the 4-way controller when it comes to simple navigation actions like scrolling through menus.

Hands-on with new Fujifilm X-E3

Missing from the X-E3 is a built-in flash…

Hands-on with new Fujifilm X-E3

…instead, you’ll need to attach an external flashgun – perhaps Fujifilm’s delightful (and delightfully small) collapsible EF-X8, which is included in the box. Sadly, this does mean the X-E2’s unadvertised bounce flash capability, (easily achieved by pulling the built-in flash backwards) has been lost.

Gained though is full-time low-energy Bluetooth – a first for the Fujifilm X-series, which should simplify things when it comes to connecting the X-E3 to smart devices.

Hands-on with new Fujifilm X-E3

Here’s a closer look at the X-E3’s top-plate. A manual shutter speed dial should satisfy purists, while a -/+3EV exposure compensation dial (with a ‘C’ custom position to take it up to -/+5EV) is positioned within easy reach of the right thumb.

Note the lack of an ISO sensitivity dial, and the addition of the ‘Auto’ toggle from the X-T-series, which enables the camera to be put into fully automatic exposure mode with a single flick of the switch.

Hands-on with new Fujifilm X-E3

The X-E3 inherits the X-T2’s 24MP X-Trans III sensor, and adopts a version of its 325-point autofocus system, minus the flagship camera’s extensive customization options. Fujifilm claims that the camera features a ‘newly developed image recognition algorithm’ which should be able to track moving subjects more effectively than previous generations.

In stills mode, the X-E3 can shoot at a maximum rate of 14 fps using its electronic shutter, or 8 fps with the mechanical shutter (which drops to 5 fps with live view maintained between exposures). And like the X-T20, the X-E3 can also shoot full-width 4K video, at a maximum resolution of 3840 x 2160p in contiguous 4GB chunks.

Hands-on with new Fujifilm X-E3

A conventional latched door on the base of the X-E3 provides access to the NP-W126S battery and a single memory card slot. Disappointingly, the tripod bush is positioned off-axis to the lens, and very close to the battery compartment door. This will probably make it impossible to change batteries or cards when the camera is used on a tripod.

Battery life is rated for 350 exposures, under CIPA test conditions.

Hands-on with new Fujifilm X-E3

The X-E3 will be available later this month for $ 899 body only, or in a kit with either the 18-55mm zoom for $ 1299.95, or the 23mm F2 prime for $ 1149.95.

For more details, read our in-depth Fujifilm X-E3 first impressions review

What do you make of it? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Video: First hands-on with the modular RED Hydrogen One holographic smartphone

06 Aug

The $ 1,200 RED Hydrogen One smartphone with its holographic display and modular design wowed the world when it was announced last month. And that wow-factor only increased when people stumbled across RED’s patents for this intense little camera phone. Unfortunately, the initial render, press release, and those patents was all we had to go off of … until now.

Well-known YouTuber Marques Brownlee was given an exclusive first-look at RED’s prototypes of the Hydrogen One, and he’s sharing that first look with the world in the video above.

The RED Hydrogen One prototype next to an iPhone 7 Plus and an OnePlus 5. As you can see, it’s anything but small.

Brownlee got to look at three prototypes: a non-functional ‘fit-and-finish’ prototype that looks exactly as RED intends the final version to look (above), a prototype of the holographic display that he was not allowed to show on camera, and a prototype of the phone with a ‘Triplet’ lens mount module attached.

The first prototype was really all about the looks, and Brownlee had an interesting take on that. “It looks kind of like a Moto Z had a baby with a tractor,” he says. “It’s this part rugged, part modern look.” A look Brownlee actually quite liked.

The second prototype he wasn’t allowed to share on camera, but it’s the third prototype we’re most interested in, anyway. This is where things get really interesting for photo and video enthusiasts curious about how capable and modular this phone will really be. The third prototype features an attachment that adds a ‘sensor and lens mount’ to the smartphone.

Adding a sensor and lens mount to the phone makes it much thicker, but also has the potential to supercharge the Hydrogen One’s camera capabilities.

According to Brownlee, RED believes, “this can and will be the future of small form-factor cinema [cameras].” In fact, the company says the smartphone’s image quality “should only be surpassed by RED’s bigger cameras,” beating out mirrorless cameras and DSLRs if RED has their way with this phone.

At $ 1,200 for the phone by itself, and who knows how much for all of the modules and attachments required to get the RED Hydrogen One up to that caliber of image quality, it’s likely you’ll spend about the same amount of money on a cinema-capable Hydrogen One as you would on a cinema-capable DSLR setup… if not more. But if the quality is on par or better, why not get a really intense modular smartphone in the bargain?

I guess we’ll just have to wait and see how this phone evolves from prototype to full-fledged product. Speaking of which: RED expects to have their next prototype—a fit-and-finish version with the holographic display built in—ready in the next 30-45 days. They’re not dragging their feet.

