LEE Filters has revealed its upcoming LEE85 Filter System designed for smaller cameras and lenses. The system features a Holder component with a locking dial for use with the related Adaptor Ring, which will be available in sizes from 37mm to 72mm, according to the company. The Holder is made from aluminum and works with the LEE85 ND Graduated and Standard filters and a clip-on Polariser.
LEE Filters presents the new LEE85 Filter System as lightweight and ideal for photographers who use small cameras and who want a compact, easily deployed filter system. The Locking Ring makes it possible to lock the Holder at a specific angle or allow it to freely rotate, depending on shooting needs. As with the larger LEE100 system before it, the LEE85 Holder can be configured with 1 – 3 filter slots using modular guide blocks.
The compatible ND filters have been designed with large tabs on the top; these feature clear labels and make it easier to insert and remove the filters from the Holder without leaving fingerprints. The LEE85 Polarizer, meanwhile, clicks directly onto the Holder and can be rotated. The entire system, including the Polarizer and up to four filters, can be stored in the included System Pouch with strap and belt loop options.
The company will offer the LEE85 Filter System in multiple bundle options: Discover Kit, Develop Kit, Aspire Kit and Deluxe Kit. All four options include the 58mm, 67mm and 72mm adaptor rings, as well as the LEE85 Holder, System Pouch and 0.6 Medium ND Graduated filter. Depending on the kit selected, buyers will also get things like the ‘Big Stopper,’ the LEE85 Polarizer, a 0.9 Medium ND Graduated filter and a cleaning cloth.
Buyers who need adaptor rings in other sizes will be able to purchase them separately. It’s unclear how much each LEE85 kit will cost at this time; the company says that its new filter system is due for release in the second quarter of this year.
In a tweet published on March 10, Sigma CEO Kazuto Yamaki shared a bit of information that hints at what products we should most be expecting to see from Sigma in the foreseeable future.
In response to a question from Twitter user Terri Ikoma, username @uplink_boss, Yamaki-san said Sigma will put a priority on developing its ‘DN’ lens lineup for mirrorless camera systems, including full-frame, APS-C and Micro Four Thirds (MFT) systems. Below is the screenshot with the machine-translated text:
Since much can get lost in translation (particularly machine translation), we contacted Yamaki-san to independently confirm the statement and see if he would be willing to divulge any further information. Yamaki-san both confirmed the statement and elaborated that while APS-C and MFT lenses aren’t out of the question, ‘most of [the lenses] will be DG DN series (designed for full-frame mirrorless cameras).’
Considering the direction the rest of the photography world is moving, this news shouldn’t necessarily come as a surprise, but to get confirmation from Sigma’s CEO that the third-party lens manufacturer will be focusing exclusively on mirrorless systems is a significant detail. Canon also confirmed earlier this year that its focus will be on full-frame mirrorless lenses (RF-mount) over DSLR lenses (EF-mount), so Sigma isn’t the only one who’s looking at DSLRs through the rearview mirror.
The post 5 Reasons You Should Use Mirrorless in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Are you struggling to decide between DSLRs and mirrorless cameras? Do you want to know which is best for your needs? You’ve come to the right place. In this article, I’m going to give you the main reasons you may want to use mirrorless in 2020 over DSLRs.
And, if at the end of this article, some (or all) of those reasons speak to you, then mirrorless is probably the way to go.
If not, then I recommend you stick with DSLRs, because they really can produce amazing images.
Make sense?
Let’s get started.
1. Mirrorless cameras offer a live exposure preview
For me, this is the absolute best thing about mirrorless photography and the main reason why I bought my first mirrorless body.
You see, on a DSLR, when you look through the viewfinder, you see the actual scene before you (through your camera’s lens).
But if you look through the electronic viewfinder of mirrorless cameras, then you don’t see the scene in real life. Instead, you get a feed from the camera’s sensor, which incorporates exposure information.
See the area where you look through on the camera below? There’s a small OLED or LCD screen, which allows you to see a preview of the shot.
The feed isn’t perfect. It doesn’t always show you an accurate representation of the final image, especially if you’re shooting long exposure with changing light.