Articles: Digital Photography Review (dpreview.com)

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The New Canon 6D Mark II – Hands-On Previews and Thoughts

04 Aug

Recently Canon announced the release of their update to the 6D, its popular full frame camera body, with the Canon 6D Mark II. It’s getting some mixed reviews – let’s see what these reviewers thought:

PhotoRec TV – too many deal breakers?

Things many consider this camera to be lacking include:

No 4K video capability
No headphone jack (but there is one for a microphone)
Flash sync speed of only 1/180th of a second
Only one memory card slot

Pros:

Finally a fully reticulating/tilting (touch) screen on a full frame camera
A full frame Canon body that includes WiFi and Bluetooth finally (and GPS)

digiDIRECT – hands on first impressions

Some points from this review:

Improved battery life
Body has improved weather sealing
New 26.2 megapixel sensor
Increased low light performance (native ISO up to 40,000)
45 cross-type autofocus points (over 11 on the original 6D)
Dual pixel focus
A burst rate of 6.5 fps (compared to the 6D which does 4.5 fps)
This camera is aimed more towards still photographers, not those doing video because of some thing it lacks (no 4K video, no headphone jack)
It does, however, have a new time-lapse feature

Thorough overview of the 6D Mark II by Tony Northrup

In this video, Tony goes over most of the new features of the Canon 6D Mark II as compared to other camera bodies in the Canon line-up and other brands. See what he thinks are the pros and cons of this new Canon.

Ready to buy the 6D Mark II?

If you feel this is the camera for you – they are supposed to be available by the end of July, order yours on Amazon now.

Have you tried it out, is it on your wish list? Share your thoughts on the Canon 6D Mark II below.

The post The New Canon 6D Mark II – Hands-On Previews and Thoughts by Darlene Hildebrandt appeared first on Digital Photography School.

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Hands-on with Canon EOS Rebel SL2 / EOS 200D

29 Jun

Hands-on with Canon’s EOS Rebel SL2 / EOS 200D

Canon’s latest DSLR is one of its smallest ever. The new EOS Rebel SL2 (EOS 200D outside of North America) DSLR on the market. The SL1 was a likable, if rather limited camera in its day, and we’re pleased to see that Canon hasn’t abandoned the idea of an ultra-portable entry-level Rebel.

We had the chance recently to handle the SL2, and get a feel for what’s changed, and what remains the same.

Hands-on with Canon’s EOS Rebel SL2 / EOS 200D

One thing that hasn’t changed significantly is the SL2’s size, compared to its predecessor. Although the new camera is in fact slightly bigger, the difference is very subtle (122.4 x 92.6 x 69.8mm compared to 117 x 91 x 69mm, if you were curious). The SL2 is bundled with the same slower 18-55mm F4-5.6 kit zoom that was introduced alongside the Rebel T7i.

A more welcome change compared to the SL1 is the SL2’s sensor. We’re told that the 24MP APS-C sensor in the new camera is essentially the same as the one used in the EOS 77D. Capable of shooting from ISO 100-25,600 there’s no reason not to expect excellent low and medium ISO image quality from the SL2.

Hands-on with Canon’s EOS Rebel SL2 / EOS 200D

My hands are pretty average-sized. As you can see, the SL2 really is pretty tiny. This view shows off the minimal top-mounted controls, which include the standard Canon EOS exposure mode dial, and front control dial, just behind the shutter release. This dial has been redesigned, from the plastic ‘cog’ we’ve been used to for years, to a high-end PowerShot-style knurled metal finish. Also new is the combined movie mode / on / off toggle switch, just to the right of the exposure mode dial.

On the far left of the SL2’s top plate is a dedicated Wi-Fi button, which indicates Canon’s intended user base of smartphone and compact camera upgraders.

Hands-on with Canon’s EOS Rebel SL2 / EOS 200D

As we’d expect, the rear of the SL2 is dominated by a large, 3″ touch-sensitive LCD. Despite its entry-level positioning, Canon hasn’t skimped on specifications – this appears to be the same 1040k-dot display offered on the full-frame EOS 6D Mark II. Note the indent at the upper right, so you can get your finger in there to grab the screen.

The SL2’s viewfinder is unremarkable (it’s the typical lower cost pentamirror design, with 95% frame coverage) and its conventional autofocus system is pretty basic (9-points, covering the central portion of the frame). But impressively, in live view and movie modes the SL2 offers the same excellent Dual Pixel AF system as the EOS 80D. That means fast and accurate AF for still and moving subjects, with none of the ‘hunting’ typical of more basic contrast-detection live view AF systems.

Hands-on with Canon’s EOS Rebel SL2 / EOS 200D

This alone is a huge selling point over the original SL1, and made even mode useful by the fact that the Rebel SL2’s rear screen can be fully articulated for live view and movie shooting. Arguments will continue over whether a tilting screen or flip-out type is superior, but the flip-out design is certainly better when shooting vertically.

Like its close-relation the Rebel T7i, the SL2 features a simplified screen interface in PASM modes, intended to educate beginners about the effect of using certain exposure variables.

Hands-on with Canon’s EOS Rebel SL2 / EOS 200D

Another view of the top of the camera, highlighting again the small, compact body of the Rebel SL2. Despite its low-end positioning, the general fit and finish of control points is of a high standard.

The SL2 is predominantly made from polycarbonate, and Canon makes no claims about environmental sealing, but there’s no creak or give in the body seams.

Hands-on with Canon’s EOS Rebel SL2 / EOS 200D

Despite its entry-level positioning, the SL2 is an impressively fast camera. Claimed startup time is a respectable 0.2 sec (which is the same as the EOS 6D Mark II), and the SL2 features a maximum continuous shooting rate of 5 fps. It’s reasonably customizable, too. Although it (obviously) can’t hold a candle to Canon’s professional DSLRs, 11 custom functions do allow for a decent amount of fine-tuning of the camera’s operation.

A small built-in flash pops up when required in fully automatic shooting, and can be activated manually in PASM modes. You can expect 650 shots per charge from the LP-E17 with 50% flash use, increasing to more than 800 with no flash (CIPA).

Hands-on with Canon’s EOS Rebel SL2 / EOS 200D

A nice deep handgrip makes the SL2 easy and comfortable to hold and use, despite its small size.

What do you make of the new Rebel SL2? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Hands-on with the Fujinon MK50-135mm T2.9 cine lens

22 Jun

Hands-on: Fujinon MK50-135mm T2.9 cine lens

The Fujinon MK50-135mm T2.9 cinema lens is the second in Fujifilm’s new line of MK lenses designed for Super 35 and APS-C cameras. MK lenses are designed to appeal to the emerging production market, offering features and quality typically associated with more expensive cinema lenses at a price point that’s attractive to budget-conscious cinematographers. The MK lenses are based on Fujifilm’s excellent Cabrio line of cinema lenses (which cost $ 15K and up), and share the same coatings as well as a similar mechanical build, but at a cost just under $ 4,000 they’re more accessible to a lot of users.

I reviewed the first MK lens, the MK18-55mm T2.9, a few months ago and really liked it. Since the two lenses are designed to work as a set, they’re basically indistinguishable except for focal length, so if you want to read my detailed thoughts on how the MK lenses perform I recommend reading my earlier review, which for all practical purposes applies to both lenses.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

If you’re not yet familiar with the MK cine lenses, you may be surprised to learn that they use Sony E-mount. Why? Fujifilm wants to address the growing market of independent filmmakers, small production houses, and other professionals who use the Super 35 and APS-C formats. Sony has a huge presence in this market thanks to cameras like the FS7, FS5, and even a-series mirrorless, and many users of these cameras adapt other lenses, such as Canon EF-mount, to their cameras.

What about Fujifilm’s own mirrorless cameras? The company has announced plans to release MK lenses in X-mount later this year so that Fujifilm shooters can take advantage of them as well.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

When I tested the MK18-55mm lens earlier this year, I did so with a Sony FS7, a Super 35mm camera mounted on a shoulder rig with rails, a follow focus, and an accessory EVF. However, Fujifilm emphasizes that the MK lenses are also designed for use on similarly sized APS-C sensors, so this time I decided to go that route. Unfortunately, during our short window of time with the lens I didn’t have access to a rig for a full setup, so I was limited to basic tripod and handheld use.

When mounted the Sony a6500, it’s easy to see how large the MK50-135mm is compared to the diminutive camera. While it’s technically possible to shoot this combination handheld, it’s not terribly practical thanks to its large size and all mechanical controls.

The great news is that the video I captured looked beautiful, and the lens appears to deliver the same quality that we saw on the MK18-55mm.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

I also tried using the MK50-135mm with the full frame Sony a7R II in Super 35mm mode. The size mismatch is a bit less obvious than with the a6500, however it’s no more practical for shooting handheld. That’s not necessarily a bad thing – chances are good that if you’re considering this type of lens, you’re planning to rig it in some way.

In fact, this lens works very well with both the a6500 and a7R II (in Super 35 mode), and would be a great lens to pair with either of them. With a basic set of rails and a follow focus, the setup would work just as effectively as with a dedicated video camera.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

One of the reasons for using cinema lenses is that they often come in matched sets, and this is the case with the MK lenses. The MK18-55mm and MK50-135mm are physically identical, including T2.9 iris, gearing, dimensions, and even weight (right down to the gram). They’re also matched optically, meaning they can be interchanged seamlessly without changing the look of the resulting footage.