But it’s really, really good. And it’s extremely useful for those situations where you need to capture shots on the fly, because you have an immediate understanding of where your camera’s exposure is and where it needs to be. Just a few twists of your camera’s dial and – voila! – you’ve got a good exposure.
Note that there are also downsides to using these electronic viewfinders. They vary a lot in terms of quality, and even the best EVFs are nowhere near optical (DSLR) viewfinders in terms of clarity.
Plus, there will be some situations where you’ll want to work without exposure simulation, and this often means diving into your camera’s menu in order to figure out how to turn the feature off.
But if you’re the type of person who wants to know the resulting exposure before you hit the shutter button, then mirrorless is a great choice.
2. You can fit a mirrorless body in your pocket
I’m serious.
With some of the smaller mirrorless cameras, you can mount the lens on the body and stick it in your pocket, no problem.
You do need to use a small lens, but it’s still pretty impressive, and it’s another reason to use mirrorless in 2020.
In other words:
Mirrorless cameras tend to be much smaller than their DSLR counterparts.
In fact, the small size was considered the original groundbreaking advantage of mirrorless, and is still pretty great, even though DSLRs like the Canon SL3 and Nikon D3500 are really quite small.
That’s why mirrorless cameras are great for travel and casual shooting. Plus, you can take them into events without anybody noticing you’ve got a high-powered camera. This is also key for street photography, where you generally want to avoid attention.
Oh, and if you really want to take the small form factor to the next level, check out Micro Four Thirds cameras and lenses. Their compact size will blow you away.
Here’s an example of the size variation you can find with mirrorless bodies, from the large Olympus OM-D E-M1X, all the way down to the compact E-M10 Mark III:
3. You can see in black and white as you shoot
Another reason to use mirrorless in 2020 is black and white photography. If you’ve ever wanted to shoot in black and white, but you felt it’d be too hard a medium to master…
…get a mirrorless camera.
Because if you use a mirrorless body with a viewfinder, you’ll be able to program it to display in black and white.
And, as long as you’ve got the viewfinder to your eye, you’ll see in black and white.
This means that you have an immediate boost in your black and white potential. Instead of struggling to see in black and white (which is half the battle of the b&w genre), you’ll be able to understand the black and white medium straight out of the gate.
You’ll see how different colors are rendered in black and white. You’ll see how black and white photos change as the light changes.
And you’ll become a much better black and white photographer.
In fact, even if you switch back to a DSLR, you’ll retain your black and white skills. Because your understanding of black and white will exist on a much deeper level.
If you’re a street photographer or an event photographer, then I’m guessing that you’d love the opportunity to shoot without making a sound.
It prevents you from disturbing the silence in a wedding ceremony. And it prevents people from noticing that you’re photographing them on the streets.
Now, DSLRs often offer silent shooting modes.
But if you’ve ever tried one of these, they’re just…bad.
Sure, they make things quieter than the “thunk, thunk, thunk” you get from normal shooting. But they still leave the shutter quite audible, and I certainly wouldn’t feel comfortable using them in a quiet room.
Enter mirrorless silent modes.
See, mirrorless cameras generally offer two broad types of shooting:
Shooting with the mechanical shutter (which is what causes the loud noise you get from a DSLR).
And shooting with the electronic shutter.
Fortunately, shooting with an electronic shutter is literally silent. You can hit the shutter button and no one (probably not even you) will hear it.
It’s perfect for street photography, and it’s amazing for event photography.
So that once you’ve used a true silent shutter, you’ll struggle to ever go back to a DSLR!
5. Mirrorless cameras come with all sorts of cool bonus features
When I got my first mirrorless camera, here’s one of the things I was most excited about:
The extra features that came with it. This is another reason to use mirrorless in 2020.
Sure, I was happy with the smaller size and the live preview, and those were the main reasons that I bought it in the first place.
But the extra features…
…well, I couldn’t wait to try them out.
I’m talking about things like focus peaking, which allows you to see, in advance, which areas of your shot are going to be in focus. It’s not perfect, but it gives you an approximation of the necessary depth of field, plus it’s just really cool.
I’m also talking about the manual focusing guide, which lets you select an autofocus point, then tells you when you’ve nailed it with manual focus.