Why are matched lenses important? In a cine setup the lens is often mounted on rails, and likely has attachments such as a follow focus or matte box. Ideally, you don’t want to have to readjust every accessory each time you change lenses, and having physically matched lenses means you can swap them in and out very quickly without needing to readjust everything. The MK lenses are so similar that I would have a difficult time telling them apart without seeing the zoom range printed on the lens barrel.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

When it comes to build quality, the MK50-135mm is very solid thanks to its all metal construction. As with most cinema lenses, it’s completely mechanical, and every movement feels well damped. It’s a pleasure to use and gives one the sense of using a high quality piece of precision equipment.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

One thing that sets the MK50-135mm apart from most still photo lenses is the large 200 degree focus rotation angle. This offers a lot more precision than you’ll get with the shorter focus throw of a DSLR lens, or the unpredictability of focus-by-wire, so it’s easy to make very fine adjustments as your subject moves. The lens includes very precise distance marks, in both English and metric units. This is particularly helpful if you have a separate focus puller who is following the action in a blocked scene.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

The MK50-135mm also has a parfocal design, meaning it can maintain precise focus while adjusting the focal length. As still photographers, we don’t usually worry about this capability since it’s easy to refocus after zooming. In contrast, when shooting video you may actually intend to zoom while recording, and you want to maintain focus on your subject through the entire transition. Losing focus during a zoom can ruin the shot.

I was really impressed with the parfocal performance on the first MK lens, and the MK50-135mm performed to the same standard.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

Another common property of cinema lenses is that they resist breathing, a phenomena that causes the lens’s field of view to change slightly when focus is adjusted. This becomes particularly important when you’re doing something like racking focus between two subjects; you don’t want the field of view of the scene to change when you do this as it can be very distracting. The MK50-135mm suppresses lens breathing very effectively, which is not surprising given that the MK18-55mm did so as well.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

Based on a couple days of use, I really like the Fujinon MK50-135mm lens, which – not surprisingly – is the same conclusion I came to after testing the MK18-55mm version. They’re both beautiful pieces of equipment that are a joy to use, and which deliver excellent results. The fact that there are now two of them spanning the entire 18-135mm range makes me want the set even more. If you’re a videographer using an E-mount camera, it’s really tough to go wrong with these lenses.

The MK lenses should also appeal to Fujifilm X-mount users. In particular, we found the Fujifilm X-T2 to be a credible 4K video camera, especially since it’s capable of outputting F-Log gamma over its HDMI port. We don’t yet know the exact release date for the X-mount versions, but Fujifilm tells us it will be later this year, and we saw prototypes at NAB in April.

The MK50-135mm T2.9 will be available in E-mount in mid-July for a price of $ 3,999, which is just slightly higher than the $ 3,799 MK18-55mm.

Articles: Digital Photography Review (dpreview.com)

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Professional powerhouse: Hands-on with the full-frame Sony Alpha a9

23 Apr

Hands on with the Sony a9 (ILCE-9)

We got a chance to get our hands on the Sony alpha 9 immediately after its announcement. Our first reaction? Continuous shooting with full time live view isn’t a gimmick: you can follow the action without any interruption.

This is an entirely different beast compared to the a6500, which only had 8 fps live view during continuous shooting. This is a nearly 8-fold increase in frame rate: actual 60 fps live view during bursts (120 fps when not shooting).

Hands on with the Sony a9 (ILCE-9)

It feels more substantially built than the existing a7 cameras, but without it becoming hefty. Sony says the a9 is ‘well sealed – especially around most buttons and dials’ for dust and moisture resistance. Whether it’s up there with the Canon EOS-1D X Mark II or Nikon D5 remains to be seen.

The camera’s grip is a little deeper than the a7 cameras, which means it’s more comfortable to hold with larger, heavier lenses such as the 24-70mm F2.8 GM.

Hands on with the Sony a9 (ILCE-9)

Despite the fairly radical specifications, the a9 retains the same fundamental form factor as the existing series II a7 cameras. However, as you’ll be aware if you were following the camera’s launch, just about everything inside the body shell has been revised to optimize speed. And outside the shell too – far more direct controls, like the AF and drive mode dials up top.

Hands on with the Sony a9 (ILCE-9)

Here’s just some of the cleverness that lives inside the camera: the processing board with twin SD card slots, a 3.7m dot OLED viewfinder and a beefed-up lens mount with more screws for greater strength and durability. But the big news is the 24MP stacked CMOS sensor, mounted on a 5-axis stabilized cradle.

The 24.2MP stacked CMOS design includes memory for buffering immediately behind the pixel layer. This and the (comparatively) modest pixel count are key to the camera’s fast readout, which underpins the camera’s headline features: 20 frames per second shooting, 60 fps AF/AE calculations for improved subject tracking, and a fully electronic (truly silent) shutter with minimal rolling shutter.

The Bionz X processor itself is also new (relative to the a7R II and a99 II), and comes with a front-end LSI. These improvements help increase processing speeds 1.8-fold and the buffer 6-fold relative to the a7R II, allowing for 241 continuous compressed Raws during 20 fps bursts. These improvements also help reduce power consumption by 40% compared to the a7R II.

Hands on with the Sony a9 (ILCE-9)

Although it looks a lot like an second-generation a7 series camera, the a9 features a range of improvements, many of them things that photographers (including us) have been requesting for some time.

The most obvious of these is the AF point joystick on the camera’s rear panel. This and the dedicated AF-On button (as opposed to the recessed button switchable between AF/MF and AEL on previous cameras) will be immediately welcome by anyone who’s shot with an existing Sony camera. The joystick is responsive, but often as you’re using it it accidentally registers a center (downward press), which can be assigned to any function custom buttons can be assigned to. For now, we suggest assigning it to ‘Not Set’ (nothing) so you don’t inadvertently activate something else (like center point AF-S, which it’s set to by default) while trying to move your AF point.

There have been changes to the elements that have been carried over too. For example, the dial on the rear plate of the camera is larger and has more noticeable ‘clicks’ as you turn it, making it far easier to use with precision. The buttons also have a more direct feel, rather than the slightly spongy sensation of the ones on the existing models (particularly the a7R II and a7S II.

Hands on with the Sony a9 (ILCE-9)

Our first impressions of the camera are that everything is that bit faster. Startup time is reduced (30% faster than a7R II), as is the speed at which the viewfinder panel is activated when you pull the camera up to your eye. AF is faster as well: 25% faster AF acquisition speeds, and 30% higher detection rate when it comes to Eye AF and face detection, compared to the a7R II. Low light AF speeds and performance should be improved as well, as Sony now claims AF at -3 EV with F2 lenses (1 EV better than the a7R II).

We’re also impressed with the new quad VGA viewfinder. Its offers a crisp, detailed view and fast enough refresh rate to follow action (120 fps, dropping to 60 fps during bursts). Since it’s OLED, it’s nice and contrasty. We wish the LCD had improved though: Nikon and Canon DSLRs offer retina-esque displays on their newer cameras that make shot images look that much more inspiring.

Hands on with the Sony a9 (ILCE-9)

Other changes include the addition of a physical control for switching between MF and the camera’s different AF modes. This, along with the ability to assign an AF area mode (with or without AF activation, a la Nikon D5/500) to the camera’s custom buttons, should make the a9 as quick to operate as it is at shooting.

Unfortunately, as of now, only one AF area can be assigned as ‘Reg. AF Area’ (oddly by long-pressing the Fn button while in that AF area mode), so you’ll only be able to instantly switch to one other AF area mode from the one that is currently engaged. We’ve requested Sony to enable multiple AF area modes to be assignable to multiple buttons, directly via the menu, as opposed to having only one ‘Registered AF Area’ the camera can store in memory. This might allow you to quickly switch between, say, Lock-on AF, complete Auto (when Lock-on fails), and good old center point. It would be even nicer if one could specify AF-S vs. AF-C for any of these modes so that, for example, I could generally keep the camera in AF-C, but always fall back to good old center-focus-and-recompose when all else fails.

Hands on with the Sony a9 (ILCE-9)

Stills aren’t the only area that gains massive improvements over previous models: Full-frame 4K video is now oversampled 2.4-fold from 6K footage. No pixel-binning, no line skipping. This leads to incredibly crisp footage but, more importantly, with extremely low rolling shutter thanks to the incredibly fast readout speeds of the new stacked CMOS sensor.

Which makes it all the more a shame that, for some reason, Sony decided to forego S-Log (and Picture Profiles entirely) on this camera. Sony claims this is because the camera is aimed at professional stills shooters, but for a camera that shoots such good full-frame 4K, we feel it’s a bit of a shame.

Hands on with the Sony a9 (ILCE-9)

The a9 uses a new battery. The ‘Type Z’ NP-FZ100 is bigger than the existing batteries and offers significantly more capacity: 16.4Wh to be exact, up from 7.7Wh in the older, ‘W’ type packs used in previous models. This allows the camera to achieve a rating of 650 shots per charge, based on CIPA standard tests.

As always, it’s quite common to be able to get many more shots out of a battery than the rating suggests, but the higher rating should mean the a9 will regularly be able to shoot for twice as long as most of the a7 series before needing a battery swap.

Hands on with the Sony a9 (ILCE-9)

Announced alongside the a9 is an accessory that should excite existing E-mount camera owners, particularly videographers.

The NPA-MQZ1K Multi-Battery Adaptor Kit comes with two of the new NP-FZ100 batteries and has space for another two. It not only works as a charging station for up to four Z type batteries but also has a dummy battery that allows it to be used as an external power pack. The unit is compatible not only with the a9 but also with the a7, a7R, a7S, a7 II, a7R II, a7S II, a6000, a6300, a6500, a5000, a5100 and RX10 III, providing up to 8x their current battery capacity. It include tripod-style mounting sockets, for attachment to a video rig.