This last feature has been a huge help for ensuring I get my point of focus right; it acts as a check on my manual focusing in landscape, architectural, and macro photography.
Now, not all mirrorless cameras offer these features. And there are some bonuses, such as Olympus’s Pro Capture option, that you’ll only find in a select few mirrorless bodies.
(Pro Capture, by the way, causes the camera to start firing at up to 60 frames per second when you press the shutter button halfway down, but then saves around a dozen shots from before you finally hit the shutter button, as well as dozens of frames after you hit the shutter.)
So before you buy a DSLR, check out the features hidden in different mirrorless camera menus. I bet there are some awesome ones that are worth a look.
5 Reasons You Should Use a Mirrorless in 2020: Conclusion
Now that you’ve finished this article, you should know all about mirrorless cameras, and whether you should think about purchasing one.
Because here’s the thing:
Mirrorless systems aren’t for everyone. There are reasons to use mirrorless in 2020, and there are reasons to shoot with DSLRs (and there are even reasons to shoot film!).
Now I’d like to know your opinion:
Why do you shoot mirrorless? Are there any reasons for shooting mirrorless that I missed? And if you shoot with a DSLR, why? Let us know in the comments!
The post 5 Reasons You Should Use Mirrorless in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
A prototype of the forthcoming Canon EOS R5, on display at the recent WPPI trade show
If it wasn’t obvious at the time, it should be clear now that the EOS R and RP don’t represent Canon’s full ambitions for full-frame mirrorless. Following the initial surge of those releases, there’s been an apparent lull while the real work continued. Now that Canon has started to release details of the forthcoming EOS R5, the bigger picture is becoming clearer.
This is not to downplay the role of those first two cameras. The RP in particular seems to be turning into the camera we thought it might: a competent and aggressively priced first-time full-framer, pitched below the 6D level to entice people into the system.
But it was very apparent that the R and RP weren’t at the center of Canon’s plans for the RF-mount and we’ve had to wait until now, to see more of Canon’s longer-term strategy.
The RF lenses have already set out the game plan though. That triumvirate of F2.8 L zooms is clearly not primarily aimed at RP or even R users. The prices and the performance that they’ve shown, along with the use of the widely respected ‘L’ designation, should make that clear.
Neither the ‘holy trinity’ of F2.8 L zooms, nor the 50 and 85mm F1.2 prime lenses will have been developed primarily for EOS R or RP shooters.
These lenses are laying the groundwork for a camera designed to appeal to the dedicated enthusiast and professional user.
The R5 will be a mirrorless 5D
One thing that’s certain, now that we’ve seen the prototype cameras, is that the inclusion of the number ‘5’ in the R5’s name is no coincidence.
The 5D line has been important for the company, both in terms of sales and in terms of reputation. The 5D DSLRs help cement the company’s image as the maker of aspirational products for enthusiasts and dependable cameras for working professionals, then extended that to create the first high-end stills/video hybrid camera. Like the ‘L’ designation, Canon is unlikely to risk undermining the values associated with that branding by casually applying it to something less ambitious.
Canon is unlikely to risk the 5-series branding by applying it to something less ambitious
The prototype units Canon has put on show also help to make clear that it’s this 5D-using crowd it’s targeting with the R5: the styling cues of the body might come from the EOS R but the control layout is reassuringly 5D-like. Wedding shooters, along with everyone else who got really anxious about such things when the EOS R was launched, will be reassured to hear the R5 will have twin card slots.
There are certainly plenty of design cues from the EOS R, including that square status panel and the mode button set inside the rear shoulder dial…
Canon was determined to get it right
The lag between the announcement of the system and the arrival of its key camera model suggests there was still work that needed to be done.
Given how much of a head start Sony had already established in full-frame mirrorless with its progressively better a7 cameras, there must have been a temptation for Canon to quickly establish a presence in such a key part of the market. But, rather than launching a rival to the Sony a7R III at the same time Nikon launched its Z7, Canon has kept its powder dry.
…but that rear-plate scroll wheel, that big, traditional joystick and the arrangement of the two buttons on the right shoulder have much more in common with Canon’s DSLR design.
This strongly suggests it’s been continuing to work on the technologies underpinning the R5. Whereas the R and RP placed sensors from existing models (the EOS 5D IV and EOS 6D II respectively), in less-expensive bodies, it’s now clear that the R5 will include a series of all-new technologies. And we’d guess at a price tag around the $ 3500 territory that EOS 5D models have been launched at.
It will feature new-to-Canon technologies
Canon confirmed to us over a year ago that it was developing an in-body stabilization system for a ‘pro-level’ RF camera, and this is likely to be one of the things still being perfected.
There’s scope for some misunderstanding in translation, of course, but the senior figures we interviewed seemed to suggest a system that would combine the efforts of in-body and in-lens stabilization, like Panasonic and Olympus do, rather than sharing the work by letting in-lens stabilization take over some of the work from the in-body mechanism, per Sony and Nikon.
Canon has a history of launching new systems by starting with the middle model. The launch model of the EF mount, the EOS 650, wasn’t an especially high-end offering.
While Canon has decades of experience of in-lens stabilization, it doesn’t have any prior experience of combining lens and sensor-shift IS. This is clearly a technology Canon wanted to get absolutely right before launching a 5D-level camera, rather than delivering a standalone IBIS system and then using the promise of combined IS to entice people to upgrade to an R5 Mark II.
It will push video capabilities forward
The EOS 5D II established the idea of the DSLR as a video device. It wasn’t quite the first video DSLR but with its Full HD capability and full-frame sensor, it was the one that ended up in the hands of would-be videographers the world over. The Mark III added a little polish to this but didn’t really push things forward.
But one of the undeniable advantages mirrorless offers over DSLRs is that you don’t have a mirror that needs to be moved out of the way before you can start recording. This, in turn, helps give a more coherent stills and video shooting experience, making it easier for photographers to adapt to shooting sequences of moving pictures, rather than just stills.
So a 5D-level mirrorless camera would be the perfect time to make a spiritual successor to the 5D Mark II and Canon is talking in terms of 8K capture.
The potential benefits of 8K apply to people watching in 4K, just as there were benefits to 4K capture before widespread adoption of 4K displays
You may not think you need 8K, if that’s what the camera ends up outputting. It’s true that the limits of human vision at sensible viewing distances take us into the realms of diminishing returns, but many of the potential benefits of 8K apply to people watching in 4K, just as there were benefits to 4K capture before widespread adoption of 4K displays.
The first is the ability to crop in, giving scope for adding panning or zooming movement into locked-off shots. This is hugely useful in terms of giving flexibility at the edit stage, particularly for single camera setups that an R5 is likely to be used for.
But the other option is to capture at 8K and output it as perfectly oversampled 4K, since you need to capture twice the resolution to accurately describe all the detail that a 4K video can show. It may be that this is what Canon is referring to 8K capture with 4K output, but even this would be an impressive step forward.
I won’t call it a flagship
So what we know from the announced details and what we can deduce from the RF lenses that have been launched is that the 5R will aim to be a ‘Super 5D’: with the addition of in-body IS and advanced video making it perhaps the biggest generational leap forward for ‘5’ level cameras since the introduction of Full HD video capture.
The EOS R5 promises to match the 1D X III in terms of its 20fps frame rate, but it’s still the 1D series that’s the real flagship in Canon’s lineup.
But I’m still loath to call it a flagship. 5D cameras are important to Canon and certainly help set public perception of the brand, but it’s the 1D-series that has entrenched the company’s position on the sidelines of sports across the world.
The R5 is likely to include some of the AI-trained autofocus know-how developed for the EOS-1D X Mark III, and it’s likely to be the top dog in the RF lineup for the foreseeable future. But the sheer amount of power offered by the 1D X III in mirrorless mode suggests we may be only a single generation away from an RF-mount 1D.
A lot has changed since we last compared entry-level APS-C mirrorless cameras. In this 2020 update, Chris and Jordan compare the Fujifilm X-T200, Sony a6100 and Canon EOS M50. Which one is right for you?
For more information watch our videos about the Fujifilm X-T200, Sony a6100 and Canon EOS M50.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Tokina, which is celebrating its 70th anniversary and had planned to reveal this information at CP+, has announced its latest 2020 lens development roadmap, showing a number of new lenses it plans to release in 2020 for DSLR and mirrorless cameras.