Hands on with the Sony a9 (ILCE-9)

The ports on the camera’s left flank are all fairly familiar: headphone, mic, USB and HDMI. What’s slightly unexpected is that, despite the camera’s speed, the USB port is only version 2, rather than the much faster USB 3.

As you can see, the doors aren’t especially substantial, which is presumably why Sony isn’t making particularly strong claims about weatherproofing.

Hands on with the Sony a9 (ILCE-9)

The a9 is the first Sony to feature an Ethernet port, making clear its pitch-side intentions.

We’re surprised to see a traditional flash sync socket, for studio work. We’d expect that of Sony’s current models: the higher-resolution a7R II (which, curiously, lacks a flash sync socket) would appeal more to studio photographers. A hint perhaps that there’s a higher-resolution a9-series body on the way…

Hands on with the Sony a9 (ILCE-9)

An optional VG-C3EM battery grip doubles the camera’s battery life. The grip itself holds two batteries but fills the battery compartment, meaning you end up with two batteries in total, rather than three. Still, a rating of around 1300 shots per charge with two batteries puts the a9 will into DSLR territory in terms of longevity.

What do you make of the Sony a9? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Hands-on with the Panasonic Leica 8-18mm F2.8-4

19 Apr

Hands-on with the Panasonic Leica 8-18mm F2.8-4

Panasonic has announced the second member of its Leica DG Vario-Elmarit F2.8-4 series of lenses: an ultra-wide 8-18mm (16-36mm equivalent) that offers fields of view ranging from as wide as 107 degrees down to 62 degrees.

Hands-on with the Panasonic Leica 8-18mm F2.8-4

The lens’s metal construction feels sturdy, with a smooth zoom action. It is dust and splash-proof, and freeze-proof down to -10?.

Hands-on with the Panasonic Leica 8-18mm F2.8-4

The optical design comprises 15 elements in 10 groups. To combat chromatic aberration and spherical distortion the lens features an aspherical extra-low dispersion element, three aspherical elements, two extra-low dispersion elements and one ultra high refractive index element.

Hands-on with the Panasonic Leica 8-18mm F2.8-4

When zooming, the front element moves back and forth, but the movement is inside the barrel. This keeps the overall length of the lens at a constant 88mm (~3.5 inches). The lens’s construction ensures ‘barycentric stability’, which means that whatever is in the center of the image at one focal length remains exactly centered as the lens is zoomed in and out. This is especially important for video work.

The focus drive can use data read out from the sensor at 240 fps, assisting the contrast detect autofocus system in Panasonic cameras in taking measurements quickly.

Hands-on with the Panasonic Leica 8-18mm F2.8-4

Here’s the lens next to the first member of the F2.8-4 lineup, the 12-60mm. Both feature a micro-step drive system in the aperture control to allow the camera to smoothly open and close the aperture. The 8-18 lacks image stabilization, so it loses the switch to turn it on and off, but otherwise the two have a very similar external appearance.

Hands-on with the Panasonic Leica 8-18mm F2.8-4

Compared to the older 7-14mm F4, the new lens is bigger, but doesn’t gain a whole lot of extra heft. Even without a built-in hood it is longer and wider, but at 315 grams (0.7lb) it only weighs in at 15 grams more than the 7-14mm.

With the included lens hood installed its increase in size over the 7-14mm with its built-in hood is a bit more apparent, thanks to the 8-18 gaining an extra stop of light on the wide end, and a bit more zoom range on the long end.

Hands-on with the Panasonic Leica 8-18mm F2.8-4

When mounted on a camera like the GH5, the lens feels as light and easy to use as the 7-14mm thanks to there being virtually no weight difference between the two. The black paintwork suits the GH5 nicely as well.

Hands-on with the Panasonic Leica 8-18mm F2.8-4

The 8-18mm will be released at the end of May with an asking price of $ 1099. Click here for detailed specifications and more information.

Articles: Digital Photography Review (dpreview.com)

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Hands-on with AirSelfie, a mini selfie drone that’s on sale now

03 Mar

Hands-on with AirSelfie

Remember AirSelfie? Start your ‘getting off the ground jokes,’ because the mini-drone camera is now on sale to the general public. The company behind the Kickstarter project is in the process of servicing its initial backers.

The device is designed to allow individuals and groups to take self-portraits from a greater distance than an out-stretched arm or selfie-stick will allow. As it has a very short range (20m/66ft) and limited flying time, AirSelfie is technically not classified as a drone. Thus it stands beyond the legislation and licensing laws that complicate flying larger camera drones – meaning that anyone can use one.