The announcement, seen above, is split into four different sections, based on the lens mounts the forthcoming lenses are destined for. First up is the atx-i lineup for Canon EF- and Nikon F-mount camera systems. In addition to the previously-announced 11–16mm F2.8 CF and 100mm F2.8 CF Macro lenses, Tokina also teases an upcoming 11–20mm F2.8 CF lens due out in Summer 2020 for Canon and Nikon APS-C DSLR camera.
Moving onto Tokina’s atx-m series, the updated roadmap shows off three new APS-C lenses for Sony E-mount and Fujifilm X-mount camera systems: a 23mm F1.4, 33mm F1.4 and 56mm F1.4. The E-mount version of these lenses (denoted by an ‘E’ after the lens name) are set for a Summer 2020 release, while the X-mount versions (denoted by an ‘X’ after the lens name) aren’t due out until Autumn 2020.
Tokina also highlights three atx-m series lenses for full-frame Sony E-mount cameras. In addition to the 85mm F1.8 FE, which is currently available for $ 499 (Adorama, B&H), Tokina also highlights a 35mm F1.8 FE and 50mm F1.8 FE lens, both of which are due out in Autumn 2020.
It’s unconfirmed at this time, but it’s worth noting these lenses do bear a striking resemblance in looks and specs to a number of Viltrox lenses that have already been announced (and delayed).
The post Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
According to Canon Watch, a new rumor suggests that Canon may be developing a new R-series camera:
A body with an APS-C sensor.
As Canon fans will know, Canon currently offers two mirrorless camera lines:
The EOS M series, with options such as the Canon EOS M50, the Canon EOS M6 Mark II, and the Canon EOS M5, uses only APS-C sensors;
and the EOS R series, which currently only features the Canon EOS R, the Canon EOS RP, and the Canon EOS Ra, has thus far been composed of full-frame bodies.
Note that a fourth Canon EOS R body, the R5, is also on the way, and will continue the full-frame tradition.
But it seems that Canon’s lineups may be changing.
According to Canon Watch, the rumor indicates that the new APS-C camera (dubbed the EOS R7) will debut in 2021, along with three APS-C RF lenses.
And Canon Watch goes on to discuss the possibility that the EOS R7 will be a successor to the much-loved Canon 7D Mark II, which dropped way back in 2014. Interestingly, the Canon 7D Mark II is only slightly overdue for an upgrade, given that it was announced five years after its predecessor, the Canon 7D.
If the Canon EOS R7 were a spiritual successor to the 7D Mark II, then we could expect a camera designed for sports and wildlife shooters, packing a fast continuous shooting rate and a top-of-the-line AF system.
But the question remains:
Is Canon even interested in creating an APS-C R camera?
There are reasons to think that Canon might be considering this possibility. For one, the success of Fujifilm’s X-series, as well as Sony’s higher-end a6000 offerings, suggests that there’s a real market for higher-level mirrorless APS-C cameras.
That said, you do have to wonder whether a 7D Mark III would make sense as Canon’s first EOS R APS-C camera, especially when plenty of action shooters are going for a Canon 1D X Mark III over alternatives such as the Sony a9 Mark II due to the perceived inadequacy of mirrorless cameras. Sure, the 7D Mark II is due an update, but I’m not sure that mirrorless technology (and viewfinders in particular) have matured enough to fully convert the 7D Mark III’s intended audience.
Regardless, Canon has been focusing heavily on its RF lenses and R-series lineup, and this is a trend that should continue over 2020. It’s plausible that Canon will decide to consolidate its mirrorless systems for the sake of efficient development, especially as Canon also continues to produce DSLR cameras.
So keep an eye out for more news regarding this APS-C camera; if there is any truth to this rumor, there will undoubtedly be more talk down the line.
The post Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Nikon Z8 60 MP Mirrorless Camera Rumored, Along With D850 Successor appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
In the wake of so many major Canon mirrorless rumors and announcements, it’d be excusable if you had started to shift attention away from Nikon’s mirrorless program, especially since it’s been over a year since Nikon put out a full-frame mirrorless camera.
But no more.
We have a new Nikon rumor to report, one that offers a truly exciting prospect for Nikon mirrorless shooters:
A so-called Nikon Z8, which will supposedly have a whopping 60 MP sensor, along with dual card slots (one CF and one SD). Nikon Rumors reports that the camera will also feature a “vertical grip option, pro body” and a “higher price tag.”
Apparently, we should also expect a Nikon D850 replacement “maybe” in 2021, which will also have a 60 MP sensor.
This is excellent news for Nikon fans, especially those who were critical of Nikon’s decision to put a single card slot in its Z6 and Z7 bodies. Photographers who felt unable to make the switch to mirrorless due to a need for redundancy will be free to choose between the Z8 and Nikon’s professional DSLR bodies such as the Nikon D5, the Nikon D6, the Nikon D850, and the D850’s successor.
Clearly, Nikon is planning to go toe-to-toe with Sony’s A7R series, which currently features a 61 MP flagship model and is a favorite among photographers requiring top-of-the-line resolution, such as landscape, commercial, and product shooters. The Z8 will potentially also compete with the upcoming Canon R5, which is rumored to offer a 45 MP sensor and may be positioned as a mirrorless 5D Mark IV successor, potentially packing the low-light capabilities of the 5D Mark IV but adding mirrorless features such as ultra-fast shooting speeds and in-body image stabilization.
Of course, resolution isn’t everything, and it remains to be seen whether Nikon will manage to produce a camera that can go beyond the impressive Z6 and Z7.
But at least Nikon shooters will have something to hang on to over the coming months.
The post Nikon Z8 60 MP Mirrorless Camera Rumored, Along With D850 Successor appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Budget-conscious filmmakers looking for an anamorphic lens will finally be able to stop cropping the top and bottom of their movie frames next month when the Sirui 50mm F1.8 1.33x anamorphic lens will begin shipping through distributors outside of the initial Kickstarter and Indiegogo campaigns. The company has already shipped to many of its backers, but the Coronavirus has created delays that have set the general release back to April.
The lens, which enables 2.4:1 aspect ratio shooting, is available in mounts for Sony-E, Fujifilm X and Micro Four Thirds, and will retail for around $ 700 / £660. Designed to cover APS-C sized sensors the lens offers a field of view that equates to a 37.5mm lens, according to Sirui, as the optics increase the horizontal angle of coverage by 33%.
The compact lens is only 106.6mm (4.2in) long and has a maximum diameter of 69.2mm (2.72in), while weighing 560g (1.23lbs). It has a 10-bladed iris with openings covering F1.8-16 and the closest focus distance is 0.85m (33.5in).
Update: This story originally stated that Bloomberg’s sources alleged that PS5 production was given preference over mirrorless features that would require scarce components. Bloomberg’s story only points out that both mirrorless cameras and Playstation divisions are suffering due to the scarcity of DRAM and NAND; our story has been updated to reflect this.
Sources recently speaking to Bloomberg allege that Sony has nixed some features it had planned for an unnamed future mirrorless camera model due to the scarcity of certain hardware, namely DRAM and NAND flash memory.
The current demand for NAND and DRAM is high among smartphone manufacturers, according to Bloomberg, which reports that Sony is struggling to keep down the cost of its upcoming PS5 console. The article makes reference to high DRAM prices having an impact on other parts of the company, with cameras in particular being called out.
According to the article: ‘Sony has already canceled some previously planned features for a new mirrorless camera due this year owing to the constrained DRAM supply, several people with knowledge of the matter said.’
The report doesn’t specify which camera model will suffer as a result of this alleged decision nor which features were eliminated, though it does claim that Sony plans to release the camera this year.
The wording is interesting, in that it suggests the camera will still be delivered, shorn of the capabilities that fast DRAM memory would have provided. It could be that Sony planned to expand the use of stacked DRAM image sensors beyond the a9 and newer RX100 models, but will instead proceed with a more conventional CMOS sensor.
Given the current state of Sony’s lineup, the a7 III replacement seems a likely candidate. Or maybe the technology was meant to underpin the long hoped for NEX-7 high-end APS-C successor or an update to the a7S series.
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