Hands-on with AirSelfie

Fitted with a lens with an angle of view (69°) that corresponds with what you’d expect from a 30mm on a 135 body, the camera is capable of capturing far more scenery and the subject’s surroundings from its maximum flying distance from the controller, and the 5MP sensor is good for 1080p HD video at 30fps as well as for stills. A 4GB memory card is built-in to store images, which can be transferred either through the built-in 2.4GHz Wi-Fi to a smartphone or via USB directly to a computer.

Hands-on with AirSelfie

The AirSelfie is controlled through a smartphone app that’s available for Apple and Android devices, and a self-timer allows users to put the phone out of sight before the picture is taken. As the device weighs only 61g it could be susceptible to being blown off course outside, but an undercarriage camera is designed to keep it hovering over the same spot while sonar helps to maintain a consistent height. The sonar also informs the device when it is coming into land so that the fans are slowed and switched off automatically – which makes it safer to catch!

Hands-on with AirSelfie

The four fans are driven by 7.4v brushless motors and powered by a 260mAh lithium polymer battery. On a full charge users can enjoy up to three minutes of flight, but an accessory power bank can deliver 50% charge in just ten minutes, and a full charge in 40 minutes.

Hands-on with AirSelfie

When not in use the AirSelfie can be housed in the back of a charging phone case designed for specific models.

Hands-on with AirSelfie

The company says it has used an anti-vibration construction inside the AirSelfie to reduce the impact of the rotating blades on the quality of image that can be created, but it isn’t clear yet what ISO or shutter speed range the device has to help it avoid camera shake.
The gadget seems very well made and is metal casing appears reasonably robust, while the rotor blades are protected from crash damage as they are positioned within the casing. The noise created will be acceptable outside and at parties, but this isn’t the kind of drone that can be deployed to capture a romantic moment in a restaurant without annoying the other guests.

Hands-on with AirSelfie

Orders for the AirSelfie will be delivered in May/June and it costs £220/€259 with the phone cover and £229/€269 with the power bank instead. For more information see the AirSelfie website.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2017: Hands-on with Sigma’s newest lenses

25 Feb

Hands on with Sigma’s four new lenses

Sigma announced a whopping four new lenses just prior to CP+ 2017, in Yokohama, Japan. As soon as the show opened to the press, we headed straight to the Sigma booth for some hands on time. Three of the lenses announced are part of Sigma’s high-end ‘Art’ series including the 24-70mm F2.8 you see above, as well as a 135mm F1.8 and a 14mm F1.8.

Sigma also announced a 100-400mm F5-6.3 DG OS HSM lens which is part of the company’s more modestly-priced ‘Contemporary’ series.

Click through the gallery for hands on photos of each lens and some initial impressions of build quality, size and weight.

Sigma 24-70mm F2.8 DG OS HSM Art

The Sigma 24-70mm F2.8 is surprisingly lightweight (for an Art-series lens) and reasonably compact. Here it is shown with the focal length set to 24mm. Build quality seems excellent and the 24-70mm F2.8 is weather and dust-sealed, with rubber gaskets visible on the mount. It is constructed from metal and ‘thermally stable composite’, which we can only assume is even better than metal, because it sounds fancier.

Sigma 24-70mm F2.8 DG OS HSM Art

The lenses extends a couple of inches when zoomed in to 70mm. Here you can see some of the switches on the lens barrel including the manual/AF toggle as well as a switch to engage and disengage the image stabilization.

Sigma 24-70mm F2.8 DG OS HSM Art

The 24-70 F2.8 Art has a minimum focus distance of 0.37 meters (1.2 feet). It also feature a 9-blade circular aperture. Optical construction includes three SLD and four aspherical elements.

Sigma 135mm F1.8 DG HSM

Sigma also announced a new telephoto prime lens. Like the 85mm F1.4, the 135mm F1.8 DG HSM is a big lens, and pretty heavy too – weighing in at 1130g/40.2oz.

Sigma 135mm F1.8 DG HSM

The 135mm F1.8 offers a minimum focus distance of 0.875 meters (2.9 feet). It uses a hypersonic motor to focus, which Sigma says should result in fast and ‘exceptionally stable’ AF. And a acceleration sensor ‘detects the orientation of the lens’ so the AF system can respond to ‘varying loads on the focusing group due to gravity.’ In laymen’s terms, this means that autofocus should be just as fast, and just as accurate in both portrait and landscape orientations.

Sigma 135mm F1.8 DG HSM

Mounted on a Canon 5D Mark III you can get a sense of the physical size of the 135mm F1.8. Again, it features a dust and splash-proof construction. Of all the new Sigma lenses we handled, this one has the heftiest feel to it. It also features a 9-blade rounded aperture.

Sigma14mm F1.8 DG HSM

Moving to the wide end of the lineup, the new 14mm F1.8 has a few of us on staff (especially those of us who like shooting in very low light) extremely excited. Fast, high quality wide-angle lenses for full-frame are pretty rare, and we suspect the 14mm F1.8 will appeal to more than just low light shooters.

Sigma14mm F1.8 DG HSM

As you might expect, the 14mm F2.8 has a bulbous front element with a built-in lens hood. There’s no filter thread, which is pretty standard for wide, fast primes. Optical construction is comprised of 16 elements, of which three are FLD (low dispersion) and four are SLD (super-low-dispersion).

Sigma14mm F1.8 DG HSM

Mounted on a Canon 5D Mark III, this image gives you an idea of how big this prime lens is. Like the other two new ‘Art’ lenses it features a 9-blade circular aperture, however it does not appear to be dust and weather sealed. It features a minimum focus distance of 0.27m (~10 inches) and uses a ring-type ultrasonic (HSM) focus motor.

Sigma 100-400mm F5-6.3 DG OS HSM lens

Last but not least is Sigma’s new variable-aperture telezoom, the 100-400mm F5-6.4 DG OS HSM. Although reasonably long, it is impressively light considering the focal range. The lens weighs 1160g and measures 182mm in length. It features a dust and splash proof construction as well as optical image stabilization. The lens is shown here zoomed out to 100mm.

Sigma 100-400mm F5-6.3 DG OS HSM lens

When zoomed all the way in the lens barrel does extend considerably, which is common for lenses of this class. The lens can be zoomed in and out by either twisting the zoom ring or physically pulling the front of the lens outward and inward.

Sigma 100-400mm F5-6.3 DG OS HSM lens

The 100-400mm has a minimum focal distance of 1.8 meters and features a maximum magnification ratio of 1:3.8. It is built around a total of 21 elements arranged into 15 groups. It features four SLD (Special Low Dispersion) elements and focuses via hypersonic motor.

Pricing an availability on all these lenses is forthcoming.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2017: Hands-on with new Voigtländer E-mount primes

24 Feb

CP+ 2017: Hands-on with new Voigtländer E-mount primes

Voigtländer announced three new lenses at this year’s CP+ show in Yokohama, for the Sony E Mount. We’re at the show, and we made our way to the Voigtländer booth earlier to take a closer look at the Nokton classic 35mm F1.4, Nokton 40mm F1.2, and Macro APO-Lanthar 65mm F2 (pictured above).

CP+ 2017: Hands-on with new Voigtländer E-mount primes

This is the Macro APO-Lanthar 65mm F2, which like all Voigtländer primes, is finished to a very high standard. A physical aperture ring with well-placed 1/3EV detents is positioned – rangefinder style – at the far end of the lens, and a broad, knurled focusing ring further back, towards the camera. The red, green and blue flashes are a nod to the older and much sought-after 125/2.5 APO-Lanthar.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

Electrical contacts communicate EXIF to the camera body, which is a big advantage in manual lenses.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

At its minimum focusing distance, the 62mm can achieve a maximum magnification of 1:2. Not quite ‘true’ macro, but not bad. As you can see though, despite its modest focal length, the lens extends considerable when in its near-macro focus range.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

At infinity on the other hand, it’s a pleasantly compact short telephoto prime.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

The Macro APO-Lanthar 65mm F2 Aspherical was announced at Photokina 2016 as a concept, but is now moving towards production. Pricing and availability has yet to be confirmed.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

Here is the Nokton 40mm F1.2 Aspherical – a fast, ‘normal’ prime lens for the Sony E mount. Cosmetically similar to the 65mm macro, the 40mm is more compact, obviously much brighter lens.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

The fastest 40mm ever made for full frame (in case you’ve been waiting for one) the 40mm Nokton is based on an older VM (Leica M) mount lens, but has been ‘optimized’ for Sony E mount.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

Again, electrical contacts ensure that EXIF information is recorded to the camera. According to Voigtländer’s (slightly imprecisely translated) press release, the 40mm Nokton features a ‘weak aperture stop click release mechanism’ for smooth, clickless aperture progression in video shooting. Full disclosure – we couldn’t figure out how to engage it, but it’s been a very long day.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

A close focusing distance of 40cm isn’t amazing, but that’s one of the tradeoffs of such a fast maximum aperture. Again, pricing and availability of the 40mm Nokton has yet to be confirmed, but we’ll update this story if and when the information becomes available.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

Another design adapted from an older lens, the Nokton classic 35mm F1.4 is an E-mount version of the M-mount Nokton that Voigtländer has been selling for some time. This lens was only on show under glass, so we didn’t get to handle it. We’d expect it to be built to the same high standard as the older M-mount version though.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

Another view of the Nokton 35mm, showing off its minimalist design.

CP+ 2017: Hands-on with new Voigtländer E-mount primes

Again, in the rangefinder style, the Nokton classic features a slim aperture ring positioned at the front of the lens. A broad focusing ring makes up most of the lens’s length.

Articles: Digital Photography Review (dpreview.com)

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